Sunday Playlist
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Guest Artist Cello Concert Bryan Hayslett
THE BELHAVEN UNIVERSITY DEPARTMENT OF MUSIC Dr. Stephen W. Sachs, Chair presents Guest Artist Cello Concert Bryan Hayslett Tuesday, October 28, 2014 • 7:30 p.m. Belhaven University Center for the Arts • Concert Hall There will be a reception after the program. Please come and greet the performer. Please refrain from the use of all flash and still photography during the concert. Please turn off all pagers and cell phones. PROGRAM Please hold applause until intermission. Cello Suite No. 6 in D Major, BWV 1012 Johann Sebastian Bach • 1685 - 1750 I. Prelude Unlocked, 1. Make Me a Garment Judith Weir • b. 1954 Unlocked, 2. No Justice A Portrait in Greys Marissa Deitz Wall • b. 1990 Suite No. 6, 2. Allemande J.S. Bach Suite No. 6, 3. Courante Age of the Deceased (Six Months in Chicago) Drew Baker • b. 1978 INTERMISSION Suite No. 6, 4. Sarabande J.S. Bach Suite No. 6, 5. Gavotte A Portrait in Greys Keith Kusterer • b. 1981 Unlocked, 5. Trouble, trouble Judith Weir Suite No. 6, 6. Gigue J.S. Bach A Portrait in Greys by William Carlos Williams Will it never be possible to separate you from your greyness? Must you be always sinking backward into your grey-brown landscapes— And trees always in the distance, always against a grey sky? Must I be always moving counter to you? Is there no place where we can be at peace together and the motion of our drawing apart be altogether taken up? I see myself standing upon your shoulders touching a grey, broken sky— but you, weighted down with me, yet gripping my ankles,—move laboriously on, where it is level and undisturbed by colors. -
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) -
Bärenreiter Organ Music
>|NAJNAEPAN KNC=JIQOE? .,-.+.,-/ 1 CONTENTS Organ Music Solo Voice and Organ ...............30 Index by Collections and Series ...........4–13 Books............................................... 31 Edition Numbers ....................... 34 Composers ....................................14 Contemporary Music Index by Jazz .............................................. 29 A Selection ..............................32 Composers / Collections .........35 Transcriptions for Organ .........29 Photo: Edition Paavo Blåfi eld ABBREVIATIONS AND KEY TO FIGURES Ed. Editor Contents Ger German text Review Eng English text Content valid as of May 2012. Bärenreiter-Verlag Fr French text Errors excepted and delivery terms Karl Vötterle GmbH & Co. KG Lat Latin text subject to change without notice. International Department BA Bärenreiter Edition P.O. Box 10 03 29 H Bärenreiter Praha Cover design with a photograph D-34003 Kassel · Germany SM Süddeutscher Musikverlag by Edition Paavo Blåfi eld. Series E-Mail: paavo@blofi eld.de www.baerenreiter.com a.o. and others www.blofi eld.de E-Mail: [email protected] Printed in Germany 3/1206/10 · SPA 238 2 Discover Bärenreiter … www.baerenreiter.com Improved Functionality Simple navigation enables quick orientation Clear presentation Improved Search Facility Comprehensive product information User-friendly searches by means of keywords Product recommendations Focus A new area where current themes are presented in detail … the new website3 ORGAN Collections and Series Enjoy the Organ Ave Maria, gratia plena Ave-Maria settings The new series of easily playable pieces for solo voice and organ (Lat) BA 8250 page 30 Enjoy the Organ I contains a collection of stylistically varied Bärenreiter Organ Albums pieces for amateur organists Collections of organ pieces which are equally suitable for page 6-7 use in church services and in concerts. -
DVOŘÁK's CHAMBER and PIANO MUSIC in Preparation in High-Standard Reprints
