Contemporary Opera Newsletter

Total Page:16

File Type:pdf, Size:1020Kb

Contemporary Opera Newsletter Leporello Contemporary Opera Newsletter Nr. 23 September 2013 World Première Performances In September 2013, four new operas will be performed in Tallinn, San Francisco, Prague and Warsaw. Tõnu Kõrvits has already composed two chamber operas, in 2005 and 2006. Dolores Claiborne is Picker’s fifth opera, eight years after An American Tragedy , composed for the Met in New York. Toufar is Aleš B řezina’s first opera. A Laugh to Cry is Miguel Azguime’s first large scale stage work. Tõnu Kõrvits: Butterfly Tobias Picker: Dolores Claiborne Opera in 2 acts Opera in 2 acts (2 hours) Libretto : Maria Lee Liivak and Lauri Kaldoja, after Libretto : Joseph Donald McClatchy, after Stephen Andrus Kivirähk's novel. King’s novel. Tallinn, Estonian National Opera San Francisco (CA), War Memorial Opera House September 13, 2013 September 18, 2013 with Dolora Zajick, Susannah Biller, Elizabeth Futral, Waynes Tigges, Greg Fedderly. with Kadri Kipper, Helen Lokuta, Oliver Kuusik, Rauno Conducted by George Manahan. Elp.. Directed by James Robinson. Conducted by Vello Pähn. Directed by Peeter Jalakas. Dolores Claiborne is a passionate, desperate, trapped character. She will do anything to save the daughter Erika is a mysterious bird-woman, who is employed by who despises her. Pushed to the extreme edge of life, the theatre by chance and dances like a butterfly. She she does what she has to, fearless and forsaken. is fickle, sensitive and unpredictable. Her descent from birds makes her choose between leaving with them on the brink of winter or staying at the theatre, where her heart and her beloved August is. more on p. 2 DVD Hans Werner Henze : Der junge Lord , Medici Arts, 2072398 with Edith Mathis, Donald Grobe, Barry McDaniel, Loren Driscoll, Vera Little. The parable of the trained ape which, as a young lord, delights typical middle-class society and is exposed following the great dramatic coup when the animal is unmasked. Recorded in Berlin in 1968. Conducted by Christoph von Dohnányi. Directed by Gustav Rudolf Sellner. Leporello - Nr. 23 - September 2013 page 1 World Première Performances Aleš B řezina : Toufar Miguel Azguime : A Laugh to Cry Documentary chamber opera New Op-Era Project Libretto : the composer. Libretto : Miguel Azguime. Prague, Kolowrat Theatre (National Theatre) Warsaw, Centrum Kultury Koneser (Autumn September 18, 2013 International Contemporary Music Festival) September 27, 2013 with Frances M. Lynch, Nicholas Isherwood, Marina with So ňa Červená, Jan Mikušek, Vladimír Javorskyý Pacheco, Ágata Mandillo Conducted by Ji ří Štrunc Conducted by Petter Sundkvist Directed by Petr Zelenka Directed by Miguel Azguime In 1950, the priest Josef Toufar was arrested and The opera is shaped like a meditation on the tortured by the communist State Security Service. He hegemonic power of the destruction of memory, the was accused of forging a miracle at the Church of Our devastation of the Earth and even the collapse of Lady of the Assumption in the village of Číhoš ť. The humanity. It evolves in the fringes between dream and Police immediately made use of this still unexplained reality, between the visible and invisible. phenomenon to launch a campaign against the Church, which represented one of its strongest opponents. In my collection Below are listed parts of my collection. There will be more in the next issues. 1) Program books : - Mark Adamo : The Gospel of Mary Magdalene , San Francisco, June 19, 2013 - George Benjamin : Written on Skin , Munich, July 23, 2013 - Harrison Birtwistle : Gawain , Salzburg, July 26, 2013 - Douglas J. Cuomo : Doubt , St. Paul (Minnesota Opera), January 26, 2013 - Georg Friedrich Haas : Thomas , Schwetzingen, May 24, 2013 - David Lang : The Whisper Opera , Chicago, May 30, 2013 - Vasco Mendonça : The House Taken Over , Aix-en-Provence, July 6, 2013 (PDF) - André Tchaikowsky : The Merchant of Venice , Bregenz, July 18, 2013 2) Libretti : - Emmanuel Bondeville, Antoine et Cléopâtre , Paris : Éditions Choudens, 1975, 56 p. - Rudolf Kelterborn / David Freeman, Julia , Berlin Wiesbaden : Bote & Bock, 1991, 31 p. - D. J. Sparr / Mark Campbell and Davis Miller, Approaching Ali , Washington : Washington National Opera, 2013, 12 p. (PDF) - Winfried Zillig, Troilus und Cressida , Wiesbaden : Brucknerverlag, 1950, 40 p. 3) Books : - Anastasia Belina-Johnson, André Tchaikowsky - Die tägliche Mühe ein Mensch zu sein , Hofheim : Wolke, 2013, 285 p. - David Fanning, Mieczysław Weinberg - In Search of Freedom , Hofheim : Wolke, 2010, 220 p. Leporello - Nr. 23 - September 2013 page 2 4) CD : Leonardo Balada : Cristóbal Colón , Naxos, 8.660237-38 with José Carreras, Montserrat Caballé, Carlos Chausson, Luis Álavrez First performed in Barcelona on September 24, 1989, this opera relates the travel of Columbus from Palos to the American shores, to celebrate its 5th Centennial. Recorded in Barcelona in September 1989. Conducted by Theo Alcántara. George Benjamin : Written on Skin , Nimbus Records, NI 5885/6 with Christopher Purves, Barbara Hannigan, Bejun Mehta, Rebecca Jo Loeb. Based on an Occitan legend from the 12th century, this opera explores the explosive consequences of self-discovery. Recorded in Aix-en-Provence in July 2012. Conducted by the composer. Hans Werner Henze : The English Cat , Wergo, WER 6204-2 with Richard Berkeley-Steele, Mark Coles, Alan Watt, Ian Platt, Julian Pike First performed in Schwetzingen on June 2, 1983. Inspired by a Balzac novel, this opera contains social criticism toward the addiction to money. Recorded in Berlin in October 1989. Conducted by Markus Stenz. Adriana Hölszky : Bremer Freiheit , Wergo, WER 6511-2 with Nancy Shade, Raymond Wolansky, Paul Mayr, Grace Hoffman, Robert Wörle First performed in Munich on June 4, 1988. The libretto is based on the fifteen murders by poisoning committed by Gesche Gottfried between 1813 and 1827. Recorded in Stuttgart in April 1989. Conducted by Andras Hamary. Willem Jeths : Hôtel de Pékin , Etcetera, KTC 1456 with Monique Krüs, Dennis Wilgenhof, Mark Stone, Angela Kerrison, Iestyn Morris. First performed in November 2008 in Enschede. It describes the final hours and death of Cixi, the so-called monster and last Empress of the Chinese empire. Recorded live in Amsterdam in January 2012. Conducted by Michael Schønwandt. Olli Kortekangas : Grand Hotel , Ondine, ODE 749-2 with Eeva-Liisa Saarinen, Sauli Tiilikainen and Kauko Laurikainen. First performed for Finnish Broadcasting Company on September 12, 1987. It is a chamber television opera about love, death and pluralistic high culture. Recorded in Helsinki in 1990. Conducted by Olli Pohjola and Eric-Olof Söderström. Einojuhani Rautavaara : Vincent , Ondine, ODE 750-2 with Jorma Hynninen, Matti Heinikari, Marko Putkonen, Eeva-Liisa Saarinen. First performed in Helsinki on May 17, 1990. The opera revolves around Vincent’s relationships wirh a prostitute, his fellow painter Gauguin and his brother Theo. Recorded in Helsinki in May 1990. Conducted by Fuat Manchurov. Michael Tippett : The Ice Break , Virgin Classics, VC 7 91448-2 with Heather Harper, David Wilson-Johnson, Sanford Sylvan, Carolann Page. First performed in London on July 7, 1977. The subject of the opera is “whether or not we can be reborn from the stereotypes we live in.” Recorded in London in July 1990. Conducted by David Atherton. Peter-Jan Wagemans : Legende , Etcetera, KTC 1443 with Marieke Steenhoek, Caroline Cartens, Corinne Romijn, Helena Rasker. First performed in Amsterdam in February 2011. This opera is based on the comic book Voyages et Aventures du Dr. Festus by the Swiss cartoonist Rodolphe Töpffer. Recorded in Amstedam in February 2011. Conducted by Reinbert de Leeuw. COWARC holds a collection of more than 6,800 documents published by opera companies since 1989 with information about more than 151,000 performances. A great amount of information has also been gathered on Shakespearean operas from all times and all countries. Leporello is published by COWARC - Contemporary Opera Worldwide Archive and Research Center 29, rue de la Clef, F-75005 Paris Directeur de la publication : Mathias LEHN - Rédacteur en chef : Mathias LEHN contact : [email protected] © COWARC, 2013 Leporello - Nr. 23 - September 2013 page 3 .
