M. Bruch, J. Sibelius

Total Page：16

File Type：pdf, Size：1020Kb

MALAGA PHILHARMONIC ORCHESTRA / SEASON 2019-20 Teatro Cervantes thursday 07 may 20.00 h friday 08 may 20.00 h Ticket sale 31/07/2019 Prices A 24€ B 18€ C 13€ D 9€ Usual discounts apply M. BRUCH, J. SIBELIUS * Due to the prevention measures adopted by the Malaga City Council to contain the spread of the coronavirus, the celebration of this concert is cancelled. The tickets sold on the Internet and by telephone were refunded automatically. Tickets purchased at the box offices will be refunded once they open again and a new deadline is announced. The Philharmonic’s season ticket holders will receive the amount directly in their accounts. Coductor MANUEL HERNANDEZ SILVA – Violin Concerto No. 1 in G minor, Op.26, M. Bruch Angelo Xiang Yu violin – – Symphony No.5 in B-flat major, Op.82, J. Sibelius 1.20 h (w/intermission) orquestafilarmonicademalaga.com Program notes Jose Antonio Canton Given its melodic beauty and technical virtuosity, Max Bruch’s Violin Concerto in G Minor, Op.26 can be compared with the most famous works of the genre. Composed in 1866 and dedicated to the great Austrian-Hungarian violinist Joseph Joachim, it is the first, and most popular, of a series of three concertos. Its style is projected in two directions; towards the past, focusing attention on the gentleness that arises from Mendelssohn's famous concerto, and towards the future, anticipating in some way the one composed twelve years later by Johannes Brahms, for whom Bruch felt great admiration and friendship. After having composed his conceptually introverted and formally modernist Symphony No. 4, Opus 63, the Finnish musician Jean Sibelius planned his Symphony No. 5, Op. 82 during the years of the First World War. He wrote three different versions before finally feeling satisfied with the result. The original symphony in four movements was performed for the first time at the Helsinki Conservatory of Music on the 8th of December 1915, the day of the conservatory’s 50th anniversary, by the city’s Philharmonic orchestra with the composer as conductor. .

Copy Link

Recommended publications

Chopin's Nocturne Op. 27, No. 2 As a Contribution to the Violist's
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2014 A tale of lovers : Chopin's Nocturne Op. 27, No. 2 as a contribution to the violist's repertory Rafal Zyskowski Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Zyskowski, Rafal, "A tale of lovers : Chopin's Nocturne Op. 27, No. 2 as a contribution to the violist's repertory" (2014). LSU Doctoral Dissertations. 3366. https://digitalcommons.lsu.edu/gradschool_dissertations/3366 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A TALE OF LOVERS: CHOPIN’S NOCTURNE OP. 27, NO. 2 AS A CONTRIBUTION TO THE VIOLIST’S REPERTORY A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Rafal Zyskowski B.M., Louisiana State University, 2008 M.M., Indiana University, 2010 May 2014 ©2014 Rafal Zyskowski All rights reserved ii Dedicated to Ms. Dorothy Harman, my best friend ever iii ACKNOWLEDGMENTS As always in life, the final outcome of our work results from a contribution that was made in one way or another by a great number of people. Thus, I want to express my gratitude to at least some of them.
[Show full text]
Selections from Eight Pieces for Clarinet, Viola and Piano, Op. 83 Max Bruch
concerto for two pianos, various chamber pieces, songs, three operas and much choral music. Bruch composed his Eight Pieces for Clarinet, Viola and Piano, Op. 83 in 1909, in his seventieth year, for his son Max Felix, a talented clarinetist who also inspired a Double Concerto (Op. 88) for his instrument and viola from his father two years later. When the younger Bruch played the works in Cologne and Hamburg, Fritz Steinbach reported favorably on the event to the composer, comparing Max Felix’s ability with that of Richard Mühlfeld, the clarinetist who had inspired two sonatas, a quintet and a trio from Johannes Brahms two decades before. Clarinet and viola are here evenly matched, singing together in duet or conversing in dialogue, while the piano serves as an accompanimental partner. Bruch intended that the Eight Pieces be regarded as a set of independent miniatures of various styles rather than as an integrated cycle, and advised against playing all of them together in concert. The Pieces (they range from three to six minutes in length) are straightforward in structure — binary (A-B) or ternary (A-B-A) for the first six, compact sonata form for the last two — and are, with one exception (No. 7), all in thoughtful minor keys. Though Bruch was fond of incorporating folk music into his concert works, only the Romanian Melody (No. 5, Selections from Eight Pieces suggested to him, he said, by “the delightful young princess zu Wied” at one of his Sunday open-houses; he dedicated the work to her) shows such for Clarinet, Viola and Piano, Op.
