DOCSLIB.ORG

Lawrence University Symphony Orchestra

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Lawrence University Symphony Orchestra Special Thanks to the Lawrence University Conservatory Instrumental Artist Faculty Samantha George, violin Wen-Lei Gu, violin Lawrence University Matthew Michelic, viola Janet Anthony, cello Mark Urness, string bass Erin Lesser, flute Symphony Orchestra Suzanne Jordheim, flute Howard Niblock, oboe David Bell, clarinet Steve Jordheim, saxophone Octavio Más-Arocas, Music Director/Conductor Jesse Dochnahl, saxophone James DeCorsey, horn Carl Rath, bassoon Jeffrey Stannard, trumpet John Daniel, trumpet Kate Hardt, trombone Nick Keelan, trombone Marty Erickson, tuba Dane Richeson, percussion Kathrine Handford, organ Guest Artist: Ian Koziara, tenor (co-winner of the 2012-13 Catherine Kautsky, piano Anthony Padilla, piano Michael Mizrahi, piano LSO Concerto Competition) Upcoming Performances: Thursday, May 30, 2013 Lawrence Symphony Orchestra Composer Forum 7:30 P.M. Lawrence Memorial Chapel Saturday, May 25, 2013 8:00 p.m. Lawrence Memorial Chapel “This concert is supported, in part, by The Avenue 91.1.” As a courtesy to the artists and to those in attendance, please be aware that sounds such as whispering and the rustling of programs and cellophane wrappers are magnified in the hall. Please turn off all watch alarms, pagers, and cellular telephones. And please no flash photography. Fanfare Matt Gunby, LU ’14 LSO Stage Crew Team: World Premiere, LSO Fanfare Project (b. 1990) Harrison Keeshin, coordinator Bridget Schumann Sieben frühe Lieder (Seven Early Songs) Alban Berg Zack Suechting Nacht (Night) (1885-1935) Schilflied (Song of the reeds) Die Nachtigall (The nightingale) LSO Librarians: Traumgekrönt (Crowned in a dream) Im Zimmer (In the chamber) Ruby Brallier Liebesode (Ode to Love) Trevor Litsey Sommertage (Summer days) Gabrielle Rakidzich Kajsa Schneider, coordinator Ian Koziara, tenor (co-winner of the 2012-13 LSO Concerto Competition) LSO Advisory Committee: Introduction to G. Mahler’s Symphony by Aric Lee, LU ’14 Ruby Brailler Heather Gandre Elizabeth Knutowski Symphony No. 1 in D Major (“Titan”) Gustav Mahler Morgen Moraine Langsam. Schleppend (1860-1911) Greg Riss Kräftig bewegt, doch nicht zu schnell Helen Rowe Feierlich und gemessen, ohne zu schleppen Stürmisch bewegt Flute Horn Tuba Ian Koziara Mahler Mahler Alex Norris Ian Koziara hails from Itasca, Illinois, and is pursuing a double major in Leo Sussman Zach Aniel Choral/General Music Education and Vocal Performance, studying under Hallie Houser Taylor Scott Teresa Seidl. Previously, he studied for two and a half years with Steven Sam Golter Elizabeth Schmidt Percussion Paul Spears. Other major musical mentors of Ian’s include Stephen Sieck, Caitlynn Winkler Valerie Miller Phillip Swan, Bonnie Koestner, and Emily Ellsworth. Having performed Berg Heath Ugoretz Greg Riss on four continents, Ian most recently attended La Musica Lirica’s Opera Sam Golter Dakota Williams Eli Edelman Program in Novafeltria, Italy. He has performed in masterclasses for Caitlynn Winkler Rachelle Huffman Claire Fassnacht conductors such as Stewart Robertson and Joe Rescigno, as well as for Nicoletta Pignatello, asst. Justin Gingrich singers and coaches whilst at Lawrence. Interested equally in the academic Berg Alec Robinov side of music, Ian has excelled in the classroom at Lawrence, earning the Oboe Taylor Scott Dan Reifsteck Pi Kappa Lambda Prize for the highest Conservatory GPA in 2011. He Valerie Miller has also placed three times at the Annual Wisconsin NATS auditions. Mahler Dakota Williams Ian aspires for a career in either performance or education, and plans on Allison Shinnick Rachelle Huffman Harp applying to graduate schools in performance next year. Maia Perez Alica Tape Leila Ramagopal Pertl < Stephen Weikel Trumpet Berg Alica Tape Mahler Celesta Stephen Weikel Morgen Moraine Becca Shuman Daniel Kuzuhara Marshall Yoes Clarinet Henry Gergen Stephanie Sundberg Mahler Berg Val Neff Stephanie Sundberg Heather Gandre Dylan Younger Linnea Garcia Trombone Berg Heather Gandre Mahler Linnea Garcia Tristan Barron Nathaniel Miller Justin