Boston Symphony Orchestra Concert Programs, Season 97, 1977-1978
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
ARSC Journal
A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers. -
Fri, Aug 20, 2021
Fri, Aug 20, 2021 - 09 Listener Requests on The Classical Station 1 Start Description Performers Requested by Additional 09:01:10 Overture to Candide / Bernstein Bournemouth Symphony/Litton Carol in Fuquay-Varina 09:06:32 Grand Canyon Suite / Grofé London Philharmonic George in Raleigh Orchestra/Handley 09:40:50 Rider March in C, D. 866 No. 1 / Vienna Academy Cathy in Menominee Falls, Schubert Orchestra/Haselbock Wisc. 09:51:27 Romance for String Orchestra, Op. 11 / Northern Sinfonia/Griffiths Vincent in Greensboro, Finzi NC 10:01:30 Radetzky March / Strauss Sr. Johann Strauss Orchestra Timothy in Rocky Mount, Vienna/Francek NC 10:05:38 Nuvole bianche / Einaudi Ludovico Einaudi Rachel in Raleigh 10:13:03 Suite Bergamasque / Debussy Alexis Weissenberg Kenneth in Apex, NC also for Linda in Whitewater, Wisc. 10:29:23 Piano Quintet in E flat, Op. 44 / Robert Schumann Ensemble Vivian in Carrboro, NC Schumann 11:00:20 Suite for Flute and Strings / Respighi Fabbriciani/Abruzzo Adrienne in Raleigh Symphony/Paszkowski 11:21:15 Eclogue for Piano and Strings / Finzi Jones/English String Cyndi in Raleigh Orchestra/Boughton 11:32:28 The Girl with the Flaxen Hair from Samson Francois Greg in Ronkonkoma, NY in memory of his Preludes, Book I / Debussy beloved wife, Carol 11:35:53 Partita No. 2 in C minor, BWV 826 / Simone Dinnerstein Desiree in Coconut Creek, Bach Fla. 12:00:25 Concerto in B minor for 4 Violins and English Concert/Pinnock Rhowan in Garner, NC Cello, Op. 3 No. 10 / Vivaldi 12:10:50 Recuerdos de la Alhambra / Tarrega David Russell Lynn in Durham, NC 12:17:30 Finlandia, Op. -
Download the Concert Programme (PDF)
London Symphony Orchestra Living Music Sunday 5 February 2017 7pm Barbican Hall LSO ARTIST PORTRAIT: JANINE JANSEN Sibelius The Oceanides Bernstein Serenade INTERVAL Nielsen Symphony No 4 London’s Symphony Orchestra (‘The Inextinguishable’) Sir Antonio Pappano conductor Janine Jansen violin Concert finishes approx 8.55pm Filmed and broadcast live by Mezzo 2 Welcome 5 February 2017 Welcome Living Music Kathryn McDowell In Brief Welcome to tonight’s LSO concert at the Barbican, LSO 2017/18 SEASON NOW ON SALE which marks the start of this season’s Artist Portrait series, focusing on violin soloist Janine Jansen. The LSO’s inaugural season with Sir Simon Rattle as Music Director is now on sale. Beginning with a ten- The LSO has performed with Janine Jansen regularly day celebration to welcome him in September, the for many years all over the world, and she is a season features concerts to mark 100 years since favourite with our audiences and with the musicians the birth of Bernstein and 100 years since the death of the Orchestra. Across three concerts we will of Debussy, world premieres from British composers, hear her perform a wide range of repertoire, from the beginning of a Shostakovich symphonies cycle, Bernstein’s Serenade tonight to Brahms’ Violin and a performance of Stockhausen’s Gruppen in the Concerto in March, and finally the Berg Violin Concerto Turbine Hall at Tate Modern. in April, showing the many different sides of her celebrated artistry. alwaysmoving.lso.co.uk This evening’s programme is conducted by another good friend of the LSO, Sir Antonio Pappano. -
The Pianist's Freedom and the Work's Constrictions
The Pianist’s Freedom and the Work’s Constrictions What Tempo Fluctuation in Bach and Chopin Indicate Alisa Yuko Bernhard A thesis submitted in partial fulfilment of the requirements for the degree of Master of Music (Performance) Sydney Conservatorium of Music University of Sydney 2017 Declaration I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree. Alisa Yuko Bernhard 10 November 2016 i Abstract The concept of the musical work has triggered much discussion: it has been defined and redefined, and at times attacked and deconstructed, by writers including Wolterstorff, Goodman, Levinson, Davies, Nattiez, Goehr, Abbate and Parmer, to name but a few. More often than not, it is treated either as an abstract sound-structure or, in contrast, as a culturally constructed concept, even a chimera. But what is a musical work to the performer, actively engaged in a “relationship” with