Boston Symphony Orchestra Concert Programs, Season 112, 1992-1993
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Monteverdi the Beauty of Monteverdi
The Beauty of Monteverdi The Beauty of Monteverdi 2 Claudio Monteverdi (1567–1643) 1 L’Orfeo: Toccata 1:36 12 Zefiro torna, e di soavi accenti (Scherzi musicali, cioè arie, et madrigali in stil recitativo) 6:47 ENGLISH BAROQUE SOLOISTS · JOHN ELIOT GARDINER Text: Ottavio Rinuccini ANNA PROHASKA soprano · MAGDALENA KOŽENÁ mezzo-soprano Vespro della Beata Vergine LA CETRA BAROCKORCHESTER BASEL · ANDREA MARCON harpsichord and conductor 2 Lauda Jerusalem a 7 3:48 13 (Ottavo libro de’ madrigali: Madrigali guerrieri, et amorosi) 8:00 3 Duo seraphim a 3 6:44 Lamento della ninfa Text: Ottavio Rinuccini 4 Nisi Dominus a 10 4:36 MAGDALENA KOŽENÁ mezzo-soprano 5 Pulchra es a 2 3:57 JAKOB PILGRAM · MICHAEL FEYFAR tenor · LUCA TITTOTO bass MARINELLA PENNICCHI � · ANN MONOYIOS � soprano LA CETRA BAROCKORCHESTER BASEL · ANDREA MARCON harpsichord and conductor MARK TUCKER � · NIGEL ROBSON � · SANDRO NAGLIA � tenor · THE MONTEVERDI CHOIR � , � JAKOB LINDBERG � chitarrone, � lute · DAVID MILLER �, � · CHRISTOPHER WILSON � chitarrone 14 Io mi son giovinetta (Quarto libro de’ madrigali) 2:14 ENGLISH BAROQUE SOLOISTS · HIS MAJESTYS SAGBUTTS & CORNETTS · JOHN ELIOT GARDINER Text: Giovanni Battista Guarini Recorded live at the Basilica di San Marco, Venice EMMA KIRKBY · EVELYN TUBB soprano · MARY NICHOLS alto JOSEPH CORNWELL tenor · RICHARD WISTREICH bass L’Orfeo CONSORT OF MUSICKE · ANTHONY ROOLEY Libretto: Alessandro Striggio jr 6 “Rosa del ciel” (Orfeo) … “Io non dirò qual sia” (Euridice) … 4:30 15 Parlo, miser, o taccio (Settimo libro de’ madrigali) 4:42 Balletto: “Lasciate i monti” … “Vieni, Imeneo” (Coro) Text: Giovanni Battista Guarini 7 Sinfonia … “Ecco pur ch’a voi ritorno” (Orfeo) 0:50 EMMA KIRKBY · JUDITH NELSON soprano · DAVID THOMAS bass CONSORT OF MUSICKE · ANTHONY ROOLEY 8 “Mira ch’a sé n’alletta” (Pastore I & II) … “Dunque fa’ degni, Orfeo” (Coro) 2:18 9 “Qual onor di te fia degno” … “O dolcissimi lumi” (Orfeo) – 3:16 16 Laetatus sum (Messa, salmi concertati e parte da capella, et letanie della B. -
Report to Donors 2012 Table of Contents
Report to Donors 2012 Table of Contents Mission 2 Board of Trustees 3 Letter from the Director 4 Letter from the President 5 Exhibitions 6 Public, Educational, and Scholarly Programs 9 Gifts to the Collection 12 Statement of Financial Position 14 Donors 15 Planned Giving 23 Staff 24 Mission Board of Trustees he mission of The Morgan Library & Museum is to Lawrence R. Ricciardi Karen H. Bechtel ex officio preserve, build, study, present, and interpret a collection President Rodney B. Berens William T. Buice III Susanna Borghese William M. Griswold T of extraordinary quality in order to stimulate enjoyment, James R. Houghton T. Kimball Brooker William James Wyer excite the imagination, advance learning, and nurture creativity. Vice President Karen B. Cohen Flobelle Burden Davis life trustees A global institution focused on the European and American Richard L. Menschel Geoffrey K. Elliott William R. Acquavella traditions, the Morgan houses one of the world’s foremost Vice President Brian J. Higgins Walter Burke Clement C. Moore II Haliburton Fales, 2d collections of manuscripts, rare books, music, drawings, and George L. K. Frelinghuysen John A. Morgan S. Parker Gilbert, ancient and other works of art. These holdings, which represent Treasurer Diane A. Nixon President Emeritus the legacy of Pierpont Morgan and numerous later benefactors, Cosima Pavoncelli Drue Heinz Thomas J. Reid Peter Pennoyer Lawrence Hughes comprise a unique and dynamic record of civilization as well as Secretary Cynthia Hazen Polsky Herbert Kasper an incomparable repository of ideas and of the creative process. Katharine J. Rayner Herbert L. Lucas Annette de la Renta Charles F. -
Concerts with the London Philharmonic Orchestra for Seasons 1946-47 to 2006-07 Last Updated April 2007