Coyne Elena Grijalva, bass John Morrow Bassoon Berg Shauna McFaul Thomas Malm Elena Grijalva Jacob Fernandez Ryan Kessler, contra Program Notes Lawrence Symphony Orchestra The LSO personnel does rotate throughout the season Symphony No. 1 in D Major, “Titan” notes by Octavio Más-Arocas Katherine Kilburn, rehearsal conductor “A symphony must be like the world. It must contain everything.” Violin I Viola Gustav Mahler Helen Rowe, concertmaster < Abigail Wagner, principal < Gustav Mahler was one of the leading conductors of his generation. He Sofie Yang, assistant concertmaster < Berrit Goodman, assistant principal < held important conducting positions in opera houses in Europe where he Abbey Roemer < Elizabeth Knutowski < was the director of the Vienna Court Opera (Hofoper) and in the USA Josie Moe < Mya Hunt < where he held conductorship positions with the Metropolitan Opera Bailey Poesnecker and the New York Philharmonic. Mahler converted to Catholicism from Edward Li < Kajsa Schneider < Elizabeth Myhre < Judaism to secure his conducting career and experienced regular opposition Corby Johnson < and hostility from the anti-Semitic press. Nonetheless, his insistence on the Martha McDonnell < Marisa Sheppard < Elizabeth Vaughan highest performance standards and his innovative productions guaranteed Nicolas Bizub < him a position as one of the greatest conductors of his time. Graycen Gardner Olivia Legan < Kate Mueller Kyle Stalsberg < Mahler considered himself a part-time composer and he completed most Hallie Hillemann < of his works during his summer vacations. While he was mostly an opera Laura Deneckere Tyler Kundinger conductor he never composed an opera and he devoted most of his work Anastasia A. Skliarova to the art of composing symphonies and songs. Gustav Mahler is now Amelia Bemis considered one of the most important composers of all time whose work Cello is frequently performed. Nevertheless, during the composer’s lifetime his music was often considered controversial, was criticized, and even Violin II Ruby Brallier, principal < neglected. However, after 1945 his music was rediscovered and championed Calvin Armstrong, assistant principal < by a new generation of musicians and conductors who saw Mahler as the Francie Weberpal, principal < Aric Lee < innovative composer he was. Eventually, Gustav Mahler became one of the Mary Kate Smith, assistant principal Genevieve Schooler < most frequently performed and recorded of all composers. Isabel Dammann < Mariantonia Longhi < Andrea Johnson < Jacob Bedroske Gustav Mahler conducted the premiere of his first symphony in Budapest Rachel Lindley < Cameron Murdock on November 20, 1889. The work was first presented as a Symphonic Poem Bandin Kreuder < John Kasper < in Two Parts. Initially, this symphonic poem consisted of five movements Gabrielle Rakidzich < Sarah Coffman of which Mahler eventually dropped the second. Although this second Marina Gittins < Miles Link movement has been included in some recent performances of the piece, the Sarah Wagner < Grant Forsythe symphony is more often performed in its four-movement version, as you will hear it tonight. The premiere of the piece was by no means a success; Sylvia Middleton Susan Lee < people in the audience booed after the performance and critics discouraged Bass Mahler’s attempts at composing. Hannah Geniesse < Sarah Golden Annabelle Tsai Zack Suechting, principal < Of the five movements of this Symphonic Poem, the one that disrupted Harrison Keeshin, assistant principal < the audience the most in that first performance was the fourth, the third Ryan Hays < movement in the final version. In this movement, not only did Mahler transform the innocent and joyful children’s song Frère Jacques into a Curran Carlile funeral march but also he gave the first strains of the melody to the string Nicholas Allen < bass, bassoon, tuba, and bass clarinet while the timpani plays a dark Charlie Hornbogen ostinato. Although the string bass and the tuba can produce exceptionally < Denotes Berg Maximilian Simmons Liebesode Ode to Love beautiful sounds, we probably wouldn’t associate those instruments Otto Erich Hartleben (1864-1905) with