DOCSLIB.ORG

STABAT MATER Giovanni Battista Pergolesi Side One 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
STABAT MATER Giovanni Battista Pergolesi Side One 1 eresa Stich-Randall on egg Slizabeth : Hoengen ; ae i. ri Anton Heiller, organ IO ROSSI, conaucror, BG-549 THE BACH GUILD PERGOLESI — STABAT MATER Giovanni Battista Pergolesi Side One 1. Duet, soprano and alto Stabet mater dolorosa Beneath the world’s redeeming wood STABAT MATER. Juxta crucem lacrimosa The most afflicted Mother stood TERESA STICH-RANDALL, soprano ELIZABETH HOENGEN, alto Dum pendebat filius. Mingling her tears with her Son’s blood. Vienna Akademiekammerchor 2. Aria, soprano VIENNA STATE OPERA ORCHESTRA Cujus animam gementem Through her heart His sorrows sharing Contristatam, ac dolentem Anton Heiller, organ All His bitter anguish bearing, Per transivit gladius. -Lo! the piercing sword had passed. MARIO ROSSI, conductor 3. Duet, soprano and alto O quam tristis et afflicta O, how sad and sore distressed Fuit illa benedicta Now was she, that Mother Blessed, Mater unigeniti! Of the sole-begotten One. © 4. Aria, alto . Quae moerebat et dolebat Woe-begone, with heart’s prostration Et tremebat, cum videbat Mother meek, the bitter Passion | Nati poenas inclyti. Saw she of her glorious Son. o. Duet, soprano and alto Quis est homo, qui non fleret, | Who could mark, from tears refraining, Christi matrem si videret Christ’s dear Mother uncomplaining In tanto supplico? In so great a sorrow bowed? TERESA STICH-RANDALL MARIO ROSSI ELIZABETH HOENGEN Quis non posset contristari Who unmoved behold her languish Piam matrem contemplari Underneath His cross of anguish Dolentem cum filio. Mid the fierce, this engaging naturalness, and this evident melodic beauty. unpitying crowd? ga: HE Pergolesi legend reads like a popular novel- The text is a medieval poem customarily attributed to Pro peccatis suae gentis For His people’s <4 ist’s outline for a historical romance. (Pergolesi sins rejected the Franciscan Jacopone da Todi (c. 1228-1306). Sung Vidit Jesum in tormentis %4 =6has been the subject for at least two operas, but She her Jesus, unprotected, today at the Feast of the Seven Dolours (Sept. ‘15th), it Et flagellis subditum. Saw with thorns, with iM Sed their obscurity is evidence‘ that they have scarccly was not in origin part of the Catholic liturgy and had no scourges rent. done the legend justice.) There is the usual quota of illicit music of its own. During the 13th century it came into use 6. Aria, soprano adventure, and the customary rumor of death either from as a devotion; those who used it were granted indulgences; Vidit suum dulcem natum poison or profligacy. However, there are a few things that Saw her Son from judgment: taken and eventually it found its way into liturgical books. In are fact and not fabrication; yet oddly enough they have Morientem, desolatum, Her belov’d in death forsaken 1727 it was accepted into the Roman Missal. Apart from served to enhance rather than dispel the legend. For one Dum emisit spiritum. Till His Spirit forth He sent. thing, Pergolesi, born in 1710, died very young (at twenty- the Pergolesi setting, music to this text has been composed six); for another, he died very poor. The sensational fame by Josquin des Pres, Palestrina, Haydn, Verdi, Dvorak and Side Two of his two best known works, the opera La Serva Padrona Schubert among others. 7. Aria, alto and the Stabat Mater, was entirely posthumous; the latter — Notes by ABRAHAM VEINUS, Syracuse University Eja mater, fons amoris Fount of love and holy sorrow work climaxing a career which vacillated between failures Me sentire vim doloris. Mother, may my spirit borrow and half-successes. The Stabat Mater was apparently a ABOUT THE PERFORMANCE AND RECORDING Fac, ut tecum lugeam. Somewhat death-bed composition, a fact which did not hurt its subse- Mario Rossi was born in Rome in 1902. He was a pupil at the of thy woe profound. quent popularity. The commission for it paid ten ducats Conservatory of Santa Cecelia in Rome and studied composition under 8. Duet for soprano and alto choirs in advance, or one less than it took to bury him. Ottorino Respighi. After 1921 his star rose rapidly as one of the leading young conductors in Italy. Between 193] and 1936 he taught conducting Fac, ut ardeat cor meum Unto Christ, with pure emotion The work was commissioned by a confraternity of Nea- at Santa Cecelia. From 1936 through 1944 he was the director of the In amando Christum Deum, politan nobles -(Cavalieri della Vergine de’ Dolori) who, Orchestra of the Maggio Musicale in Florence, and then became the Raise my contrite heart’s devotion so tradition has it, wanted it for a replacement for a similar directer and principal conductor of the Turin Opera and conductor of Ut sibi complaceam. Love to read in every wound. the Symphony Orchestra of Radio Turin, which he raised to the status work by Alessandro Scarlatti. As Einstein observed, Per- of one of the finest musical organizations in Europe. He is an exclusive 9. Duet, soprano and alto golesi’s Stabat Mater is not a work for the church nor even Vanguard recording artist. Teresa Stich-Randall, the American-born Sancta mater, istud agas, an example of Neapolitan church style, but an essentially soprano, has won the heart of Vienna State Opera audiences for her These five wounds on Jesus smitten silvery voice, technical perfection, and fine artistry. The critical acclaim Crucifixi fige plagas personal and intimate inspiration offered for the edification which greeted her Vanguard .