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Mozart Magic Philharmoniker
THE T A R S Mass, in C minor, K 427 (Grosse Messe) Barbara Hendricks, Janet Perry, sopranos; Peter Schreier, tenor; Benjamin Luxon, bass; David Bell, organ; Wiener Singverein; Herbert von Karajan, conductor; Berliner Mozart magic Philharmoniker. Mass, in C major, K 317 (Kronungsmesse) (Coronation) Edith Mathis, soprano; Norma Procter, contralto...[et al.]; Rafael Kubelik, Bernhard Klee, conductors; Symphonie-Orchester des on CD Bayerischen Rundfunks. Vocal: Opera Così fan tutte. Complete Montserrat Caballé, Ileana Cotrubas, so- DALENA LE ROUX pranos; Janet Baker, mezzo-soprano; Nicolai Librarian, Central Reference Vocal: Vespers Vesparae solennes de confessore, K 339 Gedda, tenor; Wladimiro Ganzarolli, baritone; Kiri te Kanawa, soprano; Elizabeth Bainbridge, Richard van Allan, bass; Sir Colin Davis, con- or a composer whose life was as contralto; Ryland Davies, tenor; Gwynne ductor; Chorus and Orchestra of the Royal pathetically brief as Mozart’s, it is Howell, bass; Sir Colin Davis, conductor; Opera House, Covent Garden. astonishing what a colossal legacy F London Symphony Orchestra and Chorus. Idomeneo, K 366. Complete of musical art he has produced in a fever Anthony Rolfe Johnson, tenor; Anne of unremitting work. So much music was Sofie von Otter, contralto; Sylvia McNair, crowded into his young life that, dead at just Vocal: Masses/requiem Requiem mass, K 626 soprano...[et al.]; Monteverdi Choir; John less than thirty-six, he has bequeathed an Barbara Bonney, soprano; Anne Sofie von Eliot Gardiner, conductor; English Baroque eternal legacy, the full wealth of which the Otter, contralto; Hans Peter Blochwitz, tenor; soloists. world has yet to assess. Willard White, bass; Monteverdi Choir; John Le nozze di Figaro (The marriage of Figaro). -
ARSC Journal, Spring 1992 69 Sound Recording Reviews
SOUND RECORDING REVIEWS Chicago Symphony Orchestra: The First Hundred Years CS090/12 (12 CDs: monaural, stereo; ADD)1 Available only from the Chicago Symphony Orchestra, 220 S. Michigan Ave, Chicago, IL, for $175 plus $5 shipping and handling. The Centennial Collection-Chicago Symphony Orchestra RCA-Victor Gold Seal, GD 600206 (3 CDs; monaural, stereo, ADD and DDD). (total time 3:36:3l2). A "musical trivia" question: "Which American symphony orchestra was the first to record under its own name and conductor?" You will find the answer at the beginning of the 12-CD collection, The Chicago Symphony Orchestra: The First 100 Years, issued by the Chicago Symphony Orchestra (CSO). The date was May 1, 1916, and the conductor was Frederick Stock. 3 This is part of the orchestra's celebration of the hundredth anniversary of its founding by Theodore Thomas in 1891. Thomas is represented here, not as a conductor (he died in 1904) but as the arranger of Wagner's Triiume. But all of the other conductors and music directors are represented, as well as many guests. With one exception, the 3-CD set, The Centennial Collection: Chicago Symphony Orchestra, from RCA-Victor is drawn from the recordings that the Chicago Symphony made for that company. All were released previously, in various formats-mono and stereo, 78 rpm, 45 rpm, LPs, tapes, and CDs-as the technologies evolved. Although the present digital processing varies according to source, the sound is generally clear; the Reiner material is comparable to RCA-Victor's on-going reissues on CD of the legendary recordings produced by Richard Mohr. -
Michael Morgan Playlist
