DOCSLIB.ORG

An Edition of Ottorino Respighi's Fantasia Slava, P

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
An Edition of Ottorino Respighi's Fantasia Slava, P AN EDITION OF OTTORINO RESPIGHI’S FANTASIA SLAVA, P. 50 WITH AN ANALYSIS OF HIS EARLY STYLE by JASON BRADLEY BAKER NOEL J. ENGEBRETSON, COMMITTEE CHAIR LINDA PAGE CUMMINS CRAIG P. FIRST TANYA L. GILLE DANIEL E. SWEANEY HOLLY L. GROUT A DOCUMENT Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Department of Music in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2014 Copyright Jason Bradley Baker 2014 ALL RIGHTS RESERVED ABSTRACT Fantasia Slava, a 1903 work by Ottorino Respighi (1879-1936) for piano and orchestra, can be considered the embodiment of his early style. The characteristics of this style will be examined through brief analyses of four works written prior to Fantasia Slava: Violin Sonata in D Minor (1897), P. 15; Piano Sonata in F Minor, P. 16 (1897); Six Pieces for Violin and Piano, P. 31 (1901-2); and Piano Quintet in F Minor (1902). The characteristics developed over the course of these pieces directly affected the construction of Fantasia Slava and shows the young composer developing his compositional language. This document also includes an edition of Fantasia Slava for two pianos–one piano designated for the solo and another a piano reduction of the orchestral part. The sole publication of Fantasia Slava is the orchestral score from Ricordi, copyrighted in 1986. It is from this edition that the author has drawn his two-piano edition. The manuscript for Fantasia Slava, P. 50 was not available for review at the time of this document. Permission to utilize the first edition of the work in such a manner was graciously granted by Lucia Castellina, editor at Casa Ricordi, in a November 14, 2013, email to the author. The orchestral reduction is intended to reflect accurately the sonority and scope of the orchestra score, while remaining playable and true to the inherent properties of the modern piano. Critical notes following the edition reflect discrepancies between the orchestral score and the present edition. They also outline salient points regarding the edition’s creation. ii LIST OF ABBREVIATIONS BE Baker Edition bt. Beat bts. Beats Cb. Contrabass Cl. Clarinet in Bb FE First Edition Fg. Bassoon C.i. English Horn Fl. Flute Cr. Horn in F LH Left hand Ob. Oboe Perc. Percussion Pf. Piano Ott. Piccolo Tp. Timpani Tr. Trumpet in Bb Va. Viola Vc. Cello Vn. Violin iii ACKNOWLEDGEMENTS This document is incomplete without the acknowledgement of many individuals who unselfishly contributed their time, support, and expertise. The chair of my DMA committee, Dr. Noel Engebretson, has been at once my private instructor, mentor, and friend while a student at the University of Alabama. His encouragement accompanies me in every project, and I am blessed to henceforth have his influence in my teaching and musicmaking. Dr. Linda Cummins has been my advisor throughout my degree, but has made her impact felt in so many more ways. Her attention and care for others continue to be an inspiration to me, and I am endlessly thankful for her advice and wisdom on countless issues. Dr. Cummins will always have a special place in my heart. I am also indebted to the remainder of my committee for their remarkable influence throughout both my degree and the completion of this project. Their enthusiasm for detail pushed me to perform at my highest level, and they have inspired me to accept nothing less from myself as a scholar and a musician. Without their support and the influence of countless others, this project would have never come to fruition. Finally, I am thankful for the expertise of my friend and colleague, Dr. Amir Zaheri, and his assistance with the production of this edition. His experience with notational software and his willingness to assist me with the intricacies of notational conventions was without limit. He is truly an exemplary colleague, and sets a standard for unselfishness that I forever strive to meet. iv CONTENTS ABSTRACT .................................................................................................................................... ii LIST OF ABBREVIATIONS ........................................................................................................ iii ACKNOWLEDGEMENTS ........................................................................................................... iv LIST OF TABLES ......................................................................................................................... vi LIST OF EXAMPLES .................................................................................................................. vii PART ONE: 1. INTRODUCTION ...................................................................................................................... 