DOCSLIB.ORG

Jaap Van Zweden Conductor David Mcgill Bassoon Stucky Rhapsodies

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Jaap Van Zweden Conductor David Mcgill Bassoon Stucky Rhapsodies Program ONe HuNDReD TWeNTy-FiRST SeASON Chicago Symphony orchestra riccardo muti Music Director Pierre Boulez Helen Regenstein Conductor emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, December 1, 2011, at 8:00 Friday, December 2, 2011, at 8:00 Saturday, December 3, 2011, at 8:00 Jaap van Zweden conductor David mcgill bassoon Stucky Rhapsodies for Orchestra First Chicago Symphony Orchestra performances mozart Bassoon Concerto in B-flat Major, K. 191 Allegro Andante ma adagio Rondo: Tempo di menuetto DAviD McGill IntermISSIon mahler Symphony No. 1 in D Major Slow. Dragging. like a sound of nature—At the beginning, very leisurely With strong movement, but not too fast Solemn and measured, without dragging Stormily Performed to commemorate the centenary of Mahler’s death in 1911 This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. CommentS By PHilliP HuSCHeR Steven Stucky Born November 7, 1949, Hutchinson, Kansas. rhapsodies for orchestra n September 18, 2008, the as the author of a program note Oday Rhapsodies for Orchestra on the Piano Concerto by Witold was performed for the first time Lutosławski, the late Polish com- in this country, Steven Stucky was poser whose music Stucky has stud- in Dallas for the world premiere ied, with the rigor of a true scholar, of another new work, his concert throughout his career. (Stucky’s drama, August 4, 1964. Such popu- 1981 book, Witold Lutosławski and larity is rare for a composer at any His Music, won the ASCAP Deems time, but Stucky has always been Taylor Prize; Stucky was given a highly regarded, frequently com- the Lutosławski Society medal in missioned—he wrote his Picturas de 2005.) Not surprisingly, Stucky has Tamayo for the Chicago Symphony named Lutosławski, along with in 1995—and often honored figure. Debussy, Stravinsky, Ravel, Bartók, His Second Concerto for Orchestra and Ligeti, as important influences won the 2005 Pulitzer Prize on his own music. in Music. Stucky grew up in Kansas and Chicago Symphony audiences Texas, and studied at Baylor were first introduced to Stucky in and Cornell universities. He 1992, when the Orchestra per- taught composition at Lawrence formed his Impromptus. That same University in Appleton, Wisconsin, year, Stucky’s name appeared again and, since 1980, he has served on in CSO program books, this time the faculty of Cornell University, ComPoSeD InStrumentatIon aPProxImate 2008 three flutes and piccolo, two PerFormanCe tIme oboes and english horn, 10 minutes FIrSt PerFormanCe three clarinets and bass August 28, 2008, london clarinet, two bassoons, These are the first four horns, three trumpets, CSO performances three trombones and tuba, vibraphone, woodblock, glockenspiel, marimba, suspended cymbal, crotales, chimes, tam-tam, bass drum, harp, strings 2 where he is the Given Foundation rhapsodic—words I would never Professor of Composition. From have chosen to describe my music— 1988 until 1992, Stucky was the more I realized that boundaries composer-in-residence of the Los are meant to be pushed, and that an Angeles Philharmonic; he cur- external, even foreign stimulus like rently is the orchestra’s Consulting “rhapsodic” could be just the ticket Composer for New Music. He to push mine. also has served as host of the New The resulting work is rhapsodic in York Philharmonic’s Hear & Now two senses. It has a freely develop- concert series. ing form, as if improvised, and it Stucky’s music has long been trades in ecstatic, fervent forms of singled out for the directness and expression. Although it is in one honesty of its style and language. continuous movement, Rhapsodies As Stucky himself wrote, in is titled in the plural because it “New Music and the Masterpiece unrolls as a series of rhapsodic Syndrome,” about the relationship episodes, usually triggered by a between listeners and composers: single player whose ardent phrases “Our task is not to predict the hab- gradually “infect” his neighbors its of posterity but to respond to the until soon a whole section of the here and now. Genuine composers orchestra is sounding ecstatic. A will somehow make themselves solo flute (appassionato) draws other understood. Their works are com- high woodwind voices in one by muniqués addressed from human one, until they create a riotous beings to other human beings.” mass of sound. A solo english horn (cantando, fervente) recruits clarinet, bass clarinet, bassoon, and more, Steven Stucky on until its whole neighborhood has rhapsodies for orchestra broken into song, too. Solo horn and trumpet (nobile) launch still another outbreak, now among the hen the New York brasses. Meanwhile, behind each WPhilharmonic invited me of these episodes of rhapsodizing to compose a short work for flows calmer, supporting music its European tour of August– elsewhere in the orchestra, serving September 2008, the invitation as a backdrop. Unrelenting fervor came with a suggestion from music can only be borne for so long. director Lorin Maazel: Would Eventually, the orchestra lapses, I consider writing “something spent, into a quiet coda, where rhapsodic”? I ran to the diction- the intense experiences that have ary for help. The more I thought come before can be recollected about the words rhapsody and in tranquility. 