San Francisco Symphony 2007-2008 Season at a Glance
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PEN Trio Nora Lewis, Oboe Phillip O. Paglialonga, Clarinet Eric Van Der Veer Varner, Bassoon
PEN Trio Nora Lewis, oboe Phillip O. Paglialonga, clarinet Eric Van der Veer Varner, bassoon 2016-2017 PEN Trio Nora Lewis, oboe Phillip O. Paglialonga, clarinet Eric Van der Veer Varner, bassoon Thursday, November 10 7:30 p.m. Count and Countess de Hoernle International Center Amarnick-Goldstein Concert Hall Program Suite pour Trio d (1949) Alexandre Tansman (1897-1986) I. Dialogue II. Scherzino III. Aria IV. Finale Security Lapses (2016) * Jon Jeffrey Grier (b. 1953) I. Leaks II. Hacks III. Bugs IV. Moles Intermission Blue Fountains, Red Flames (2016) ** Wendy Wan-Ki Lee (b. 1977) Trio (1945) Witold Lutoslawski (1913-1994) I. Allegro Moderato II. Poco Adagio III. Allgero Giocoso *The PEN Trio premiered this work on November 4, 2016 at the 56th Annual Conference of the South Carolina Music Teachers Association. **The PEN Trio premiered this work on April 4, 2016 in Appleton, Wisconsin at the Lawrence Conservatory of Music. PROGRAM NOTES Suite pour Trio d'Anches- Alexandre Tansman Program Notes by Nora Lewis With four movements arranged in a slow-fast-slow-fast sequence, Alexandre (1954) recalls Baroque conventions and features expansive contrapuntal lines underpinned by unconventional harmonies. This piece shares similar neo-Baroque elements with his Suite Baroque (1958), dedicated to Queen Elizabeth, with whom Tansman had played duets decades earlier. The light and quirky character of the Twentieth-Century French style is quality. In many of his works Tansman draws on Polish folk melodies, Mazurka rhythms, and genres such as Polonaise and Nocturne. Scholars also cite the influence of the Polish scale, with pervasive emphasis on the fourth scale degree in melodic and particularly harmonic contexts. -
97679 Digibooklet Schumann Vol
ROBERT SCHUMANN Complete Symphonic Works VOL. III OREN SHEVLIN WDR Sinfonieorchester Köln HEINZ HOLLIGER ROBERT SCHUMANN Complete Symphonic Works • Vol. III recording date: April 8-11, 2013 Cello Concerto in A minor, Op. 129 23:59 I. Nicht zu schnell 11:51 II. Langsam 4:08 P Eine Produktion des Westdeutschen Rundfunks Köln, 2013 lizenziert durch die WDR mediagroup GmbH III. Sehr lebhaft 8:00 recording location: Köln, Philharmonie executive producer (WDR): Siegwald Bütow recording producer & editing: Günther Wollersheim Symphony No. 4 in D minor, Op. 120 recording engineer: Brigitte Angerhausen (revised version 1851) 28:56 Recording assistant: Astrid Großmann I. Ziemlich langsam. Lebhaft 10:25 photos: Oren Shevlin (page 8): Neda Navaee II. Romanze. Ziemlich langsam 3:57 Heinz Holliger (page 10): Julieta Schildknecht III. Scherzo. Lebhaft 6:45 WDR Sinfonieorchester Köln (page 5): WDR Thomas Kost IV. Langsam. Lebhaft 7:49 WDR Sinfonieorchester Köln (page 9): Mischa Salevic front illustration: ‘Mondaufgang am Meer’ Caspar David Friedrich art direction and design: AB•Design executive producer (audite): Dipl.-Tonmeister Ludger Böckenhoff OREN SHEVLIN e-mail: [email protected] • http: //www.audite.de WDR Sinfonieorchester Köln © 2014 Ludger Böckenhoff HEINZ HOLLIGER Remembering, Narrating Schumann’s Cello Concerto contains movements are recalled in the same way the same in another: only the material is On 2 September 1848 Robert Schumann many recollections of Mendelssohn. It as Beethoven had done in his Ninth Sym- different”. Schumann noted this maxim no composed a piece for piano and called opens with three wind chords similar phony. Schumann also referred to his own later than 1834, at the age of twenty-four, it Erinnerung [recollection], inserting to those in the overtures to A Midsum- works: in the transition from the fi rst to the and he followed it in his ideal of musical the subtitle “4. -