this typically cheerful tune. Moreover, the composer interlaced this dark version of this otherwise happy song with sardonic tunes played by Im Arm der Liebe schliefen wir selig ein, In the arms of love we fell blissfully bohemian bands. During the premier of the piece, the audience found asleep; Mahler’s burlesque reflection somewhat sordid and even offensive. Am offnen Fenster lauschte der at the open window the summer wind Sommerwind, listened Mahler presented his first symphony in four movements four years after Und unsrer Atemzüge Frieden trug er and carried the peacefulness of our this unsuccessful event. He named the symphony Titan after the novel breath by Jean Paul and gave descriptive titles to each movement hoping that hinaus in die helle Mondnacht. out into the bright, moonlit night. the work would be understood. The symphony was structured in two Und aus dem Garten tastete zagend sich And out of the garden, feeling its way parts: the first part with the title From the Days of Youth consisting of three randomly, ein Rosenduft an unserer Liebe Bett the scent of roses came to our bed of love movements: Spring without End, Blumine, and Under Full Sail. The second Und gab uns wundervolle Träume, and gave us wonderful dreams, part was entitled Commedia humana and consisted of two movements: Träume des Rausches, so reich an dreams
Load more

Recommended publications
  • Preview Notes • Week Four • Persons Auditorium
    2019 Preview Notes • Week Four • Persons Auditorium Saturday, August 3 at 8:00pm Sieben frühe Lieder (1905-08) Dolce Cantavi (2015) Alban Berg Caroline Shaw Born February 9, 1885 Born August 1, 1982 Died December 24, 1935 Duration: approx. 3 minutes Duration: approx. 15 minutes Marlboro premiere Last Marlboro performance: 1997 Berg’s Sieben frühe Liede, literally “seven early songs,” As she has done in other works such as her piano were written while he was still a student of Arnold concerto for Jonathan Biss, which was inspired by Schoenberg. In fact, three of these songs were premiered Beethoven’s third piano concerto, Shaw looks into music in a concert by Schoenberg’s students in late 1907, history to compose music for the present. This piece in around the time that Berg met the woman whom he particular eschews fixed meter to recall the conventions would marry. In honor of the 10-year anniversary of this of early music and to highlight the natural rhythms of the meeting, he later revisited and corrected a final version of libretto. The text of this short but wonderfully involved the songs. The whole set was not published until 1928, song is taken from a poem by Francesca Turini Bufalini when Berg arranged an orchestrated version. Each song (1553-1641). Not only does the language harken back to features text by a different poet, so there is no through- an artistic period before our own, but the music flits narrative, however the songs all feature similar themes, through references of erstwhile luminaries such as revolving around night, longing, and infatuation.
    [Show full text]
  • Dissertation Body
    Summary of Three Dissertation Recitals by Leo R. Singer A dissertation submitted in partial fulfillment Of the requirements for the degree of Doctor of Musical Arts (Music Performance) in the University of Michigan 2020 Doctoral Committee: Professor Richard Aaron, Chair Professor Colleen Conway Assistant Professor Joseph Gascho Professor Andrew Jennings Professor James Joyce Leo R. Singer [email protected] ORCID iD: 0000-0002-2741-1104 © Leo R. Singer 2020 ACKNOWLEDGMENTS This dissertation was made possible by the incredible faculty at the University of Michigan. Each course presented new information and ways of thinking, which in turn inspired the programming and performing choices for these three dissertation recitals. I would like to thank all the collaborators who worked tirelessly to make these performances special. I also must express my sincere and utmost gratitude to Professor Richard Aaron for his years of guidance, mentorship and inspiration. Lastly, I would like to thank my parents, Scott and Rochelle, my sister, Julie, the rest of my family, and all of my friends for their