London's Symphony Orchestra

Total Page:16

File Type:pdf, Size:1020Kb

London's Symphony Orchestra London Symphony Orchestra Living Music Sunday 7 June 2015 7.30pm Barbican Hall LSO INTERNATIONAL VIOLIN FESTIVAL JAMES EHNES Bartók Divertimento for Strings Korngold Violin Concerto INTERVAL Rachmaninov Symphonic Dances London’s Symphony Orchestra Marin Alsop conductor James Ehnes violin Concert finishes approx 9.30pm The LSO International Violin Festival is generously supported by Jonathan Moulds CBE International Violin Festival Media Partner 07-06 Alsop.indd 1 5/29/2015 1:11:02 PM 2 Welcome 7 June 2015 Welcome Living Music Kathryn McDowell In Brief This evening we are delighted to welcome conductor THE LSO AT THE BBC PROMS Marin Alsop, who last worked with the Orchestra in 2011. Tonight she returns to conduct a programme The LSO returns to the BBC Proms this summer exploring the music of three of the best-known with Principal Conductor Valery Gergiev for a concert expatriate composers of the 20th century: Bartók, on 28 July showcasing all five of Prokofiev’s piano Korngold and Rachmaninov. concertos. Joining the Orchestra on stage at the Royal Albert Hall will be soloists Daniil Trifonov, Following Bartók’s folk-inflected Divertimento, a Sergei Babayan and Alexei Volodin. virtuosic work showcasing the LSO’s string section, violinist James Ehnes, a regular collaborator with bbc.co.uk/proms both the LSO and Marin Alsop, joins the Orchestra for Korngold’s lyrical Violin Concerto. This performance forms part of the LSO International Violin Festival, BAFTA TV AWARD: WORLD WAR I a three-month celebration of the violin with some REMEMBERED FROM THE BATTLEFIELD of the world’s greatest soloists, which will also see James Ehnes feature in a BBC Radio 3 Lunchtime An event that featured a collaboration between the Concert at LSO St Luke’s on 11 June. I would like to LSO and the Berlin Philharmonic has won a BAFTA take this opportunity to thank Jonathan Moulds for Award. Members of the two orchestras, conducted his generous support of the Festival. by Sir Simon Rattle, were brought together to record the music played at the St Symphorien A very warm welcome to the retired LSO players Military Cemetery in Belgium in August 2014. The and their guests who join us tonight for their annual event, which also featured members of the London reunion. We are always delighted to see so many Symphony Chorus and LSO Choral Director Simon members of the LSO from years gone by, and are Halsey, took place 100 years after the declaration very pleased that they have this opportunity to of World War I, and was broadcast worldwide. hear the Orchestra perform. I hope you enjoy tonight’s concert and will join BBC RADIO 3 LUNCHTIME CONCERTS us again soon. On 10 June, André Previn, the Orchestra’s Conductor Laureate, conducts a BBC Radio 3 Lunchtime Concerts are a chance to performance of his Violin Concerto, joined by hear the world’s finest musicians in the intimate soloist Anne-Sophie Mutter, the work’s dedicatee. setting of the LSO St Luke’s Jerwood Hall. Our current series of concerts, part of the LSO International Violin Festival, features performances by James Ehnes, Veronika Eberle and Nicola Benedetti. Visit our website to browse listings. Kathryn McDowell CBE DL lso.co.uk/lunchtimeconcerts Managing Director 07-06 Alsop.indd 2 5/29/2015 1:11:03 PM lso.co.uk LSO International Violin Festival 3 Coming soon LSO International Violin Festival Bell’s big sound is consistently beautiful, round, focused and unfailingly in tune. The Washington Post on Joshua Bell ALINA IBRAGIMOVA JOSHUA BELL THE STRAD SUNDAY BBC RADIO 3 Sun 14 Jun 2015 7.30pm Sun 28 Jun 2015 7.30pm Sun 28 Jun 2015 LUNCHTIME CONCERTS Mozart Violin Concerto No 3 Sibelius Violin Concerto Photographic Exhibition James Ehnes Mahler Symphony No 1 (‘Titan’) Berlioz Symphonie fantastique 3–5.30pm, Fountain Room Thu 11 Jun 2015 1pm, LSO St Luke’s Bernard Haitink conductor Pablo Heras-Casado conductor Panel Discussion: Making Veronika Eberle Alina Ibragimova violin Joshua Bell violin Instrument Lessons Fun for Kids Thu 18 Jun 2015 1pm, LSO St Luke’s 6pm, Barbican Hall Nicola Benedetti Free entry, no ticket required Thu 25 Jun 2015 1pm, LSO St Luke’s 020 7638 8891 The LSO International Violin Festival is generously supported by Jonathan Moulds CBE International Violin Festival Media Partner lso.co.uk/violinfestival 07-06 Alsop.indd 3 5/29/2015 1:11:04 PM 4 Programme Notes 7 June 2015 Béla Bartók (1881–1945) Divertimento for Strings Sz 113 (1939) 1 ALLEGRO MA NON TROPPO was unaware of the momentous political upheaval 2 MOLTO ADAGIO that would affect his life so dramatically. 