3 Wolfgang mozart Born January 27, 1756, Salzburg, Austria. Died December 5, 1791, Vienna, Austria. Bassoon Concerto in B-flat major, K. 191 lthough Mozart may have Even though the bassoon was not Awritten as many as five bas- a common solo instrument at the soon concertos, this is the only one time, the main thematic material of that has survived. It is the earliest this concerto was carefully designed of all Mozart’s concertos for wind expressly for the instrument, instruments, and, despite the fact showcasing its unique qualities and that it is the work of an adolescent, disguising its limitations in power this is a little masterpiece. The score and range. In this piece, Mozart has is contemporary with Mozart’s first already moved beyond mastering the piano concerto, in D major, and his general demands of concerto form first violin concertos—all products to deal, in very specific and creative of the mid-1770s. These are works ways, with the individual needs that show Mozart fully engaged in of his client. Mozart often wrote putting his own stamp on tradi- music for performer-friends, but tional forms and procedures; he is we cannot be certain for whom this no longer an apprentice—even one concerto was intended. There are with the most astonishing gifts— several possible candidates, includ- but a man establishing his own ing two bassoonists employed by the practice. Mozart would never quit archbishop of Salzburg at the time, learning, borrowing, and assimilat- as well as Thaddäus von Dürnitz, an ing what he picked up in the musi- amateur bassoonist from Munich cal world at large, but the process of who apparently had commissioned transforming and personalizing had bassoon works from several compos- already begun. ers, including Mozart. ComPoSeD moSt reCent aPProxImate 1774 CSo PerFormanCe PerFormanCe tIme March 28, 2000, Orchestra 18 minutes FIrSt PerFormanCe Hall. David McGill, bassoon; unknown Mark elder conducting CSo reCorDIng 1984. Willard elliot, bassoon; FIrSt CSo InStrumentatIon Claudio Abbado conducting. PerFormanCe solo bassoon, two oboes, two Deutsche Grammophon November 13, 1956, horns, strings Orchestra Hall. leonard Sharrow, bassoon; Fritz Reiner conducting 4 The first movement highlights with its supporting cast. The second the bassoon’s many virtues, includ- movement is a dreamy aria, with ing its extraordinary agility and an elaborately embroidered melody the ability to trill, leap (nearly two over muted strings—an early essay octaves in this case), repeat notes in the mood of the Countess’s rapid-fire, sing lyrically, and sit “Porgi amor” from The Marriage of comfortably on prominent low Figaro. The finale is a minuet—not notes. The interaction with the music designed for the ballroom, orchestra is lively and conversa- but based on the lilting rhythms of tional, not that of a star performer the standard courtly dance. gustav mahler Born July 7, 1860, Kalischt, Bohemia. Died May 18, 1911, Vienna, Austria. Symphony no. 1 in D major hen Alma Schindler first keep their ears and their hearts if Wmet Gustav Mahler, whom they can’t hear that!” she later married, she could only But as Alma knew, people didn’t remember how much she had always feel what Mahler felt. For disliked his First Symphony. She years the First Symphony led an wasn’t alone. The history of this unhappy existence, greeted by symphony, even into relatively chilly receptions whenever it was recent times, is one of misunder- played and plagued by the com- standing and rejection. The first poser’s continual fussing, both over performance, in Budapest in 1889, details and the big picture. No was greeted with indifference, other symphony gave him so much bewilderment, and, in the words trouble. He couldn’t even decide of the local critic, “a small, but, for if this music was a symphonic all that, audible element of opposi- poem, a program symphony, or a tion.” Mahler seldom understood symphony plain and simple—or the animosity his music aroused. whether it should contain four or A few years later, after Alma had five movements. Figuring all that taken his name and converted to out was not an act of indecisiveness, the cause, Mahler wrote to her after but of exploration. And by the time conducting the First Symphony: Mahler published this music as “Sometimes it sent shivers down my his Symphony no. 1 some fifteen spine. Damn it all, where do people years after he began it, he had not 5 only discovered for himself what the process as much as the com- a symphony could be, but he had poser himself that gives Mahler’s changed the way we have defined symphonies their unconventional that familiar word ever since.
