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SCMS Repertoire List Through 2021 Winter Festival
SEATTLE CHAMBER MUSIC SOCIETY REPERTOIRE LIST, 1982–2021 “FORTY YEARS OF BEAUTIFUL MUSIC” James Ehnes, Artistic Director Toby Saks (1942-2013), Founder Adams, John China Gates for Piano (2013) Arensky, Anton Hallelujah Junction for Two Pianos (2012, 2017W) Piano Quintet in D major, Op. 51 (1997, 2003, 2011W) Road Movies for Violin and Piano (2013) Piano Trio in D minor, Op. 32 (1984, 1990, 1992, 1994, 2001, 2007, 2010O, 2016W) Aho, Kalevi Piano Trio in F minor, Op. 73 (2001W, 2009) ER-OS (2018) Quartet for Violin, Viola and Two Celli in A minor, Op. 35 (1989, 1995, 2008, 2011) Albéniz, Isaac Six Piéces for Piano, Op. 53 (2013) Iberia (3 selections from) (2003) Iberia “Evocation” (2015) Arlen, Harold Wizard of Oz Fantasy (arr. William Hirtz) (2002) Alexandrov, Kristian Prayer for Trumpet and Piano (2013) Arnold, Malcolm Sonatina for Oboe and Piano, Op. 28 (2004) Applebaum "Landscape of Dreams" (1990) Babajanian, Arno Piano Trio in F sharp minor (2015) Andres, Bernard Narthex for Flute and Harp (2000W) Bach, Johann Sebastian “Aus liebe will mein Heiland sterben” from St. Matthew Passion BWV 244 Anderson, David (for flute, arr. Bennett) (2019) Capriccio No. 2 for Solo Double Bass (2006) Brandenburg Concerto No 3 in G major, BWV 1048 (2011) Four Short Pieces for Double Bass (2006) Brandenburg Concertos (Complete) BWV 1046-1051 (2013W) Capriccio “On the Departure of a Beloved Brother” in B flat major, BWV 992 Anderson, Jordan (2006) Drafts for Double Bass and Piano (2006) Chaconne, from Partita for Violin in D minor, BWV 1004 (1994, 2001, 2002) Choral Preludes for Organ (Piano) (Selections) (1998) Anonymous (arr. -
RUSSIAN & UKRAINIAN Russian & Ukrainian Symphonies and Orchestral Works
RUSSIAN & UKRAINIAN Russian & Ukrainian Symphonies and Orchestral Works Occupying a vast land mass that has long been a melting pot of home-spun traditions and external influences, Russia’s history is deeply encrypted in the orchestral music to be found in this catalogue. Journeying from the Russian Empire through the Soviet era to the contemporary scene, the music of the Russian masters covers a huge canvas of richly coloured and immediately accessible works. Influences of folklore, orthodox liturgy, political brutality and human passion are all to be found in the listings. These range from 19th-century masterpieces penned by ‘The Mighty Five’ (Balakirev, Rimsky-Korsakov, Mussorgsky, Borodin, and Cui) to the edgy works of Prokofiev and Shostakovich that rubbed against the watchful eye of the Soviet authorities, culminating in the symphonic output of one of today’s most noted Russian composers, Alla Pavlova. Tchaikovsky wrote his orchestral works in a largely cosmopolitan style, leaving it to the band of brothers in The Mighty Five to fully shake off the Germanic influence that had long dominated their homeland’s musical scene. As part of this process, they imparted a thoroughly ethnic identity to their compositions. The titles of the works alone are enough to get the imaginative juices running, witness Borodin’s In the Steppes of Central Asia, Rimsky-Korsakov’s The Legend of the Invisible City of Kitezh, and Mussorgsky’s St John’s Night on the Bare Mountain. Supplementing the purely symphonic works, instrumental music from operas and ballets is also to be found in, for example, Prokofiev’sThe Love for Three Oranges Suite, Shostakovich’s four Ballet Suites, and Stravinsky’s Firebird Suite. -
Boston Symphony Orchestra Concert Programs, Summer, 2007