Recommended publications
  • Einojuhani Rautavaara(B. 1928)
    1020 booklet 22.4.03 13:35 Sivu 2 Einojuhani Rautavaara (b. 1928) True & False Unicorn 46:41 III Snare and Delusion A Tapestry of Voices (1971/2000) 12 12. In the heart of the desert the silence is pearcing 3:02 Poems by James Broughton 13 13. The Unicorn, wounded 5:04 I Before the Arras IV “Mon Seul Désir” 14 14. The Unicorn reaches a temple in a clearing 1:53 2 1 1. The Unicorn questions the nature of the chase 1:40 3 2 2. The Lion, reading 3:28 15 15. Sigmund of Vienna 1:41 3 3. Sigmund of Vienna 3:24 16 16. The Lion 2:57 44. The Unicorn 2:07 17 17. The Unicorn 1:51 18 18. Tom Fool 0:44 II Horn and Hounds 19 19. The Virgin’s Lullaby 1:48 5 5. Entering the wilderness the Unicorn is beset by voices 1:32 20 20. The Unicorn 3:44 6 6. Young Sagittarius 1:30 © Schirmer 7 7. A Virgin, waiting 2:36 8 8. The Empress of Byzantium 1:12 Finnish Radio Chamber Choir 99. Queen Victoria 2:28 Finnish Radio Symphony Orchestra 10 10. His Honor the Mayor 1:10 Timo Nuoranne, conductor 11 11. Big Black Sambo 2:40 Reciters: Jaakko Kortekangas, baritone (3, 15), Säde Rissanen, alto (8), Petteri Salomaa, baritone (10) 1020 booklet 22.4.03 13:35 Sivu 2 Einojuhani Rautavaara (b. 1928) True & False Unicorn 46:41 III Snare and Delusion A Tapestry of Voices (1971/2000) 12 12. In the heart of the desert the silence is pearcing 3:02 Poems by James Broughton 13 13.