[Show full text]
Beethoven Room - 706 | August 30, 2020
Beethoven Room - 706 | August 30, 2020 Welcome to the listing for Honors 2020. This is just a supplemental reference. All participating students have received their log on information via email. 2PM Recital Tyrus Chuang Aram Khachaturian - Sonatina 1 Piano Ryan Cheng Bach - Allemande from Violin Partita in D minor BWV 1004 Violin Shreya Nabar Mozart- Allegro Flute Vienna Parnell Mozart - Sonata in c minor, K. 457 Piano Petr Tupitsyn Rachmaninov - Vocalise Flute Jessica Li Frederic Chopin - Nocturne in B major, Op. 32, No. 1 Piano Fanya Xu Enrique Granados, Playera Piano Emily Harn Serge Prokofiev - Prelude in C Major Piano Lazypotato Ying Edvard Grieg - Bells Ringing Piano Kayla Tan Zez Confrey - Coaxing the Piano Piano Amber Kuo Gabriel Fauré - Sicilienne, Op. 78 Flute James Tsaggaris Frédéric Chopin - Fantaisie-Impromptu in C♯ minor Op. 66 Piano 3PM Recital Max Tan Haydn - Sonata in E Flat Major Hob XVI:52 No. 62, 3. Presto Piano Sean Daly G. Lange - Blumenlied Piano Satina Guo Fazil Say - Jazz Fantasy on Mozart Piano Claire Law Gershwin - Prelude No. 1 Piano Calvin Park Bach - Invention No. 13 Piano Phuong-Nghi Nguyen Albert Ginastera-Trieste from Twelve American Preludes, Op.12 Piano Rithika Ramesh Gretchaninoff - Chant d'Automne Piano Maggie Cong Ludwig van Beethoven - Sonata Op. 79 Piano Eric Lee Max Bruch - Violin Concerto No. 1 in G minor, I. Vorspiel Violin Jocelyn Gou Friedrich Kuhlau - Sonatina in C, Op. 55, No.1, Rondo: Vivace Piano Abigail Yuan Beethoven - Sonata in C Minor Op. 10 No. 1 Piano Alex Liu Fritz Kreisler - Miniature Viennese Waltz Violin Cady Chen Chen Peixun – Autumn Moon Over the Calm Lake Piano 4PM Recital Jaylyn Chong Chopin-Nocturne No.20 in C sharp Minor Piano Allison Prakalapakorn Kabalevsky - Toccata, Op.60, No.4 from Four Rondos Piano Lahari Yallapragada Fritz Kreisler - Rondino on a Theme of Beethoven Violin Ethan Lee Debussy - La Plus Que Lente Piano Gareth Lee Franz Liszt - Liebestraum Nocturne No.