3 ALLEGRO ASSAI After the Divertimento’s premiere in Basle on PROGRAMME NOTE WRITER Bartók’s Divertimento was one of the last works 11 June 1940, a critic wrote: ‘Thinking back to the WENDY THOMPSON he wrote before leaving Europe for exile in the US. concert, it now seems unreal and ghostly. Will the Like the Music for Strings, Percussion and Celeste, creative forces that stirred here be able to survive it was written for the influential Swiss conductor against the raging forces of annihilation, the violence MARIN ALSOP INTRODUCES and patron of contemporary music Paul Sacher, and that leads to total extermination of life?’ Within four TONIGHT’S CONCERT his Basle Chamber Orchestra. The list of Sacher’s months, Bartók had left Europe for the safety of the commissions, apart from Bartók’s pieces, eventually US. He never returned. The three pieces in this concert included Strauss’ Metamorphosen and Stravinsky’s are tour-de-force works that will Concerto in D, alongside works by Honegger, Henze, For a piece written in such troubled times, the highlight the LSO’s fabulous Malipiero, Britten and Tippett, among others. Divertimento at first seems unusually buoyant and musicians and their extraordinary light-hearted. Bartók announced that he was thinking virtuosity. But the works are linked Bartók had become a vigorous and vocal opponent of ‘some kind of concerto grosso’, and the scoring on many other levels: all three of fascism during the 1930s, and by 1938 he was pits a solo string quartet against the broad mass of pieces were written in the years seriously considering emigration. But he had a frail, strings, rather in the 18th-century manner. But there around World War II by composers elderly mother to look after in Budapest, and he the resemblance ends. The Divertimento is a highly who had emigrated, or would was clearly torn between his desire to ‘stay at home original work in his own unique idiom, and is in no emigrate, to the US. and help matters as much as possible’ and his fear sense a neo-Classical pastiche. that, by staying on, he would be perceived as tacitly Bartók’s Divertimento opens the condoning Nazi cultural and social policies. Then, in The first movement is a sonata-form structure in programme, featuring the LSO November 1938, he received Sacher’s commission, light, carefree mood; the second, a sombre Adagio in strings alone in a concerto-grosso together with the generous offer of the loan of a four sections (of which the first and last correspond for the 20th century. Korngold’s chalet in the Swiss mountains, where he could in Bartók’s favourite arch form), while the finale is a brilliant Violin Concerto follows, compose in peace. playful rondo that effortlessly incorporates a double incorporating themes from a fugue at its heart. number of his groundbreaking After a frenetic round of international concert tours film scores. The programme and folk-music collecting in the first half of 1939, closes with Rachmaninov’s Bartók finally accepted Sacher’s invitation. He spent Symphonic Dances, the final piece about a month in Switzerland, feeling like ‘a musician Rachmaninov wrote before his of olden times, the invited guest of a patron of the death in 1943. It is a fantastic arts’. In mid-August he reported to his family in piece filled with brilliant orchestral Budapest that work on the new Divertimento had colours and melodic invention. gone well, and he had finished the piece in just 15 days. Such was his intense concentration that when Sacher went to tell him of the outbreak of war, he found Bartók so utterly absorbed in his work that he 07-06 Alsop.indd 4 5/29/2015 1:11:04 PM lso.co.uk Composer Profiles 5 Béla Bartók Erich Wolfgang Korngold Composer Profile Composer Profile Born in 1881 in Hungary, Bartók Erich Wolfgang Korngold, like so began piano lessons with his many European composers, found mother at the age of five. He refuge from the Nazis by settling studied piano and composition in Hollywood during the 1930s at the Royal Academy of Music and 40s. As a child he had been in Budapest, where he created a one of the most gifted prodigy number of works echoing the composers that there has ever style of Brahms and Richard Strauss. been. Mahler proclaimed him a genius when he was just nine After graduating he discovered years old; he was hailed as ‘the Austro-Hungarian and Slavic new Mozart’ by Ernest Newman folk music, travelling extensively and admired by Richard Strauss, with his friend Zoltán Kodály who expressed feelings of awe at and recording countless ethnic his youthful genius. Korngold was songs and dances which began a pupil of Alexander Zemlinsky to influence his own compositions. and by his 17th birthday he had Kodály also introduced him to the works of Debussy in 1907, the year in produced a string of amazingly mature chamber and symphonic works. which he became Professor of Piano at the Budapest Conservatory.