- Bach Guild recordings contributed to her Mother! in my heart be written of a small circle. It is vocal chamber music, religious in being invited to sing in 1955 at the Chicago Opera. Elizabeth Hoengen Cordi meo valide. Deep as in thine own they be. inspiration. Pergolesi’s delicate, and in the main, rather is a Europe-wide favorite in opera, oratorio and lieder. This Vanguard Quality Control recording is guaranteed to be identical Tui nati vulnerari Thou, my Saviour’s cross who bearest informal approach is fortunately free of the odor of sanctity in sound to the original master tapes from which it was made. Every which sometimes hangs-like a heavy perfume over more subtle nuance of the original performance has been captured to enhance Tam dignati pro me pati Thou, thy Son’s rebuke who sharest ambitiously conceived settings of this text. Actually Per- your listening pleasure. The recording sessions took place at the Poenas mecum divide. Musikverein, in Vienna, world-renowned for its superb acoustical char- Let me share them both with thee! golesi is in essence a composer of opera, and not of gran- acteristics. Ampex model 300 magnetic tape recorders in conjunction Fac me vere tecum flere In the Passion of my Maker > diose opera seria in which he worked with no conspicuous with Altec and Siemens AKG C-12 condenser microphones were utilized success. It was a light opera, La Serva Padrona, which to produce the original masters which embody a frequency response Crucifixo condolere, Be my sinful soul partaker, covering the entire range of human hearing and embrace the full gamut subsequently threw all Paris into an uproar and assured for of orchestral and vocal sonorities. Donec ego vixero. Weep till death, and weep with thee. Pergolesi (many years dead at the time) a permanent place Juxta crucem tecum stare Mine with thee be that sad station in every textbook on music history. And there are turns Rossi and Stich-Randall on Vanguard Records Te libenter sociare of phrase in La Serva Padrona which appear to startlingly There to watch the great Salvation 4 dissimilar text in the Stabat Mater. The relationship be- PROKOFIEV: ALEXANDER NEVSKY CANTATA, Orchestra, Chor- In planctu desidero. Wrought upon th’atoning Tree. tween the two did not escape notice or censure. In Italy, us, Ana Maria Iriarte, soprano; Mario Rossi, conductor. Virgo virginum praeclara Virgin, thou of virgins fairest, Padre Martini (who numbered Gluck, Mozart, Gretry and Le ee ee VRS-451 Mihi jam non sis amara Jommelli among his pupils) was considerably irritated by “An unqualified triumph for everyone concerned .. May the bitter woe thou bearest the Stabat Mater which, in the main, struck him as the The sound is of extraordinary realism. Rossi produces a Fac me tecum plangere. Make on me impression deep. work of an opera buffo composer, often indistinguishable most dynamic reading.” High Fidelity 10. Aria, alto in style from La Serva Padrona. And in Germany, J. N. ROSSINI: SEVEN GREAT OVERTURES. Mario Rossi, conduct Fac ut portem Christi mortem Thus Christ’s dying may I carry Forkel, the distinguished 18th century theorist and historian, Ve a a tes OM one eae VRS-456 denounced the Pergolesi work as hypocrisy. This vehemence “Rossi has a sure hand for the idiom.” Kolodin, Satur- Passionis fac consortem With Him in His Passion tarry is understandable since it is in essence an argument over day Review Et plagas recolere, And His wounds in memory keep. what is holy. The argument is in place for people who have STRAVINSKY: LES NOCES and L’HISTOIRE DU SOLDAT. Mario Fac me plagis vulnerari, May His wounds transfix me wholly unalterable convictions in such matters; but-it does no Ross GOnGuclor, lt! 6..0 eee eS ae VRS-452 Cruce hac inebriari, May His Cross and life blood holy good to confuse it with historical fact. The secularism of “The performance is a splendid one.” The New Records much of 18th century’ church music, which Pergolesi re- Ob amorem filii. Ebriate my heart and mind. flects as innocently as Haydn, is indisputable; and equally J. $. BACH: CANTATAS NOS. 78 and 106. Stich-Randall, 1]. Duet, soprano and alto indisputable is the fact that such strong secular musical Hermann, Dermota, Braun; Chorus and Orchestra, Pro- influences inhibited neither composer from the sincerest haska, conductog.