unwavering support throughout the many ups and downs during my years of education. !ii TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT iv RECITALS I. MUSIC FROM FRANCE 1 RECITAL 1 PROGRAM 1 RECITAL 1 PROGRAM NOTES 2 BIBLIOGRAPHY 8 II. MUSIC FROM GERMANY AND AUSTRIA 10 RECITAL 2 PROGRAM 10 RECITAL 2 PROGRAM NOTES 12 BIBLIOGRAPHY 26 III. MUSIC FROM AMERICA 28 RECITAL 3 PROGRAM 28 RECITAL 3 PROGRAM NOTES 29 BIBLIOGRAPHY 37 !iii ABSTRACT In each of the three dissertation cello recitals, music from a different nation is featured. The first is music from France, the second from Germany and Austria, and the third from America.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 111, 1991
    BOSTON SYMPHONY CHAMBER PLAYERS Sunday, January 12, 1992, at 3 p.m. at Jordan Hall BOSTON SYMPHONY CHAMBER PLAYERS Malcolm Lowe, violin Harold Wright, clarinet Burton Fine, viola Richard Svoboda, bassoon Jules Eskin, cello Charles Kavalovski, horn Edwin Barker, double bass Charles Schlueter, trumpet Leone Buyse, flute Ronald Barron, trombone Alfred Genovese, oboe Everett Firth, percussion with GILBERT KALISH, piano LAURA PARK, vioiin ROBERT BARNES, viola MARTHA BABCOCK, cello BEETHOVEN Quintet in E-flat for piano, oboe, clarinet, bassoon, and horn. Opus 16 Grave—Allegro, ma non troppo Andante cantabile Rondo. Allegro ma non troppo Messrs. KALISH, GENOVESE, WRIGHT, SVOBODA, and KAVALOVSKI KLUGHARDT Schilflieder ("Songs of the Reeds"), Five Fantasy Pieces for piano, oboe, and viola, Opus 28 Slow, dreamy Passionately excited Tender, with calm movement Fiery Very calm Messrs. KALISH, GENOVESE, and FINE INTERMISSION BRAHMS Sextet in G for two violins, two violas, and two cellos, Opus 36 Allegro non troppo Scherzo: Allegro non troppo; Presto giocoso; Tempo I Poco Adagio Poco Allegro Mr. LOWE and Ms. PARK, Messrs. FINE and BARNES, Mr. ESKIN and Ms. BABCOCK Baldwin piano Nonesuch, DG, RCA, and New World records This concert is funded in part by the National Endowment for the Arts and by the Massachusetts Cultural Council, a state agency. — Ludwig van Beethoven Quintet in E-flat for piano, oboe, clarinet, bassoon, and horn, Opus 16 During Beethoven's first years in Vienna he wrote several chamber works involving wind instruments, not all of which have survived complete. After about 1800 his chamber music output was restricted to ensembles of stringed instruments, with or without piano.
    [Show full text]
  • Die Altenberg-Lieder Sind Vorläufer Der Großen Opernfresken Bergs
    Drei Orchesterstücke Op.6 Altenberg Lieder Op.4 - Sieben frühe Lieder CHRISTIANE IVEN soprano HY BRID MU LTICHANNEL A L B A N B E R G Orchestre Philharmonique de Strasbourg MARC ALBRECHT Alban Berg (1885 – 1935) Drei Orchesterstücke, Op. 6 (Three pieces for orchestra) 1 Präludium 4. 51 2 Reigen 5. 38 3 Marsch 10. 02 Altenberg Lieder, Op. 4 (Fünf Orchesterlieder nach Ansichtskartentexten von Peter Altenberg) (Five Orchestral Songs to Picture-Postcard Texts by Peter Altenberg) 4 Seele, wie bist du schöner 2. 42 5 Sahst du nach dem Gewitterregen den Wald 1. 24 6 Über die Grenzen des All 1. 33 7 Nichts ist gekommen 1. 29 8 Hier ist Friede 4. 07 Sieben frühe Lieder (Seven early songs) 9 Nacht (Carl Hauptmann) 3. 54 10 Schilflied (Nikolaus Lenau) 2. 11 11 Die Nachtigall (Theodor Storm) 2. 16 12 Traumgekrönt (Rainer Maria Rilke) 2. 52 13 Im Zimmer (Johannes Schlaf) 1. 14 14 Liebesode (Otto Erich Hartleben) 1. 52 15 Sommertage (Paul Hohenberg) 1. 49 Johann Strauss (1825 – 1899) 16 Wein, Weib und Gesang 11. 43 Christiane Iven, soprano Orchestre Philharmonique de Strasbourg conducted by Marc Albrecht Recording venue: Palais de la Musique et de Congrès, Strasbourg, France (Frühe Lieder, 1/2007; Orchesterstücke, Altenberglieder, Wein, Weib und Gesang, 1/2008) Recording producer: Wolfram Nehls Balance engineer: Philipp Knop Editing: Wolfram Nehls Surround Mix: Philipp Knop & Wolfram Nehls Total playing time: 59.46 Biographien auf Deutsch und Französisch finden Sie auf unserer Webseite. Pour les versions allemande et française des biographies, veuillez consulter notre site. www.pentatonemusic.com Alban Berg The Three Orchestral Pieces were writ- Three Orchestral Pieces, Op.