Recommended publications
  • 24 August 2021
    24 August 2021 12:01 AM Bruno Bjelinski (1909-1992) Concerto da primavera (1978) Tonko Ninic (violin), Zagreb Soloists HRHRTR 12:11 AM Wolfgang Amadeus Mozart (1756-1791) Piano Sonata in C major K.545 Young-Lan Han (piano) KRKBS 12:21 AM Johannes Brahms (1833-1897) 3 Songs for chorus, Op 42 Danish National Radio Choir, Stefan Parkman (conductor) DKDR 12:32 AM Giovanni Battista Viotti (1755-1824) Serenade for 2 violins in A major, Op 23 no 1 Angel Stankov (violin), Yossif Radionov (violin) BGBNR 12:41 AM Joseph Haydn (1732-1809),Ignace Joseph Pleyel (1757-1831), Harold Perry (arranger) Divertimento 'Feldpartita' in B flat major, Hob.2.46 Academic Wind Quintet BGBNR 12:50 AM Joaquin Nin (1879-1949) Seguida Espanola Henry-David Varema (cello), Heiki Matlik (guitar) EEER 12:59 AM Toivo Kuula (1883-1918) 3 Satukuvaa (Fairy-tale pictures) for piano (Op.19) Juhani Lagerspetz (piano) FIYLE 01:15 AM Edmund Rubbra (1901-1986) Trio in one movement, Op 68 Hertz Trio CACBC 01:35 AM Edvard Grieg (1843-1907) Peer Gynt - Suite No 1 Op 46 Bergen Philharmonic Orchestra, Ole Kristian Ruud (conductor) NONRK 02:01 AM Richard Strauss (1864-1949) Metamorphosen Auckland Philharmonia Orchestra, Giordano Bellincampi (conductor) NZRNZ 02:28 AM Max Bruch (1838-1920) Violin Concerto No. 1 in G minor, op. 26 James Ehnes (violin), Auckland Philharmonia Orchestra, Giordano Bellincampi (conductor) NZRNZ 02:52 AM Eugene Ysaye (1858-1931) Sonata for Solo Violin in D minor, op. 27/3 James Ehnes (violin) NZRNZ 02:59 AM Robert Schumann (1810-1856) Symphony No.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. ProQuest Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. NOTE TO USERS The cassettes are not included in this original manuscript. This reproduction is the best copy available. _ UMI Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction
    [Show full text]
  • "If There Were More Cynthia Phelpses Around, There Might Be More Viola Recitals…She Is a Master of Her Instrument -- Rema
    "If there were more Cynthia Phelpses around, there might be more viola recitals…she is a master of her instrument -- remarkable technique and warm, full sound." – THE WALL STREET JOURNAL "Not only does CYNTHIA PHELPS produce one of the richest, deepest viola timbres in the world, she is a superb musician" (Seattle Post-Intelligencer). Principal Violist of the New York Philharmonic, Ms. Phelps has distinguished herself both here and abroad as one of the leading instrumentalists of our time. The recipient of numerous honors and awards, including the Pro Musicis International Award and first prize at both the Lionel Tertis International Viola Competition and the Washington International String Competition, she has captivated audiences with her compelling solo and chamber music performances. She is "a performer of top rank...the sounds she drew were not only completely unproblematical --technically faultless, generously nuanced-- but sensuously breathtaking" (The Boston Globe). Ms. Phelps performs throughout the world as soloist with orchestras, including the Minnesota Orchestra, Shanghai, San Diego, Santa Barbara, Eastern Music Festival and Vermont Symphonies, Orquesta Sinfonica de Bilbao, and Rochester and Hong Kong Philharmonic among others. World-wide, her electrifying solo appearances with the New York Philharmonic garner raves; they have included Berlioz's Harold in Italy, the Bartok Viola Concerto, Strauss's Don Quixote, the Benjamin Lees Concerto for String Quartet, the premiere of a concerto written for her by Sofia Gubaidulina and most recently, the premiere of a new concerto by the young composer Julia Adolphe written for her. She has appeared as soloist with the orchestra across the globe, including Vienna’s Musikverein, London’s Royal Festival Hall, and the Concertgebouw in Amsterdam among others.