Load more

Recommended publications
  • 75Thary 1935 - 2010
    ANNIVERS75thARY 1935 - 2010 The Music & the Artists of the Bach Festival Society The Mission of the Bach Festival Society of Winter Park, Inc. is to enrich the Central Florida community through presentation of exceptionally high-quality performances of the finest classical music in the repertoire, with special emphasis on oratorio and large choral works, world-class visiting artists, and the sacred and secular music of Johann Sebastian Bach and his contemporaries in the High Baroque and Early Classical periods. This Mission shall be achieved through presentation of: • the Annual Bach Festival, • the Visiting Artists Series, and • the Choral Masterworks Series. In addition, the Bach Festival Society of Winter Park, Inc. shall present a variety of educational and community outreach programs to encourage youth participation in music at all levels, to provide access to constituencies with special needs, and to participate with the community in celebrations or memorials at times of significant special occasions. Adopted by a Resolution of the Bach Festival Society Board of Trustees The Bach Festival Society of Winter Park, Inc. is a private non-profit foundation as defined under Section 509(a)(2) of the Internal Revenue Code and is exempt from federal income taxes under IRC Section 501(c)(3). Gifts and contributions are deductible for federal income tax purposes as provided by law. A copy of the Bach Festival Society official registration (CH 1655) and financial information may be obtained from the Florida Division of Consumer Services by calling toll-free 1-800-435-7352 within the State. Registration does not imply endorsement, approval, or recommendation by the State.
    [Show full text]
  • Bach-Werke-Verzeichnis
    Bach-Werke-Verzeichnis All BWV (All data), numerical order Print: 25 January, 1997 To be BWV Title Subtitle & Notes Strength placed after 1 Wie schön leuchtet der Morgenstern Kantate am Fest Mariae Verkündigung (Festo annuntiationis Soli: S, T, B. Chor: S, A, T, B. Instr.: Corno I, II; Ob. da Mariae) caccia I, II; Viol. conc. I, II; Viol. rip. I, II; Vla.; Cont. 2 Ach Gott, von Himmel sieh darein Kantate am zweiten Sonntag nach Trinitatis (Dominica 2 post Soli: A, T, B. Chor: S, A, T, B. Instr.: Tromb. I - IV; Ob. I, II; Trinitatis) Viol. I, II; Vla.; Cont. 3 Ach Gott, wie manches Herzeleid Kantate am zweiten Sonntag nach Epiphanias (Dominica 2 Soli: S, A, T, B. Chor: S, A, T, B. Instr.: Corno; Tromb.; Ob. post Epiphanias) d'amore I, II; Viol. I, II; Vla.; Cont. 4 Christ lag in Todes Banden Kantate am Osterfest (Feria Paschatos) Soli: S, A, T, B. Chor: S, A, T, B. Instr.: Cornetto; Tromb. I, II, III; Viol. I, II; Vla. I, II; Cont. 5 Wo soll ich fliehen hin Kantate am 19. Sonntag nach Trinitatis (Dominica 19 post Soli: S, A, T, B. Chor: S, A, T, B. Instr.: Tromba da tirarsi; Trinitatis) Ob. I, II; Viol. I, II; Vla.; Vcl. (Vcl. picc.?); Cont. 6 Bleib bei uns, denn es will Abend werden Kantate am zweiten Osterfesttag (Feria 2 Paschatos) Soli: S, A, T, B. Chor: S, A, T, B. Instr.: Ob. I, II; Ob. da caccia; Viol. I, II; Vla.; Vcl. picc. (Viola pomposa); Cont. 7 Christ unser Herr zum Jordan kam Kantate am Fest Johannis des Taüfers (Festo S.