    [Show full text]
  • The Chamber Music Society of Lincoln Center
    Concerts from the Library of Congress 2013-2014 THE DINA KOSTON AND ROGER SHAPIRO fUND fOR nEW mUSIC THE CHAMBER MUSIC SOCIETY oF LINCOLN CENTER Thursday, April 10, 2014 ~ 8 pm Coolidge Auditorium Library of Congress, Thomas Jefferson Building THE DINA KOSTON AND ROGER SHAPIRO FUND FOR NEW MUSIC Endowed by the late composer and pianist Dina Koston (1929-2009) and her husband, prominent Washington psychiatrist Roger L. Shapiro (1927-2002), the DINA KOSTON AND ROGER SHAPIRO FUND FOR NEW MUSIC supports commissions and performances of contemporary music. Please request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 or [email protected]. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the concerts. Other events are open to all ages. Presented in association with: The Chamber Music Society’s touring program is made possible in part by the Lila Acheson and DeWitt Wallace Endowment Fund. Please take note: Unauthorized use of photographic and sound recording equipment is strictly prohibited. Patrons are requested to turn off their cellular phones, alarm watches, and any other noise-making devices that would disrupt the performance. Reserved tickets not claimed by five minutes before the beginning of the event will be distributed to stand-by patrons. Please recycle your programs at the conclusion of the concert. The Library of Congress Coolidge Auditorium Thursday, April 10, 2014 — 8 pm THE DINA KOSTON AND ROGER SHAPIRO fUND fOR nEW mUSIC THE CHAMBER MUSIC SOCIETY oF LINCOLN CENTER • Gilles Vonsattel, piano Nicolas Dautricourt, violin Nicolas Altstaedt, cello Amphion String Quartet Katie Hyun, violin David Southorn, violin Wei-Yang Andy Lin, viola Mihai Marica, cello Tara Helen O'Connor, flute Romie de Guise-Langlois, clarinet Jörg Widmann, clarinet Ian David Rosenbaum, percussion 1 Program PIERRE JALBERT (B.
    [Show full text]
  • Analysing the Brand-Building of Einojuhani Rautavaara from the 1950S to 2010S
    How to Build a Brand for a Composer: Analysing the Brand-building of Einojuhani Rautavaara from the 1950s to 2010s Joel Valkila Bachelor’s Thesis Degree Programme in International Business… 2020 Abstract 20 May, 2020 Author(s) Joel Valkila Degree programme International Business Report/thesis title Number of pages How to Build a Brand for a Composer: Analysing the Brand-build- and attachment ing of Einojuhani Rautavaara from the 1950s to 2010s pages 95 The aim of this study was to analyse the brand building of Einojuhani Rautavaara (1928– 2016), one of the most successful names in Finnish music exports of the last decades. The purpose is to collect a resource on how composers, publishers, record companies and other affiliates can support the personal branding and promotion of music artists and com- posers. For this qualitative study, Rautavaara’s own writings were used as primary data and com- bined with secondary data from archival and documentary research. Interviews with indi- viduals from the music industry were also conducted. This information enables us to see in detail the marketing efforts on Rautavaara’s music that intensified since the 1990s, and how they affected the composer’s brand. The analysis of the composer’s brand also in- cludes, besides various branding theories, the composer’s sonic and visual branding. This study can be a helpful resource for artists, composers, recording companies and pub- lishers in enabling them to identify features that can be of benefit in marketing and brand- ing efforts. Key findings of this study suggest that building a brand for an artist, such as a composer, is a long-term process that requires time and effort.
    [Show full text]
  • The Fire Sermon: Program and Narrative in Einojuhani Rautavaara’S Second Piano Sonata
    DISCLAIMER: This document does not meet current format guidelines Graduate School at the The University of Texas at Austin. of the It has been published for informational use only. Copyright by Zachary Matthew Ridgway 2018 The Treatise Committee for Zachary Matthew Ridgway certifies that this is the approved version of the following treatise: The Fire Sermon: Program and Narrative in Einojuhani Rautavaara’s Second Piano Sonata Committee: Robert S. Hatten, Co-Supervisor Andrew Brownell, Co-Supervisor Alison Maggart Anton Nel Michael C. Tusa Brian Marks The Fire Sermon: Program and Narrative in Einojuhani Rautavaara’s Second Piano Sonata by Zachary Matthew Ridgway Treatise Presented to the faculty of the graduate school of The University of Texas at Austin in partial fulfillment of the Requirements for the degree of Doctor of Musical Arts The University of Texas at Austin December, 2018 Preface A number of years ago, I was loaned a CD by a friend, Matt Pargeter. Matt is not a pianist or otherwise a specialist in musical repertoire, but somehow or another he had come across an album of Finnish pianist Laura Mikkola performing works of Chopin and Einojuhani Rautavaara. I listened skeptically, intending only to humor my friend; but found myself unexpectedly blown away by one piece included on the disk, Einojuhani Rautavaara’s Sonata no. 2, “Fire Sermon.”1 It was dynamite. I ordered a score, which was hard to come by at the time. (At the time of this writing, in 2018, scans of the score are readily available, legally or otherwise, online.) I searched online and through various databases for articles on the subject of the sonata or on Rautavaara's piano music in general, and found precious little.