Maestro Michael Morgan Playlist Details For over thirty years, Michael Morgan has been the Oakland Symphony Conductor and Music Director. Here, he puts together a list of his favorite music with a brief explanation on what this music means to him and his life. 1.) Mahler Symphony No. 7. Leonard Bernstein two of my favorite artists. Old school historically conducts New York Philharmonic. This is the informed performance. recording that started my obsession with this piece. It is an amazing puzzle for the conductor. And, of 7.) Dvorak Symphony No. 7 Witold Rowicki/ course, Bernstein was one of my most important London Symphony Orchestra. The greatest Dvorak mentors. Symphony performed by another of my important teachers: Witold Rowicki, a founder of the Warsaw 2.) Mendelssohn Elijah. Rafael Frubeck de Burgos Philharmonic. with New Philharmonia Orchestra. I adore this piece and the peerless singing of Janet Baker, along with 8.) Bach B minor Mass. John Eliot Gardiner/The the spectacular singing and English diction of Nicolai English Baroque Soloists. A favorite piece led by a Gedda make this just a treasured recording. favorite conductor. But I could endorse any of a number of recordings by early music specialists. 3.) Stephen Foster Song Book. Robert Shaw Chorale. Count this as a somewhat guilty pleasure. I 9.) Schumann Frauenlieben und Leben. Any of the love these songs (unfortunate, outdated, racist recordings by Kathleen Ferrier. The combination of language and all) and the sound Robert Shaw got out Schumann's heartfelt song cycle and the great of his singers is incomparable. Robert Shaw was also English Contralto Kathleen Ferrier is highly moving. -
Mahler Song Cycles
TRACK INFORMATION ENGLISH DEUTSCH ACKNOWLEDGMENTS ABOUT MORE Mahler Song Cycles Kindertotenlieder Lieder eines fahrenden Gesellen Rückert-Lieder Alice Coote, mezzo-soprano Netherlands Philharmonic Orchestra Marc Albrecht TRACK INFORMATION ENGLISH DEUTSCH ACKNOWLEDGMENTS ABOUT MORE Gustav Mahler (1860 – 1911) Lieder eines fahrenden Gesellen 1 1. Wenn mein Schatz Hochzeit macht 4. 03 2 2. Ging heut’ morgen über’s Feld 4. 18 3 3. Ich hab’ ein glühend Messer 3. 17 4 4. Die zwei blauen Augen 5. 25 Rückert-Lieder 5 1. Ich atmet einen linden Duft 2. 40 6 2. Blicke mir nicht in die Lieder! 1. 28 7 3. Liebst du um Schönheit 2. 09 8 4. Um Mitternacht 6. 05 ← ← 9 5. Ich bin der Welt abhanden gekommen 6. 33 Kindertotenlieder 10 1. Nun will die Sonn’ so hell aufgehen 5. 38 11 2. Nun seh’ ich wohl. warum so dunkle Flammen 4. 47 12 3. Wenn dein Mütterlein 4. 46 13 4. Oft denk’ ich, sie sind nur ausgegangen 3. 06 14 5. In diesem Wetter! 6. 59 Alice Coote, mezzo-soprano Total playing time: 61. 35 Netherlands Philharmonic Orchestra Conducted by Marc Albrecht mezz Gustav Mahler (1860 – 1911) The mirror of the soul – into a symphonic context (for example, very closely connected to the Symphony will send the final lied, even though the Similar to Schubert’s Winterreise (= mood of the journeyman. None of the Messer” (= I have a gleaming knife), At the beginning of the new century, Even in the late 19th century, child by Mahler for his Kindertotenlieder are intense vocal expressiveness required Alice Coote regarded as one of the great artists of English Concert, Kammerphilharmonie in welcoming and developing new people. -
Fall/Winter 2002/2003
PRELUDE, FUGUE News for Friends of Leonard Bernstein RIFFS Fall/ Winter 2002 Bernstein's Mahler: A Personal View @ by Sedgwick Clark n idway through the Adagio £male of Mahler's Ninth M Symphony, the music sub sides from an almost desperate turbulence. Questioning wisps of melody wander throughout the woodwinds, accompanied by mut tering lower strings and a halting harp ostinato. Then, suddenly, the orchestra "vehemently burst[s] out" fortissimo in a final attempt at salvation. Most conductors impart a noble arch and beauty of tone to the music as it rises to its climax, which Leonard Bernstein did in his Vienna Philharmonic video recording in March 1971. But only seven months before, with the New York Philharmonic, His vision of the music is neither Nearly all of the Columbia cycle he had lunged toward the cellos comfortable nor predictable. (now on Sony Classical), taped with a growl and a violent stomp Throughout that live performance I between 1960 and 1974, and all of on the podium, and the orchestra had been struck by how much the 1980s cycle for Deutsche had responded with a ferocity I more searching and spontaneous it Grammophon, are handily gath had never heard before, or since, in was than his 1965 recording with ered in space-saving, budget-priced this work. I remember thinking, as the orchestra. Bernstein's Mahler sets. Some, but not all, of the indi Bernstein tightened the tempo was to take me by surprise in con vidual releases have survived the unmercifully, "Take it easy. Not so cert many times - though not deletion hammerschlag. -