    [Show full text]
  • Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
    (De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification.
    [Show full text]
  • Pergolesi Giovanni Battista
    PERGOLESI GIOVANNI BATTISTA Compositore italiano (Iesi, Ancona, 4 I 1710 - Pozzuoli, Napoli, 17 III 1736) 1 Il bisnonno, F. Draghi, si era trasferito, intorno al 1635, da Pergola a Iesi. Il suo primogenito, Cruciano, sposò una donna di Iesi. Dall'ora la famiglia si chiamò Pergolesi e con questo nome anche Giovanni Battista Pergolesi firma, per esempio, il frontespizio dello Stabat Mater ed il Laudate pueri; perciò la grafia Pergolesi deve considerarsi autentica. Fin da fanciullo fu di gracile costituzione e soffrì ad una gamba. I suoi fratelli morirono giovani. Il ragazzo godette la protezione della piccola nobiltà di Iesi, ricevette il primo insegnamento di violino da F. Mondini, proveniente da Bologna e direttore della cappella comunale di Iesi, mentre il direttore della cappella del duomo, F. Santi, gli insegnò il contrappunto. A Iesi, come hanno accertato gli storici musicali locali, erano frequenti le esecuzioni pubbliche di drammi e di intermezzi, nel palazzo municipale, e probabilmente il giovane Pergolesi vi poté ascoltare musiche di A. Scarlatti e di A. Caldara. Secondo G. Santini, sarebbe stato il marchese Cardolo Maria Pianetti a mandare a Napoli il ragazzo per completarne l'istruzione. Studiò comunque nel conservatorio dei Poveri di Gesù Cristo (lo si ritrova sotto il nome di "Iesi" nelle liste, del resto lacunose, a partire dal 1725) ed entrò nella classe di violino diretta da D. De Matteis. Ma il suo talento si rivelò più rapidamente nella classe di composizione di G. Greco (fino al 1728) e poi di F. Durante, mentre la sua più vasta cerchia d'interessi si estendeva a F.
    [Show full text]
  • A Conductor's Analysis of Amaral Vieira's Stabat Mater, Op.240: an Approach Between Music and Rhetoric Vladimir A
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2005 A conductor's analysis of Amaral Vieira's Stabat Mater, op.240: an approach between music and rhetoric Vladimir A. Pereira Silva Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Pereira Silva, Vladimir A., "A conductor's analysis of Amaral Vieira's Stabat Mater, op.240: an approach between music and rhetoric" (2005). LSU Doctoral Dissertations. 3618. https://digitalcommons.lsu.edu/gradschool_dissertations/3618 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A CONDUCTOR’S ANALYSIS OF AMARAL VIEIRA’S STABAT MATER, OP. 240: AN APPROACH BETWEEN MUSIC AND RHETORIC A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Vladimir A. Pereira Silva B.M.E., Universidade Federal da Paraíba, 1992 M. Mus., Universidade Federal da Bahia, 1999 May, 2005 © Copyright 2005 Vladimir A. Pereira Silva All rights reserved ii In principio erat Verbum et Verbum erat apud Deum et Deus erat Verbum. Evangelium Secundum Iohannem, Caput 1:1 iii ACKNOWLEDGMENTS This dissertation would have not been possible without the support of many people and institutions throughout the last several years, and I would like to thank them all for a great graduate school experience.