Titles DVOŘÁK'S CHAMBER AND PIANO MUSIC in preparation in high-standard reprints Serenade in D minor Op. 44 Our publishing house's lasting care for quality sheet Piano four hands BA 9565 From the Bohemian Forest Op. 68 for wind instruments, violoncello and double bass music of this most-performed classic Czech composer is Edited by Robin Tait BA 9547, BA 9548 Slavonic Dances Op. 46 and Op. 72 BA 10424 score also re ected in a new series of reprints of mostly chamber BA 10424-22 parts in slipcover and piano music from the Antonín Dvořák Complete Violin and Piano To appear in September 2016 BA 9576 Romantic Pieces Op. 75 DVOŘÁK Edition (ADCE), prepared by the best Czech editors The new Urtext edition of this masterpiece of its genre and Dvořák specialists of the day (Jarmil Burghauser, B Ä R E N R E I T E R U R T E X T is based jointly on the autograph and the ¦ rst Simrock Piano Trio / Quartet / Quintet BA 9578 Piano Trio in B- at major Op. 21 edition (1879). The editor revised the editorial decisions Antonín Čubr, Antonín Pokorný, Karel Šolc, František To appear in May 2016 made in the 1879 print, restoring some of Dvořák's Bartoš, etc.). With their combination of modern printing BA 9564 Piano Trio in F minor Op. 65 original ideas and clarifying certain inconsistencies BA 9538 Piano Trio in G minor Op. 26 in articulation. The current edition contains a critical and Bärenreiter-brand quality, the ADCE reprints re ect BA 9537 Piano Quartet in E- at major Op. -
LUDWIG VAN BEETHOVEN Wolfgang Amadeus Mozart
CONCERT #5 - Released February 17, 2021 LUDWIG VAN BEETHOVEN Sonata No. 6 for Violin and Piano in A Major, Op. 30, No. 1 Allegro Adagio molto espressivo Allegretto con variazioni Amy Schwartz Moretti violin / Orion Weiss piano WOLFgang AMADEUS MOZART Quartet for Piano and Strings in G minor, K. 478 Allegro Andante Rondo Benjamin Bowman violin /Jonathan Vinocour viola / Edward Arron cello / Jeewon Park piano LUDWIG VAN BEETHOVEN frequently alternates between excited episodes and (1770-1827) moments of quiet reflection. The main theme is built Sonata No. 6 for Violin and Piano in A Major, from a series of rising intervals. A brief coda ends it Op. 30, No. 1 (1802) peacefully. Most recent SCMS performance: Summer 2011 In triple meter the Adagio, molto espressivo opens Enjoying early fame as both pianist and composer, with a floating violin line over gently coaxing the year 1802 threatened Beethoven’s prospects for rhythmic thrusts on the piano. As if to stress the ongoing success. Attempts to secure a court position importance of the violin the piano supports the failed to materialize. Worst of all, his deepening bowed instrument’s expressive long-breathed deafness and attendant despair began to isolate him melodies with understated prodding alternating from the world around him. with simple arpeggios. It is the piano, however, that has the final, albeit softly spoken, word at the In October came his famous lament, the movement’s end. Heiligenstadt Testament, a letter he wrote but never sent to his brothers wherein he expressed In its initial form, Beethoven provided an energetic his terrible anguish and doubt, and admitted to and virtuosic finale before replacing it with an thoughts of suicide. -
Performances from 1974 to 2020
Performances from 1974 to 2020 2019-20 December 1 & 2, 2018 Michael Slon, Conductor September 28 & 29, 2019 Family Holiday Concerts Benjamin Rous, Conductor MOZART Symphony No. 32 February 16 & 17, 2019 ROUSTOM Ramal Benjamin Rous, Conductor BRAHMS Piano Concerto No. 2 in B-flat Major RAVEL Pavane pour une infante défunte RAVEL Piano Concerto in G Major November 16 & 17, 2019 MOYA Siempre Lunes, Siempre Marzo Benjamin Rous & Michael Slon, Conductors KODALY Variations on a HunGarian FolksonG MONTGOMERY Caught by the Wind ‘The Peacock’ RICHARD STRAUSS Horn Concerto No. 1 in E-flat