Load more

Recommended publications
  • Curriculum Vitae of Ben Sieben
    Curriculum Vitae of Ben Sieben Table of Contents Education 2 Relevant Skills 2 Employment Positions Held 2 Performance Experience 3 Collaborative Experience 3 Master Classes 4 Teaching 4 Awards and Recognition 5 International Performances/Foreign Travel 5 Volunteer Work 5 Graduate Degree Recitals 6 Collaborative Repertoire 6 1 BEN SIEBEN [email protected] | 979-479-1197 | 61 San Jacinto St., Bay City, TX, 77414 Education Master of Music in Collaborative Piano 2017 University of Colorado Boulder Primary instructors: Margaret McDonald and Alexandra Nguyen Master of Music in Piano Performance 2012 University of Utah Primary instructor: Heather Conner Bachelor of Music in Piano Performance 2010 Houston Baptist University Primary instructor: Melissa Marse Relevant Skills 25 years of classical piano sight reading improvisation open-score reading transposition jazz and rock styles basso-continuo harpsichord music theory score arranging transcription by ear reading lead sheets keyboard/synthesizer proficiency Italian, German, French, and English diction fluent conversational Spanish Employment Positions Held Emerging Musical Artist-in-Residence, Penn State Altoona 2017 ​ Vocal coach and accompanist for private voice students Graduate Assistant, University of Colorado Boulder 2015-2017 ​ Collaborative pianist, pianist for instrumental students, vocal students, orchestra, opera, and opera scenes classes Choral Accompanist, Texas A&M University 2012-2015 ​ Accompanist for Century Singers and Women’s Chorus Choral Accompanist, Brazos Valley Chorale
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 88
    BOSTON SYMPHONY v^Xvv^JTa Jlj l3 X JlVjl FOUNDED IN 1881 BY HENRY LEE HIGGINSON THURSDAY A SERIES EIGHTY-EIGHTH SEASON 1968-1969 Exquisite Sound From the palaces of ancient Egypt to the concert halls of our modern cities, the wondrous music of the harp has compelled attention from all peoples and all countries. Through this passage of time many changes have been made in the original design. The early instruments shown in drawings on the tomb of Rameses II (1292-1225 B.C.) were richly decorated but lacked the fore-pillar. Later the "Kinner" developed by the Hebrews took the form as we know it today. The pedal harp was invented about 1720 by a Bavarian named Hochbrucker and through this ingenious device it be- came possible to play in eight major and five minor scales complete. Today the harp is an important and familiar instrument providing the "Exquisite Sound" and special effects so important to modern orchestration and arrange- ment. The certainty of change makes necessary a continuous review of your insurance protection. We welcome the opportunity of providing this service for your business or personal needs. We respectfully invite your inquiry CHARLES H. WATKINS & CO. Richard P. Nyquist — Charles G. Carleton 147 Milk Street Boston, Massachusetts Telephone 542-1250 PAIGE OBRION RUSSELL Insurance Since 1876 BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF Music Director CHARLES WILSON Assistant Conductor EIGHTY-EIGHTH SEASON 1968-1969 THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. TALCOTT M. BANKS President HAROLD D. HODGKINSON PHILIP K. ALLEN Vice-President E. MORTON JENNINGS JR ROBERT H.GARDINER Vice-President EDWARD M.