[Show full text]
Max Bruch Symphonies 1–3 Overtures Bamberger Symphoniker Robert Trevino
Max Bruch Symphonies 1–3 Overtures Bamberger Symphoniker Robert Trevino cpo 555 252–2 Booklet.indd 1 13.03.2020 10:56:27 Max Bruch, 1870 cpo 555 252–2 Booklet.indd 2 13.03.2020 10:56:27 Max Bruch (1838–1920) Complete Symphonies CD 1 Symphony No. 1 op. 28 in E flat major 38'04 1 Allegro maestoso 10'32 2 Intermezzo. Andante con moto 7'13 3 Scherzo. Presto 5'00 4 Quasi Fantasia. Grave 7'30 5 Finale. Allegro guerriero 7'49 Symphony No. 2 op. 36 in F minor 39'22 6 Allegro passionato, ma un poco maestoso 15'02 7 Adagio ma non troppo 13'32 8 Allegro molto tranquillo 10'57 T.T.: 77'30 cpo 555 252–2 Booklet.indd 3 13.03.2020 10:56:27 CD 2 1 Prelude from Hermione op. 40 8'54 (Concert ending by Wolfgang Jacob) 2 Funeral march from Hermione op. 40 6'15 3 Entr’acte from Hermione op. 40 2'35 4 Overture from Loreley op. 16 4'53 5 Prelude from Odysseus op. 41 9'54 Symphony No. 3 op. 51 in E major 38'30 6 Andante sostenuto 13'04 7 Adagio ma non troppo 12'08 8 Scherzo 6'43 9 Finale 6'35 T.T.: 71'34 Bamberger Symphoniker Robert Trevino, Conductor cpo 555 252–2 Booklet.indd 4 13.03.2020 10:56:27 Bamberger Symphoniker (© Andreas Herzau) cpo 555 252–2 Booklet.indd 5 13.03.2020 10:56:28 Auf Eselsbrücken nach Damaskus – oder: darüber, daß wir es bei dieser Krone der Schöpfung Der steinige Weg zu Bruch dem Symphoniker mit einem Kompositum zu tun haben, das sich als Geist mit mehr oder minder vorhandenem Verstand in einem In der dichtung – wie in aller kunst-betätigung – ist jeder Körper darstellt (die Bezeichnungen der Ingredienzien der noch von der sucht ergriffen ist etwas ›sagen‹ etwas ›wir- mögen wechseln, die Tatsache bleibt).
[Show full text]
Form, Style, and Influence in the Chamber Music of Antonin
FORM, STYLE, AND INFLUENCE IN THE CHAMBER MUSIC OF ANTONIN DVOŘÁK by MARK F. ROCKWOOD A DISSERTATION Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy June 2017 DISSERTATION APPROVAL PAGE Student: Mark F. Rockwood Title: Form, Style, and Influence in the Chamber Music of Antonin Dvořák This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the School of Music and Dance by: Stephen Rodgers Chairperson Drew Nobile Core Member David Riley Core Member Forest Pyle Institutional Representative and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2017 ii © 2017 Mark F. Rockwood This work is licensed under a Creative Commons Attribution-Noncommercial – Noderivs (United States) License. iii DISSERTATION ABSTRACT Mark F. Rockwood Doctor of Philosophy School of Music and Dance June 2017 Title: Form, Style, and Influence in the Chamber Music of Antonin Dvořák The last thirty years have seen a resurgence in the research of sonata form. One groundbreaking treatise in this renaissance is James Hepokoski and Warren Darcy’s 2006 monograph Elements of Sonata Theory : Norms, Types, and Deformations in the Late-Eighteenth- Century Sonata. Hepokoski and Darcy devise a set of norms in order to characterize typical happenings in a late 18 th -century sonata. Subsequently, many theorists have taken these norms (and their deformations) and extrapolate them to 19 th -century sonata forms.