Major March 23 & 24, 2019 MENDELSSOHN Psalm 42 Benjamin Rous, Conductor BRUCKNER Te Deum in C Major BARTOK Violin Concerto No. 2 MENDELSSOHN Symphony No. 4 in A Major December 6 & 7, 2019 Michael Slon, Conductor April 27 & 28, 2019 Family Holiday Concerts Benjamin Rous, Conductor WAGNER Prelude from Parsifal February 15 & 16, 2020 SCHUMANN Piano Concerto in A minor Benjamin Rous, Conductor SHATIN PipinG the Earth BUTTERWORTH A Shropshire Lad RESPIGHI Pines of Rome BRITTEN Nocturne GRACE WILLIAMS Elegy for String Orchestra June 1, 2019 VAUGHAN WILLIAMS On Wenlock Edge Benjamin Rous, Conductor ARNOLD Tam o’Shanter Overture Pops at the Paramount 2018-19 2017-18 September 29 & 30, 2018 September 23 & 24, 2017 Benjamin Rous, Conductor Benjamin Rous, Conductor BOWEN Concerto in C minor for Viola WALKER Lyric for StrinGs and Orchestra ADAMS Short Ride in a Fast Machine MUSGRAVE SonG of the Enchanter MOZART Clarinet Concerto in A Major SIBELIUS Symphony No. 2 in D Major BEETHOVEN Symphony No. 7 in A Major November 17 & 18, 2018 October 6, 2017 Damon Gupton, Conductor Michael Slon, Conductor ROSSINI Overture to Semiramide UVA Bicentennial Celebration BARBER Violin Concerto WALKER Lyric for StrinGs TCHAIKOVSKY Symphony No. -
The Classical Period
The Classical Period 1750-1820 (1825) 1 Historical Themes Industrial Revolution Age of Enlightenment Violent political and social upheaval Culture 2 Industrial Revolution Steam engine changed the nature of European life Move to a more urban society Time of great growth and economic prosperity 3 Age of Enlightenment Emphasis on the natural rights of people Ability of humans to shape their own environment All established ideas were being reexamined, including the existence of God. 4 Violent political & social upheaval Seven Years’ War American Revolution French Revolution Napoleonic Wars Power shifted from aristocracy and church to the middle class Social mobility increased 5 Culture France was the leading cultural center of the continent (esp. fashion-Paris) Austria (Vienna) & Germany were the centers of musical growth Improved economic conditions led to more people seeking “luxury” Music was viewed as “an innocent luxury” Demand for new compositions was great 6 The Classical Style 7 Characteristics Contrast of Mood Rhythm Simpler textures Simpler melodies Dynamics 8 Contrast of Mood Large thematic and tonal contrasts unlike the single-mood compositions of the Baroque Dramatic, turbulent might lead to carefree, dance-like Change could be sudden or gradual 9 Rhythm Flexibility of rhythm adds variety Many rhythmic patterns unlike repetitive rhythms of the Baroque Unexpected pauses, syncopations, frequent changes from long notes to shorter notes Change could be sudden or gradual 10 Simpler textures Homophonic unlike the polyphony of the late Baroque Change from one texture to the next could be sudden or gradual 11 Simpler melodies Tuneful, easy to remember unlike the complex, ornamented melodies of the Baroque Mozart-“Twinkle, Twinkle, Little Star” Melodies were balanced and symmetrical (2 phrases of same length) like “Mary Had a Little Lamb” 12 Dynamics Expressing shades of emotions led to gradual dynamic changes Crescendo and decrescendo vs. -
PROGRAM NOTES Wolfgang Mozart Symphony No. 40 in G Minor, K