Berlioz's Les Nuits D'été
Berlioz’s Les nuits d’été - A survey of the discography by Ralph Moore The song cycle Les nuits d'été (Summer Nights) Op. 7 consists of settings by Hector Berlioz of six poems written by his friend Théophile Gautier. Strictly speaking, they do not really constitute a cycle, insofar as they are not linked by any narrative but only loosely connected by their disparate treatment of the themes of love and loss. There is, however, a neat symmetry in their arrangement: two cheerful, optimistic songs looking forward to the future, frame four sombre, introspective songs. Completed in 1841, they were originally for a mezzo-soprano or tenor soloist with a piano accompaniment but having orchestrated "Absence" in 1843 for his lover and future wife, Maria Recio, Berlioz then did the same for the other five in 1856, transposing the second and third songs to lower keys. When this version was published, Berlioz specified different voices for the various songs: mezzo-soprano or tenor for "Villanelle", contralto for "Le spectre de la rose", baritone (or, optionally, contralto or mezzo) for "Sur les lagunes", mezzo or tenor for "Absence", tenor for "Au cimetière", and mezzo or tenor for "L'île inconnue". However, after a long period of neglect, in their resurgence in modern times they have generally become the province of a single singer, usually a mezzo-soprano – although both mezzos and sopranos sometimes tinker with the keys to ensure that the tessitura of individual songs sits in the sweet spot of their voices, and transpositions of every song are now available so that it can be sung in any one of three - or, in the case of “Au cimetière”, four - key options; thus, there is no consistency of keys across the board. -
The Blake Collection in Memory of Nancy M
The Blake Collection In Memory of Nancy M. Blake BELLINI’S NORMA featuring CECILIA BARTOLI This tragic opera is set in Roman-occupied, first-century Gaul, features a title character, who although a Druid priestess, is in many ways a modern woman. Norma has secretly taken the Roman proconsul Pollione as her lover and had two children with him. Political and personal crises arise when the locals turn against the occupiers and Pollione turns to a new paramour. Norma “is a role with emotions ranging from haughty and demanding, to desperately passionate, to vengeful and defiant. And the singer must convey all of this while confronting some of the most vocally challenging music ever composed. And if that weren't intimidating enough for any singer, Norma and its composer have become almost synonymous with the specific and notoriously torturous style of opera known as bel canto — literally, ‘beautiful singing’” (“Love Among the Druids: Bellini's Norma,” NPR World of Opera, May 16, 2008). And Bartoli, one of the greatest living opera divas, is up to the challenges the role brings. (New York Public Radio’s WQXR’s “OperaVore” declared that “Bartoli is Fierce and Mercurial in Bellini's Norma,” Marion Lignana Rosenberg, June 09, 2013.) If you’re already a fan of this opera, you’ve no doubt heard a recording spotlighting the great soprano Maria Callas (and we have such a recording, too), but as the notes with the Bartoli recording point out, “The role of Norma was written for Giuditta Pasta, who sang what today’s listeners would consider to be mezzo-soprano roles,” making Bartoli more appropriate than Callas as Norma. -
BEMERKUNGEN ZU GUSTAV MAHLERS KINDERTOTENLIEDERN - DARGESTELLT AM BEISPIEL DES ZWEITEN Volker