    [Show full text]
  • Thesis Submission
    Rebuilding a Culture: Studies in Italian Music after Fascism, 1943-1953 Peter Roderick PhD Music Department of Music, University of York March 2010 Abstract The devastation enacted on the Italian nation by Mussolini’s ventennio and the Second World War had cultural as well as political effects. Combined with the fading careers of the leading generazione dell’ottanta composers (Alfredo Casella, Gian Francesco Malipiero and Ildebrando Pizzetti), it led to a historical moment of perceived crisis and artistic vulnerability within Italian contemporary music. Yet by 1953, dodecaphony had swept the artistic establishment, musical theatre was beginning a renaissance, Italian composers featured prominently at the Darmstadt Ferienkurse , Milan was a pioneering frontier for electronic composition, and contemporary music journals and concerts had become major cultural loci. What happened to effect these monumental stylistic and historical transitions? In addressing this question, this thesis provides a series of studies on music and the politics of musical culture in this ten-year period. It charts Italy’s musical journey from the cultural destruction of the post-war period to its role in the early fifties within the meteoric international rise of the avant-garde artist as institutionally and governmentally-endorsed superman. Integrating stylistic and aesthetic analysis within a historicist framework, its chapters deal with topics such as the collective memory of fascism, internationalism, anti- fascist reaction, the appropriation of serialist aesthetics, the nature of Italian modernism in the ‘aftermath’, the Italian realist/formalist debates, the contradictory politics of musical ‘commitment’, and the growth of a ‘new-music’ culture. In demonstrating how the conflict of the Second World War and its diverse aftermath precipitated a pluralistic and increasingly avant-garde musical society in Italy, this study offers new insights into the transition between pre- and post-war modernist aesthetics and brings musicological focus onto an important but little-studied era.
    [Show full text]
  • 5130 Booklet:Layout 1 24.01.2012 15:50 Uhr Seite 1
    5130 booklet:Layout 1 24.01.2012 15:50 Uhr Seite 1 GIOVANNI BATTISTA PERGOLESI (1710-1736) Stabat Mater für Sopran, Mezzosopran, Streicher und Orgel (1736) for soprano, mezzo-soprano, strings and organ [1] No. 1 Duett: „Stabat mater dolorosa“ ………………………………… 4:14 [2] No. 2 Arie (Sopran): „Cujus animam gementem“ ……………………………… 2:17 [3] No. 3 Duett: „O quam tristis et afflicta“ ……………………………….. 2:21 [4] No. 4 Arie (Alt): „Quae moerebat et dolebat“ …………………………….. 2:06 [5] No. 5 Duett: „Quis est homo“ …………………………………………. 2:55 [6] No. 6 Arie (Sopran): „Vidit suum dulcem natum“ ……………………………… 2:54 [7] No. 7 Arie (Alt): „Eia, Mater, fons amoris“ ………………………………... 2:26 [8] No. 8 Duett: „Fac, ut ardeat cor meum“ ………………………………. 2:10 [9] No. 9 Duett: „Sancta Mater, istud agas“ ……………………………… 5:04 [10] No. 10 Arie (Alt): „Fac, ut portem Christi mortem“ ………………………… 3:22 [11] No. 11 Duett: „Inflammatus et accensus“ ……………………………… 2:01 [12] No. 12 Duett: „Quando corpus morietur“ ………………………………. 3:58 Salve Regina für Mezzosopran, Streicher und Basso continuo (1736) for mezzo-soprano, strings and continuo [13] I. Largo: „Salve Regina, Mater misericordiae“ ……………………. 3:53 [14] II. Andante: „Ad te clamamus“ ……………………………………….. 0:57 [15] III. Largo: „Ad te suspiramus gementes“ …………………………… 3:11 [16] IV. Andante: „Eja ergo, advocata nostra“ ……………………………... 1:26 [17| V. Amoroso: „Et Jesum, benedictum“ ………………………………… 2:29 [18] VI. Largo assai: „O clemens, o pia, o dulcis Virgo Maria“ ………………… 1:30 Orfeo Kantate für Sopran, Streicher und Basso continuo Cantata for soprano, strings and continuo [19] Recitativo: „Nel chiuso centro“ ……………………………………... 1:33 [20] Aria (Amoroso): „Euridice, e dove“ ………………………………………... 7:11 [21] Recitativo: „Si, che pietà non v’è,“ …………………………………..