    [Show full text]
  • Georges Enesco Au Conservatoire De Paris (1895 – 1899)
    GEORGES ENESCO AU CONSERVATOIRE DE PARIS (1895 – 1899) JULIEN SZULMAN VIOLON PIERRE-YVES HODIQUE PIANO GEORGES ENESCO AU CONSERVATOIRE DE PARIS (1895 – 1899) GEORGES ENESCO ANDRÉ GÉDALGE GEORGES ENESCO MARTIN-PIERRE MARSICK Sonate n°1 pour piano et violon Sonate n°1 pour piano et violon Sonate n°2 pour piano et violon 11. Attente - Poème d’été opus 2 opus 12 opus 6 pour violon et piano 1. Allegro vivo — 7’42 4. Allegro moderato 8. Assez mouvementé — 8’40 opus 24 n°3 — 3’56 — 2’18 2. Quasi adagio — 9’28 e tranquillamente 9. Tranquillement — 7’12 3. Allegro — 8’00 5. Vivace — 3’35 10. Vif — 7’49 6. Adagio non troppo — 3’34 7. Presto con brio — 3’34 durée totale — 75’51 JULIEN SZULMAN — VIOLON PIERRE-YVES HODIQUE — PIANO RETOUR AUX SOURCES Élève d’un élève du violoniste Christian Halphen, dédiée à Enesco, composée final est indiqué « trompette », représentant Nationale de France. À de rares exceptions Ferras, j’ai très tôt été fasciné par la figure de seulement à partir de juillet 1899, et donc « un gosse de Poulbot ». L’écoute des près, les nombreux doigtés indiqués par son mentor Georges Enesco. Compositeur, postérieure aux études du violoniste au deux enregistrements du compositeur Marsick ont été respectés. violoniste, pianiste, chef d’orchestre : Conservatoire. Ce programme permet de (avec Chailley-Richez, et en 1943 avec la multiplicité de ses talents en fait une découvrir la personnalité marquante du Dinu Lipatti) est riche d’enseignements sur Ces différentes sources me sont d’une figure incontournable de l’histoire de la jeune Georges Enesco, et l’environnement la liberté du jeu des musiciens et du choix aide précieuse pour m’approcher au plus musique de la première moitié du XXe siècle.
    [Show full text]
  • Rehearing Beethoven Festival Program, Complete, November-December 2020
    CONCERTS FROM THE LIBRARY OF CONGRESS 2020-2021 Friends of Music The Da Capo Fund in the Library of Congress The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress (RE)HEARING BEETHOVEN FESTIVAL November 20 - December 17, 2020 The Library of Congress Virtual Events We are grateful to the thoughtful FRIENDS OF MUSIC donors who have made the (Re)Hearing Beethoven festival possible. Our warm thanks go to Allan Reiter and to two anonymous benefactors for their generous gifts supporting this project. The DA CAPO FUND, established by an anonymous donor in 1978, supports concerts, lectures, publications, seminars and other activities which enrich scholarly research in music using items from the collections of the Music Division. The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress was created in 1992 by William Remsen Strickland, noted American conductor, for the promotion and advancement of American music through lectures, publications, commissions, concerts of chamber music, radio broadcasts, and recordings, Mr. Strickland taught at the Juilliard School of Music and served as music director of the Oratorio Society of New York, which he conducted at the inaugural concert to raise funds for saving Carnegie Hall. A friend of Mr. Strickland and a piano teacher, Ms. Hull studied at the Peabody Conservatory and was best known for her duets with Mary Howe. Interviews, Curator Talks, Lectures and More Resources Dig deeper into Beethoven's music by exploring our series of interviews, lectures, curator talks, finding guides and extra resources by visiting https://loc.gov/concerts/beethoven.html How to Watch Concerts from the Library of Congress Virtual Events 1) See each individual event page at loc.gov/concerts 2) Watch on the Library's YouTube channel: youtube.com/loc Some videos will only be accessible for a limited period of time.