Tanglewood . .. m i BOSTON SYMPHONY ORCHESTRA JAMES LEVINE MUSIC DIRECTOR summer 2007 INSURANCE INVESTMENTS RETIREMENT < ' *tl\e art 4. If* fimply pari &L wh we ore. A: John Hancock we celebrate the talented perforrm s and artists who bring the arts to life. And proudly continue our legacy of supf: rt for the performing arts n 3 c cu tural institutions that enrich our community. the future is yours RESORT SPA GOLF CLUB QRANWEl^ HISTORIC HOTELS NATIONAL TRUST S PERFORMING LIVE AT CRANWELL THIS SUMMER OPEN TO THE PUBLIC YEAR-ROUND. RT. 20 LENOX MA 800.272.693 WWW.CRANWELL.COM/TWD Dale Chihuly / V - HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE Elm Street, Stockbridge MA www. holstengalleries.co.r 413.298.3044 lAacchia with Red and Yellow Lip Wrap Photo: Teresa Rishel it James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 126th Season, 2006-2007 g^~^ Trustees of the Boston Symphony Orchestra, Inc. Edward H. Linde, Chairman John F Cogan, Jr., Vice-Chairman Robert P. O'Block, Vice-Chairman Diddy Cullinane, Vice-Chairman Roger T. Servison, Vice-Chairman Edmund Kelly, Vice-Chairman Vincent M. O'Reilly, Treasurer I. George D. Behrakis Cynthia Curme Robert J. Mayer, M.D. Arthur Segel Gabriella Beranek William R. Elfers Nathan R. Miller Thomas G. Sternberg Borden P. Wilmer Thomas, Mark G. Nancy J. Fitzpatrick Richard Morse J. Jr. Alan Bressler Charles K. Gifford Ann M. Philbin, Stephen R. Weber Jan Brett Thelma E. Goldberg ex-officio Stephen R. Weiner Samuel B. Bruskin Stephen Kay Carol Reich Robert C. Winters Paul Buttenwieser George Krupp Edward I. -
Kenneth Woods- Repertoire
Kenneth Woods- Conductor Orchestral Repertoire Operatic repertoire follows below Adam, Adolpe: Giselle (complete ballet staged) Adams, John Violin Concerto Arnold, Malcolm: Serenade for Guitar and Strings Concerto for Guitar Scottish Dances Applebaum, Edward: Symphony No. 4 Bach, J.S.: St. John Passion St. Matthew Passion Christmas Oratorio Magnificat Cantata Wachet auf, ruft uns die Stimme BWV 140 Brandenberg Concerti, No.’s 1, 3, 4 and 5 Violin Concerti in A minor and E major Concerto for Two Violins Concerto for Violin and Oboe Orchestral Suite No. 2 in B minor Bacewicz, Grażyna Concerto for String Orchestra Barber, Samuel: Prayer of Kirkegarde Overture to “The School for Scandal” Adagio for Strings Violin Concerto Cello Concerto First Essay Medea’s Meditation and Dance of Vengeance Bartók, Bela: Divertimento for Strings Concerto for Orchestra Two Portraits Violin Concerto No. 2 Piano Concerti No.’s 2 and 3 Viola Concerto Miraculous Mandarin (Complete and Suite) Beethoven, Ludwig van: Symphonies No.’s 1-9 Mass in C Major Overtures: Coriolan, Leonore 1, 2 and 3, Fidelio, Egmont, Creatures of Prometheus, King Stephen Incidental Music to “Egmont” Piano Concerti No.’s 1-5 Kenneth Woods- conductor www.kennethwoods.net Violin Concerto Triple Concerto String Quartet in F minor op. 95, “Serioso,” arr. Gustav Mahler Leonore Overture No. 3 arr. Gustav Mahler Berg, Alban: Three Orchestra Pieces Kammerkonzert Violin Concerto Berio, Luciano: Folk Songs Serenata I for Flute and 14 Intruments Berlioz, Hector: Harold in Italy Symphonie Fantastique Damnation of Faust Overtures: Benvenuto Cellini, Roman Carnival, Corsaire, Beatrice and Benedict Te Deum Bernstein, Leonard: Overture to Candide Symphonic Dances from West Side Story Symphony No. -
The Impact of Russian Music in England 1893-1929
THE IMPACT OF RUSSIAN MUSIC IN ENGLAND 1893-1929 by GARETH JAMES THOMAS A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music School of Humanities The University of Birmingham March 2005 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis is an investigation into the reception of Russian music in England for the period 1893-1929 and the influence it had on English composers. Part I deals with the critical reception of Russian music in England in the cultural and political context of the period from the year of Tchaikovsky’s last successful visit to London in 1893 to the last season of Diaghilev’s Ballet russes in 1929. The broad theme examines how Russian music presented a challenge to the accepted aesthetic norms of the day and how this, combined with the contextual perceptions of Russia and Russian people, problematized the reception of Russian music, the result of which still informs some of our attitudes towards Russian composers today. Part II examines the influence that Russian music had on British composers of the period, specifically Stanford, Bantock, Vaughan Williams, Holst, Frank Bridge, Bax, Bliss and Walton. -