MUZIKOLOŠKI ZBORNIK - MUSICOLOGICAL ANNUAL XVI, LJUBLJANA 1980 UDK 784.5 Mahler BEMERKUNGEN ZU GUSTAV MAHLERS KINDERTOTENLIEDERN - DARGESTELLT AM BEISPIEL DES ZWEITEN Volker . K a l i s c h (Adliswil) Angesichts der zahlreichen Mahlerliteratur scheint es eher f.rag wilrdig, d~eser einen weiteren Aufsatz hinzuzufiigen. Glaubt man doch, alle Problemfelder Mahlerschen Schaffens erfaBt zu haben und durch weitere Veroffentlichungen schon Gesagtes lediglich zu wiederholgen oder rsich in Banalitaten zu ergehen. Allein ein Blick in die veroffen tlichte Mahler-Literatur (1siehe das umfassende Verzeichnis der Von denhoffs) liiBt den Interess;ierten dariiber erstaunen, wie widerspriich lich und teilweise unvollstandig die Aneignung des Mahlerschen Ouevres in dessen Rezeptionsgeschichte vonstatten g1egangen ist. Die Kindertotenlieder sind ein solches Beispiel.1 Merkwilrdig um so mehr, aLs es geniigend Autoren gibt, die sich darum bemiihen, die Bedeutung der Kinderto:tenlieder zwar zu unterstreichen,2 aber den Beweis dafiir 1schuldig bleiben. Hinzu kommt, daB der Zeitgeschmack eher unvexstiindig auf Mahlers Wahl der Rilckertschen Lyrik reagiert, zumal Mahler als auBerordentlich literaturbelesen eingeschiitzt wird, Rilckert aber sicherlich heute nicht unter den »ganz GmBen« rangiert.3 Der VerweiJs auf »groBte Kiontrolle durch den kompositorischen Ver stand«4 vermag den angedeuteten Verdacht, Mahler wollte sich viel leicht in dem bedeutungsvollen Jahr 1901 (schwere Krankheit, Urauf fiihrung von »Da:s klagende Lied« und der »Vierten Symphonie«, Rilcktritt von der Leitung der Philharmonischen Abonnementskonzer te, Begegnung mit Alma Schindler, Beginn der Komposition der »Fiinf Rilckert-Lieder«, »Filnften Symphonie« und »Kindertotenlieder«; ge- * An dieser Stelle mochte ich Herrn Prof. Dr. U. Siegele, Herrn Prof. Dr. W. Dilrr, Herrn J. Beurle (alle Tilbingen), sowie Herrn R. -
Year of Recording* Conductor Soloists Orchestra Live Label Date
Year of Conductor Soloists Orchestra Live Label Date of Recording* Recording 1 1936 Bruno Walter Kerstin Thorborg, Wiener Philharmoniker Live EMI May 23 & 24, Charles Kullman 1936 2 1939 Carl Schuricht Kerstin Thorborg, Koninklijk Live MINERVA Oct 5, 1939 Carl-Martin Öhmann Concertgebouworkest, Amsterdam 3 1948 Otto Klemperer Judit Sándor, A Magyar Rádió Live archiphon Nov 2, 1948 Endre Rösler Szimfonikus Zenekarát [CD 2012] 4 1948 Bruno Walter Kathleen Ferrier, New York Philharmonic Live NYP Jan 18, 1948 Set Svanholm Editions 5 1951 Otto Klemperer Elsa Cavelti Wiener Symphoniker Live VOX 28–30 Mar 1951 Anton Dermota 6 1952 Bruno Walter Kathleen Ferrier, Wiener Philharmoniker DECCA May 14, 15 & 16, Julius Patzak 1952 7 1964 Josef Krips Dietrich Fischer-Dieskau, Wiener Symphoniker Live DGG Jun 14, 1964 Fritz Wunderlich 8 1966 Otto Klemperer Christa Ludwig, Philharmonia/New EMI Feb 19–22 & Fritz Wunderlich Philharmonia Orchestra Nov 7–8, 1964, Jul 6–9, 1966 9 1966 Leonard Bernstein Dietrich Fischer-Dieskau, Wiener Philharmoniker DECCA Mar 1966 James King 10 1972 Leonard Bernstein Christa Ludwig, Israel Philharmonic Live SONY May 18, 20 & 23, René Kollo Orchestra 1972 11 1972 Jascha Horenstein Alfreda Hodgson, BBC Northern Symphony Live BBC Apr 28, 1972 John Mitchinson Orchestra Legends 12 1972 Sir Georg Solti Yvonne Minton, Chicago Symphony DECCA May 1972 René Kollo Orchestra 13 1974 Herbert von Christa Ludwig, Berliner Philharmoniker DGG Dec 7–10, 1973, Karajan René Kollo Oct 14, 1974 14 1975 Bernard Haitink Janet Baker, Koninklijk PHILIPS -
Download Booklet
MONTEVERDI © Lebrecht Music & Arts Photo Library ???????????? Claudio Monteverdi (1567 – 1643) The Coronation of Poppea Dramma musicale in a Prologue and two acts Libretto by Giovanni Francesco Busenello, English translation by Geoffrey Dunn Prologue Fortune Barbara Walker soprano Virtue Shirley Chapman soprano Love Elizabeth Gale soprano Opera Ottone, most noble lord Tom McDonnell baritone Poppea, most noble lady, mistress of Nero, Janet Baker mezzo-soprano raised by him to the seat of empire Nero, Roman emperor Robert Ferguson tenor Ottavia, reigning empress, repudiated by Nero Katherine Pring mezzo-soprano Drusilla, lady of the court, in love with Ottone Barbara Walker soprano Seneca, philosopher, preceptor to Nero Clifford Grant bass Arnalta, aged nurse and confidante of Poppea Anne Collins mezzo-soprano