    [Show full text]
  • The St. Louis Symphony Orchestra and Music Director Stéphane Denève Announce Fall Programming for the 2021/2022 Season
    FOR IMMEDIATE RELEASE [June , ] Contacts: St. Louis Symphony Orchestra: Eric Dundon [email protected], C'D-*FG-D'CD National/International: NiKKi Scandalios [email protected], L(D-CD(-D(MD THE ST. LOUIS SYMPHONY ORCHESTRA AND MUSIC DIRECTOR STÉPHANE DENÈVE ANNOUNCE FALL PROGRAMMING FOR THE 2021/2022 SEASON Highlights of offerings from September 17-December 5, 2021, include: • The return of full orchestral performances led by Music Director Stéphane Denève at Powell Hall featuring repertoire spanning genre and time that celebrates the resilience of the human spirit. • Denève opens the classical season with two programs at Powell Hall. The season opener includes the first SLSO performances of Jessie Montgomery’s Banner and Anna Clyne’s Dance alongside Pyotr Ilyich Tchaikovsky’s Symphony No. 4. In his second weeK, Denève leads the SLSO in the string orchestra version of Caroline Shaw’s Entr’acte, Charles Ives’ The Unanswered Question, Christopher Rouse’s Rapture, and Sergei Rachmaninoff’s Piano Concerto No. 3 with pianist Yefim Bronfman. • The SLSO and Denève continue their deep commitment to music and composers of today, performing works by Thomas Adès, Karim Al-Zand, William Bolcom, Jake Heggie, James Lee III, Jessie Montgomery, Caroline Shaw, Carlos Simon, Outi Tarkiainen, Joan Tower, and the U.S. premiere of Anna Clyne’s PIVOT. • Other highlights of Denève’s fall programs include performances of Ludwig van Beethoven’s Symphony No. 5, Dmitri ShostaKovich’s Symphony No. 5, and collaborations with pianist VíKingur Ólafsson in his first SLSO appearance and violinist Nikolaj Szeps-Znaider. • The highly anticipated return of the free Forest Park concert, which welcomes thousands of St.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs
    m fl ^ j- ? i 1 9 if /i THE GREAT OUTDOORS THE GREAT INDOORS Beautiful, spacious country condominiums on 55 magnificent acres with lake, swimming pool and tennis courts, minutes from Tanglewood and the charms of Lenox and Stockbridge. FOR INFORMATION CONTACT (413) 443-3330 1136 Barker Road (on the Pittsfield-Richmond line) GREAT LIVING IN THE BERKSHIRES Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Seventh Season, 1987-88 Trustees of the Boston Symphony Orchestra, Inc. Kidder, President Nelson J. Darling, Jr., Chairman George H. T Mrs. John M. Bradley, Vice-Chairman J. P. Barger, V ice-Chairman Archie C. Epps, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Vernon R. Alden Mrs. Michael H. Davis Roderick M. MacDougall David B. Arnold, Jr. Mrs. Eugene B. Doggett Mrs. August R. Meyer Mrs. Norman L. Cahners Mrs. John H. Fitzpatrick David G. Mugar James F. Cleary Avram J. Goldberg Mrs. George R. Rowland William M. Crozier, Jr. Mrs. John L. Grandin Richard A. Smith Mrs. Lewis S. Dabney Francis W. Hatch, Jr. Ray Stata Harvey Chet Krentzman Trustees Emeriti Philip K. Allen Mrs. Harris Fahnestock Irving W. Rabb Allen G. Barry E. Morton Jennings, Jr. Paul C. Reardon Leo L. Beranek Edward M. Kennedy Mrs. George L. Sargent Richard P. Chapman Albert L. Nickerson Sidney Stoneman Abram T. Collier Thomas D. Perry, Jr. John Hoyt Stookey George H.A. Clowes, Jr. John L. Thorndike Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Jay B. Wailes, Assistant Treasurer Daniel R. Gustin, Clerk Administration of the Boston Symphony Orchestra, Inc.