    [Show full text]
  • Stabat Mater 1831/32 Original Version with Sections by Giovanni Tadolini Giovanna D’Arco – Cantata
    Gioachino ROSSINI Stabat Mater 1831/32 Original version with sections by Giovanni Tadolini Giovanna d’Arco – Cantata Majella Cullagh • Marianna Pizzolato José Luis Sola • Mirco Palazzi Camerata Bach Choir, Poznań • Württemberg Philharmonic Orchestra Antonino Fogliani Gioachino Rossini (1792-1868) * and Giovanni Tadolini (1789-1872) ** Gioachino Rossini Stabat Mater Giovanna d’Arco (°) 1831/32 original version, **orchestrated by Antonino Fogliani (b. 1976) ............................ 56:07 Solo cantata (1832) with piano accompaniment orchestrated by Marco Taralli (b. 1967) .....15:13 $ 1 I. Introduction: Stabat Mater dolorosa * ........................................................... 8:35 I. Recitativo: È notte, e tutto addormentato è il mondo ................................. 4:44 (Soloists and Chorus) (Andantino) % 2 II. Aria: Cujus animam gementem ** .................................................................. 2:40 II. Aria: O mia madre, e tu frattanto la tua figlia cercherai .............................. 3:29 (Tenor) (Andantino grazioso) ^ 3 III. Duettino: O quam tristis et afflicta ** ............................................................. 3:34 III. Recitativo: Eppur piange. Ah! repente qual luce balenò ............................ 1:14 (Soprano and Mezzo-soprano) (Allegro vivace – Allegretto) & 4 IV. Aria: Quae moerebat et dolebat ** ................................................................. 2:51 IV. Aria: Ah, la fiamma che t’esce dal guardo già m’ha tocca ......................... 5:46 (Bass) (Allegro vivace
    [Show full text]
  • 1. 101 Strings: Panoramic Majesty of Ferde Grofe's Grand
    1. 101 Strings: Panoramic Majesty Of Ferde Grofe’s Grand Canyon Suite 2. 60 Years of “Music America Loves Best” (2) 3. Aaron Rosand, Rolf Reinhardt; Southwest German Radio Orchestra: Berlioz/Chausson/Ravel/Saint-Saens 4. ABC: How To Be A Zillionaire! 5. ABC Classics: The First Release Seon Series 6. Ahmad Jamal: One 7. Alban Berg Quartett: Berg String Quartets/Lyric Suite 8. Albert Schweitzer: Mendelssohn Organ Sonata No. 4 In B-Flat Major/Widor Organ Symphony No. 6 In G Minor 9. Alexander Schneider: Brahms Piano Quartets Complete (2) 10. Alexandre Lagoya & Claude Bolling: Concerto For Classic Guitar & Jazz Piano 11. Alexis Weissenberg, Georges Pretre; Chicago Symphony Orchestra: Rachmaninoff Concerto No. 3 12. Alexis Weissenberg, Herbert Von Karajan; Orchestre De Paris: Tchaikovsky Concerto #2 13. Alfred Deller; Deller Consort: Gregorian Chant-Easter Processions 14. Alfred Deller; Deller Consort: Music At Notre Dame 1200-1375 Guillaume De Machaut 15. Alfred Deller; Deller Consort: Songs From Taverns & Chapels 16. Alfred Deller; Deller Consort: Te Deum/Jubilate Deo 17. Alfred Newman; Brass Of The Hollywood Bowl Symphony Orchestra: Hallelujah! 18. Alicia De Larrocha: Grieg/Mendelssohn 19. Andre Cluytens; Paris Conservatoire Orchestra: Bizet 20. Andre Kostelanetz & His Orchestra: Columbia Album Of Richard Rodgers (2) 21. Andre Kostelanetz & His Orchestra: Verdi-La Traviata 22. Andre Previn; London Symphony Orchestra: Rachmaninov/Shostakovich 23. Andres Segovia: Plays J.S. Bach//Edith Weiss-Mann Harpsichord Bach 24. Andy Williams: Academy Award Winning Call Me Irresponsible 25. Andy Williams: Columbia Records Catalog, Vol. 1 26. Andy Williams: The Shadow Of Your Smile 27. Angel Romero, Andre Previn: London Sympony Orchestra: Rodrigo-Concierto De Aranjuez 28.
