DOCSLIB.ORG

OCTOBER 2018 St. John's Episcopal Church Fishers Island, New York

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
OCTOBER 2018 St. John's Episcopal Church Fishers Island, New York THE DIAPASON OCTOBER 2018 St. John’s Episcopal Church Fishers Island, New York Cover feature on pages 30–32 ANTHONY & BEARD ADAM J. BRAKEL THE CHENAULT DUO PETER RICHARD CONTE CONTE & ENNIS DUO LYNNE DAVIS ISABELLE DEMERS CLIVE DRISKILL-SMITH DUO MUSART BARCELONA JEREMY FILSELL MICHAEL HEY HEY & LIBERIS DUO CHRISTOPHER HOULIHAN DAVID HURD SIMON THOMAS JACOBS MARTIN JEAN HUW LEWIS RENÉE ANNE LOUPRETTE LOUPRETTE & GOFF DUO ROBERT MCCORMICK BRUCE NESWICK ORGANIZED RHYTHM RAéL PRIETO RAM°REZ JEAN-BAPTISTE ROBIN ROBIN & LELEU DUO BENJAMIN SHEEN HERNDON SPILLMAN CAROLE TERRY JOHANN VEXO BRADLEY HUNTER WELCH JOSHUA STAFFORD THOMAS GAYNOR 2016 2017 LONGWOOD GARDENS ST. ALBANS WINNER WINNER IT’S ALL ABOUT THE ART ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ 860-560-7800 ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚͬWŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Ninth Year: No. 10, 2019 Resource Directory Whole No. 1307 At present, we are working on our 2019 Resource Directory, OCTOBER 2018 to be mailed with our January issue. If your business should Established in 1909 be listed in the directory and was not included in 2018, please Stephen Schnurr ISSN 0012-2378 send me an email with your contact information. If your busi- 847/954-7989; [email protected] ness was listed in our directory this year, please review your www.TheDiapason.com An International Monthly Devoted to the Organ, information to ensure it is accurate and complete. Listings are the Harpsichord, Carillon, and Church Music free and can only help your business! Advertising opportunities but they also make a sensible option for those who want to pro- are available for the directory, as well. For advertising inquiries, vide a gift to a friend. CONTENTS please contact Jerome Butera ([email protected]; 608/634- In this issue FEATURES 6253). The deadline for listings and advertising is November 1. Michel Chapuis (1930–2017): A great Carolyn Shuster Fournier provides a memorial feature organist, pioneer, and professor 20 Under 30 on Michel Chapuis, the French organist, teacher, and organ by Carolyn Shuster Fournier 20 Our 20 Under 30 program returns this year! This excit- historian who died in 2017. We continue with the third part ing recognition of young people in our fi eld is now a bien- of Michael McNeil’s series on the documentation of William The 1864 William A. Johnson Opus 161, Piru Community United Methodist Church, nial celebration of the best and promising among organists, A. Johnson Opus 161, in Piru Community United Methodist Piru, California, Part 3 carillonneurs, harpsichordists, organ and harpsichord builders, Church, Piru, California. by Michael McNeil 26 and church musicians under the age of 30. Nominations will Gavin Black is taking the month off from “On Teaching” due The Library of Congress for the organ: the open December 1 and close February 1, 2019. Be sure to keep to a family death, but he will have a column for next month. In OHS Library and Archives moves to up with further details in upcoming issues as well as at our “Harpsichord Notes,” Larry Palmer reprises one of his favorite Villanova, Pennsylvania website (www.thediapason.com). columns from nearly fi fty years of contributions to The Diapa- by Bynum Petty 29 son. In “In the Wind . .,” John Bishop encourages the reader NEWS & DEPARTMENTS Our digital edition to consider the subtle differences in the many colorful stops of Editor’s Notebook 3 It never hurts to remind our readers of the availability of the pipe organ. Letters to the Editor 3 our digital edition. As you receive subscription renewal notices, Our cover feature celebrates the fortieth anniversary of Here & There 3 remember that you can receive The Diapason by email, at a Bigelow & Co. Organ Builders of American Fork, Utah. The Appointments 6 substantial savings: $35 for one year, $20 for students! Often, fi rm recently installed its Opus 42 in St. John’s Episcopal Nunc Dimittis 10 your digital issue will arrive faster than a print issue. Not only Church, Fishers Island, New York. We trust you will enjoy the Harpsichord Notes by Larry Palmer 14 Q In the wind . by John Bishop 18 are digital subscriptions “green,” saving paper as well as money, rich offerings of this issue. REVIEWS New Organ Music 15 Letters to the Editor New Recordings 15 New Handbell Music 17 Summerall Chapel, The Citadel, Charleston, South lost soul, belonged. I turned my life around and graduated Carolina ORGAN PROJECTS 32 with academic honors. Thank you for the cover feature in the July 2018 issue of At our 45th memorial service for our departed classmates, I CALENDAR 33 The Diapason on the restoration project for the organ at The realized that the organ music was not coming from the pipe