    [Show full text]
  • Programma In
    Il rumore del tempo Ravenna Festival 2017 xxviii edizione 2017 xxviii edizione 25 maggio - 22 luglio Il rumore del tempo 17-23 novembre Trilogia d’autunno Sull’orlo del Novecento: Cavalleria rusticana, Pagliacci, Tosca presidente Cristina Mazzavillani Muti direzione artistica Franco Masotti, Angelo Nicastro IL CALENDARIO maggio, giugno DATA TITOLO LUOGO, ORA PAG. MAGGIO 28 DOM Semyon Bychkov Palazzo Mauro de André, 21.00 29 GIUGNO 1 GIO Uccidiamo il chiaro di luna Teatro Alighieri, 21.00 30 2 VEN Junun Palazzo Mauro de André, 21.30 31 2 VEN Corale luterano e musica nel rito tridentino Basilica di San Vitale, 21.30 33 3 SAB Il Gabinetto del Dottor Caligari Palazzo dei Congressi, 21.00 34 4 DOM Concerto trekking Diga di Ridracoli, 10.00 | la Lama, 14.30 35 4 DOM In templo domini Basilica di San Francesco, 11.15 97 4 DOM Controcanti Basilica di Sant’Apollinare in Classe, 21.00 37 6 MAR Harlekin Artificerie Almagià, 21.00 38 8 GIO Les mémoires d’un seigneur Palazzo Mauro de André, 21.30 39 9 VEN The Smith Quartet Chiostro Biblioteca Classense, 21.30 41 10 SAB Material Men redux Teatro Alighieri, 21.00 42 11 DOM In templo domini Basilica di Sant’Agata Maggiore, 11.30 97 11 DOM Vespri dell’Assunta Basilica di San Vitale, 21.30 43 12 LUN Ottavio Dantone, Giovanni Sollima Palazzo Mauro de André, 21.00 45 13 MAR Follie Corelliane I Basilica di Sant’Apollinare Nuovo, 21.30 46 14 MER Pavel Florenskij Sala del Refettorio del Museo Nazionale, 17.30 47 14 MER Duo Gazzana Sala Corelli del Teatro Alighieri, 21.00 49 15 GIO Leonard Slatkin, Anne-Sophie
    [Show full text]
  • NORTHERN STARS MUSIC from the NORDIC and BALTIC REGIONS NAXOS • MARCO POLO • ONDINE • PROPRIUS • SWEDISH SOCIETY • DACAPO Northern Stars
    NORTHERN STARS MUSIC FROM THE NORDIC AND BALTIC REGIONS NAXOS • MARCO POLO • ONDINE • PROPRIUS • SWEDISH SOCIETY • DACAPO Northern Stars Often inspired by folk tradition, nature, landscape and a potent spirit of independence, the music of Scandinavia, Finland and the Baltic states is distinctive and varied, with each country’s music influenced by its neighbours, yet shaped and coloured by its individual heritage. Traveling composers such as Sweden’s Joseph Kraus introduced 18th and early 19th century classical trends from Germany and Italy, but with national identity gaining increasing importance as Romantic ideals took hold, influential and distinctive creative lines were soon established. The muscular strength of Carl Nielsen’s symphonies grew out of the Danish nationalist vigor shown by Friedrich Kuhlau and Niels Gade, extending to names such as Per Nørgård today. Gade was a teacher of Edvard Grieg, who owes his position as Norway’s leading composer, at least in part, to the country’s traditional folk music and the poignant lyricism of the Hardanger fiddle. The music of Finland is dominated by the rugged symphonies of Jean Sibelius, and his Finlandia ensured his status as an enduring national symbol. Sibelius successfully combined the lessons of Viennese romanticism with a strong Nordic character, and this pragmatic approach has generated numerous contemporary giants such as Aus Sallinen, Einojuhani Rautavaara, Kalevi Aho and Kaija Saariaho. Turbulent history in the Baltic States partially explains a conspicuous individualism amongst the region’s composers, few more so than with Arvo Pärt, whose work distils the strong Estonian vocal tradition into music of striking intensity and crystalline beauty.