the work he or she is interpreting? This question, not asked often enough in scholarship, can be used to yield fascinating insights into the ontological status of the work. My thesis therefore explores the relationship between the musical work and the performance, with a specific focus on classical pianists of the twentieth and twenty-first centuries. I make use of two methodological starting-points for considering the nature of the work. Firstly, I survey what pianists have said and written in interviews and biographies regarding their role as interpreters of works. Secondly, I analyse pianists’ use of tempo fluctuation at structurally significant moments in a selection of pieces by Johann Sebastian Bach and Frederic Chopin. -
Interpreting Tempo and Rubato in Chopin's Music
Interpreting tempo and rubato in Chopin’s music: A matter of tradition or individual style? Li-San Ting A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of the Arts and Media Faculty of Arts and Social Sciences June 2013 ABSTRACT The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings. -
Sat Oct 5 Program Notes
PROGRAM NOTES: SAT / OCT 5 By Bill Crane, Director of Audience Engagement, Portland Piano International “When it comes to translating human emotions, the piano is the most perfect instrument I know.” – Marc-André Hamelin in his recent interview for BBC Music Magazine Whether as listener, student, teacher, composer, or performer, one has so many ways to approach the seemingly endlessly varied sonorities of the piano, ripe for expressing myriad emotions. As well, the piano allows a single performer to create such abundance of music – with such satisfying results, when in good hands – that composers for it have stretched its capacities tirelessly, always exploring possibilities. We live in a time well after all constraints of harmonic and formal practice that characterized music before the “modern” period were thrown off. Much of the music after the end of the 19th century, indeed, was quite reflective of the tumultuous times in which the Western world lived with boundless conflict and astounding change. This is particularly true, of course, of the Russian piano tradition, from which we will hear stellar examples in these recitals, but not there only. French music comes to mind, of course, with its own special harmonic innovations and suave, evocative ways. You are about to encounter bazillions of notes, more than seems humanly possible. More important, though, you are in for sublime artistry. This swirling world of music and musical ideas borne of many profound influences, some directly “artistic” and some esoteric (spiritual matters, political intrigue, lovers’ longing and laments), some clear to understand and others distinctly not so. I would bet that a majority of the pieces found in these two programs will be new to you, as they were to me. -
Pathetique Symphony New York Philharmonic/Bernstein Columbia
Title Artist Label Tchaikovsky: Pathetique Symphony New York Philharmonic/Bernstein Columbia MS 6689 Prokofiev: Two Sonatas for Violin and Piano Wilkomirska and Schein Connoiseur CS 2016 Acadie and Flood by Oliver and Allbritton Monroe Symphony/Worthington United Sound 6290 Everything You Always Wanted to Hear on the Moog Kazdin and Shepard Columbia M 30383 Avant Garde Piano various Candide CE 31015 Dance Music of the Renaissance and Baroque various MHS OR 352 Dance Music of the Renaissance and Baroque various MHS OR 353 Claude Debussy Melodies Gerard Souzay/Dalton Baldwin EMI C 065 12049 Honegger: Le Roi David (2 records) various Vanguard VSD 2117/18 Beginnings: A Praise Concert by Buryl Red & Ragan Courtney various Triangle TR 107 Ravel: Quartet in F Major/ Debussy: Quartet in G minor Budapest String Quartet Columbia MS 6015 Jazz Guitar Bach Andre Benichou Nonsuch H 71069 Mozart: Four Sonatas for Piano and Violin George Szell/Rafael Druian Columbia MS 7064 MOZART: Symphony #34 / SCHUBERT: Symphony #3 Berlin Philharmonic/Markevitch Dacca DL 9810 Mozart's Greatest Hits various Columbia MS 7507 Mozart: The 2 Cassations Collegium Musicum, Zurich Turnabout TV-S 34373 Mozart: The Four Horn Concertos Philadelphia Orchestra/Ormandy Mason Jones Columbia MS 6785 Footlifters - A Century of American Marches Gunther Schuller Columbia M 33513 William Schuman Symphony No. 3 / Symphony for Strings New York Philharmonic/Bernstein Columbia MS 7442 Beethoven: Symphony No. 9 in D minor Westminster Choir/various artists Columbia ML 5200 Tchaikovsky: Symphony No. 6 (Pathetique) Philadelphia Orchestra/Ormandy Columbia ML 4544 Tchaikovsky: Symphony No. 5 Cleveland Orchestra/Rodzinski Columbia ML 4052 Haydn: Symphony No 104 / Mendelssohn: Symphony No 4 New York Philharmonic/Bernstein Columbia ML 5349 Porgy and Bess Symphonic Picture / Spirituals Minneapolis Symphony/Dorati Mercury MG 50016 Beethoven: Symphony No 4 and Symphony No. -