    [Show full text]
  • PROGRAM NOTES Witold Lutosławski Concerto for Orchestra
    PROGRAM NOTES by Phillip Huscher Witold Lutosławski Born January 25, 1913, Warsaw, Poland. Died February 7, 1994, Warsaw, Poland. Concerto for Orchestra Lutosławski began this work in 1950 and completed it in 1954. The first performance was given on November 26, 1954, in Warsaw. The score calls for three flutes and two piccolos, three oboes and english horn, three clarinets and bass clarinet, three bassoons and contrabassoon, four horns, four trumpets, four trombones and tuba, timpani, snare drum, side drums, tenor drum, bass drum, cymbals, tam-tam, tambourine, xylophone, bells, celesta, two harps, piano, and strings. Performance time is approximately twenty-eight minutes. The Chicago Symphony Orchestra's first subscription concert performances of Lutosławski's Concerto for Orchestra were given at Orchestra Hall on February 6, 7, and 8, 1964, with Paul Kletzki conducting. Our most recent subscription concert performance was given November 7, 8, and 9, 2002, with Christoph von Dohnányi conducting. The Orchestra has performed this concerto at the Ravinia Festival only once, on June 28, 1970, with Seiji Ozawa conducting. For the record The Orchestra recorded Lutosławski's Concerto for Orchestra in 1970 under Seiji Ozawa for Angel, and in 1992 under Daniel Barenboim for Erato. To most musicians today, as to Witold Lutosławski in 1954, the title “concerto for orchestra” suggests Béla Bartók's landmark 1943 score of that name. Bartók's is the most celebrated, but it's neither the first nor the last work with this title. Paul Hindemith, Walter Piston, and Zoltán Kodály all wrote concertos for orchestra before Bartók, and Witold Lutosławski, Michael Tippett, Elliott Carter, and Shulamit Ran are among those who have done so after his famous example.
    [Show full text]
  • LIVE from LINCOLN CENTER December 31, 2002, 8:00 P.M. on PBS New York Philharmonic All-Gershwin New Year's Eve Concert
    LIVE FROM LINCOLN CENTER December 31, 2002, 8:00 p.m. on PBS New York Philharmonic All-Gershwin New Year's Eve Concert Lorin Maazel, an icon among present-day conductors, will make his long anticipated Live From Lincoln Center debut conducting the New York Philharmonic’s gala New Year’s Eve concert on Tuesday evening, December 31. Maazel began his tenure as the Philharmonic’s new Music Director in September, and already has put his stamp of authority on the playing of the orchestra. Indeed he and the Philharmonic were rapturously received wherever they performed on a recent tour of the Far East.Lorin Maazel, an icon among present-day conductors, will make his long anticipated Live From Lincoln Center debut conducting the New York Philharmonic’s gala New Year’s Eve concert on Tuesday evening, December 31. Maazel began his tenure as the Philharmonic’s new Music Director in September, and already has put his stamp of authority on the playing of the orchestra. Indeed he and the Philharmonic were rapturously received wherever they performed on a recent tour of the Far East. Celebrating the New Year with music is nothing new for Maazel: he holds the modern record for most appearances as conductor of the celebrated New Year’s Day concerts in Vienna by the Vienna Philharmonic Orchestra. There, of course, the fare is made up mostly of music by the waltzing Johann Strauss family, father and sons. For his New Year’s Eve concert with the New York Philharmonic Maazel has chosen quintessentially American music by the composer considered by many to be America’s closest equivalent to the Strausses, George Gershwin.