    [Show full text]
  • SAN FRANCISCO SYMPHONY MICHAEL TILSON THOMAS Susanna Phillips Soprano Gil Shaham Violin
    SAN FRANCISCO SYMPHONY MICHAEL TILSON THOMAS Susanna Phillips soprano Gil Shaham violin BERG Violin Concerto Seven Early Songs Three Pieces for Orchestra, Op. 6 © San Francisco Symphony, 2021 SAN FRANCISCO SYMPHONY MICHAEL TILSON THOMAS music director laureate and conductor ALBAN BERG (1885–1935) Violin Concerto (1935) 29:09 Three Pieces for Orchestra, Opus 6 (1929 revision) 21:51 Gil Shaham violin 10. Praeludium: Slow 5:48 1. Andante—Allegretto 12:02 11. Reigen: A little hesitant at first—Light and winged 5:51 2. Allegro—Adagio 17:07 12. Marsch: Moderate march tempo 10:11 Seven Early Songs (1905–08 / 1928) 16:09 Susanna Phillips soprano 3. Nacht 3:56 4. Schilflied 2:15 5. Die Nachtigall 2:14 6. Traumgekrönt 2:53 7. Im Zimmer 1:08 8. Liebesode 1:50 9. Sommertage 1:52 2 BERG © San Francisco Symphony, 2021 ALBAN MARIA JOHANNES BERG BORN: February 9, 1885. Vienna, Austria / DIED: December 24, 1935. Vienna, Austria THE BACKSTORY that his imagination apparently could not work on anything but songs. He was absolutely Alban Berg did not get off to a promising start. A incapable of writing an instrumental movement or terrible student, he had to repeat two separate years inventing an instrumental theme.” of high school before he could graduate. A fling Schoenberg’s tutelage had done its job, and with the family’s kitchen-maid led to his attaining Three Pieces for Orchestra, Opus 6 (1913–15, fatherhood at the age of seventeen. Though revised 1929) marked Berg’s decisive emergence passionate about music, he was clearly not cut out to full maturity as a composer.
    [Show full text]
  • Songs of Love August 2
    Concert Program IV: Songs of Love August 2 Tuesday, August 2 FRANZ SCHUBERT (1797–1828) 8:00 p.m., The Center for Performing Arts at Menlo-Atherton Selected Lieder S “Liebesbotschaft” P ROGRAM OVERVIEW “Nachtstück” “Auflösung” AM One of Brahms’s essential creative outlets was the vocal Paul Appleby, tenor; Wu Han, piano tradition he inherited from Franz Schubert. Brahms pos- sessed an innate sensitivity to the sympathy between poetry JOHANNES BRAHMS (1833–1897) and music—a vital concern of the Romantic generation. The Zwei Gesänge, op. 91 (1884; 1863–1864) perennially beloved Liebeslieder Waltzes contain all of “Gestillte Sehnsucht: In gold’nen Abendschein getauchet” the hallmarks of Brahms’s vocal oeuvre: warmth, intimacy, “Geistliches Wiegenlied: Die ihr schwebet” expressive nuance, and beguiling lyricism; the unique scor- Sasha Cooke, mezzo-soprano; Gilbert Kalish, piano; Paul Neubauer, viola ing of the Opus 91 Songs for Mezzo-Soprano, Viola, and ROBERT SCHUMANN (1810–1856) Piano adds to these qualities an exquisite melancholy. Con- ERT PROGR ERT Selected Lieder cert Program IV surrounds these works with the music of “Lehn’ deine Wang’ an meine Wang’,” op. 142, no. 2 C Schubert and Schumann (including the Spanische Liebes- “Du bist wie eine Blume,” op. 25, no. 24 lieder, which served as a model for Brahms’s Liebeslieder “Heiß mich nicht reden,” op. 98a, no. 5 Waltzes). Brahms’s legacy is evident in the hyper-Romantic Kelly Markgraf, baritone; Wu Han, piano ON Seven Early Songs of Alban Berg, one of Brahms’s early- C twentieth-century artistic heirs. ROBERT SCHUMANN Spanische Liebeslieder, op. 138 (1849) Erin Morley, soprano; Sasha Cooke, mezzo-soprano; Paul Appleby, tenor; Kelly Markgraf, baritone; Gilbert Kalish, Wu Han, piano I NTERMISSION SPECIAL THANKS AlbaN BERG (1885–1935) Music@Menlo dedicates this performance to Linda DeMelis Sieben frühe Lieder (1905–1908) and Ted Wobber with gratitude for their generous support.