[Show full text]
Classic Choices April 6 - 12
CLASSIC CHOICES APRIL 6 - 12 PLAY DATE : Sun, 04/12/2020 6:07 AM Antonio Vivaldi Violin Concerto No. 3 6:15 AM Georg Christoph Wagenseil Concerto for Harp, Two Violins and Cello 6:31 AM Guillaume de Machaut De toutes flours (Of all flowers) 6:39 AM Jean-Philippe Rameau Gavotte and 6 Doubles 6:47 AM Ludwig Van Beethoven Consecration of the House Overture 7:07 AM Louis-Nicolas Clerambault Trio Sonata 7:18 AM Wolfgang Amadeus Mozart Divertimento for Winds 7:31 AM John Hebden Concerto No. 2 7:40 AM Jan Vaclav Vorisek Sonata quasi una fantasia 8:07 AM Alessandro Marcello Oboe Concerto 8:19 AM Franz Joseph Haydn Symphony No. 70 8:38 AM Darius Milhaud Carnaval D'Aix Op 83b 9:11 AM Richard Strauss Der Rosenkavalier: Concert Suite 9:34 AM Max Reger Flute Serenade 9:55 AM Harold Arlen Last Night When We Were Young 10:08 AM Wolfgang Amadeus Mozart Exsultate, Jubilate (Motet) 10:25 AM Wolfgang Amadeus Mozart Symphony No. 3 10:35 AM Wolfgang Amadeus Mozart Piano Concerto No. 10 (for two pianos) 11:02 AM Johannes Brahms Symphony No. 4 11:47 AM William Lawes Fantasia Suite No. 2 12:08 PM John Ireland Rhapsody 12:17 PM Heitor Villa-Lobos Amazonas (Symphonic Poem) 12:30 PM Allen Vizzutti Celebration 12:41 PM Johann Strauss, Jr. Traumbild I, symphonic poem 12:55 PM Nino Rota Romeo & Juliet and La Strada Love 12:59 PM Max Bruch Symphony No. 1 1:29 PM Pr. Louis Ferdinand of Prussia Octet 2:08 PM Muzio Clementi Symphony No.
[Show full text]
Winter Concert 2020 Press Release
Feb 12, 2020 Contact: Nadia Liu for immediate release (510) 849-9776 [email protected] Calendar Editors Please Note Who: Young People’s Symphony Orchestra What: Winter 2020 Concert Fountains of Rome by Ottorino Respighi (1916) Kol Nidrei by Max Bruch (1880) Violin Concerto in E minor, 1st movement by Felix Mendelssohn (1844) Symphony No. 8 in G Major by Antonín Dvořák (1889) Where: First Congregational Church of Berkeley 2345 Channing Way, Berkeley CA 94704 When: Saturday February 29th, 2020; 8 PM Tickets: $15 Box Office: http://WWW.ypsomusic.org/tickets (510)-849-9776 Concert info: http://WWW.ypsomusic.org Venue Info: http://WWW.firstchurchberkeley.org/ Figure 1 YPSO 2019-2020 Group Photo - standing. Photo by Karen Wright Celebrating his 31st season as Music Director/Conductor in 2019-2020, David Ramadanoff conducts 92 young musicians who range in age from 11 to 20, and hail from 29 cities and 6 counties in the greater San Francisco Bay Area. Maestro Ramadanoff thoughtfully selects music programs that are able to showcase the diversity of talent in the entire orchestra. For YPSO’s Winter Concert, the musicians will be performing Mendelssohn’s Violin Concerto, first movement, Bruch’s Kol Nidrei, Respighi’s Fountains of Rome, and Dvorak’s Symphony No. 8. Page 1 of 7 The story behind the composition and publication of Dvořák’s Symphony No. 8 is one of personal and national identity. Philip Huscher, an annotator for the Chicago Symphony Orchestra, states that “in the summer of 1889, Dvořák retired to his country home at Vysoká, away from the pressures of urban life and far from the demands of performers and publishers.
[Show full text]
“The Art of Writing Program Notes, Demonstrated Here by David Daniels’ Delightful Notes for CSD’S 2015-16 Opening Concerts!”