    [Show full text]
  • What Handel Taught the Viennese About the Trombone
    291 What Handel Taught the Viennese about the Trombone David M. Guion Vienna became the musical capital of the world in the late eighteenth century, largely because its composers so successfully adapted and blended the best of the various national styles: German, Italian, French, and, yes, English. Handel’s oratorios were well known to the Viennese and very influential.1 His influence extended even to the way most of the greatest of them wrote trombone parts. It is well known that Viennese composers used the trombone extensively at a time when it was little used elsewhere in the world. While Fux, Caldara, and their contemporaries were using the trombone not only routinely to double the chorus in their liturgical music and sacred dramas, but also frequently as a solo instrument, composers elsewhere used it sparingly if at all. The trombone was virtually unknown in France. It had disappeared from German courts and was no longer automatically used by composers working in German towns. J.S. Bach used the trombone in only fifteen of his more than 200 extant cantatas. Trombonists were on the payroll of San Petronio in Bologna as late as 1729, apparently longer than in most major Italian churches, and in the town band (Concerto Palatino) until 1779. But they were available in England only between about 1738 and 1741. Handel called for them in Saul and Israel in Egypt. It is my contention that the influence of these two oratorios on Gluck and Haydn changed the way Viennese composers wrote trombone parts. Fux, Caldara, and the generations that followed used trombones only in church music and oratorios.
    [Show full text]
  • PROGRAM NOTES Franz Liszt Piano Concerto No. 2 in a Major
    PROGRAM NOTES by Phillip Huscher Franz Liszt Born October 22, 1811, Raiding, Hungary. Died July 31, 1886, Bayreuth, Germany. Piano Concerto No. 2 in A Major Liszt composed this concerto in 1839 and revised it often, beginning in 1849. It was first performed on January 7, 1857, in Weimar, by Hans von Bronsart, with the composer conducting. The first American performance was given in Boston on October 5, 1870, by Anna Mehlig, with Theodore Thomas, who later founded the Chicago Symphony, conducting his own orchestra. The orchestra consists of three flutes and piccolo, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones and tuba, timpani, cymbals, and strings. Performance time is approximately twenty-two minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Liszt’s Second Piano Concerto were given at the Auditorium Theatre on March 1 and 2, 1901, with Leopold Godowsky as soloist and Theodore Thomas conducting. Our most recent subscription concert performances were given at Orchestra Hall on March 19, 20, and 21, 2009, with Jean-Yves Thibaudet as soloist and Jaap van Zweden conducting. The Orchestra first performed this concerto at the Ravinia Festival on August 4, 1945, with Leon Fleisher as soloist and Leonard Bernstein conducting, and most recently on July 3, 1996, with Misha Dichter as soloist and Hermann Michael conducting. Liszt is music’s misunderstood genius. The greatest pianist of his time, he often has been caricatured as a mad, intemperate virtuoso and as a shameless and
    [Show full text]
  • Elliott Carter Works List
    W O R K S Triple Duo (1982–83) Elliott Carter Collection, Paul Sacher Foundation Basel ORCHESTRA Adagio tenebroso (1994) ............................................................ 20’ (H) 3(II, III=picc).2.corA.2(II=Ebcl).bcl.2.dbn-4.3.3.1-timp.perc(4):BD/ 4bongos/glsp/4tpl.bl/cowbells/vib/2susp.cym/2tom-t/2wdbl/SD/xyl/ tam-t/marimba/wood drum/2metal block-pft-strings (also see Symphonia: sum fluxae pretium spei) Allegro scorrevole (1996) ........................................................... 11’ (H) 2.picc.2.corA.2(II=Ebcl).bcl.2.dbn-4.3.3.1-perc(4):timp/glsp/xyl/vib/ 4bongos/SD/2tom-t/wdbl/3susp.cym/2cowbells/guiro/2metal blocks/ 4tpl.bl/BD/marimba-harp-pft-strings (also see Symphonia: sum fluxae pretium spei) Anniversary (1989) ....................................................................... 6’ (H) 3(III=picc).2.corA.2.bcl.2.dbn-4.3.3.1-timp.perc(2):vib/marimba/xyl/ 3susp.cym-pft(=cel)-strings(16.14.12.10.8) (also see Three Occasions for Orchestra) Boston Concerto (2002) .............................................................. 19’ (H) 3(II,III=picc).2.corA.3(III=bcl).3(III=dbn)-4.3.3.1-perc(3):I=xyl/vib/log dr/4bongos/high SD/susp.cym/wood chime; II=marimba/log dr/ 4tpl.bl/2cowbells/susp.cym; III=BD/tom-t/4wdbls/guiro/susp.cym/ maracas/med SD-harp-pft-strings A Celebration of Some 100 x 150 Notes (1986) ....................... 3’ (H) 2.picc.2.corA.2.bcl.2.dbn-4.3.3.1-timp.perc(1):glsp/vib-pft(=cel)- strings(16.14.12.10.8) (also see Three Occasions for Orchestra) Concerto for Orchestra (1969) ..................................................