    [Show full text]
  • List of Compositions
    LIST OF COMPOSITIONS Juvenilia and student works The large collection of Berg's juvenilia and student works may be divided into four categories: (1) Songs There exist in manuscript 86 songs dating from the period c1900-1908, just over half of which have been published. Eight of these songs were published during Berg'S lifetime, the Seven Early Songs (1905-8) and the ftrst version of Schliesse mir die Augen beide (1907); another song, An Leukon (1908), was published in Willi Reich, Alban Berg (Zurich: Atlantis Verlag, 1963); more recently 46 songs have been published as two volumes ofJugendlieder. (2) Choruses and canons 16 canons for accompanied and unaccompanied voices; two-part canon for clarinet and hom with piano accompaniment (1907); four-part chorus. (3) Works for string quartet and quintet Miscellaneous fugues, dances, variations, and other movements. The collection includes one. complete four-movement string quartet and a double fugue for string quintet and piano (1907). (4) Works for piano Miscellaneous scherzos, variations, etc. for piano or piano duet; the drafts of ftve (mainly unfmished) piano sonatas. Of these works only the Twelve Variations on an Original Theme (1908) have been published. 292 THE BERG COMPANION All of the unpublished works should appear in the near future as part of the forthcoming Alb~ Berg Gesamtmugabe. Published works Jugendlieder, vol. 1(1901-4),23 selected songs for voice and piano Schliesse mir die Augen beide [1], for voice and piano (1907) Jugendlieder, vol. 2 (1904-8), 23 selected songs for voice and piano Seven Early Songs, for voice and piano (1905-8); orchestral arrangement (1928) Am Leukon, for voice and piano (1908) Twelve Variations on an Original Theme, for piano (1908) Sonata op.
    [Show full text]
  • Whlive0011 Booklet 14/8/06 2:28 Pm Page 2
    WHLive0011 Booklet 14/8/06 2:28 pm Page 2 WHLive0011 Also Available Made & Printed in England NASH ENSEMBLE Beethoven Clarinet Trio in Bb Mendelssohn Octet SIR THOMAS ALLEN baritone WHLive0001 MALCOLM MARTINEAU piano Songs by Beethoven, Wolf, Butterworth Vaughan Williams and Bridge 0002 ARDITTI QUARTET WHLive Nancarrow String Quartet No. 3 Ligeti String Quartet No. 2 DAME FELICITY LOTT soprano Dutilleux String Quartet ‘Ainsi la nuit’ GRAHAM JOHNSON piano 0003 WHLive Fallen Women and Virtuous Wives Songs by Haydn, Strauss, Brahms and Wolf WHLive0004 ACADEMY OF ANCIENT MUSIC Concerti and Concerti Grossi by Handel, JS Bach and Vivaldi PETER SCHREIER tenor WHLive0005 ANDRÁS SCHIFF piano Schubert Songs WHLive0006 NASH ENSEMBLE Schumann Märchenerzählungen Moscheles Fantasy, Variations & Finale DAME MARGARET PRICE soprano Brahms Clarinet Quintet in B minor GEOFFREY PARSONS piano WHLive0007 Songs by Schubert, Mahler and R Strauss JOYCE DIDONATO mezzo-soprano WHLive0008 JULIUS DRAKE piano Songs by Fauré, Hahn and Head KOPELMAN QUARTET Arias by Rossini and Handel Schubert String Quartet in D minor WHLive0009 ‘Death and the Maiden’ YSAŸE QUARTET Tchaikovsky String Quartet in Eb minor Fauré String Quartet in E minor WHLive0010 Stravinsky Concertino Three Pieces for String Quartet Double Canon Debussy String Quartet in G minor Available from all good record shops WHLive0012 and from www.wigmore-hall.org.uk/live WHLive0011 Booklet 14/8/06 2:28 pm Page 3 1 d Soile Isokoski soprano Marita Viitasalo piano Songs by Sibelius, Strauss and Berg s A BBC recording
    [Show full text]
  • London's Symphony Orchestra