Pjotr Iljitsch Tschaikowski / Pyotr Ilyich Tchaikovsky (1840-1893) Sämtliche Werke / Complete Works in MP3-Format Details
Pjotr Iljitsch Tschaikowski / Pyotr Ilyich Tchaikovsky (1840-1893) Sämtliche Werke / Complete works in MP3-Format Details P. I. Tchaikovsky (1840 – 1893) - Sämtliche Werke als MP3 / Complete works - Gesamtspielzeit / Time total 61:20:48 Titel/Title Zeit/Time Titel/Title Zeit/Time 1.Ballett /Ballet 6:13:12 op.20 Schwanensee / Swan Lake 2:26:50 Act 1 0:51:19 1 Scene 0:05:49 6 Pas d'action 0:02:24 2 Valse 0:07:33 7 Sujet 0:02:37 3 Scene 0:03:54 8 Danse des coupes 0:04:12 4 Pas de trois 0:10:24 9 Finale 0:03:31 5 Pas de deux 0:10:55 Act 2 0:33:13 10 Scene 0:03:23 13 Danses des cygnes 0:17:19 11 Scene 0:05:51 14 Scene. Moderato 0:03:11 12 Scene 0:03:29 Act 3 0:44:59 15 Danses de fantailles 0:02:46 20 Danse hongroise. Czardas 0:02:32 16 Danses du corps de ballet et des nains 0:02:24 21 Danse espagnole 0:02:25 17 Scene. Sortie des invites et valse 0:07:54 21a Danse russe 0:04:33 18 Scene 0:01:39 22 Danse napolitaine 0:01:55 19 Pas de six 0:05:46 23 Mazurka 0:04:12 19a Pas de six 0:05:17 24 Scene 0:03:36 Act 4 0:17:19 25 Entr'acte 0:01:53 29 Scene finale 0:09:13 26 Scene. Danses des petits cygnes 0:06:13 Montreal Symphony Orchestra - Charles Dutoit, 1990 op.66 Dornröschen / The Sleeping Beauty 2:18:22 Act 1 1:01:25 1.Introduction 0:02:58 3. -
20Th-Century Repertory
Mikrokosmos List 628. - 2 - December ....20TH-CENTURY REPERTORY 1 Akhmedov, Veli: Day of Youth lyric poem (cond.Zuraitis), Songs, Choral Works, MELODIYA M10 43171 A 18 Romances - Kadyrov, Tyrayeva, Bairamov, etc, cond.Mukhatov (p.1981) 2 Andriessen, Hendrik: Sym 2 & 3 - cond.Otterloo, Fournet (live with scores) S DONEMUS 70713 A 30 3 Andriessen, Jurriaan: Movimenti/ Delden: Piccolo Con/ Kox: Cyclofonie 1/ DONEMUS DAVS. 6602 A 10 Badings: Sym 9 - cond.Rieu, Hupperts, Zinman live 1964-5 S 4 Andriessen, Jurriaan: Sinfonia "Il Fiume"/Delden: Marcia Pomposa/Horovitz, MOLENAAR B MBS 20 A 10 Joseph: Bacchus on Blue Ridge/Hindemith: Geschwindmarch by Beethoven - cond.S.Pijpers 1980s S 5 Antheil: Ballet Mecanique, A Jazz Sym, Vln Sonatas 1, 2 - V.Beths vln, Leeuw pno & HARLEKIJN 2925524 A 12 cond (gatefold) (p.1977) S 6 Baaren: Pno Con (Alois Kontarsky, cond.Maderna)/Vlijmen: Serenata II (Munster fl, DONEMUS DAVS 6603 A 8 cond.Maderna)/Kruyf: Einst dem Grau all live 1965 (with scores) 7 Bentoiu, Pascal: Sym 1/V.Gheorghiu: Pno Con (comp.pno) - Moscow SO, MELODIYA C10 12125 A 25 cond.Brediceanu S 8 Bjelinski, Bruno: Piano Concerto, Candomble, Sym 5 - Pleslic-Bjelinski pno, JUGOTON LSY 66022 A 18 cond.Nanut, Daniel, Gjadrov S 9 Bliss: Things To Come Suite, Welcome The Queen/ Elgar: Pomp & Circumstance DECCA SDD 255 A 8 EW5 Marches - cond.Bliss (UK) S 10 Bondon, Jacques: Musique pour un jazz different/P.Dervaux: Alternances - Nantes CYBELIA CY 685 A 10 Perc (gatefold) S 11 Bozay: SQ; Vars for Pno; Paper Slips; Pezzo Concertato; Pezzo Sinfonico - Bartok -
The History of Tchaikovsky's Variations on a Rococo Theme and The
THE HISTORY OF TCHAIKOVSKY’S VARIATIONS ON A ROCOCO THEME AND THE COLLABORATION WITH FITZENHAGEN Table of Contents • Introduction • Revisiting the Variations’ history: • a chronology of the editorial and critical correspondence • The Variations in the context of their title and style • Conclusion • APPENDIX I • APPENDIX II • Endnotes Sergei Istomin Sergei Istomin is in demand as soloist and chamber musician, with an extensive recording career. His repertoire includes baroque, classical, romantic and contemporary music on both period and modern instruments. Istomin currently teaches viola da gamba and violoncello at the Ghent Conservatory (KASK) in Belgium. by Sergei Istomin Music & Practice, Volume 4 Scientific Introduction Pyotr Ilyich Tchaikovsky’s Variations on a Rococo theme, op. 33, were dedicated to the cellist Karl Friedrich Wilhelm Fitzenhagen, who premiered this masterpiece in Moscow in 1877.