PROGRAM NOTES by Phillip Huscher Wolfgang Mozart Born January 27, 1756, Salzburg, Austria. Died December 5, 1791, Vienna, Austria. Symphony No. 40 in G Minor, K. 550 Mozart entered this symphony in his catalog on July 25, 1788. The date of the first performance is not known. At these concerts, Trevor Pinnock conducts Mozart’s revision of the score, adding a pair of clarinets to the original version, which calls for one flute, two oboes, two bassoons, two horns, and strings. Performance time is approximately twenty-six minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Mozart’s Fortieth Symphony were given at the Auditorium Theatre on November 18 and 19, 1892, with Theodore Thomas conducting. Our most recent subscription concert performances were given at Orchestra Hall on February 2, 4, and 5, 1995, with Zubin Mehta conducting. The Orchestra first performed this symphony at the Ravinia Festival on July 8, 1938, with Artur Rodzinksi conducting, and most recently on June 29, 2000, with Pinchas Zukerman conducting. Ironically, it is Mozart’s last three symphonies rather than the famous requiem that remain the mystery of his final years. Almost as soon as Mozart died, romantic myth attached itself to the unfinished pages of the requiem left scattered on his bed; a host of questions—who commissioned the work?; who finished it?; was Mozart poisoned?—inspired painters, novelists, biographers, librettists, playwrights, and screenwriters to heights of imaginative re-creation. We now know those answers: the requiem is unfinished, but not unexplained. The final symphonies, on the other hand—no. -
Bach Unbuttoned
Bach Unbuttoned ANA DE LA VEGA ALEXANDER SITKOVETSKY · RAMÓN ORTEGA QUERO CYRUS ALLYAR · JOHANNES BERGER WÜRTTEMBERGISCHES KAMMERORCHESTER HEILBRONN Johann Sebastian Bach (1685-1750) Suite No. 2 in B Minor (For Flute, Strings & Basso Continuo), BWV 1067 13 VII. Badinerie 1. 24 Brandenburg Concerto No. 5 in D Major (for Flute, Violin & Harpsichord), BWV 1050 Total playing time: 62. 26 1 I. Allegro 9. 22 2 II. Affetuoso 5. 54 3 III. Allegro 5. 11 Brandenburg Concerto No. 4 in G Major (for Violin, Flute & Oboe), BWV 1049 4 I. Allegro 6. 38 5 II. Andante 3. 43 6 III. Presto 4. 28 Brandenburg Concerto No. 2 in F Major (For Trumpet, Flute, Oboe & Violin), BWV 1047 7 I. [Allegro] 4. 35 8 II. Andante 3. 46 9 III. Allegro assai 2. 41 Ana de la Vega, flute Ramón Ortega Quero, oboe Concerto for Two Violins (Flute & Oboe) in D Minor, BWV 1043 Alexander Sitkovetsky, violin 10 I. Vivace 3. 34 Johannes Berger, harpsichord 11 II. Largo ma non tanto 6. 15 Cyrus Allyar, trumpet 12 III. Allegro 4. 38 Württembergisches Kammerorchester Heilbronn The magnificent statue of J.S. Bach outside Yet when you come closer to the statue, one of his solos (likely from a draft version St. Thomas’s Church in Leipzig is, from you see that this man’s buttons are done of Cantata BWV 150). afar, everything we expect: arresting, up incorrectly. austere, and commanding. The godfather Let’s take the case of the Brandenburg of Western classical music tradition, the Standing under the great Carl Seffner Concertos: he wrote several of them master of perfection, precision and balance, statue in Leipzig, I felt I understood for starting c. -
Program Notes | All Tchaikovsky
23 Season 2018-2019 Thursday, January 31, at 7:30 The Philadelphia Orchestra Friday, February 1, at 2:00 Saturday, February 2, at 8:00 Kensho Watanabe Conductor Edgar Moreau Cello Tchaikovsky Capriccio italien, Op. 45 Tchaikovsky Variations on a Rococo Theme, Op. 33, for cello and orchestra Intermission Tchaikovsky Symphony No. 1 in G minor, Op. 13 (“Winter Daydreams”) I. Allegro tranquillo (Dreams of a Winter Journey) II. Adagio cantabile ma non tanto (Land of Desolation, Land of Mists) III. Scherzo: Allegro scherzando giocoso IV. Finale: Andante lugubre—Allegro moderato—Allegro maestoso—Andante lugubre—Allegro vivo This program runs approximately 1 hour, 50 minutes. LiveNote® 2.0, the Orchestra’s interactive concert guide for mobile devices, will be enabled for these performances. The January 31 concert is sponsored by Jack and Ramona Vosbikian. The February 2 concert is sponsored by Ms. Elaine Woo Camarda. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. 24 ® Getting Started with LiveNote 2.0 » Please silence your phone ringer. » Make sure you are connected to the internet via a Wi-Fi or cellular connection. » Download the Philadelphia Orchestra app from the Apple App Store or Google Play Store. » Once downloaded open the Philadelphia Orchestra app. » Tap “OPEN” on the Philadelphia Orchestra concert you are attending. » Tap the “LIVE” red circle. The app will now automatically advance slides as the live concert progresses. -