Lucano, poet, intimate of Nero, nephew of Seneca Emile Belcourt tenor Valletto, page of the empress John Brecknock tenor Damigella, lady-in-waiting to the empress Iris Saunders soprano Liberto, Captain of the praetorian guard Norman Welsby baritone First soldier Robin Donald tenor Second soldier John Delaney tenor Lictor, officer of imperial justice Anthony Davey bass Pallas Athene, goddess of wisdom Shirley Chapman soprano Chorus of Sadler’s Wells Opera Orchestra of Sadler’s Wells Opera Raymond Leppard 3 compact disc one Time Page Act I 1 Sinfonia 2:55 p. 30 Prologue 2 ‘Virtue, go hide yourself away’ 7:16 p. 30 Fortune, Virtue, Love Scene 1 3 ‘Again I’m drawn here’ 8:32 p. 31 Ottone, Soldier 2, Soldier 1 4 ‘My lord, do not go yet!’ 9:54 p. 32 Poppea, Nero Scene 2 5 ‘At last my hopes have ended’ 6:38 p. -
Christian Gerhaher Bariton
HIER SPIELT DIE ZUKUNFT! SONNTAG 28. AUGUst 2016 GUstaV MAHLER JUGENDORCHEstER INTERNATIONAL FEstIVAL DER BEstEN 17. AUG BIS 3. SEPT 2016 JUGENDORCHEstER KonzERTHAUS DER WELT BERLIN Herzlich WILLKOMMEN bei YOUNG EURO Ohne Sie wäre unser Festival nicht zu dem CLASSIC 2016! geworden, was es ist: ein Ort der Hoff- Als das „Olympia der Jugendorchester“ hat nung für den musikalischen Nachwuchs DIE WELT Young Euro Classic gefeiert. Die in Europa und aller Welt. Ein Zukunftsver- 1500 überaus talentierten jungen Musiker sprechen. Und ein Highlight des Berliner aus aller Welt sind die Besten ihrer „Diszipli- Kultursommers. Dafür möchten wir uns bei nen“. Im Konzerthaus am Gendarmenmarkt Ihnen, unserem Publikum, unseren Freun- treten sie nicht gegen-, sondern miteinan- den, Unterstützern, Spendern und Partnern der an. Sie bringen Höchstleistungen und von Herzen bedanken. Für Ihre offenen und machen YOUNG EURO CLASSIC, das Festi- interessierten Ohren, Ihr Engagement, Ihre val der besten Jugendorchester der Welt, 18 Begeisterungsfähigkeit und Ihre Freund- Tage lang zu einem Fest der Verständigung. schaft. Die jungen Künstler beweisen, dass die klas- Wir wünschen Ihnen inspirierende Kon- sische symphonische Musik viel Zukunft hat. zertabende, spannende Begegnungen und Denn sie passt wunderbar zusammen mit packende Erlebnisse. Und jene unverwech- Zeitgenössischem, mit Jazz, mit Tanz. Mit selbare Young Euro Classic-Atmosphäre, zu dem Fremden, dem Exotischen, dem Unbe- der Sie in diesem Sommer wieder entschei- kannten. Und mit Ihnen, unserem weltoffe- dend beitragen. Zum 17. Mal YOUNG EURO nen, neugierigen, einzigartigen Publikum. CLASSIC – Hier spielt die Zukunft! Dr. Gabriele Minz Dr. Dieter Rexroth Gesamtleitung Young Euro Classic Künstlerischer Leiter Young Euro Classic Dr. Willi Steul Ulrich Deppendorf 1. -
Mahler Symphony No. 9 | Program Notes
27 Season 2018-2019 Thursday, May 9, at 7:30 Friday, May 10, at 2:00 The Philadelphia Orchestra Sunday, May 12, at 2:00 Yannick Nézet-Séguin Conductor Mahler Symphony No. 9 in D major I. Andante comodo II. Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb III. Rondo—Burleske: Allegro assai. Sehr trotzig IV. Adagio: Sehr langsam und noch zurückhaltend This program runs approximately 1 hour, 40 minutes, and will be performed without an intermission. The May 9 concert celebrates our 12-year partnership with the Bravo! Vail Music Festival. The May 9 concert is sponsored by Lisa and Peter DiLullo. The May 10 concert is sponsored by Peter A. Benoliel and Willo Carey. 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. 28 Please join us following the May 10 concert for a free Chamber Postlude featuring members of The Philadelphia Orchestra. Mahler/arr. Wen Adagietto, from Symphony No. 5 in C-sharp minor Che-Hung Chen Viola Marvin Moon Viola Burchard Tang Viola Meng Wang Viola Haydn Divertimento in D major, for three cellos Derek Barnes Cello John Koen Cello Alex Veltman Cello The Postlude runs approximately 25 minutes. 29 30 31 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra Philadelphia is home and orchestra, and maximizes is one of the preeminent the Orchestra continues impact through Research. orchestras in the world, to discover new and The Orchestra’s