organ. RECITAL PROGRAMS 37 Citadel’s Summerall Chapel in Charleston, South Carolina. However, I got the “feeling” that there was a bass pipe, although CLASSIFIED ADVERTISING 38 First, let me say that I am not an organist, but as a member silent, that was speaking to me saying, “Let us play again and like of the Regimental Band, the whole Corps of Cadets marched a fog horn, guide people to a safe harbor.” After the service, the to chapel services every Sunday as the band played “Onward chapel organist said that the organ had not played for some years, THE Christian Soldiers.” I went to The Citadel because my father and efforts to raise funds had not been successful. I knew then that DIAPASON was a Citadel graduate. Chapel services were a time for me to I had to get involved and see that this magnifi cent instrument that OCTOBER 2018 relax and not be yelled at by upperclassmen. I had made the had meant so much in my life would play again. decision that The Citadel was not for me, and was not planning If any of your readers are ever in Charleston, please come on returning after Christmas break. to The Citadel to see The Summerall Chapel and the organ. If However, a remarkable event happened one cold Sunday anyone would be interested in helping to restore this magnifi - while I was sitting in the chapel. We, as the whole cadet cent instrument, donations can be made by contacting Katie body, were singing “Nearer My God to Thee,” and I was Hurt at The Citadel Foundation, 843/953-6914, or visiting the overwhelmed with the notion that a “bass pipe” was speak- website at foundation.citadel.edu/chapelorgan. ing to me. Like a fog horn in the night guiding a lost boat G. Mackay Salley, Class of 1963 St. John’s Episcopal Church safely into harbor, I got the feeling that this was where I, a Q Fishers Island, New York Cover feature on pages 30–32 Here & There COVER Bigelow & Co. Organ Builders, American Fork, Utah; Saint John’s Episcopal Church, Events Chu, piano; November 9, Nicholas Second Presbyterian Church, St. Fishers Island, New York 30 The Church of St. Agnes, St. Paul, Schmelter; 11/16, Michelle Kuhl, piano; Louis, Missouri, announces its 2018– Minnesota, offers Sunday 10:00 a.m. December 7, Nicholas Schmelter; 12/14, 2019 Couts Music Series, Sundays at Editorial Director STEPHEN SCHNURR High Mass with music by the Twin Cit- choir of Caro High School; January 11, 4:00 p.m.: October 7, Perseid String and Publisher [email protected] ies Catholic Chorale, directed by Rob- 2019, Nicholas Schmelter with Townes Quartet; November 11, Andrew Peters, 847/954-7989 ert L. Peterson. The Chorale performs Miller, fl ute; January 25 and February silent fi lm accompaniment, The Fresh- President RICK SCHWER a different Mass setting weekly, reper- 8, Nicholas Schmelter; 2/15, Tyler Kivel, man; December 2, Advent Vespers [email protected] toire drawn from the 18th to 20th cen- piano; March 1, Nicholas Schmelter; with the Second Church Chorale and 847/391-1048 turies, with accompaniment by orchestra 3/10, Sonas, Celtic ensemble; April 5, Orchestra, directed by Andrew Peters; and organ. The choir of approximately Kevin Cole, piano; April 26 and May January 20, 2019, Music for horn, Editor-at-Large ANDREW SCHAEFFER [email protected] 65 volunteer singers performs Masses 3, Nicholas Schmelter; 5/19, Nicholas alphorn, and organ with horn players by composers such as Haydn, Mozart, Schmelter with Tyler Kivel, piano. For Tricia and Thomas Jostlein and organ- Sales Director JEROME BUTERA Schubert, Beethoven, Dvo̗ak, Gounod, information: www.carofi rst.org. ist Andrew Peters; February 17, Brian [email protected] 608/634-6253 Cherubini, Rheinberger, and Herzogen- Owens Jazz concert; March 10, Green- Circulation/ berg with professional instrumentalists, St. John Cantius Catholic Church, ville University Choir; April 28, young Subscriptions ROSE GERITANO each Sunday from October to early June, Chicago, Illinois, and the Healey Wil- artists of the Bach Society of St. Louis. [email protected] 847/391-1030 except in Advent and Lent. For informa- lan Society will host a concert to honor For information: tion and schedule of Mass settings: the 50th anniversary of the death of Wil- www.secondchurch.net. Designer KIMBERLY PELLIKAN www.catholicchorale.org or lan on October 7, 7:30 p.m., at St. John [email protected] 847/391-1024 www.churchofsaintagnes.org. Cantius Church. Various choirs from Grace Church, New York, New churches in the Chicago metropolitan York, Patrick Allen, organist and choir- Contributing Editors LARRY PALMER First Presbyterian Church, Caro, area will participate, each singing works master, announces its 2018–2019 sea- Harpsichord Michigan, announces its 2018–2019 by Willan. For information: son of special music events, Sundays BRIAN SWAGER Friends of Music Series: October 5, www.cantius.org or at 4:00 p.m., unless otherwise noted: Carillon Nicholas Schmelter, organ; 10/21, Wendy https://healeywillan.com.