    [Show full text]
  • BRITISH and COMMONWEALTH CONCERTOS from the NINETEENTH CENTURY to the PRESENT Sir Edward Elgar
    BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Sir Edward Elgar (1857-1934) Born in Broadheath, Worcestershire, Elgar was the son of a music shop owner and received only private musical instruction. Despite this he is arguably England’s greatest composer some of whose orchestral music has traveled around the world more than any of his compatriots. In addition to the Conceros, his 3 Symphonies and Enigma Variations are his other orchestral masterpieces. His many other works for orchestra, including the Pomp and Circumstance Marches, Falstaff and Cockaigne Overture have been recorded numerous times. He was appointed Master of the King’s Musick in 1924. Piano Concerto (arranged by Robert Walker from sketches, drafts and recordings) (1913/2004) David Owen Norris (piano)/David Lloyd-Jones/BBC Concert Orchestra ( + Four Songs {orch. Haydn Wood}, Adieu, So Many True Princesses, Spanish Serenade, The Immortal Legions and Collins: Elegy in Memory of Edward Elgar) DUTTON EPOCH CDLX 7148 (2005) Violin Concerto in B minor, Op. 61 (1909-10) Salvatore Accardo (violin)/Richard Hickox/London Symphony Orchestra ( + Walton: Violin Concerto) BRILLIANT CLASSICS 9173 (2010) (original CD release: COLLINS CLASSICS COL 1338-2) (1992) Hugh Bean (violin)/Sir Charles Groves/Royal Liverpool Philharmonic Orchestra ( + Violin Sonata, Piano Quintet, String Quartet, Concert Allegro and Serenade) CLASSICS FOR PLEASURE CDCFP 585908-2 (2 CDs) (2004) (original LP release: HMV ASD2883) (1973)
    [Show full text]
  • Erich Korngold Was One of History's Most
    Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair Much Ado About Nothing Suite, Op. 11 Erich Korngold rich Korngold was one of history’s most was produced to astonished acclaim at the Eextraordinary prodigies, rivaled in the an - Vienna Court Opera. By then he had already nals of child composers only by Felix completed his Piano Trio (Op. 1) and he Mendelssohn and (arguably) Mozart. He was would momentarily finish his Piano Sonata born into a musical family: his father, Julius No. 2, which the pianist Artur Schnabel im - Korngold, was a noted music critic who be - mediately put into his concert repertoire. friended and then succeeded Eduard Two years later Korngold produced his Hanslick on the staff of Vienna’s Neue Freie Sonata for Violin and Piano; again, it was Presse . Music came naturally to him. His Schnabel who took up its cause, program - mother, asked later in life about when her ming it in joint recitals with the eminent vio - son began playing the piano, replied, “Erich linist Carl Flesch. Composers all over Europe always played the piano.” In fact, he never were awed by their young colleague: Richard had more than basic training on the instru - Strauss, Giacomo Puccini, Jean Sibelius, and ment (curiously, since his father could have many others scrambled for superlatives to opened doors to the most renowned studios describe what they heard. By the time Korn - in Vienna), but it’s not clear that regimented gold was 20 his orchestral works had been study would have improved what already played by the Leipzig Gewandhaus Orchestra seemed to be absolute fluency at the key - (Arthur Nikisch conducting) and the Vienna board.