    London Symphony Orchestra Living Music AFTER ROMANTICISM Thursday 21 January 2016 7.30pm Barbican Hall Wagner Prelude to Act I from ‘Parsifal’ Berg Seven Early Songs INTERVAL Mahler Symphony No 5 François-Xavier Roth conductor Camilla Tilling soprano Concert finishes approx 9.55pm Sunday 24 January 2016 7pm London’s Symphony Orchestra Barbican Hall Webern Im Sommerwind Berg Violin Concerto INTERVAL Strauss Ein Heldenleben François-Xavier Roth conductor Renaud Capuçon violin Concert finishes approx 9pm 2 Welcome 21 & 24 January 2016 Welcome Living Music Kathryn McDowell In Brief Welcome to the LSO for the first set of concerts in LSO LIVE WINS GRAMOFON AWARD ‘After Romanticism’, a series exploring the changes and innovations that took place in music during LSO Live, the Orchestra’s record label, is delighted to the end of the 19th century and the beginning of announce that its release of Mendelssohn’s Symphony the 20th. We are delighted to be joined for this by No 3 with Sir John Eliot Gardiner and Schumann’s conductor François-Xavier Roth, who introduces the Piano Concerto with Maria João Pires was named series on page 4. Foreign Classical Compact Disc of the Year by the renowned Hungarian quarterly Gramofon. Order In the first concert on 21 January, we will trace the your copy through the LSO Live website. journey from the Prelude to Wagner’s final opera, Parsifal, through Mahler’s Symphony No 5, on to lsolive.lso.co.uk the musical innovations found in Berg’s Seven Early Songs, sung tonight by Camilla Tilling. THE LSO JANUARY SALE For the second concert on 24 January, we begin with two works from composers of the Second Viennese Nothing beats the January blues like a good concert! School, taken from different points in their careers: The LSO January Sale is now on, giving you the an early orchestral work by Webern, followed by chance to save 20% on selected LSO concerts in the Berg’s final composition – the Violin Concerto – new year.
    [Show full text]
  • Christine Brewer, Soprano Craig Rutenberg, Piano
    CAL PERFORMANCES PRESENTS PROGRAM Sunday, September 27, 2009, 3pm Hertz Hall Christine Brewer, soprano Benjamin Britten (1913–1976) Cabaret Songs Calypso (1939) Craig Rutenberg, piano Tell Me the Truth About Love (1938) Johnny (1937) Funeral Blues (1937) PROGRAM arr. Roger Quilter (1877–1953) Ye Banks and Braes arr. Britten The Salley Gardens Alban Berg (1885–1935) Seven Early Songs (1905–1908) arr. Herbert Hughes (1882–1937) The Leprechaun Nacht Schilflied Echoes of Nightingales Die Nachtigall Sidney Homer (1864–1953) Sing to Me, Sing (1913) Traumgekrönt Edwin MacArthur (1907–1987) Night (1949) Im Zimmer Paul Sargent (b. 1910) Hickory Hill (1955) Liebesode Frank Bridge (1879–1941) Love Went A’Riding (1914) Sommertage Idabelle Firestone (1884–1954) If I Could Tell You (1940) Frank La Forge (1879–1953) Hills (1925) Richard Strauss (1864–1949) Ich liebe dich, Op. 37, No. 2 (1898) Breit’ über mein Haupt dein schwarzes Haar, Op. 19, No. 2 (1885–1888) Christine Brewer appears by arrangement with IMG Artists, Befreit, Op. 39, No. 4 (1898) 152 West 57th Street, Fifth Floor, New York, New York 10019, (212) 994-3500. Ms. Brewer can be heard on EMI, Telarc, Naxos, Hyperion, Chandos and Warner Classics Family of labels. INTERMISSION This program is part of the Koret Recital Series and is made possible, in part, by Patron Sponsors Margot and John Clements. Cal Performances’ 2009–2010 season is sponsored by Wells Fargo Bank. 34 CAL PERFORMANCES CAL PERFORMANCES 35 PROGRAM NOTES PROGRAM NOTES Alban Berg (1885–1935) the result of his class assignments, for which shared left-wing political beliefs. Through Auden, particular kind of vernacular music that resulted Seven Early Songs Schoenberg required counterpoint exercises and in- he met Christopher Isherwood and a number of from the collaboration between two brilliantly en- strumental compositions.