New Jersey Symphony Orchestra Presents Beethoven's Violin Concerto with Pinchas Zukerman
New Jersey Symphony Orchestra Press Contact: Victoria McCabe, NJSO Senior Manager of Public Relations & Communications 973.735.1715 | [email protected] www.njsymphony.org/pressroom FOR IMMEDIATE RELEASE New Jersey Symphony Orchestra presents Beethoven’s Violin Concerto with Pinchas Zukerman Part of the 2017 NJSO Winter Festival Zukerman—Artistic Director of three-week Winter Festival—solos in Beethoven’s sole violin concerto Concerts also feature Saint-Saëns’ Symphony No. 3, “Organ,” Barber’s Overture to The School for Scandal Christian Vásquez conducts NJSO Accents: Organ tour and recital at Newark’s Cathedral Basilica of the Sacred Heart, Classical Conversations, mentoring talkback Fri, Jan 20, at Richardson Auditorium in Princeton Sat, Jan 21, at NJPAC in Newark Sun, Jan 22, at Mayo Performing Arts Center in Morristown NEWARK, NJ (December 13, 2016)—The New Jersey Symphony Orchestra presents Beethoven’s Violin Concerto with Pinchas Zukerman, the second program of the three-weekend 2017 Winter Festival, January 20–22 in Princeton, Newark and Morristown. Christian Vásquez conducts a program that also features Saint-Saëns’ Symphony No. 3, “Organ,” and Barber’s Overture to The School for Scandal. Performances take place on Friday, January 20, at 8 pm at the Richardson Auditorium in Princeton; Saturday, January 21, at 8 pm at the New Jersey Performing Arts Center in Newark; and Sunday, January 22, at 3 pm at the Mayo Performing Arts Center in Morristown. In a preview of the 2017 Winter Festival crafted around Zukerman, The Asbury Park Press anticipates the performances by the “violinist extraordinaire,” writing: “Zukerman is something of a legend in the classical music world, with a nearly 2017 NJSO Winter Festival: Zukerman & Beethoven’s Violin Concerto – Page 2 half-century career as soloist and conductor. -
Franz Schubert Complete Works for Violin and Piano Julia
Volume 1 Franz Schubert Complete Works for Violin and Piano Julia Fischer - Martin Helmchen HYBRID MUL TICHANNEL Franz Schubert (1797 – 1828) Franz Schubert (1797 – 1828) Schubert composed his Violin Sonatas Complete Works for Violin and Piano, Volume 1 in 1816, at a time in life when he was obliged he great similarity between the first to go into teaching. Actually, the main Sonata (Sonatina) for Violin and Piano in D major, D. 384 (Op. 137, No. 1) Tmovement (Allegro molto) of Franz reason was avoiding his military national 1 Allegro molto 4. 10 Schubert’s Sonata for Violin and Piano in service, rather than a genuine enthusiasm 2 Andante 4. 25 D major, D. 384 (Op. posth. 137, No. 1, dat- for the teaching profession. He dedicated 3 Allegro vivace 4. 00 ing from 1816) and the first movement of the sonatas to his brother Ferdinand, who Sonata (Sonatina) for Violin and Piano in A minor, D. 385 (Op. 137, No. 2) the Sonata for Piano and Violin in E minor, was three years older and also composed, 4 Allegro moderato 6. 48 K. 304 by Wolfgang Amadeus Mozart must although his real interest in life was playing 5 Andante 7. 29 have already been emphasised hundreds the organ. 6 Menuetto (Allegro) 2. 13 of times. The analogies are more than sim- One always hears that the three early 7 Allegro 4. 36 ply astonishing, they are essential – and at violin sonatas were “not yet true master- the same time, existential. Deliberately so: pieces”. Yet just a glance at the first pages of Sonata (Sonatina) for Violin and Piano in G minor, D. -