1 2. RESPIGHI’S STYLE PRIOR TO FANTASIA SLAVA, P. 50 (1903) ......................................... 3 a. Violin Sonata no. 1 in D Minor, P. 15 (1897) ............................................................................. 3 b. Piano Sonata in F Minor, P. 16 (1897) ....................................................................................... 9 c. Six Pieces for Violin and Piano, P. 31 (1901-02) ..................................................................... 16 d. Piano Quintet in F Minor, P. 35 (1902) .................................................................................... 25 PART TWO: 1. INTRODUCTION TO FANTASIA SLAVA, P. 50 (1903) ......................................................... 36 2. CRITICAL COMMENTARY .................................................................................................. 48 3. FANTASIA SLAVA, P. 50 (1903) FOR TWO PIANOS ............................................................ 51 REFERENCES ............................................................................................................................. 81 RECORDINGS ............................................................................................................................. 84 v LIST OF TABLES 1.1. Compositions prior to Violin Sonata in D Minor, P. 15 (1897) .............................................. 8 1.2. Compositions between the Violin Sonata in D Minor, P. 15 (1897) and Respighi earning the violin diploma from Liceo Musicale Bologna in 1899 ................................................................... 9 2.1. Critical Commentary to Accompany the Edition ................................................................... 50 vi LIST OF EXAMPLES 1.1. Measures 1-7 from Violin Sonata in D Minor, P. 15: Mvt. I ................................................ 5 1.2. Measures 12-17 from Violin Sonata in D Minor, P. 15: Mvt. I ............................................ 6 1.3. Measures 41-44 from Violin Sonata in D Minor, P. 15: Mvt. I ............................................ 6 1.4. Measures 16-18 from Violin Sonata in D Minor, P. 15: Mvt. II ........................................... 7 1.5. Measures 5-8 from Violin Sonata in D Minor, P. 15: Mvt. III .............................................. 8 1.6. Measures 1-9 from Piano Sonata in F Minor, P. 16: Mvt. I ................................................ 11 1.7. Measures 26-27 from Piano Sonata in F Minor, P. 16: Mvt. I ............................................ 12 1.8. Measures 28-30 from Piano Sonata in F Minor, P. 16: Mvt. I ............................................ 12 1.9. Measures 34-36 from Piano Sonata in F Minor, P. 16: Mvt. II ........................................... 13 1.10. Measures 75-79 from Piano Sonata in F Minor, P. 16: Mvt. II ........................................... 13 1.11. Measures 1-4 from Piano Sonata in F Minor, P. 16: Mvt. III ............................................. 14 1.12. Measures 10-12 from Violin Sonata in D Minor, P. 15: Mvt. II ......................................... 14 1.13. Measures 1-9 from Piano Sonata in F Minor, P. 16: Mvt. III ............................................. 15 1.14. Measures 1-20 from Six Pieces for Violin and Piano, P. 31: Aria ...................................... 17 1.15. Measures 1-7 from Six Pieces fro Violin and Piano, P. 31: Leggenda ............................... 19 1.16. Measures 21-23 from Six Pieces for Violin and Piano, P. 31: Leggenda ........................... 19 1.17. Measures 1-6 from Six Pieces for Violin and Piano, P. 31: Berceuse ................................ 21 1.18. Measures 1-2 from Six Pieces for Violin and Piano, P. 31: Berceuse ................................ 22 1.19. Measures 1-4 from Six Pieces for Violin and Piano, P. 31: Melodia .................................. 