“The art of writing program notes, demonstrated here by David Daniels’ delightful notes for CSD’s 2015-16 opening concerts!” ~ Pauline Martin Max Bruch (1838-1920) from Eight Pieces for Clarinet, Viola, & Piano, op. 83 Andante Allegro agitato Andante con moto Allegro vivace ma non troppo Max Felix Bruch was the son of the celebrated composer Max Christian Friedrich Bruch. The son turned out to be a superb clarinetist—so what's a proud Papa to do? In the case of Max C. F. Bruch, the answer was obvious: write a piece for your prodigious son! It turned out to be eight pieces, in fact, composed in 1910 when the father was 72. Max père was a prolific composer of choral music, though in fact, 95 years after his death, it is his concertos and orchestral music that live on in numerous performances. Still, in the characteristically exploratory tradition of Chamber Soloists of Detroit, it is great to hear some little-known gems of chamber music. Aram Khachaturian (1903-1978) Trio for Clarinet, Violin, & Piano Andante con dolore Allegro Moderato Khachaturian's 1932 trio, composed while still a student, was championed by none other than Prokofiev, who arranged for a performance in Paris—and even publication—shortly after it was written. As a young Armenian composer, Khachaturian was caught up in the nationalist spirit of the time, represented most strongly by the Hungarians Bartók and Kodály, who sought to find their national identity and genuine musical style through a study of folk music. Indeed the folk element is strong throughout this trio.
[Show full text]
Notes on the Program by James M
Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair Concerto in D major for Violin and Orchestra, Op. 77 Johannes Brahms ohannes Brahms was the chief acolyte of time. It was Joachim who had championed Jthe conservative stream of 19th-century Beethoven’s Violin Concerto to a degree that Romanticism. As a young composer, he lifted it in musical prestige from a perceived sought out the composer and critic Robert footnote in Beethoven’s catalogue to a reper- Schumann in 1853. Schumann was hugely toire masterwork. He would introduce such impressed by the young man’s talent, and on important works as Schumann’s Phantasie October 28 of that year he published in the for Violin and Orchestra (1854) and Violin Neue Zeitschrift für Musik, a musical maga- Concerto (though the latter only in private zine he had founded, an effusive article that performances beginning in 1855) and the acclaimed Brahms as a sort of musical Mes- final version of Max Bruch’s Violin Concer- siah, “destined to give ideal presentation to to No. 1 (in 1868), as well as Brahms’s Violin the highest expression of the time, … spring- Concerto and Double Concerto for Violin ing forth like Minerva fully armed from the and Cello. head of Jove.” Joachim’s presence looms large in the Brahms filled Schumann’s prophecy and case of Brahms’s Violin Concerto, as the became the figure who most fully adapted composer consulted with him very closely the models of Beethoven (via Mendelssohn while writing the piece and there is no ques- and Schumann himself) to the evolving aes- tion that Joachim’s influence on the final thetics of the mid-to-late 19th century.
[Show full text]
Guest Artist Series
Kennesaw State University College of the Arts School of Music presents Guest Artist Series NOUZOVSKÝ / GOODSON DUO Petr Nouzovský, cello Patricia Goodson, piano Saturday, October 5, 2013 8:00 p.m Dr. Bobbie Bailey & Family Performance Center, Morgan Hall Twelfth Concert of the 2013-14 Concert Season Program Dangerous Music: Music the Nazis thought no one should hear Petr Nouzovský, cello, and Patricia Goodson, piano Guest artists from Prague, Czech Republic ROSY WERTHEIM (1888-1949) Intermezzo for cello and piano MAX BRUCH (1838-1920) Kol Nidrei FRIEDRICH GERNSHEIM (1839-1916) from Sonata No. 1 in D minor, Op. 12 Andante con moto Intermission LEONARD BERNSTEIN (1918-1990) Meditation No. 1 from MASS ROSY WERTHEIM (1888-1949) Sonatine for piano Allegretto Allegretto quasi Andantino Allegro LAURENCE SHERR (b. 1953) Elegy and Vision for solo cello BOHUSLAV MARTINŮ (1890-1959) Sonata for cello and piano No. 2 Allegro Largo Allegro commodo This performance is presented in partnership with the KSU College of Humanities and Social Sciences, Dr. Robert H. “Robin” Dorff, Dean. Program Notes DANGEROUS MUSIC The idea that music could have pernicious moral effects – that it could be spiritu- ally or otherwise damaging and dangerous – not because of content or artistic qualities, but because of the genetic makeup of its creators and performers is, thankfully, unthinkable today. At one time, however, it had the backing of “science,” that is, the bizarre, pseudo-science of eugenics, a collection of ideas used to give “legitimacy” to genocide, hate crimes and euthanasia. Shortly after seizing power in Germany in 1933, the Nazis created the Reichskul- turkammer (Reich Ministry of Culture), charged with organizing and “purifying” the- ater, film, music, the press, visual arts, radio and writing.