GOERNE Bio E 2018 19 Short
Matthias Goerne Matthias Goerne is one of the most versatile and internationally sought-after vocalists and a frequent guest at renowned festivals and concert halls. He has collaborated with the world’s leading orchestras, conductors and pianists. Born in Weimar, he studied with Hans-Joachim Beyer in Leipzig, and later with Elisabeth Schwarzkopf and Dietrich Fischer-Dieskau. Matthias Goerne has appeared on the world’s principal opera stages including the Metropolitan Opera in New York, Royal Opera House Covent Garden, Teatro Real in Madrid, Paris National Opera, and the Vienna State Opera. His roles range from Wolfram, Amfortas, Wotan, Orest, and Jochanaan to the title roles in Béla Bartók’s Duke Bluebeard’s Castle and Alban Berg’s Wozzeck. Goerne’s artistry has been documented on numerous recordings, many of which have received prestigious awards, including four Grammy nominations, an ICMA Award, a Gramophone Award, the BBC Music Magazine Vocal Award 2017, and a Diapason d’or arte. After his legendary recordings with Vladimir Ashkenazy and Alfred Brendel for Universal Music, he recorded a series of selected Schubert songs on 12 CDs for harmonia mundi (The Goerne/Schubert Edition) with eminent pianists. His latest recordings of Brahms songs with Christoph Eschenbach, of Schumann songs with Markus Hinterhäuser, of Mahler songs with the BBC Symphony, and of Wagner arias with the Swedish Radio Symphony have received rave reviews. In addition to his residency with the New York Philharmonic further highlights of the 2018/19 season include concerts with other top orchestras in the U.S. (Pittsburgh, Houston, Los Angeles), Europe and Japan. -
Robert Schumann on the Poems of Heinrich Heine
DICHTERLIEBE opus 48 A Cycle of Sixteen. Songs by Robert Schumann on the poems of Heinrich Heine An Honors Thesis (Honrs 499) by Shawn L. Harrington Thesis Advisor (u,r$/ Mr. John Meadows", . " (! jl'lrli{Lul ~t;(,cY\' Ball State University Muncie, Indiana November, 1995 Expected date of graduation 12/95 !J,:'( ! __ <l !.", .,.' , j:L. ' .. " Purpose of Thesis This project has two components: a written discussion of the music of the Dichterliebe, and the lives of the composer Robert Schumann and the poet Heinrich Heine; and an audio tape of my performance of the Dichterliebe. The performance was the culmination of my study of the Dichterliebe, in particular, and of my voice studies, in general. Through the performance, I set out to share the wonderful music and poetry of the Dichterliebe as well as share my musical and vocal growth over the past four years. The written portion of the project was undertaken to satisfy my personal curiosity of the men who wrote the music and the poetry of the Dichterliebe. A study of the music without knowing the man who composed it or the man who wrote the words would be only half complete at best. Likewise, a study of the men and not the music would also be incomplete. That is why I included both venues of learning and experiencing in this project; and that is why I have included an audio tape of the performance with this written report. Acknowledgements I would like to thank my voice instructor (and thesis advisor), John Meadows. Without his expertise, advise, and instruction, I would not have been able to present the Dichterliebe in a performance. -