Jazz Concert
Artist Series Andrew Cooperstock, piano Friday, February 15, 2019 at 8pm Lagerquist Concert Hall, Mary Baker Russell Music Center Pacific Lutheran University School of Arts and Communication / Department of Music presents Artist Series Andrew Cooperstock, piano Music of Leonard Bernstein (1918-1990) A Centennial Tribute Friday, February 15, 2019 at 8pm Lagerquist Concert Hall, Mary Baker Russell Music Center Welcome to Lagerquist Concert Hall. Please disable the audible signal on all watches and cellular phones for the duration of the concert. Use of cameras, recording equipment and all digital devices is not permitted in the concert hall. PROGRAM El Salón Mexico ........................................................................................................ (1936, orig. pub. 1939/arr. pub. 1941) Sonata for the Piano ................................................................................................................................... (1938, pub. 1979) I. Presto. Molto moderato. Presto. Scherzando II. Largo. Moderato. Molto moderato Selections from Anniversaries ................................................................................................................................ (1942-88) For Aaron Copland For Sergei Koussevitzky In Memoriam: Nathalie Koussevitzky For Felicia Montealgre For Susanna Kyle For Stephen Sondheim In Memoriam: William Kapell In Memoriam: Helen Coates Four Sabras ............................................................................................................................................. -
Brahms Clarinet Quintet & Trio 6 Songs
martin fröst brahms clarinet quintet & trio 6 songs janine jansen boris brovtsyn maxim rysanov torleif thedéen boris brovtsyn | martin fröst | janine jansen | maxim rysanov | torleif thedéen roland pöntinen BIS-2063 BIS-2063_f-b.indd 1 2014-02-24 14.39 BRAHMS, Johannes (1833–97) Clarinet Quintet in B minor, Op. 115 37'46 1 I. Allegro 12'37 2 II. Adagio – Più lento 11'08 3 III. Andantino – Presto non assai, ma con sentimento 4'34 4 IV. Con moto 9'05 Janine Jansen & Boris Brovtsyn violins Maxim Rysanov viola · Torleif Thedéen cello Six Songs, transcribed by Martin Fröst for clarinet and piano 5 Die Mainacht, Op. 43 No. 2 3'32 6 Mädchenlied, Op. 107 No. 5 1'31 7 Immer leiser wird mein Schlummer, Op. 105 No. 2 3'12 8 Wie Melodien zieht es mir, Op. 105 No. 1 2'09 9 Vergebliches Ständchen, Op. 84 No. 4 1'31 10 Feldeinsamkeit, Op. 86 No. 2 3'22 Roland Pöntinen piano 2 Trio in A minor for Clarinet, Piano and Cello 24'33 Op. 114 11 I. Allegro 7'48 12 II. Adagio 7'39 13 III. Andantino grazioso 4'24 14 IV. Allegro 4'25 Roland Pöntinen piano · Torleif Thedéen cello TT: 78'55 Martin Fröst clarinet 3 n the same way that the world owes Mozart’s Clarinet Concerto, Trio and Quintet to the virtuosity of Anton Stadler, and Weber’s clarinet works to IHeinrich Baermann, so the creation of Brahms’s last four chamber works was sparked by the artistry of Richard Mühlfeld (1856–1907), the principal clarinettist of the Meiningen Orchestra. -
View List (.Pdf)
Symphony Society of New York Stadium Concert United States Premieres New York Philharmonic Commission as of November 30, 2020 NY PHIL Biennial Members of / musicians from the New York Philharmonic Click to jump to decade 1842-49 | 1850-59 | 1860-69 | 1870-79 | 1880-89 | 1890-99 | 1900-09 | 1910-19 | 1920-29 | 1930-39 1940-49 | 1950-59 | 1960-69 | 1970-79 | 1980-89 | 1990-99 | 2000-09 | 2010-19 | 2020 Composer Work Date Conductor 1842 – 1849 Beethoven Symphony No. 3, Sinfonia Eroica 18-Feb 1843 Hill Beethoven Symphony No. 7 18-Nov 1843 Hill Vieuxtemps Fantasia pour le Violon sur la quatrième corde 18-May 1844 Alpers Lindpaintner War Jubilee Overture 16-Nov 1844 Loder Mendelssohn The Hebrides Overture (Fingal's Cave) 16-Nov 1844 Loder Beethoven Symphony No. 8 