[1]Fitzenhagen’s role in the compositional process has frequently been discussed by musicologists and performance practice specialists. In this article, we aim to re-assess Fitzenhagen’s involvement with the Variations with regard to ‘Texttreue’ – in other words, the performer’s fidelity to the text of a work – and re-evaluate Fitzenhagen’s own arrangement of the Variations with regard to the most recent musicological publications.[2] In the field of today’s performance practice, our task is to shine a much-needed light on Fitzenhagen’s contribution to the Variations’ editorial and publishing processes. In the first part of this article, the chronological history of the editorial and critical correspondence in the history of the Variations will be treated in detail. The two distinct versions of the Variations, which co-exist already in the original manuscripts, are of central significance to the subject matter. -
Detailed Tchaikovsky Competition Track Listing
CD 1 1 Dmitry Shostakovich Openings speech* 1.16 2 Dmitry Kabalevsky Rondo in A minor, Op. 59 5.21 3 Pyotr Tchaikovsky Scherzo in C minor, Op. 42 No. 2 3.40 4 Frédéric Chopin Mazurka in A minor, Op. 17 No. 4 4.33 5 Pyotr Tchaikovsky Valse-Scherzo, Op. 34 6.12 Dmitry Shostakovich – Dmitry Tsyganov 6 Prelude in B flat minor, Op. 34 No. 16 1.00 7 Prelude in D minor Op. 34 No. 24 1.24 8 Valery Klimov’s speech** 0.57 9 Sergei Rachmaninoff Étude-tableaux in E flat minor, Op. 39 No. 5 4.59 10 Van Cliburn’s speech*** 0.54 11 Vasily Solovyov-Sedoi Moscow Nights (Improvisation by Van Cliburn) 2.16 Sergei Rachmaninoff Piano Concerto No. 3 in D minor, Op. 30 12 I. Allegro ma non tanto 17.37 13 II. Intermezzo: Adagio 10.40 14 III. Finale: Alla breve 14.26 ! Total time: 75.23 ! Naum Shtarkman (USSR), piano (2) Stefan Ruha (Romania), violin, V. Stefanesku, piano (3) Lev Vlasenko (USSR), piano (4) Viktor Pikaisen (USSR), violin, I. Kollegorskaya, piano (5) Valery Klimov (USSR), violin, I. Kollegorskaya, piano (6, 7) Van Cliburn (USA), piano (9, 11–14) Moscow Philharmonic Orchestra, conductor – Kirill Kondrashin (12–14) ! Recorded in 1958. Sound engineer − D. Gaklin (12–14) ! ! *, **, *** See the booklet for detailed information. ! ! ! CD 2 1 Sergei Rachmaninoff Étude-tableaux in A minor, Op. 39 No. 6 2.39 2 Franz Liszt Étude de concert in F minor, S. 144 No. 2 4.23 3 Vyacheslav Ovchinnikov Ballada for violin and piano (1956) 5.42 4 Pyotr Tchaikovsky Pezzo capriccioso, Op. -
TCHAIKOVSKY EDITION Liner Notes and Sung Texts
TCHAIKOVSKY EDITION Liner notes and sung texts Liner notes A RICH, HUMANE LEGACY: THE MUSIC OF PYOTR ILYICH of Mozart’s spirit that he later paid homage in so many works TCHAIKOVSKY which turned out to be neo‐Classical avant la lettre. As Julian Barnes so elegantly demonstrated in his novel Flaubert’s Parrot, you can provide a number of selective, conflicting Even this is to limit the sheer encyclopaedic breadth of biographies around a great creative artist’s life, and any one of Tchaikovsky’s composing genius. He wrote in every medium them will be true. By those standards, one could counter Harold conceivable at the time, and if not every opus can possibly be at C. Schonberg’s thumbnail sketch of Pyotr Ilyich Tchaikovsky as ‘a his highest level of inspiration, there are masterpieces in each nervous, hypochondriacal, unhappy man – unhappy at home, genre: opera, song, symphonic music, occasion‐pieces (which unhappy away from home’, with a portrait of the composer as an includes the ‘1812 Overture’ – much‐maligned, but does what it older man: confident, healthy, a keen traveller, a generous spirit says on the tin), chamber works and choral settings of the who had come to terms with his demons even if they occasionally Russian Orthodox service, which it was then regarded as popped up to haunt him, and a lover of the Russian landscape pioneering to even attempt to promote. who was very much at peace with the natural beauty of the country surroundings he had chosen as his dwelling. His first fully fledged steps in composition contradict one perceived dichotomy: between his association with the Neither image is, of course, the whole story, and it is only slowly Germanically motivated founder‐brothers of Russia’s two that the public is learning, thanks to a wider retrospective on academic institutions – the St Petersburg Conservatoire founded Tchaikovsky’s genius in the round, to balance the tabloidised first by Anton Rubinstein in 1862, and its Moscow counterpart portrait with the less sensationalised second. -