Spohr and Schumann
SPOHR AND SCHUMANN by Keith Warsop OR MOST PEOPLE the link between Louis Spohr and Robert Schumann is limited to the latter's negative criticism of the Historrcai Symphony. In fact, the two musicians had a high regard for each other's compositions even though they each sometimes had reservations about particular aspects of certain individual works. Unfortunately, Spohr broke off his memoirs when he reached June 1838 shortly before he and Schumann met for the first time so we do not have his considered thoughts about Schumann's music in general. However, in the section of the memoirs added by his second wife, Marianne, after Spohr's death, she records that after the stay in Carlsbad detailed by Spohr in the last paragraphs he wrote down himself, they stopped in Leipzig on their way home. There, Marianne continues, "it was a source of great pleasure to him to make the long-desired acquaintance of Robert Schumann who, though in other respects exceedingly quiet and reserved, yet evinced his admiration of Spohr with great warmth and gratified him by the performanee of several of his interesting fantasias. " The two composers had, however, been in touch a few months before through the agency of a third composer, Felix Mendelssohn. On 24th November 1836, Mendelssohn wrote to Spohr requesting a song for inclusion in the wedding album of his new bride, Cdcilie Jeanrenaud, and on l3th December wrote again to thank Spohr for the song 'Was mir wohl tibrig bliebe', WoO96 (later included by Spohr as No.5 of his Op.139 Lieder collection). -
Julia Fischer
Julia Fischer J.S. Bach Sonatas and Partitas for Solo Violin BWV 1001-1006 Johann Sebastian Bach (1685-1750) Sonatas and Partitas for Solo Violin PTC 5186 073 Sonata No.1 in G minor, BWV 1001 1 Adagio 4. 41 2 Fuga (Allegro) 5. 55 3 Siciliana 2. 59 4 Presto 3. 35 Partita No.1 in B minor, BWV 1002 5 Allemanda 6. 27 6 Double 2. 53 7 Corrente 2. 59 8 Double (Presto) 3. 28 9 Sarabande 4. 17 10 Double 3. 11 11 Tempo di Borea 3. 56 12 Double 3. 36 Sonata No.2 in A minor, BWV 1003 13 Grave 4. 53 14 Fuga 8. 12 15 Andante 5. 30 16 Allegro 5. 34 Total playing-timing : 73. 08 PTC 5186 074 Partita No.2 in D minor, BWV 1004 1 Allemande 4. 42 2 Corrente 2. 28 3 Sarabanda 4. 54 4 Giga 4. 02 5 Ciaccona 15. 47 Sonata No.3 in C, BWV 1005 6 Adagio 5. 20 7 Fuga 10. 33 8 Largo 3. 55 9 Allegro assai 4. 46 Partita No.3 in E, BWV 1006 10 Preludio 3. 25 11 Loure 5. 08 12 Gavotte en Rondeau 3. 09 13 Menuets I – II 3. 56 14 Bourrée 1. 28 15 Gigue 1. 53 Total playing-timing: 76. 52 Julia Fischer - violin Violin: Jean Baptiste Guadagnini from 1750 Recording venue: Doopsgezinde Singelkerk, Amsterdam, 12/2004 Producer: Job Maarse Balance Engineer : Jean-Marie Geijsen Editing : Erdo Groot; Sebastian Stein Photography: Dirk-Jan van Dijk “Nicht Bach sondern Meer sollte er heißen...” Sicherlich stellen sich manche von Ihnen die Frage, ob ich schon mit 21 Jahren sämtliche Sonaten und Partiten von Bach aufnehmen musste. -
A Dichterliebe by Robert Schumann