16-Nov 1844 Loder Bennett Die Najaden (The Naiades) 1-Mar 1845 Wiegers Mendelssohn Symphony No. 3, Scottish 22-Nov 1845 Loder Mendelssohn Piano Concerto No. 1 17-Jan 1846 Hill Kalliwoda Symphony No. 1 7-Mar 1846 Boucher Furstenau Flute Concerto No. 5 7-Mar 1846 Boucher Donizetti "Tutto or Morte" from Faliero 20-May 1846 Hill Beethoven Symphony No. 9, Choral 20-May 1846 Loder Gade Grand Symphony 2-Dec 1848 Loder Mendelssohn Violin Concerto in E minor 24-Nov 1849 Eisfeld Beethoven Symphony No. 4 24-Nov 1849 Eisfeld 1850 – 1859 Schubert Symphony in C major, Great 11-Jan 1851 Eisfeld R. Schumann Introduction and Allegro appassionato for Piano and 25-Apr 1857 Eisfeld Orchestra Litolff Chant des belges 25-Apr 1857 Eisfeld R. Schumann Overture to the Incidental Music to Byron's Dramatic 21-Nov 1857 Eisfeld Poem, Manfred 1860 - 1869 Brahms Serenade No. -
Balys DVARIONAS (1904-1972) Complete Works for Violin and Piano Sonata-Ballade • Pezzo Elegiaco • Three Pieces
Balys DVARIONAS (1904-1972) Complete Works for Violin and Piano Sonata-Ballade • Pezzo elegiaco • Three Pieces Justina Auškelytė, Violin • Cesare Pezzi, Piano Balys Dvarionas (1904-1972) Complete Works for Violin and Piano Balys Dvarionas was one of the most prominent figures in Igor Stravinsky and Sergey Prokofiev, among others. The pianist, and his son, the violinist. There can be little doubt Sonata was meant to be a one-movement composition the field of Lithuanian (and indeed Baltic) musical culture. last time Dvarionas appeared on stage was on May 12, as to why Dvarionas’ instrumental chamber works are with the main theme reprised in the recapitulation. During A polymath, he excelled as a pianist, conductor, 1972 at the Lithuanian National Philharmonic in Vilnius, said to possess an especially personal quality. In the creative process each musical idea inspired the next, composer and pedagogue. Dvarionas was born in the where together with the Lithuanian Chamber Orchestra composing music for his children, the composer and so the work can be viewed as one constantly evolving Latvian harbour city of Liepaja. His father was a Roman he played Mozart’s Piano Concerto No. 1 in D major, inadvertently developed a particularly original chamber beautiful episodic sequence. A colleague of the composer Catholic church organist, and as a result the young K.107 and conducted Schubert’s Mass No. 2 in G major music idiom, where the interplay between parts relies on once described the work in the following terms: “…when Dvarionas received his first music lessons at home. He D.167. an uninhibited bond between performers. -
The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes In
THE USE OF THE POLISH FOLK MUSIC ELEMENTS AND THE FANTASY ELEMENTS IN THE POLISH FANTASY ON ORIGINAL THEMES IN G-SHARP MINOR FOR PIANO AND ORCHESTRA OPUS 19 BY IGNACY JAN PADEREWSKI Yun Jung Choi, B.A., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2007 APPROVED: Adam Wodnicki, Major Professor Jeffrey Snider, Minor Professor Joseph Banowetz, Committee Member Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Choi, Yun Jung, The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes in G-sharp Minor for Piano and Orchestra, Opus 19 by Ignacy Jan Paderewski. Doctor of Musical Arts (Performance), May 2007, 105 pp., 5 tables, 65 examples, references, 97 titles. The primary purpose of this study is to address performance issues in the Polish Fantasy, Op. 19, by examining characteristics of Polish folk dances and how they are incorporated in this unique work by Paderewski. The study includes a comprehensive history of the fantasy in order to understand how Paderewski used various codified generic aspects of the solo piano fantasy, as well as those of the one-movement concerto introduced by nineteenth-century composers such as Weber and Liszt. Given that the Polish Fantasy, Op. 19, as well as most of Paderewski’s compositions, have been performed more frequently in the last twenty years, an analysis of the combination of the three characteristic aspects of the Polish Fantasy, Op.19 - Polish folk music, the generic rhetoric of a fantasy and the one- movement concerto - would aid scholars and performers alike in better understanding the composition’s engagement with various traditions and how best to make decisions about those traditions when approaching the work in a concert setting.