    [Show full text]
  • JAMES D. BABCOCK, MBA, CFA, CPA 191 South Salem Road  Ridgefield, Connecticut 06877 (203) 994-7244  [email protected]
    JAMES D. BABCOCK, MBA, CFA, CPA 191 South Salem Road Ridgefield, Connecticut 06877 (203) 994-7244 [email protected] List of Addendums First Addendum – Middle Ages Second Addendum – Modern and Modern Sub-Categories A. 20th Century B. 21st Century C. Modern and High Modern D. Postmodern and Contemporary E. Descrtiption of Categories (alphabetic) and Important Composers Third Addendum – Composers Fourth Addendum – Musical Terms and Concepts 1 First Addendum – Middle Ages A. The Early Medieval Music (500-1150). i. Early chant traditions Chant (or plainsong) is a monophonic sacred form which represents the earliest known music of the Christian Church. The simplest, syllabic chants, in which each syllable is set to one note, were probably intended to be sung by the choir or congregation, while the more florid, melismatic examples (which have many notes to each syllable) were probably performed by soloists. Plainchant melodies (which are sometimes referred to as a “drown,” are characterized by the following: A monophonic texture; For ease of singing, relatively conjunct melodic contour (meaning no large intervals between one note and the next) and a restricted range (no notes too high or too low); and Rhythms based strictly on the articulation of the word being sung (meaning no steady dancelike beats). Chant developed separately in several European centers, the most important being Rome, Hispania, Gaul, Milan and Ireland. Chant was developed to support the regional liturgies used when celebrating Mass. Each area developed its own chant and rules for celebration. In Spain and Portugal, Mozarabic chant was used, showing the influence of North Afgican music. The Mozarabic liturgy survived through Muslim rule, though this was an isolated strand and was later suppressed in an attempt to enforce conformity on the entire liturgy.
    [Show full text]
  • ECSO+Sounds+From+Far+And+Near+&+Palm+Sunday+-+PR.Pdf
    FOR IMMEDIATE RELEASE CONTACT: DANIEL BRANDL ECSO – SOUNDS FROM FAR AND NEAR 860-443-2876, [email protected] March 8, 2016 The Eastern Connecticut Symphony Orchestra, led by Music Director and Conductor Toshiyuki Shimada, continues its 69th season on Saturday March 19, 2016 at 8 PM with "Sounds From Far And Near", at the Garde Arts Center in New London. The concert begins with Johannes Brahms's boisterous Academic Festival Overture followed by Finnish composer Einojuhani Rautavaara's Cantus Arcticus: Concerto for Birds and Orchestra, a composition featuring birdcalls from the Arctic Circle. Bringing in sounds from a closer origin, the ECSO brass section is featured in the Concerto for Brass and Orchestra by American composer James Beckel. Cellist Jung-Hsuan Ko, the 2014-15 ECSO Instrumental Competition winner is the soloist for the evening in Dmitri Shostakovich's Cello Concerto No. 1, Op. 107. Closing the concert is Richard Wagner's Die Meistersinger Prelude. The concert is sponsored by Quanta Services. Ticket holders are invited to a pre-concert chat sponsored by The Friends of the Symphony at 7 PM given by ECSO Music Director and Conductor, Toshiyuki Shimada. Ticket prices range from $28 to $62 with $12 tickets available for any person under 30 years of age, and active or retired military personnel. You can purchase tickets online at: www.gardearts.org or through the Eastern Connecticut Symphony office at 860-443-2876. The following evening, the Norwich Diocesan Choir, the Eastern Connecticut Symphony Chorus, and the Eastern Connecticut Symphony Orchestra will present Gabriel Fauré’s Requiem, Op.