    [Show full text]
  • Chapter Three the Philadelphia Orchestra Stokowski Inherited 15
    <The "(PhiCacCeCpfiia Sound": The Formative Years (1912-1920) Candis nUreC^eCcf The "Philadelphia Sound": The Formative Years (1912-1920) HONORS THESIS Presented in Partial Fulfillment Of the Requirements For the UNIVERSITY OF NORTH TEXAS HONORS PROGRAM By Candis Threlkeld Denton, Texas April 1999 CamJm (J- <rSuJLJa) Student APfljROVED: acuity Advisor a-/ C Cjjy, Honors Director The "Philadelphia Sound": The Formative Years (1912-1920) HONORS THESIS Presented in Partial Fulfillment Of the Requirements For the UNIVERSITY OF NORTH TEXAS HONORS PROGRAM By Candis Threlkeld Denton, Texas April 1999 Student APPROVED: Faculty Advisor • n juts • Honors Director Acknowledgements This paper would not have been possible without the help of the following people, who aided me immensely while I was researching in Philadelphia: JoAnne Barry - archivist with the Philadelphia Orchestra Marjorie Hassen - curator of the Stokowski Collection, Otto E. Albrecht Music Library, University of Pennsylvania John Pollock and the Student Staff of the Ross Reading Room - Van Pelt Library, University of Pennsylvania Paul Sadedov - Music Librarian at the Free Library of Philadelphia Members of the Philadelphia Orchestra - who were a daily inspiration to me (I would particularly like to thank those members who took the time out to talk with me: Luis Biava, Booker Rowe, Richard Woodhams, David Bilger, Elizabeth Starr, and Pete Smith.) Phil - the security guard at the Academy who always helped me find JoAnne Barry, and who always greeted "Texas" with such a wonderful smile in the mornings Stephanie Wilson - one of my dearest friends who let me stay at her house during the second week of my trip - and who gave me great reed advice before my senior recital Janet Miller, Laura Lucas, and Darryl - Stephanie's housemates, who always made me always feel welcome I would also like to thank the following people at the University of North Texas for all of their assistance: Maestro Anshel Brusilow - director of orchestras and my faculty advisor Dr.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer
    SUMMER 2009 BOSTON SYM ON Y ORCH E RA JAMES LEVINE MUSIC DIRECTOR DALECHIHULY r ^ m I &£ V + i HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE 3 Elm Street, Stockbridge 413 -298-3044 www.holstenpalleries.com i photo: Icrcsa Nouri I O l \ e Broun and Coral Pink Persian Set They're Not Only Preparing ^ / for a Changing World They're Preparing to Change the World y M 1 what girls have in mind 'J'NZib-iS 492 Holmes Road, Pittsfield, Massachusetts 01201 (413)499-1300 www.misshalls.org • e-mail: [email protected] V Final Weeks! TITIAN, TINTORETTO, VERONESE RIVALS IN RENAISSANCE VENICE " 'Hot is the WOrdfor this show. —The New York T Museum of Fine Arts, Boston March 15- August 16, 2009 Tickets: 800-440-6975 or www.mfa.org BOSTON The exhibition is organized by the Museum The exhibition is PIONEER of Fine Arts, Boston and the Mus6e du fcUniCredit Group sponsored by Investments* Louvre, and is supported by an indemnity from the Federal Council on the Arts and Titian, Venus with a Mirror (detail), about 1555. Oil on canvas. National Gallery of Art, Washington, Andrew the Humanities. W. Mellon Collection 1 937. 1 .34. Image courtesy of the Board of Trustees, National Gallery of Art, Washington. James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 128th season, 2008-2009 *f=^y Trustees of the Boston Symphony Orchestra, Inc. Edward H. Linde, Chairman • Diddy Cullinane, Vice-Chairman • Robert P. O'Block, Vice-Chairman Stephen Kay, Vice-Chairman • Roger T. Servison, Vice-Chairman • Edmund Kelly, Vice-Chairman • Vincent M.
    [Show full text]
  • Program Notes Pima Community College Recital Hall April 17, 2014 7:00 PM Mark Nelson, Tuba Marie Sierra, Piano
    Mark Nelson Tuba Recital Program Notes Pima Community College Recital Hall April 17, 2014 7:00 PM Mark Nelson, tuba Marie Sierra, piano Performers Marie Sierra is a professional pianist who performs collaboratively in over 40 concerts annually and is formerly the staff pianist for the Tucson Girls Chorus and currently the staff pianist for the Tucson Boys Chorus. Recently, Marie has performed and recorded with Artists Michael Becker (trombone) and Viviana Cumplido (Flute). She has also recorded extensively with Yamaha Artist and Saxophonist, Michael Hester, on Seasons and An American Patchwork. Marie is in demand as an accompanist throughout the United States and Mexico. Additionally, she has performed at numerous international music conferences, including the 2010 International Tuba Euphonium Conference in Tucson. Marie has served on the faculties of the Belmont University in Nashville, and the Blair School of Music at Vanderbilt University. Ms. Sierra earned her Bachelor’s degree and Master’s degree in Piano Performance at the University of Miami. Program Six Romances Without Words, op. 76 by Cécile Chaminade (1857-1944) arranged by Ralph Sauer Published by Cherry Classics Music. www.Cherry-Classics.com. The Six Romances Without Words was originally a piano work written in 1893-1894. Like many works of the time, it would typically be played for small audiences in a parlor or small hall. The melodies are all fitting for the tuba and the harmonies are interesting but not too modern. The arranger, Ralph Sauer, has placed the movements in a different order than the original work to facilitate more of a grand finale than a reflective last movement.
    [Show full text]