    [Show full text]
  • Violin Concerto, Seven Early Songs, & Three Pieces for Orchestra on Sfs Media February 26, 2021
    Public Relations San Francisco Symphony (415) 503-5474 [email protected] www.sfsymphony.org/press FOR IMMEDIATE RELEASE / FEBRUARY 5, 2021 MICHAEL TILSON THOMAS AND THE SAN FRANCISCO SYMPHONY RELEASE ALBAN BERG: VIOLIN CONCERTO, SEVEN EARLY SONGS, & THREE PIECES FOR ORCHESTRA ON SFS MEDIA FEBRUARY 26, 2021 Gil Shaham performs Berg's Violin Concerto and soprano Susanna Phillips is soloist in Berg's Seven Early Songs Album recorded in 24-bit/192hHz high-resolution; available in 5.1 surround-capable SACD and for download and streaming via major retailers worldwide Available for pre-order now at sfsymphony.org/berg SAN FRANCISCO –The San Francisco Symphony and Music Director Laureate Michael Tilson Thomas announce the SFS Media release of Alban Berg: Violin Concerto, Seven Early Songs, & Three Pieces for Orchestra, available for pre-order now. Recorded live at Davies Symphony Hall in March and November 2018 and January 2015, respectively, this newest release from the Grammy Award-winning SFS Media label illuminates the evocative world of Alban Berg with the heartbreaking pathos of Berg’s Violin Concerto brought to life by violinist Gil Shaham; the soaring, multicolored Seven Early Songs performed by soprano Susanna Phillips; and the spellbinding Three Pieces for Orchestra, in which the composer solidified his reputation as a master of spacious expression. This album will be available in 24-bit/192kHz studio master-quality as a 5.1 surround-capable SACD, as a digital download, and streaming via all major retailers worldwide on February 26. For more information, program notes, and performance video footage, visit sfsymphony.org/berg.
    [Show full text]
  • 102-Poetic-Inspirations-Booklet.Pdf
    Poetic Inspirations Alex Klein oboe Works for Oboe, Viola & Piano Richard Young viola Ricardo Castro piano August Klughardt (1847–1902) Schilflieder (Songs of the Reeds), Op. 28 (1872) (19:35) 1 1. Langsam, träumerisch (3:40) Producer: James Ginsburg 2 2. Leidenschaftlich erregt (2:38) 3 Engineer: Bill Maylone 3. Zart, in ruhiger Bewegung (5:40) 4 4. Feurig (2:47) Graphic Design: Melanie Germond 5 5. Sehr ruhig (4:38) Cover: Immortalité by José Roosevelt Charles Martin Loeffler (1861–1935) Oil on canvas, 50 x 60 cm, 1994 / Private collection, Bulle (Switzerland) Two Rhapsodies for Oboe, Viola, and Piano (1901) (21:23) illustrations on pp. 7 & 12 also by José Roosevelt 6 I. L’Étang: Lento (un poco Andante) (9:30) 7 II. La Cornemuse: Un poco maestoso (11:50) Recorded: April 19, 20, 22 and 23, and October 16-17, 2007 at WFMT, Chicago Felix White (1884–1945) Publishers: 8 Modinha © Marco Aurélio Yano, 1984 The Nymph’s Complaint for the Death of her Fawn (1921) (8:08)* Trio for Viola, Heckelphone, and Piano, Op. 47 © B. Schott’s Söhne, Mainz, 1929 / © renewed P. Hindemith, 1957 Marco Aurélio Yano (1963–1991) The following instruments were used for this recording: 9 Modinha (1984) (2:45)* Viola: Peregrino di Zanetto (Brescia, ca. 1560) Oboe: F. Lorée Paul Hindemith (1895–1963) Piano: Steinway Technician: Charles Terr Trio for Viola, Heckelphone, and Piano, Op. 47 (1928) (14:44) Bass oboe (Hindemith): F. Lorée Erster Teil (7:03) bk Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not-for-profit foundation24 devoted to Solo: Sehr lebhaft, stürmisch— (1:00) promoting the finest musicians and ensembles in the Chicago area.
    [Show full text]