    [Show full text]
  • Conducting from the Piano: a Tradition Worth Reviving? a Study in Performance
    CONDUCTING FROM THE PIANO: A TRADITION WORTH REVIVING? A STUDY IN PERFORMANCE PRACTICE: MOZART’S PIANO CONCERTO IN C MINOR, K. 491 Eldred Colonel Marshall IV, B.A., M.M., M.M, M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2018 APPROVED: Pamela Mia Paul, Major Professor David Itkin, Committee Member Jesse Eschbach, Committee Member Steven Harlos, Chair of the Division of Keyboard Studies Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Marshall IV, Eldred Colonel. Conducting from the Piano: A Tradition Worth Reviving? A Study in Performance Practice: Mozart’s Piano Concerto in C minor, K. 491. Doctor of Musical Arts (Performance), May 2018, 74 pp., bibliography, 43 titles. Is conducting from the piano "real conducting?" Does one need formal orchestral conducting training in order to conduct classical-era piano concertos from the piano? Do Mozart piano concertos need a conductor? These are all questions this paper attempts to answer. Copyright 2018 by Eldred Colonel Marshall IV ii TABLE OF CONTENTS Page CHAPTER 1. INTRODUCTION: A BRIEF HISTORY OF CONDUCTING FROM THE KEYBOARD ............ 1 CHAPTER 2. WHAT IS “REAL CONDUCTING?” ................................................................................. 6 CHAPTER 3. ARE CONDUCTORS NECESSARY IN MOZART PIANO CONCERTOS? ........................... 13 Piano Concerto No. 9 in E-flat major, K. 271 “Jeunehomme” (1777) ............................... 13 Piano Concerto No. 13 in C major, K. 415 (1782) ............................................................. 23 Piano Concerto No. 20 in D minor, K. 466 (1785) ............................................................. 25 Piano Concerto No. 24 in C minor, K.
    [Show full text]
  • Music Tech-1
    Radnor Middle School Course Overview Music Technology I. Course Description Music Technology is offered as an eighth grade music elective, meeting three times a cycle. Students will be introduced to the study of music technology and music fundamentals. Areas of instruction will include instrument and equipment care, beginning level music literacy (reading and writing music), keyboard performance skills, music technology related history, concepts, terminology and experience with a variety of applications. II. Resources, Materials , Equipment • iMacs • GarageBand • Korg K61p MIDI Studio Contoller Keyboards • Student Journals III. Course Goals, Objectives (Essential Questions, Enduring Understandings) Students will be able to: 1. Accurately perform melody, harmony and rhythm parts of a composition and record the parts separately into the sequencer of the keyboard. 2. Accurately perform melody, harmony and rhythm parts of their own composition and record the parts separately into the sequencer of the keyboard. 3. Record multiple parts to an electronic “sound piece” using non-traditional instrument timbres and effects. 4. Orchestrate and perform three- and four-part synthesizer ensemble pieces within expected performance parameters for their individual levels of expertise. 5. Transfer sequenced MIDI files from the keyboard disk into the computer and, using appropriate software, edit needed corrections, format, and print out the composition. 6. Change instrumentation using an existing music composition stored as MIDI data; and alter tempo, range, and dynamics during the course of the piece, while still maintaining the original integrity of the composition. 7. Compose a four-part electronic sound piece using varied timbre (tone), texture, and dynamics of at least three minute length. Students may incorporate digitally recorded audio sounds into this piece.