Load more

Recommended publications
  • François Couperin
    André Larquié président Brigitte Marger directeur général sommaire Pour rendre un hommage spécial à François Couperin (1668-1733), le compositeur des « Goûts réunis », la cité de la musique s’est associée au Centre de Musique Baroque de Versailles et aux conservatoires supérieurs de musique de Paris introduction p. 4 et de Lyon pour présenter l’intégrale des vingt-sept Ordres pour clavecin seul, avec douze interprètes choisis pour leur affinité avec ce répertoire (Kenneth Gilbert, mercredi 16 mai - 20h p. 7 Blandine Verlet, Pierre Hantaï, Violaine Cochard, Aline Zylberajch, Noëlle Spieth, Kenneth Gilbert* Céline Frisch, Béatrice Martin, Olivier Baumont, Davitt Moroney, Françoise Lengellé jeudi 17 mai - 20h p. 7 et Kenneth Weiss). Une variété encore accentuée par le fait que ces ordres seront Blandine Verlet* interprétés sur les instruments appartenant aux collections du musée de la musique (les clavecins originaux de Ruckers-Taskin de 1646/1780, Hemsch de vendredi 18 mai - 20h p. 8 1761 et Goujon-Swanen de 1749/1784 ; fac-similé du clavecin Thibaut de 1691), Pierre Hantaï aux collections du Musée national des Châteaux de Versailles et de Trianon (cla- samedi 19 - 15h p. 8 vecin Blanchet de 1746) et à la collection privée d’Emile Jobin (copie de l’épi- Violaine Cochard nette Denis de 1664). L’intégrale des Ordres pour clavecin s’inscrit dans une intégrale encore plus samedi 19 mai - 17h p. 9 vaste : celle des œuvres complètes de François Couperin donnée au fil de vingt- Aline Zylberajch sept concerts qui se répartissent entre différents lieux durant la saison 2000- samedi 19 mai - 20h p.
    [Show full text]
  • W E I G O L D & Ö H Jean Rondeau M
    W E I G O L D & B Ö H Jean Rondeau M Harpsichord International Artists & Tours Described as “one of the most natural performers one is likely to hear on a classical music stage” by the Washington Post, Jean Rondeau is a veritable global ambassador for his instrument. His outstanding talent and innovative approach to keyboard repertoire have been critically acclaimed, marking him out as one of today’s leading harpsichordists. Following a year that saw his debut with the Orchestre de Paris performing Poulenc’s Concerto Champêtre, Rondeau’s 2021/22 season includes concerto engagements with the Orchestre de Chambre de Genève, a concert tour with the Freiburger Barockorchester, and a CPE Bach tour with the Kammerorchester Basel with Rondeau play-conducting from the harpsichord. In the realm of chamber music, Rondeau shares the stage with Nicolas Alstaedt at the Berlin Staatsoper and re-reunites with his fellow co-founders of the Nevermind Quartet for recording projects and performances in Madrid, Dortmund and la Chaux-de-Fonds. He also joins long-time collaborator Thomas Dunford for a tour of Japan following recent appearances at the Stockholm Early Music Festival, the Festival Concentus Moraviae, the Ribeira Sacra Guitar Festival, the Haapsalu Festival and the Hindsgavl Festival last summer. A notable highlight throughout the year is Rondeau’s tour of major European venues performing Bach’s Goldberg Variations – a project long in the making; emphasising sustainability with a “green itinerary” to highlight his environmental commitments, it includes visits to the Berlin Philharmonie, the Frankfurt Opera House, Amsterdam’s Concertgebouw, the Liszt Academy in Budapest, Geneva’s Victoria Hall, the Philharmonie de Paris, and London’s Wigmore Hall.