    [Show full text]
  • Stabat Mater Giovanni Battista Pergolesi (1710-1736)
    GOOD FRIDAY April 2, 2021 7:00 p.m. Stabat Mater Giovanni Battista Pergolesi (1710-1736) MUSICIANS INSTRUMENTALISTS Er Gene Kahng, Violin Miho Oda Sakon, Violin Jesse Collett, Viola Christian Serrano, Cello Jarrett Bastow, Bass Linda Kelly, Organ CHOIR Meshia Stewart Caroline Spurlin Emily Auten Linda Jones Mary Ellen Hartford Julia Townsley 2 STABAT MATER GIOVANNI BATTISTA PERGOLESI (1710-1736) 1. Stabat Mater Dolorosa The grieving Mother stood weeping beside the cross where her Son was hanging. 2. Cujus animam gementem Caroline Spurlin, Soprano Through her weeping soul, compassionate and grieving, a sword passed. 3. O quam tristis et afflicta O how sad and afflicted was that blessed Mother of the Only- begotten! 4. Quae moerebat et dolebat Caroline Spurlin, Soprano Who mourned and grieved, the pious Mother, looking at the torment of her glorious Child. 5. Quis est homo Who is the person who would not weep seeing the Mother of Christ in such agony? 3 6. Vidit suum dulcem natum Meshia Stewart, Soprano Who would not be able to feel compassion on beholding Christ’s Mother suffering with her Son? 7. Eja mater fons amoris Julia Townsley, Alto For the sins of his people she saw Jesus in torment and subjected to the scourge. 8. Fac ut ardeat cor meum She saw her sweet offspring dying, forsaken, while He gave up his spirit. 9. Sancta mater, istud agas O Mother, fountain of love, make me feel the power of sorrow, that I may grieve with you. 10. Fac ut portem Christi mortem Emily Auten, Soprano Grant that my heart may burn in the love of Christ my Lord, that I may greatly please Him.
    [Show full text]
  • Forgotten Artists: an Occasional Series by Christopher Howell 26
    Forgotten Artists: An occasional series by Christopher Howell 26. Willy Ferrero (1906-1954) Index of all articles in this series Child prodigy conductors Never have the young had it so good. Some such banal phrase comes to mind during the not infrequent TV programmes involving cutthroat competition between miniscule musicians, popular and classical. In the case of not-yet-teen boy tenors and similarly diminutive girl soul singers, I pass to vocal experts who are better equipped than I am to assess the physical damage being done. Child prodigy instrumentalists, usually pianists or violinists, have speckled the pages of musical history. Psychologists will have different views on where the borderline falls between outrageous exploitation and allowing the child to express a natural gift, which obviously should not be repressed. A reasonable number of ex-prodigies do become professional musicians later on. A few become the great musicians of their age. But what about child conductors? The TV contests seem to have spared us child conductors, but a spot of googling brings a few contemporary instances to light. A long way further back, the ferocious young man in the image above comes from a French postcard of 19041. If it is based on a real prodigy conductor, he might have been the youngest and the first. It could, however, be the artist’s subtle take on the infantile tantrums of some mature maestros. Looking over the twentieth century, the case everyone remembers is that of Lorin Maazel, who conducted the University of Idaho orchestra at the age of eight and the NBC Symphony Orchestra when he was eleven.
    [Show full text]
  • Program Notes | Music of Faith
    23 Season 2018-2019 Thursday, January 24, at 7:30 The Philadelphia Orchestra Friday, January 25, at 2:00 Yannick Nézet-Séguin Conductor Charlotte Blake Alston Speaker Nadine Sierra Soprano Elizabeth DeShong Mezzo-soprano John Osborn Tenor Krzysztof Bączyk Bass Philadelphia Symphonic Choir Joe Miller Director Philadelphia Boys Choir Jeffrey R. Smith Artistic Director Bernstein Symphony No. 3 (“Kaddish”) I. Invocation: Adagio— Kaddish 1: L’istesso tempo—Allegro molto II. Din-Torah: Di nuovo adagio— Kaddish 2: Andante con tenerezza— III. Scherzo: Presto scherzando, sempre pianissimo— Kaddish 3— Finale: Adagio, come nel Din-Torah— Allegro vivo, con gioia Intermission 24 Rossini Stabat Mater I. Chorus and Quartet: Stabat Mater II. Tenor Aria: Cujus animam III. Soprano and Mezzo-soprano Duet: Quis est homo IV. Bass Aria: Pro peccatis V. Chorus and Bass Recitative: Eia Mater VI. Quartet: Sancta Mater VII. Mezzo-soprano Cavatina: Fac ut portem VIII. Soprano Air and Chorus: Inflammatus et accensus IX. Quartet: Quando corpus X. Chorus: Amen This program runs approximately 2 hours, 10 minutes. These concerts are sponsored by Gretchen and M. Roy Jackson and an anonymous donor. 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. 25 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra Philadelphia is home and orchestra, and maximizes is one of the preeminent the Orchestra continues
    [Show full text]