    [Show full text]
  • A Formal Analytical Approach Was Utilized to Develop Chart Analyses Of
    ^ DOCUMENT RESUME ED 026 970 24 HE 000 764 .By-Hanson, John R. Form in Selected Twentieth-Century Piano Concertos. Final Report. Carroll Coll., Waukesha, Wis. Spons Agency-Office of Education (DHEW), Washington, D.C. Bureauof Research. Bureau No-BR-7-E-157 Pub Date Nov 68 Crant OEC -0 -8 -000157-1803(010) Note-60p. EDRS Price tvw-s,ctso HC-$3.10 Descriptors-Charts, Educational Facilities, *Higher Education, *Music,*Music Techniques, Research A formal analytical approach was utilized to developchart analyses of all movements within 33 selected piano concertoscomposed in the twentieth century. The macroform, or overall structure, of each movement wasdetermined by the initial statement, frequency of use, andorder of each main thematic elementidentified. Theme groupings were then classified underformal classical prototypes of the eighteenth and nineteenth centuries (ternary,sonata-allegro, 5-part or 7-part rondo, theme and variations, and others), modified versionsof these forms (three-part design), or a variety of free sectionalforms. The chart and thematic illustrations are followed by a commentary discussing each movement aswell as the entire concerto. No correlation exists between styles andforms of the 33 concertos--the 26 composers usetraditional,individualistic,classical,and dissonant formsina combination of ways. Almost all works contain commonunifying thematic elements, and cyclicism (identical theme occurring in more than1 movement) is used to a great degree. None of the movements in sonata-allegroform contain double expositions, but 22 concertos have 3 movements, and21 have cadenzas, suggesting that the composers havelargely respected standards established in theClassical-Romantic period. Appendix A is the complete form diagramof Samuel Barber's Piano Concerto, Appendix B has concentrated analyses of all the concertos,and Appendix C lists each movement accordog to its design.(WM) DE:802 FINAL REPORT Project No.
    [Show full text]
  • Repertoire List
    APPROVED REPERTOIRE FOR 2022 COMPETITION: Please choose your repertoire from the approved selections below. Repertoire substitution requests will be considered by the Charlotte Symphony on an individual case-by-case basis. The deadline for all repertoire approvals is September 15, 2021. Please email [email protected] with any questions. VIOLIN VIOLINCELLO J.S. BACH Violin Concerto No. 1 in A Minor BOCCHERINI All cello concerti Violin Concerto No. 2 in E Major DVORAK Cello Concerto in B Minor BEETHOVEN Romance No. 1 in G Major Romance No. 2 in F Major HAYDN Cello Concerto No. 1 in C Major Cello Concerto No. 2 in D Major BRUCH Violin Concerto No. 1 in G Minor LALO Cello Concerto in D Minor HAYDN Violin Concerto in C Major Violin Concerto in G Major SAINT-SAENS Cello Concerto No. 1 in A Minor Cello Concerto No. 2 in D Minor LALO Symphonie Espagnole for Violin SCHUMANN Cello Concerto in A Minor MENDELSSOHN Violin Concerto in E Minor DOUBLE BASS MONTI Czárdás BOTTESINI Double Bass Concerto No. 2in B Minor MOZART Violin Concerti Nos. 1 – 5 DITTERSDORF Double Bass Concerto in E Major PROKOFIEV Violin Concerto No. 2 in G Minor DRAGONETTI All double bass concerti SAINT-SAENS Introduction & Rondo Capriccioso KOUSSEVITSKY Double Bass Concerto in F# Minor Violin Concerto No. 3 in B Minor HARP SCHUBERT Rondo in A Major for Violin and Strings DEBUSSY Danses Sacrée et Profane (in entirety) SIBELIUS Violin Concerto in D Minor DITTERSDORF Harp Concerto in A Major VIVALDI The Four Seasons HANDEL Harp Concerto in Bb Major, Op.
    [Show full text]
  • 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.
    [Show full text]