    [Show full text]
  • Bengt Hambraeus' Livre D'orgue
    ORGAN REGISTRATIONS IN BENGT HAMBRAEUS’ LIVRE D’ORGUE CRITICAL EXPLORATIONS AND REVISIONS Mark Christopher McDonald Organ and Church Music Area Department of Performance Schulich School of Music McGill University, Montreal, Quebec May 2017 A paper submitted to McGill University in partial fulfillment of the requirements of the degree of D.Mus. Performance Studies. © 2017 Mark McDonald CONTENTS Index of Figures ......................................................................................................................... iv Abstract ..................................................................................................................................... vi Résumé ..................................................................................................................................... vii Acknowledgements .................................................................................................................. viii I. Introduction – Opening a Time Capsule .................................................................................. 1 Bengt Hambraeus and the Notion of the “Time Capsule” .................................................... 2 Registration Indications in : Interpretive Challenges......................................... 3 Livre d’orgue Project Overview ................................................................................................................ 4 Methodology .....................................................................................................................
    [Show full text]
  • JANUARY, 2010 Cathedral Church of St. Peter Regensburg, Germany
    THE DIAPASON JANUARY, 2010 photo credit: Michael Vogl, Regensburg Cathedral Church of St. Peter Regensburg, Germany Cover feature on pages 28–29 Jan 2010 Cover.indd 1 12/14/09 7:25:20 AM Jan 2010 pp. 2-18.indd 2 12/14/09 7:27:04 AM THE DIAPASON Letters to the Editor A Scranton Gillette Publication One Hundred First Year: No. 1, Whole No. 1202 JANUARY, 2010 Gavin Black: On Teaching the fi fties to hear Myra Hess, Burt Lan- Established in 1909 ISSN 0012-2378 I’ve been enjoying Gavin Black’s col- caster walked right past my wife and me, An International Monthly Devoted to the Organ, umn “On Teaching” in The Diapason. big deal! the Harpsichord, Carillon, and Church Music Although I don’t have organ students, And Bovard Auditorium (I am a USC I’m learning a lot from the articles. Be- alumnus, grad school, as well as UCLA sides being an organist, I’m also a piano grad)—what memories! I remember the technician. The article about tuning original console well, and Mr. Lewis has CONTENTS Editor & Publisher JEROME BUTERA [email protected] systems (September) is, by far, the best it all correct. This was a major loss, which 847/391-1045 description of tuning and tuning systems should not have happened, and I am not FEATURES that I’ve ever read! I’m going to save this alone in my opinion. It was a powerful Poulenc and Durufl é ‘premieres’ in Woolsey Hall Associate Editor JOYCE ROBINSON issue in case I have to give a talk about and impressive instrument.
    [Show full text]
  • The Association for Diplomatic Studies and Training Foreign Affairs Oral History Project
    The Association for Diplomatic Studies and Training Foreign Affairs Oral History Project PETER KOVACH Interviewed by: Charles Stuart Kennedy Initial Interview Date: April 18, 2012 Copyright 2015 ADST Q: Today is the 18th of April, 2012. Do you know ‘Twas the 18th of April in ‘75’? KOVACH: Hardly a man is now alive that remembers that famous day and year. I grew up in Lexington, Massachusetts. Q: We are talking about the ride of Paul Revere. KOVACH: I am a son of Massachusetts but the first born child of either side of my family born in the United States; and a son of Massachusetts. Q: Today again is 18 April, 2012. This is an interview with Peter Kovach. This is being done on behalf of the Association for Diplomatic Studies and I am Charles Stuart Kennedy. You go by Peter? KOVACH: Peter is fine. Q: Let s start at the beginning. When and where were you born? KOVACH: I was born in Worcester, Massachusetts three days after World War II ended, August the 18th, 1945. Q: Let s talk about on your father s side first. What do you know about the Kovaches? KOVACH: The Kovaches are a typically mixed Hapsburg family; some from Slovakia, some from Hungary, some from Austria, some from Northern Germany and probably some from what is now western Romania. Predominantly Jewish in background though not practice with some Catholic intermarriage and Muslim conversion. Q: Let s take grandfather on the Kovach side. Where did he come from? KOVACH: He was born I think in 1873 or so.