[Show full text]
Season 2019-2020
23 Season 2019-2020 Thursday, October 24, at 7:30 The Philadelphia Orchestra Friday, October 25, at 8:00 Saturday, October 26, at 8:00 Nathalie Stutzmann Conductor David Kim Violin Mendelssohn Hebrides Overture (“Fingal’s Cave”), Op. 26 Bruch Violin Concerto No. 1 in G minor, Op. 26 I. Vorspiel: Allegro moderato— II. Adagio III. Allegro energico Intermission Brahms Symphony No. 2 in D major, Op. 73 I. Allegro non troppo II. Adagio non troppo—L’istesso tempo, ma grazioso III. Allegretto grazioso (quasi andantino)—Presto ma non assai—Tempo I—Presto ma non assai—Tempo I IV. Allegro con spirito This program runs approximately 1 hour, 50 minutes. The October 26 concert is sponsored by Allan Schimmel in memory of Reid Reames. These concerts are part of The Phildadelphia Orchestra’s WomenNOW celebration. 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 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra community centers, the Mann Through concerts, tours, is one of the world’s Center to Penn’s Landing, residencies, and recordings, preeminent orchestras. classrooms to hospitals, and the Orchestra is a global It strives to share the over the airwaves and online. ambassador. It performs transformative power of The Orchestra continues annually at Carnegie Hall, music with the widest to discover new and the Saratoga Performing possible audience, and to inventive ways to nurture its Arts Center, and the Bravo! create joy, connection, and relationship with loyal patrons.
[Show full text]
Chicago Symphony Orchestra
Pittsburgh Symphony Orchestra 2016-2017 Mellon Grand Classics Season October 7 and 9, 2016 MANFRED HONECK, CONDUCTOR PINCHAS ZUKERMAN, VIOLIN JAMES MacMILLAN Britannia MAX BRUCH Concerto No. 1 for Violin and Orchestra in G minor, Opus 26 I. Prelude: Allegro moderato II. Adagio III. Finale: Allegro energico Mr. Zukerman Intermission EDWARD ELGAR Variations on an Original Theme, Opus 36 “Enigma Variations” Enigma: Andante Variations: I. "C.A.E." L'istesso tempo II. "H.D.S.- P." Allegro III. "R.B.T." Allegretto IV. "W.M.B." Allegro di molto V. "R.P.A." Moderato VI. "Ysobel" Andantino VII. "Troyte" Presto VIII. "W.N." Allegretto IX. "Nimrod" Moderato X. "Dorabella - Intermezzo" Allegretto XI. "G.R.S." Allegro di molto XII. "B.G.N." Andante XIII. "*** - Romanza" Moderato XIV. "E.D.U." - Finale JAMES MacMILLAN Fanfare for Pittsburgh A special commission to celebrate the Pittsburgh Symphony’s 120th Anniversary and the opening of the 2016-17 season. Oct. 7-9, 2016, page 1 PROGRAM NOTES BY DR. RICHARD E. RODDA JAMES MACMILLAN Britannia (1994) Sir James MacMillan was born in Kilwinning, Ayshire, Scotland on July 16, 1959. Britannia was composed in 1994 as a celebration of British orchestras. It was premiered by the London Symphony Orchestra in Barbican Hall on September 21, 1994, with Michael Tilson Thomas conducting. These performances mark the Pittsburgh premiere of Britannia, and mark the first of four MacMillan compositions to be performed in the 2016-17 season as the Pittsburgh Symphony Composer of the Year. The score calls for piccolo, three flutes, three oboes, English horn, three clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp and strings.
[Show full text]