Artistic Director NEVILLE CREED President SIR ROGER NORRINGTON Patron HRH PRINCESS ALEXANDRA Concerts with the London Philharmonic Orchestra For Seasons 1946-47 To 2006-07 Last updated April 2007 From 1946-47 until April 1951, unless stated otherwise, all concerts were given in the Royal Albert Hall. From May 1951 onwards, unless stated otherwise, all concerts were given in The Royal Festival Hall. 1946-47 May 15 Victor De Sabata, The London Philharmonic Orchestra (First Appearance), Isobel Baillie, Eugenia Zareska, Parry Jones, Harold Williams, Beethoven: Symphony 8 ; Symphony 9 (Choral) May 29 Karl Rankl, Members Of The London Philharmonic Orchestra, Kirsten Flagstad, Joan Cross, Norman Walker Wagner: The Valkyrie Act 3 - Complete; Funeral March And Closing Scene - Gotterdammerung 1947-48 October 12 (Royal Opera House) Ernest Ansermet, The London Philharmonic Orchestra, Clara Haskil Haydn: Symphony 92 (Oxford); Mozart: Piano Concerto 9; Vaughan Williams: Fantasia On A Theme Of Thomas Tallis; Stravinsky: Symphony Of Psalms November 13 Bruno Walter, The London Philharmonic Orchestra, Isobel Baillie, Kathleen Ferrier, Heddle Nash, William Parsons Bruckner: Te Deum; Beethoven: Symphony 9 (Choral) December 11 Frederic Jackson, The London Philharmonic Orchestra, Ceinwen Rowlands, Mary Jarred, Henry Wendon, William Parsons, Handel: Messiah Jackson Conducted Messiah Annually From 1947 To 1964. His Other Performances Have Been Omitted. February 5 Sir Adrian Boult, The London Philharmonic Orchestra, Joan Hammond, Mary Chafer, Eugenia Zareska, -
The Academy of Ancient Music CHRISTOPHER HOGWOOD Director
THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN The Academy of Ancient Music CHRISTOPHER HOGWOOD Director EMMA KIRKBY, Soprano DAVID THOMAS, Bass THURSDAY EVENING, MARCH 14, 1985, AT 8:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Water Music..................................................... HANDEL Horn Suite in F major Overture: largo, allegro Menuct for French Horn Adagio c staccato Bourree Allegro Hornpipe Air: presto Flute Suite in G major Menuet Menuets I and II Rigaudon Country Dance Trumpet Suite in D major Allegro Lcntcmcnt Alia Hornpipe Air Trumpet Menuet INTERMISSION Cantata, Apollo and Dafne ........................................ HANDEL EMMA KIUKBY, Soprano DAVID THOMAS, Bass RACHEL BROWN, flute obbligato CLARE SHANKS, oboe obbligato Hypcrioii and L'Oiscmi-Lyrc Records. Sixtieth Concert of the 106th Season Special Concert Program Notes by Christopher Hogwood Water Music .................................... GEORGE FRIDEUIC HANDEL (1685-1759) "On 15 July, 1717, it was reported that 'at about 8,' the King took Water at Whitehall in an open Barge, and went up the River towards Chelsea. Many other Barges with Persons of Quality attended. A City Company's Barge was employ'd for the Musick, wherein were 50 Instruments of all sorts, who play'd all the way from Lambeth the finest Symphonies, compos'd express for this Occasion by Mr. Hendel; which his Majesty liked so well that he caus'd it to be plaid over three times in going and returning. At Eleven his Majesty went ashore at Chelsea, where a Supper was prepar'd, -
City of Birmingham Choir Concerts from 1964
City of Birmingham Choir concerts from 1964. Concerts were conducted by Christopher Robinson and took place in Birmingham Town Hall with the CBSO unless otherwise stated. Messiah concerts and Carols for All concerts are listed separately. 1964 Mar 17 Vaughan Williams: Overture ‘The Wasps’ Finzi: Intimations of Immortality Vaughan Williams: Dona Nobis Pacem Elizabeth Simon John Dobson Peter Glossop Christopher Robinson conducts the Choir for the first time Jun 6 Britten: War Requiem Heather Harper Wilfred Brown Thomas Hemsley Performed in St Alban’s Abbey Meredith Davies’ final concert as conductor of the Choir Nov 11 & 12 Britten: War Requiem (Nov 11 in Wolverhampton Civic Hall Nov 12 in Birmingham Town Hall) Jacqueline Delman Kenneth Bowen John Shirley-Quirk Boy Choristers of Worcester Cathedral CBSO concert conducted by Hugo Rignold 1965 Feb 27 Rossini: Petite Messe Solennelle Barbara Elsy Janet Edmunds Gerald English Neil Howlett Colin Sherratt (Piano) Harry Jones (Piano) David Pettit (Organ) Performed in the Priory Church of Leominster Mar 11 Holst: The Planets CBSO concert conducted by Hugo Rignold Mar 18 Beethoven: Choral Symphony Jennifer Vyvyan Norma Proctor William McAlpine Owen Brannigan CBSO concert conducted by Hugo Rignold Mar 30 Elgar: The Dream of Gerontius Marjorie Thomas Alexander Young Roger Stalman May 18 Duruflé: Requiem Poulenc: Organ Concerto Poulenc: Gloria Elizabeth Harwood Sybil Michelow Hervey Alan Roy Massey (Organ) 34 Jun 2 Rossini: Petite Messe Solennelle Elizabeth Newman Miriam Horne Philip Russell Derek -