    [Show full text]
  • CÉSAR FRANCK PÉTUR SAKARI Playing the Cavaillé-Coll Organ of the Cathédrale Sainte-Croix, Orléans
    CÉSAR FRANCK PÉTUR SAKARI playing the Cavaillé-Coll Organ of the Cathédrale Sainte-Croix, Orléans Trois Pièces · Trois Chorals BIS-2349 FRANCK, César (1822—90) Trois Pièces pour grand orgue, FWV 35—37 (1878) 33'02 1 Fantaisie. Andantino 16'16 2 Cantabile. Non troppo lento 6'50 3 Pièce héroïque. Allegro maestoso 9'39 Trois Chorals pour grand orgue, FWV 38—40 (1890) 46'45 4 Chorale No. 1 in E major. Moderato 15'37 5 Chorale No. 2 in B minor. Maestoso 15'32 6 Chorale No. 3 in A minor. Quasi allegro 15'20 TT: 80'37 Pétur Sakari playing the 1880 Cavaillé-Coll Organ of the Cathédrale Sainte-Croix, Orléans 2 espite his modest disposition, César Franck played a critical role in nine- teenth-century French music. In a country where literature had always been Dking, musical genres that celebrated words – such as songs or opera – was naturally on top of the pile. ‘Pure’ (or absolute) music was rarely heard. Composing music that was freed from the shackles of a text and which allowed passion free rein, even though it eschewed showy virtuosity, Franck rehabilitated chamber music and the symphony, genres that had been regarded as German specialities. His work as a teacher (he was professor of organ at the Paris Con servatoire from 1872 until his death in 1890) should also be borne in mind when evaluating his importance; this activity is inseparable from his contribution to the emer gence of a serious, highly struc tured type of French music that had no reason to envy its German counter part.
    [Show full text]
  • The Baroque Offertoire : Apotheosis of the French Organ Art
    The Baroque Offertoire : Apotheosis of the French Organ Art By Copyright 2016 Song Yi Park Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________ Chairperson Dr. Michael Bauer ________________________________ Dr. James Higdon ________________________________ Dr. Colin Roust ________________________________ Dr. Bradley Osborn ________________________________ Professor Jerel Hildig Date Defended: November 1, 2016 The Dissertation Committee for Song Yi Park certifies that this is the approved version of the following dissertation: The Baroque Offertoire : Apotheosis of the French Organ Art ________________________________ Chairperson Dr. Michael Bauer Date approved: November 1, 2016 ii Abstract During the French Baroque period, the function of the organ was primarily to serve the liturgy. It was an integral part of both Mass and the office of Vespers. Throughout these liturgies the organ functioned in alteration with vocal music, including Gregorian chant, choral repertoire, and fauxbourdon. The longest, most glorious organ music occurred at the time of the offertory of the Mass. The Offertoire was the place where French composers could develop musical ideas over a longer stretch of time and use the full resources of the French Classic Grand jeu , the most colorful registration on the French Baroque organ. This document will survey Offertoire movements by French Baroque composers. I will begin with an introductory discussion of the role of the offertory in the Mass and the alternatim plan in use during the French Baroque era. Following this I will look at the tonal resources of the French organ as they are incorporated into French Offertoire movements.
    [Show full text]
  • Equipping God S People
    Thursday 5th March 9.30am - 1.00pm LAY LEADERS OF WORSHIP Holywell Lodge, 41 Holywell Hill, S. AY,`, AL1 1HE This diocesan Scheme is designed to help EQUIPPING Art of the Annunciation make it possible for public worship to take place in every church every Sunday. It Today the art of the Annunciation offers us a fresh enables parishes to discern the gifts of lay perspective of the written account. Led by the Rev’d people as local Lay Leaders of Worship (LLWs). On GOD’S PEOPLE Lauretta Wilson, we will look at different representations completion of their training they receive a letter of in art of the Annunciation, explore this fresh perspective permission from the Bishop recognising them as LLWs in and examine our own responses. their parish church. PROGRAMME Book via the course contact. Cost: £10 Contact: Laura 01727 For more information on registering for this scheme see 818151 [email protected] www.stalbans.anglican.org/ministry/lay-leaders-worship/ or January - April 2015 Saturday 21st March 10.00am - 3.30pm contact Rev’d Jeanette Gosney. St Paul’s Church, L7-G+G, SG6 1QL Training for LLWs includes 6 introductory sessions over two Events and courses open to all Saturdays. In 2015 a course will run in each Archdeaconry; but Local Ministry Conference: “ We are please choose whichever date combinaon suits you best. the Body of Christ” FIRST SATURDAY (S ESSIONS 1- 3) A training day for Local Ministry Development Teams and Saturday 18th April St Albans (Holywell Lodge) Spring anyone interested in Local Ministry, with the Rt Rev’d Alan Saturday 6th June Bedford (St Mary’s Goldington) Saturday 19th Sept.