    [Show full text]
  • The Best of Kevin Bowyer Discover
    The Best of Kevin Bowyer Discover NI 1708 1 NI 1708 DISCOVER … Organ Masterworks of the 20th Century Also available by Kevin Bowyer Kevin Bowyer Marcussen Organs at The Chapel of St. Augustine, Tonbridge School, Kent, UK and at * Odense Cathedral, Denmark DISC ONE 78.14 1 Carl Nielsen (1865-1931) Commotio Op. 58 (1931) *21.21 Franz Syberg (1904-1955) 2-4 Präludium, Intermezzo og Fugato (1934) *17.13 www.wyastone.co.uk ‘search’ bowyer I Praludium (5.58) II Intermezzo (5.03) III Fugato (6.14) 5-7 Paul Hindemith (1895-1963) Sonate II (1937) *10.45 I Lebhaft (3.57) II Ruhig bewegt (4.00) III Fuge. Massig bewegt, heiter (2.48) Arnold Schoenberg (1874-1951) 8 Variations on a Recitative Op. 40 (1941) *14.40 Peter Maxwell Davies (1934-2016) 9 Fantasia on ‘O Magnum Mysterium’ (1960) 14.13 2 NI 1708 NI 1708 23 DISC TWO 78.06 1-3 Per Nørgård (b.1932) Partita Concertante Op. 23 (1958) *19.40 I Fantasia (7.06) II Canto variato (5.57) III Toccata (6.43) Malcolm Williamson (1931-2003) 4-5 Epitaphs for Edith Sitwell (1965) 5.28 I Adagio (3.09) II Adagio (2.19) 6 Jean Langlais (1907-1991) Poem of Happiness (1967) 6.21 Recorded at the Carthy Organ, Jack Singer Concert Hall, Calgary, Canada 7 Jehan Alain (1911-1940) Le Jardin Suspendu 6.25 Alan Ridout (1934-1996) 8-14 The Seven Last Words (1967) 18.25 I ‘Father forgive them: for they know not what they do’ (1.40) II ‘Woman, behold thy son…Behold thy mother’ (3.02) III ‘My God, my God, why hast Thou forsaken me?’ (1.32) IV ‘Verily I say unto thee: Today shalt thou be with me in paradise’ (3.05) V ‘I thirst’ (1.51) VI ‘It is finished’ (3.35) VII ‘Father, into Thy hands I commend my spirit’ (3.40) 15 Henryk Górecki (1933-2010) Kantata Op.
    [Show full text]
  • New Voices in Research
    NNewew VVoicesoices iinn ResearchResearch Magen Solomon, editor [email protected] Modernism and Byzantine Infl uence in Rautavaara’s Vigilia, Part One by Charles W. Kamm Introduction texts. Larger forms include cycles, cantatas, the Helsinki Festival in 1971 to compose Einojuhani Rautavaara, born October and choral operas. Among his best known Vigilia, he faced a number of compositional 9, 1928, is considered the dean of living choral works problems. Chief among these was deciding Finnish composers. His Vigilia is his most are the popu- what musical language to use. While on the extensive choral work, and one of his most lar Lorca Suite surface, Vigilia’s musical language is modern- important. Stylistically, Vigilia well represents (1973); a Mag- ist, the work also owes a debt to the tradi- Rautavaara’s eclectic modernist approach nifi cat (1979); a tions of Byzantine chant. to style. In addition, the work shows the setting of Rilke’s One reason selection of musical language infl uence of Rautavaara’s encounters with fi rst Duino El- in Vigilia was challenging for Rautavaara is his Byzantine chant. egy, Die Erste El- eclectic style. Rautavaara has been described This two-part article will begin by outlin- egie (1993); and as a pluralist and is a self-acknowledged sty- ing Rautavaara’s career. Part One will also Vigilia (1971/72, listic wanderer.2 His earliest works—from include an overview of Vigilia, a brief history revised 1988 Einojuhani Rautavaara the late 1940s and early 1950s—could and stylistic account of the traditional Rus- and 1996). He Photo Maarit Kytöharju/FIMIC best be classifi ed as neo-classical.