,A DICHTERLIEBE BY ROBERT SCHUMANN THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Hubert Neil Davidson, B. M. Denton, Texas August, 1957 PREFACE The purpose of this work, an analysis of the song cycle Dichterliebe (Op. 1+8) by Robert Schumann, is to recognize the special features of the songs which will contribute to their understanding and musical interpretation and perform- ance. The Dichterliebe was chosen as the composition to be analyzed because of its prominent position in the vocal lit.- erature of the Romantic period. An acquaintance with the life of the poet, Heinrich Heine, as well as the life of the composer of these songs and their relationship to each other contributes toward an understanding of the cycle. Each of the sixteen songs in the cycle is analyzed according to its most important characteristics, including text setting, general harmonic structure, important role of the accompaniment, expressive techniques, mood, tempo, rhythm, and dynamics. It is not the aim of this work to offer an extensive formal or harmonic analysis of this song cycle. iii TABLE OF CONTENTS Page PREFACE . iii LIST OF ILLUSTRATIONS.... ..... .v Chapter I. BACKGROUND OF THE DICHTERLIEBE . .1 Biographical Sketch of Robert Schumann The Life and Work of Heinrich Heine Robert Schumann's Relationship with Heinrich Heine History of Song Cycles up to and Past the Dichterliebe II. ANALYSIS OF THE DICHTERLIEBE . 18 I Im wundersch8ne Monat Mai II lus meinen Thranen spriessen III Die Rose, die Lilie, die Taube IV Wenn ich in!~deine Augen~seh1' V IhwiT miieine Seele tauchen VI Im Rhein, im heiligen Strome VII Ich rolle nicht VIII Und, ssten's die Blumen, die kleinen IX Das ist ein Fl8ten und Geigen x 'Tich das Liedchen~klingen XI Emn J17ling liebt ein Mdchen XII Am leuchtenden Sommemorgen XIII Ich hablimTTraum geweinet XIV llnHEhtlich im Traume seh' ich dich XV Aus alten Murchen Winkt es XVI Die alten b6sen Leider BIBLIOGRAPHY 0. -
Nuveen Investments Emerging Artist Violinist Julia Fischer Joins the Cso and Riccardo Muti for June Subscription Concerts at Symphony Center
For Immediate Release: Press Contacts: June 13, 2016 Eileen Chambers, 312-294-3092 Photos Available By Request [email protected] NUVEEN INVESTMENTS EMERGING ARTIST VIOLINIST JULIA FISCHER JOINS THE CSO AND RICCARDO MUTI FOR JUNE SUBSCRIPTION CONCERTS AT SYMPHONY CENTER June 16 – 21, 2016 CHICAGO—Internationally acclaimed violinist Julia Fischer returns to Symphony Center for subscription concerts with the Chicago Symphony Orchestra (CSO) led by Music Director Riccardo Muti on Thursday, June 16, at 8 p.m., Friday, June 17, at 1:30 p.m., Saturday, June 18, at 8 p.m., and Tuesday, June 21, at 7:30 p.m. The program features Brahms’ Serenade No. 1 and Beethoven’s Violin Concerto in D Major with Fischer as soloist. Fischer’s CSO appearances in June are endowed in part by the Nuveen Investments Emerging Artist Fund, which is committed to nurturing the next generation of great classical music artists. Julia Fischer joins Muti and the CSO for Beethoven’s Violin Concerto. Widely recognized as the first “Romantic” concerto, Beethoven’s lush and virtuosic writing in the work opened the traditional form to new possibilities for the composers who would follow him. The second half of the program features Brahms’ Serenade No. 1. Originally composed as chamber music, Brahms later adapted the work for full orchestra, offering a preview of the rich compositional style that would emerge in his four symphonies. The six-movement serenade is filled with lyrical wind and string passages, as well as exuberant writing in the allegro and scherzo movements. German violinist Julia Fischer won the Yehudi Menuhin International Violin Competition at just 11, launching her career as a solo and orchestral violinist. -