    [Show full text]
  • PDF (Volume 1: Digitised from Print (June 2021))
    Durham E-Theses An Archaeology of Sensory Experience: Pilgrimage in the Medieval Church, c.1170-c.1550 WELLS, EMMA,JANE How to cite: WELLS, EMMA,JANE (2013) An Archaeology of Sensory Experience: Pilgrimage in the Medieval Church, c.1170-c.1550 , Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/7735/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Emma J. Wells An Archaeology of Sensory Experience: Pilgrimage in the Medieval Church, c. 1 170-c. 1550 ABSTRACT Using a methodological framework built upon principles of recent socio- anthropological and archaeological analyses on the sensory culture of the past, this thesis provides an original interdisciplinary socio-sensual approach to illustrate how the medieval ‘pilgrimage experience’ was socially constructed for and by three separate participatory groups - royalty, laity and a parochial society - at four major English cult churches.
    [Show full text]
  • Manuel De Falla Del Fuego
    KALEVI KIVINIEMI · CÉSAR FRANck MARCEL DUPRÉ · ENTRÉE, CANZONA ET SORTIE OP. 62 · IMPROVISATION AM 21.04.2009 · MANUEL DE FALLA PIERRE COCHEREAU · FRANZ LISZT CZÁRDÁS OBSTINÉ · DANZA RITUAL DEL FUEGO · DANZA DEL MOLINERO ScHERZO SYMPHONIQUE · FINLANDIA OP. 26 · SO KLINGT NUR DORTMUND. 2,50 E KONZERTHAUS DORTMUND · DIENSTAG, 21.04.2009 · 20.00 Dauer: ca. 2 Stunden 10 Minuten inklusive Pause KALEVI KIVINIEMI ORGEL Abo: Orgel im Konzerthaus In unserem Haus hören Sie auf allen Plätzen gleich gut – leider auch Husten, Niesen und Handy- klingeln. Ebenfalls aus Rücksicht auf die Künstler bitten wir Sie, von Bild- und Tonaufnahmen während der Vorstellung abzusehen. Wir danken für Ihr Verständnis! 4 I 5 CÉSAR FRANck (1822 – 1890) MANUEL DE FALLA (1876 – 1946) Aus »Rédemption« Aus »El sombrero de tres picos« (Fassung für Orgel) ›Interlude symphonique‹ ›Danza del Molinero‹ (Fassung für Orgel von Kalevi Kiviniemi) Aus »El amor brujo« (Fassung für Orgel) ImpROVISATION ›El círculo mágico‹ ›Danza ritual del fuego‹ MARCEL DupRÉ (1886 – 1971) »Entrée, Canzona et Sortie« op. 62 FRANZ LIszt (1811 – 1886) Konzert-Etüde Nr. 3 Des-Dur PIERRE CochEREAU (1924 – 1984) (Fassung für Orgel von Kalevi Kiviniemi) Scherzo symphonique »Consolation« Nr. 3 Des-Dur – Pause – (Fassung für Orgel von Kalevi Kiviniemi) ImpROVISATION »Czárdás obstiné« (Fassung für Orgel von Kalevi Kiviniemi) JEAN SIBELIus (1865 – 1957) »Finlandia« op. 26 (Fassung für Orgel) 6 I 7 PROGRAmm 8 I 9 DER MAGIschE KREIS SINfoNIschE ORGELmusIK VON SPANIEN BIS FINNLAND SINFONISCHES ZWISCHENSPIEL CÉSAR FRANCK ›INTERLUDE SYMPHONIQUe‹ Aus »RÉDEmptION« UND ImpROVISATION Der heutige Abend ist ganz zwei Themen gewidmet: dem Arrangement von Orchester- und Klavierwerken für die Orgel sowie der Improvisation.