Boston Symphony Orchestra Concert Programs, Summer
~^I7^ TanglewGDci erau Wednesday, August 11, at 8:30 K^ LES ARTS FLORISSANT WILLIAM CHRISTIE, Director CHRISTINE BRANDES, soprano HIRO KUROSAKI, violin CLAIRE BRUA, soprano MIHOKO KIMURA, violin VERONIQUE GENS, soprano SIMON HEYERICK, viola SOPHIE MARIN-DEGOR, soprano PAUL CARLIOZ, cello STEVE DUGARDIN, countertenor WILLIAM CHRISTIE, harpsichord MARK PADMORE, tenor JEROME CORREAS, baritone JEAN-CLAUDE SARRAGOSSE, bass ^<^^: MARC-ANTOINE ACTEON CHARPENTIER (1634-1704) Acteon Mark Padmore Diane Sophie Marin-Degor Arthebuze Veronique Gens Junon Claire Brua Hyale Christine Brandes Daphne Claire Brua INTERMISSION •?'.' HENRY PURCELL DiDO AND y^NEAS v'f^ (1659-1695) Dido Veronique Gens Belinda Sophie Marin-Degor vEneas Jerome Correas The Sorceress Claire Brua First Witch /Second Woman Christine Brandes Second Witch Sophie Marin-Degor The Spirit/The Sailor Mark Padmore Les Arts Florissants is funded by the French Ministry of Culture, the town of Caen/Region Basse-Normandie, and the Pechiney Corporation. Week 6 . Acteon Scene premiere Scene I Dans la vallee de Gargaphie In the vale ofGargaphy Bruit de chasse Hunting sounds CHOEUR DES CHASSEURS CHORUS OF HUNTERS Allons, marchons, courons, Let us go, march, run, hastens nos pas . hasten our steps . Quelle ardeur du soleil qui brusle How fiery the sun that beats down noscampagnes; upon our fields; Que le penible acces des plus Let not the arduous way to hautes montagnes the highest peaks Dans un dessein si beau ne nous In so fair a view cause us retarde pas. to tarry. ACTEON ACTEON Deesse par qui je respire, Goddess who grants me breath, Aimable Reyne des forets, Amiable Queen of the forests. -
Building a Library
BUILDING A LIBRARY All selections were made from recordings available in the UK at the time of the broadcast and are full price unless otherwise stated. CD Review cannot guarantee that they have not subsequently been deleted. KEY: CD = compact disc c/w = coupled with SIS = a recording which is only available through EMI’s Special Import Service IMS = a recording which is only available through Universal Classics' Import Music Service CONTENTS September 2000 – July 2001 .................................................................................................................................. 24 September 2001 – July 2002 .................................................................................................................................. 46 September 2002 – July 2003 .................................................................................................................................. 74 September 2003 – July 2004 .................................................................................................................................. 98 September 2004 – July 2005 ................................................................................................................................ 128 September 2005 – July 2006 ................................................................................................................................ 155 September 2006 – July 2007 ............................................................................................................................... -
Decca Discography