Dichterliebe Schumann Julian Prégardien Éric Le Sage Sandrine Piau MENU › TRACKLIST › DEUTSCH › FRANÇAIS › ENGLISH › SUNG TEXTS
DICHTERLIEBE SCHUMANN JULIAN PRÉGARDIEN ÉRIC LE SAGE SANDRINE PIAU MENU › TRACKLIST › DEUTSCH › FRANÇAIS › ENGLISH › SUNG TEXTS ROBERT SCHUMANN (1810-1856) SPANISCHES LIEDERSPIEL, OP.74 1 NO.4 IN DER NACHT 4’24 CLARA SCHUMANN (1819-1896) 3 ROMANCES, OP.11 2 NO.2 ANDANte – allegrO PASSIONATO – aNDANTE 5’29 ROBERT SCHUMANN 3 GESÄNGE, OP.31 3 NO.1 DIE LÖWENBRAUT 7’53 CLARA SCHUMANN 4 WENN ICH EIN VÖGLEIN WÄR 1’08 ROBERT SCHUMANN 3 ZWEISTIMMIGE LIEDER, OP.43 (OSSIA GENOVEVA, OP.81, ACT II) 5 NO.5 WENN ICH EIN VÖGLEIN WÄR 1’27 MYRTHEN, OP.25 6 NO.15 AUS DEN HEBRÄISCHEN GESÄNGEN (MEIN HERZ IST SCHWER) 4’32 DICHTERLIEBE, OP.48 7 I. IM WUNDERSCHÖNEN MONAT MAI 1’32 8 II. AUS MEINEN TRÄNEN SPRIEßEN 0’45 9 III. DIE ROSE, DIE LILIE 0’34 10 IV. WENN ICH IN DEINE AUGEN seh’ 1’31 11 V. ICH WILL MEINE SEELE TAUCHEN 0’55 12 VI. IM RHEIN, IM HEILIGEN STROME 2’27 13 VII. ICH GROLLE NICHT 1’27 14 VIII. UND WÜSSTEN’s die BLUMEN 1’12 15 IX. DAS IST EIN FLÖTEN UND GEIGEN 1’17 16 X. Hör’ ich das LIEDCHEN KLINGEN 1’46 17 XI. EIN JÜNGLING LIEBT EIN MÄDCHEN 0’52 18 XII. AM LEUCHTENDEN SOMMERMORGEN 2’16 19 XIII. Ich hab’ im TRAUM GEWEINET 2’36 20 XIV. ALLNÄCHTLICH IM TRAUME 1’22 21 XV. AUS ALTEN MÄRCHEN WINKT ES 2’05 22 XVI. DIE ALTEN BÖSEN LIEDER 4’00 SECHS FRÜHE LIEDER, WOO 21 23 NO.4 KURZES ERWACHEN 2’16 5 LIEDER UND GESÄNGE, OP.127 24 NO.1 SÄNGERS TROST 2’05 3 ROMANZEN, OP.28 25 NO.1 SEHR MARKIRT 3’22 26 NO.2 EINFACH 3’23 4 GESÄNGE, OP.142 27 NO.4 MEIN WAGEN ROLLET LANGSAM 3’03 TOTAL TIME: 66’15 JULIAN PRÉGARDIEN TENOR ÉRIC LE SAGE FORTEPIANO FORTEPIANO BY JULIUS BLÜTHNER, LEIPZIG 1856, RESTORED BY CHRISTOPH KERN SANDRINE PIAU SOPRANO (1,3,4,5) › MENU Jedes musikalische Werk durchläuft eine Entstehungsgeschichte. -
EYM Programmheft.Pdf
1 Introduction Hannelore Kraft (Premier of the State of North Rhine-Westfalia) Tom Buhrow (Director General, WDR) Jürgen Roters (Lord Mayor of the City of Cologne) Dr. Ursula Sinnreich and Dr. Fritz Behrens (Kunststiftung NRW) Dr. Bettina Brinkmann (Eurovision Head of TV) Prof. Dr. Lothar Mattner (WDR/EBU) WELCOME GREETINGS Eurovision Young Musicians Cologne / Germany / 31 May 2014 05 ➔ Welcome HANNELORE KRAFT Premier of the State of North Rhine-Westfalia Music speaks for itself, according to the late Sir Yehudi Menuhin, if only we let it. This is especially true when the performance is done by brilliant musicians. The European Broadcasting Union’s Eurovision Young Musicians is an impressive event, in the best sense of the word. It is not any old talent show, to be quickly forgotten. No, this competition provides a spring- board for talented young solo performers of classical music to enter the international scene. I am delighted that this year’s Eurovision Young Musicians is held in Cologne, a city known for its enthusiastic audienc- es and home to renowned symphony and chamber orches- tras as well as the University of Music and Dance. For one week, musical artists from 14 countries are demon- strating their technical brilliance and artistic flair. And they are well motivated: many international celebrity artists started out at the Eurovision Young Musician, the final in Cologne’s central Roncalliplatz square will be broadcast live to a European audience and the winner will be given the op- portunity to perform with the Vienna Philharmonic. Now, if that is not an incentive, I don’t know what is.