    [Show full text]
  • Auftakt 2008
    Zeitschrift der Hochschule für Musik und Theater München für Hochschulangehörige, Freunde und Alumni Auftakt Heft 12 Sommersemester 2008 Inhalt und Impressum Inhalt Zwischenruf. 1 Neue Hochschullehrer im Gespräch mit Prof. Dr. Siegfried Mauser . 2 … Prof. Robert North . 2 … Prof. Cristina Bianchi . 2 … Prof. Robert Tannenbaum . 3 … Prof. Roman Patkoló . 4 … Prof. Nabil Shehata. 4 Vervollkommnung im musikalischen Idiom europäischer Musik – Interview mit Prof. Hariolf Schlichtig und seinem Studenten WenXiao Zheng. 5 Orgellandschaft Paris . 7 Die Studentenvertretung informiert . 10 Die Fusion – ein Gespenst? . 10 Aus Studienbeiträgen fi nanziert:. 10 Was geschieht eigentlich in der Bibliothek? . 12 Einige ausgewählte Pressestimmen . 16 Alumni-Arbeit an der Hochschule für Musik und Theater München . 17 Meldungen. 19 Jubiläen 2007 . 19 Neue Gesichter in der Verwaltung . 19 Ausgewählte Veranstaltungen im SS 2008. 20 Auftakt – Grafi sche Gestaltung: Kay Fretwurst, Spreeau Zeitschrift der Hochschule für Musik und Theater München Druck: Panta rhei-CM, München für Hochschulangehörige, Freunde und Alumni Fotos soweit nicht anders angegeben: Herausgeber: Präsident Prof. Dr. Siegfried Mauser Regine Heiland und Hochschule für Musik und Theater Redaktion: Dorothee Göbel M.A. München Presse- und Öffentlichkeitsarbeit Aufl age: 3000 Arcisstraße 12 Erscheinungsweise: ein Mal jährlich, jeweils zu Beginn des Som- 80333 München mersemesters. Die mit Namen gekennzeichneten Beiträge geben nicht unbe- Tel. +49 (0)89/289 27 440 dingt die Meinung des Herausgebers
    [Show full text]
  • Du Clavecin À La Harpe
    UNIVERSITÉ PARIS–SORBONNE ÉCOLE DOCTORALE V « CONCEPTS ET LANGAGES » Patrimoines et langages musicaux CONSERVATOIRE NATIONAL SUPÉRIEUR DE MUSIQUE ET DE DANSE DE PARIS THÈSE Pour l’obtention du grade de DOCTEUR DE L’UNIVERSITÉ PARIS-SORBONNE Discipline / Spécialité : Musique Recherche et Pratique Présentée et soutenue par : Constance Luzzati Le 20 novembre 2014 Du clavecin à la harpe Transcription du répertoire français du XVIIIe siècle Sous la direction de : Madame Raphaëlle Legrand, professeur à l’université de Paris IV – Sorbonne Monsieur Kenneth Weiss, claveciniste, chef d’orchestre, professeur au CNSMDP JURY : Madame Violaine Anger, maître de conférence habilité à diriger des recherches à l’Université d’Evry-Val-d’Essonne Monsieur Jean-Pierre Bartoli, professeur à l’Université Paris IV – Sorbonne Monsieur Philippe Brandeis, directeur des études musicales et de la recherche au CNSMDP Madame Raphaëlle Legrand, professeur à l’Université Paris IV – Sorbonne Madame Isabelle Moretti, harpiste, professeur au CNSMDP Monsieur Bertrand Porot, professeur à l’Université de Reims Monsieur Kenneth Weiss, claveciniste, chef d’orchestre, professeur au CNSMDP 1 2 Le répertoire original pour harpe est relativement restreint. Deux voies permettent de concourir à son accroissement : la création contemporaine d’une part, et la transcription d’autre part. La présente étude interroge le rapport entre les habitus anciens et une pratique actuelle de transcription, depuis le répertoire de clavecin français du XVIIIe siècle vers la harpe. La transcription est ici considérée comme une pratique non notée qui relève de l’interprétation, et qui partage avec celle-ci, comme avec la traduction, des problématiques fondamentales en apparence antinomiques : esprit et lettre, idiomatisme et fidélité.
    [Show full text]