Zukerman Plays Tchaikovsky
NOTES ON THE PROGRAM BY LAURIE SHULMAN, ©2016 Winter Festival: Zukerman Plays Tchaikovsky ONE-MINUTE NOTES TCHAIKOVSKY: “Mélodie” from Souvenir d’un Lieu Cher Tchaikovsky’s “Mélodie” from Souvenir d’un lieu cher, originally for violin and piano, is a rare example of his chamber music. We hear it here in Glazunov’s arrangement for violin and orchestra. Sentimental and romantic, “Mélodie” is vintage Tchaikovsky. TCHAIKOVSKY: Sérénade Mélancolique Tchaikovsky’s Sérénade Mélancolique is a concerto slow movement that stands alone. It showcases beautiful tone and expression, rather than bravura. TCHAIKOVSKY: Serenade for Strings In contrast to the Sérénade Mélancolique, Tchaikovsky’s Serenade for Strings is sunny and exuberant: arguably the most enduring string orchestra work of the Romantic era. The composer was emulating Mozart’s style, with a spacious four-movement layout. The slow introduction recurs in the finale. MENDELSSOHN: Symphony No. 4, “Italian” Mendelssohn’s “Italian” Symphony captures aspects of Italian culture with consummate skill. Bright sunshine, a pilgrim’s march and a lively saltarello are some of its highlights. TCHAIKOVSKY: “Mélodie” from Souvenir d’un Lieu Cher, Op. 42 PYOTR ILYCH TCHAIKOVSKY Born: May 7, 1840, in Votkinsk, Viatka District, Russia Died: November 6, 1893, in St. Petersburg, Russia Composed: May and June 1878 World Premiere: Undocumented; probably at Mme von Meck’s private residence in 1878 NJSO Premiere: These are the first NJSO performances. Duration: 4 minutes Tchaikovsky wrote little chamber music: three string quartets, a piano trio and the string sextet Souvenir de Florence. The violin/piano duos known as Souvenir d’un Lieu Cher (Remembrance of a Special Place) are his only other music for small ensemble. -
Cello Syllabus / 2013 Edition
Cello SYLLABUS EDITION Message from the President The Royal Conservatory of Music was founded in 1886 with the idea that a single institution could bind the people of a nation together with the common thread of shared musical experience. More than a century later, we continue to build and expand on this vision. Today, The Royal Conservatory is recognized in communities across North America for outstanding service to students, teachers, and parents, as well as strict adherence to high academic standards through a variety of activities—teaching, examining, publishing, research, and community outreach. Our students and teachers benefit from a curriculum based on more than 125 years of commitment to the highest pedagogical objectives. The strength of the curriculum is reinforced by the distinguished College of Examiners—a group of fine musicians and teachers who have been carefully selected from across Canada, the United States, and abroad for their demonstrated skill and professionalism. A rigorous examiner apprenticeship program, combined with regular evaluation procedures, ensures consistency and an examination experience of the highest quality for candidates. As you pursue your studies or teach others, you become not only an important partner with The Royal Conservatory in the development of creativity, discipline, and goal- setting, but also an active participant, experiencing the transcendent qualities of music itself. In a society where our day-to-day lives can become rote and routine, the human need to find self-fulfillment and to engage in creative activity has never been more necessary. The Royal Conservatory will continue to be an active partner and supporter in your musical journey of self-expression and self-discovery.