DECCA DISCOGRAPHY >>4 GREAT BRITAIN: digital, 1979-2008 In the early 1970s the advent of Anthony Rooley, the Consort of Musicke, Emma Kirkby, Christopher Hogwood and the Academy of Ancient Music brought a fresh look at repertoire from Dowland to Purcell, Handel, Mozart and eventually Beethoven. Solti recorded with the LPO from 1972 and the National Philharmonic was booked regularly from 1974-84. Also during the 1970s the London Sinfonietta’s surveys of Schönberg and Janá ček were recorded. Ashkenazy’s second career as a conductor centred initially on London, with the Philharmonia from 1977 and the RPO from 1987. Philip Pickett’s New London Consort joined the Florilegium roster in 1985 and Argo’s new look brought in a variety of ensembles in the 1990s. But after an LPO Vaughan Williams cycle was aborted in 1997, Decca’s own UK recordings comprised little more than piano music and recital discs. Outside London, Argo recorded regularly in Cambridge and Oxford. Decca engaged the Welsh National Opera from 1980-96 and the Bournemouth Symphony from 1990-96, but otherwise made little use of regional British orchestras. By the time they raised their performing standards to an acceptable level, Chandos, Hyperion and Naxos had largely replaced the old majors in the market for orchestral sessions. >RV0 VENUES One hundred and seventy different venues were used, eighty-eight in the London area and eighty-two elsewhere in Britain, but only one in ten (those in bold ) hosted thirty or more entries, whilst seventy were only visited once. LONDON AREA ABBEY ROAD STUDIOS , St.John’s Wood, London NW8 (1931), initially restricted to EMI labels, were opened to all from 1968. -
Haydn's Creation
HAYDN’S CREATION NASHVILLE SYMPHONY AND CHORUS CLASSICAL SERIES FRIDAY & SATURDAY, NOVEMBER 3 & 4, AT 8 PM NASHVILLE SYMPHONY NASHVILLE SYMPHONY CHORUS THANK YOU TO NICHOLAS MCGEGAN, conductor OUR PARTNER TUCKER BIDDLECOMBE, chorus director ASHLEY VALENTINE, soprano ISAIAH BELL, tenor ANTHONY REED, bass FRANZ JOSEPH HAYDN The Creation, H. XXI:2 SERIES PRESENTING PARTNER Part I Part II Part III Intermission will take place at the conclusion of Part I. INCONCERT 15 TONIGHT’S CONCERT AT A GLANCE JOSEPH HAYDN The Creation • The enormously prolific composer of more than 100 symphonies, Haydn took at least a year-and-a-half to compose The Creation, which is considered by many to be his masterpiece. “Only when I had reached the half-way mark in my composition did I perceive that it was succeeding,” he said after its completion. • The oratorio depicts and celebrates the creation of the world as described in the book of Genesis. Part One captures the emergence of light and life from darkness and chaos, while Part Two depicts the creation of the animals, with musical motifs representing a lion, a tiger, insects and other creatures. Part Three describes Adam and Eve’s first day. • This nearly two-hour oratorio was stylistically inspired by Handel’s Messiah and Israel in Egypt, which the Austrian composer heard during his trips to London. The libretto — which was rumored to have been offered to Handel himself — was initially provided by impresario Johann Peter Salomon in the form of a poem called The Creation of the World. • Haydn took this source poem and handed it to the Baron Gottfried van Swieten, who adapted the libretto into German and then had this new version translated back into English. -
Download Program Book
Shenandoah Valley Bach Festival June 13-20, 2021 1 Next, the first of Three Spirituals is We shall overcome, arranged in a Bach-like setting for string trio by Virginia composer, WELCOME Adolphus Hailstork. The third of this set is a spirited and joyous arrangement of Great Day. The Friday night concert ends with one of the most beloved of all of Johann Sebastian Bach’s arias, Mein gläubiges Herze (My heart ever faithful) for soprano, oboe, violin, cello and harpsichord. In the movie Black Panther, T’Challah, King of mythical kingdom of Wakanda, (played memorably by the late Chadwick Three works on Saturday night’s concert offer music of hope, of resurgence of life, and of light. In Barcelona, there is a most Boseman), spoke these words: dazzling and original cathedral, with the most amazing stained-glass windows