    [Show full text]
  • Transformations of Programming Policies
    The Warsaw Autumn International Festival of Contemporary Transformations of Programming Music Policies Małgorzata gąsiorowska Email: [email protected]???? Email: The Warsaw Autumn International Festival of Contemporary Music Transformations of Programming Policies Musicology today • Vol. 14 • 2017 DOI: 10.1515/muso-2017-0001 ABSTRACT situation that people have turned away from contemporary art because it is disturbing, perhaps necessarily so. Rather than The present paper surveys the history of the Warsaw Autumn festival confrontation, we sought only beauty, to help us to overcome the 1 focusing on changes in the Festival programming. I discuss the banality of everyday life. circumstances of organising a cyclic contemporary music festival of international status in Poland. I point out the relations between The situation of growing conflict between the bourgeois programming policies and the current political situation, which in the establishment (as the main addressee of broadly conceived early years of the Festival forced organisers to maintain balance between th Western and Soviet music as well as the music from the so-called art in the early 20 century) and the artists (whose “people’s democracies” (i.e. the Soviet bloc). Initial strong emphasis on uncompromising attitudes led them to question and the presentation of 20th-century classics was gradually replaced by an disrupt the canonical rules accepted by the audience and attempt to reflect different tendencies and new phenomena, also those by most critics) – led to certain critical situations which combining music with other arts. Despite changes and adjustments in marked the beginning of a new era in European culture. the programming policy, the central aim of the Festival’s founders – that of presenting contemporary music in all its diversity, without overdue In the history of music, one such symbolic date is 1913, emphasis on any particular trend – has consistently been pursued.
    [Show full text]
  • Hans Werner Henze in Memoriam
    11746_dnw_sk_henze_PRO_4c 1 11746_dnw_sk_henze_PRO_4c IN MEMORIAM 14.01.13 14:33 14.01.13 HANS WERNER HENZE 25.01.2013 HANS WERNER HENZE IN MEMORIAM EDITORIAL 03 EDITORIAL Einen „Raubzug in die Vergangenheit“ hat Hans Werner Henze Mit Henze hat die Musik am 27. Oktober 2012 einen ihrer großen seine „Scorribanda Sinfonica“ genannt, die er 2001 im Auftrag Komponisten verloren. In tiefer Dankbarkeit für über sechs 04 KONZERT des NDR schrieb. In diesen selbstironischen Worten steckt ein Jahrzehnte Zusammenarbeit widmen wir nun dieses Konzert 05 KLASSIKER DER ZEITGENÖSSISCHEN MUSIK Arbeitsgeheimnis dieses großen Komponisten. Henze tauchte dem Andenken an Hans Werner Henze. ein in die Vergangenheit der Musik und in die Abgründe der ei- DER KOMPONIST HANS WERNER HENZE genen Psyche. Er stellte sich den historischen Modellen, den Urbildern und Mythen aus Musik, Bildender Kunst und Literatur; Ihr 12 TEXTE er spann fort, was die Geschichte der Künste und des mensch- 14 BIOGRAFIEN lichen Seelenlebens ihm an Symbolen, Formen und Klängen 16 VORSCHAU zutrug. Und doch war Henze nie ein Rückwärtsgewandter; als streitbarer politischer Musiker – der er auch war – bezog er mit ROLF BECK 16 IMPRESSUM seiner Kunst stets auch zu den drängenden Fragen der Gegen- Leitung Bereich Orchester und Chor des NDR wart Stellung. 11746_dnw_sk_henze_PRO_4c 2 14.01.13 14:33 11746_dnw_sk_henze_PRO_4c 3 14.01.13 14:33 FREITAG, 25.01.2013 HANS WERNER HENZE NDR, ROLF-LIEBERMANN-STUDIO HANS WERNER HENZE Kammermusik 1958 19 UHR | GESPRÄCHSRUNDE über die Hymne „In lieblicher Bläue“ von Friedrich Hölderlin (1958, rev. 1963) Erinnerungen an Hans Werner Henze I. Prefazione II. „In lieblicher Bläue“ 20 UHR | KONZERT 1 III.
    [Show full text]