ELGAR Piano Music Enigma Variations
570166bk Elgar US 9/7/06 8:43 pm Page 5 6, Ysobel, is the viola-player Isabel Fitton; Variation 7, Basil Nevinson, an amateur cellist; Variation 13, ***, is Ashley Wass Troyte, is the ebullient architect Troyte Griffith; anonymous but probably conceals Lady Mary Lygon, Variation 8, W.N., is the graceful Winifred Norbury; with a reference to Mendelssohn’s Overture Calm Sea The young British pianist Ashley Wass is recognised as one of the rising stars of his generation. Only the second ELGAR Variation 9, Nimrod, conceals the identity of Elgar’s and Prosperous Voyage hinting at her voyage to British pianist in twenty years to reach the finals of the Leeds Piano Competition (in 2000), he was the first British friend and publisher, Jaeger; Variation 10, Dorabella, is Australia, and the final Variation 14, E.D.U., is Elgar pianist ever to win the top prize at the World Piano Competition in 1997. He appeared in the Rising Stars series at Dora Penny, a country neighbour; Variation 11, G.R.S., himself, indicated by letters that spell out his wife’s pet the 2001 Ravinia Festival and his promise has been further acknowledged by the BBC, who selected him to be a Piano Music is the organist of Hereford Cathedral, Dr Sinclair, or, name for him, Edu. New Generations Artist over two seasons. Ashley Wass studied at Chethams Music School and won a scholarship more exactly, his dog Dan, heard falling into the river to the Royal Academy of Music to study with Christopher Elton and Hamish Milne. -
BCAS 11803 Mar 2020 Program Rev3 28 Pages.Indd
ANTHONY BLAKE CLARK Music Director SUNDAY, MARCH 1, 2020 Baltimore Choral Arts Society Anthony Blake Clark 54th Season: 2019-20 Sunday, March 1, 2020 at 3 pm Shriver Hall Auditorium, The Johns Hopkins University, Homewood Campus Monteverdi Vespers Anthony Blake Clark, conductor Leo Wanenchak, associate conductor Baltimore Baroque Band, Peabody’s Baroque Orchestra, Dr. John Moran and Risa Browder, co-directors Peabody Renaissance Ensemble, Mark Cudek, director; Adam Pearl, choral coach Washington Cornett and Sackbutt Ensemble, Michael Holmes, director The Baltimore Choral Arts Chorus James Rouvelle and Lili Maya, artists Vespro della Beata Vergine Claudio Monteverdi I. Domine ad adiuvandum II. Dixit dominus III. Nigra sum IV. Laudate pueri V. Pulchra es VI. Laetatus sum VII. Duo seraphim VIII. Nisi dominus Intermission IX. Audi coelum X. Lauda Ierusalem XI. Sonata sopra Sancta Maria ora pro nobis XII. Ave maris stella XIII. Magnificat 2 Monteverdi Vespers is generously sponsored by the William G. Baker, Jr. Memorial Fund, creator of the Baker Artists Portfolios, www.BakerArtists.org. This performance is supported in part by the Maryland State Arts Council (msac.org). Our concerts are also made possible in part by the Citizens of Baltimore County and Mayor Jack Young and the Baltimore Offi ce of Promotion and the Arts. Our media sponsor for this performance is Please turn the pages quietly, and please turn off all electronic devices during the concert. The use of cameras and recording equipment is not allowed. Thanks for your cooperation. Please visit our web site: www.BaltimoreChoralArts.org e-mail: [email protected] 1316 Park Avenue | Baltimore, MD 21217 410-523-7070 Copyright © 2020 by the Baltimore Choral Arts Society Notice: Baltimore Choral Arts Society, Inc.