and statuary. The Sagrada Familia has taken Wakanda will no longer watch from the shadows. many years to complete; it is now more or less in a finished state. The south side was the last to be finished, and the stained- We can not. We must not. glass windows are unbelievably brilliant. The south façade represents the biblical resurrection story. New York composer We will work to be an example of how we, Jessica Meyer’s work, Sagrada Familia: Stained Glass opens this performance. The second work is an amazing feat of as brothers and sisters on this earth, should treat each other. reconstructive work! James Madison University’s professor of bass, Sam Suggs made from two very small fragments of lost Now, more than ever, the illusions of division threaten our very existence. -
'The Great Handel Chorus' To
From ‘the great Handel chorus’ to ‘wild passion and fancy’: Listening to Handel and Purcell in The Mill on the Floss Delia da Sousa Correa When George Eliot was born, it was sixty years since Handel’s death and 124 years since the death of Purcell. Both were composers of the increas- ingly distant past; however, while Purcell’s work was selectively known, Handel was celebrated as the most important national composer in Britain, especially following the burgeoning of choral societies and singing-class movements from the early 1800s.1 Handel, not surprisingly, is the composer more extensively referred to in Eliot’s work, but both these composers fea- ture importantly in The Mill on the Floss(1860). This article considers how references to Purcell relate to the more prevalent allusions to Handel in Eliot’s writing. The two brief quotations in my title seem to sum up prevail- ing attitudes to both composers: on the one hand there is Eliot’s lifelong celebration of ‘the great Handel chorus’ and on the other the ‘wild passion and fancy’ of the music by Purcell that is implicated in Maggie Tulliver’s undoing in The Mill on the Floss.2 A clear contrast — and yet Eliot’s allu- sions to Handel are more varied than one might suppose. Contemplation of the combined allusions to Handel and to Purcell in the novel allows a more nuanced and interesting version of Handel to become apparent in Eliot’s work than that suggested by dominant views of his stature at the time and by her own expressed veneration for the communal value of his choral works. -
Handel Messiah
HANDEL MESSIAH 9–10 DECEMBER 2017 CONCERT PROGRAM Melbourne Symphony Orchestra Rinaldo Alessandrini conductor Sara Macliver soprano Joslyn Rechter mezzo-soprano Ed Lyon tenor Salvo Vitale bass Melbourne Symphony Orchestra Chorus Warren Trevelyan-Jones chorus master Handel Messiah Running time: 2 hours and 40 minutes, The MSO acknowledge the Traditional including a 20-minute interval after Act I Owners of the land on which we are performing. We pay our respects to In consideration of your fellow patrons, their Elders, past and present, and the the MSO thanks you for dimming the Elders from other communities who lighting on your mobile phone. may be in attendance. mso.com.au (03) 9929 9600 MELBOURNE SYMPHONY RINALDO ALESSANDRINI ORCHESTRA CONDUCTOR Established in 1906, the Melbourne In addition to his activities as Founder- Symphony Orchestra (MSO) is an Director of Concerto Italiano, Rinaldo arts leader and Australia’s oldest Alessandrini is renowned as a recitalist professional orchestra. Chief on the harpsichord, fortepiano and Conductor, Sir Andrew Davis, has organ, and is considered one of the been at the helm of the MSO since most authoritative interpreters of 2013. Engaging more than 2.5 million Monteverdi worldwide. His profound people each year, and as a truly global knowledge and love of the Italian orchestra, the MSO collaborates with repertoire is naturally reflected in guest artists and arts organisations programmes in which he seeks to from across the world. reproduce the essential, but often elusive, expressive and cantabile The MSO performs a variety of elements so fundamental to Italian concerts ranging from core classical music in the 17th and 18th centuries.