23 1.20. Measures 4-9 from Six Pieces for Violin and Piano, P. 31: Serenata ................................. 25 vii 1.21. Measures 1-7 from Piano Quintet in F Minor, P. 35: Mvt. I ............................................... 27 1.22. Measures 1-8 from Johannes Brahms: Piano Quintet in F Minor, Op. 34: Mvt. I .............. 28 1.23. Measures 43-56 from Piano Quintet in F Minor, P. 35: Mvt I ............................................ 29 1.24. Measures 28-30 from Piano Quintet in F Minor, P. 35: Mvt. I ........................................... 30 1.25. Measures 144-146 from Piano Quintet in F Minor, P. 35: Mvt. III .................................... 31 1.26. Measures 61-63 from Piano Quintet in F Minor, P. 35: Mvt. I ........................................... 31 1.27. Measures 15-22 from Piano Quintet in F Minor, P. 35: Mvt. II .......................................... 32 1.28. Measures 27-30 from Piano Quintet in F Minor, P. 35:
Load more

Recommended publications
  • OTTORINO RESPIGHI — Trittico Botticelliano (Three Botticelli Pictures)
    OTTORINO RESPIGHI — Trittico Botticelliano (Three Botticelli Pictures) Though he was born in Bologna, the composer Ottorino Respighi is inevitably and forever associated with Rome thanks to his so-called “Roman Trilogy” of orchestral tone poems: Fountains of Rome, Pines of Rome, and Roman Festivals. For his Trittico Botticelliano, however, we must travel north to Tuscany and the Renaissance capital of Florence. It was there at the Uffizi Gallery that Respighi encountered three paintings by Sandro Botticelli: La Primavera (“Spring”), L’Adorazione dei Magi (“The Adoration of the Magi”), and La Nascita di Venere (“The Birth of Venus”). These three pictures don’t seem to have much in common other than the artist and gallery, but Respighi’s style, especially in his tone poems, often thrives on juxtaposition and contrast and he uses their divergent subject matters to maximum effect here to create a dynamic collection of snapshots. The opening movement provides an exuberant depiction of spring with the bassoon first introducing a dance tune that is subsequently echoed and ornamented by the full ensemble. In addition to his work as a composer, Respighi was also a scholar of Italian music history, so it is no accident that his dance tune closely resembles one that might have accompanied the Renaissance festivities of Botticelli’s day. The second movement is really the centerpiece and is built around the ninth century Latin antiphon “Veni Emmanuel,” better known to us as the advent hymn “O Come, O Come, Emmanuel.” The mournful and mysterious opening gives way to more colorful musical textures as each of the three Magi arrive at the manger and present their gifts.
    [Show full text]
  • The Glorious Violin David Finckel and Wu Han, Artistic Directors July 14–August 5, 2017
    Music@Menlo CHAMBER MUSIC FESTIVAL AND INSTITUTE The Fifteenth Season: The Glorious Violin David Finckel and Wu Han, Artistic Directors July 14–August 5, 2017 REPERTOIRE LIST (* = Carte Blanche Concert) Joseph Achron (1886–1943) Hebrew Dance, op. 35, no. 1 (1913) Johann Sebastian Bach (1685–1750) Chaconne from Partita no. 2 in d minor for Solo Violin, BWV 1004 (1720)* Prelude from Partita no. 3 in E Major, BWV 1006 (arr. Kreisler) (1720)* Double Violin Concerto in d minor, BWV 1043 (1730–1731) Ludwig van Beethoven (1770–1827) String Quintet in C Major, op. 29 (1801) Violin Sonata no. 10 in G Major, op. 96 (1812) Heinrich Franz von Biber (1644–1704) Passacaglia in g minor for Solo Violin, The Guardian Angel, from The Mystery Sonatas (ca. 1674–1676)* Ernest Bloch (1880–1959) Violin Sonata no. 2, Poème mystique (1924)* Avodah (1929)* Bluegrass Fiddling (To be announced from the stage)* Alexander Borodin (1833–1887) String Quartet no. 2 in D Major (1881) Johannes Brahms (1833–1897) Horn Trio in E-flat Major, op. 40 (1865) String Quartet no. 3 in B-flat Major, op. 67 (1875)* Arcangelo Corelli (1653–1713) Concerto Grosso in g minor, op. 6, no. 8, Christmas Concerto (1714) Violin Sonata in d minor, op. 5, no. 12, La folia (arr. Kreisler) (1700)* John Corigliano (Born 1938) Red Violin Caprices (1999) Ferdinand David (1810–1873) Caprice in c minor from Six Caprices for Solo Violin, op. 9, no. 3 (1839) Claude Debussy (1862–1918) Petite suite for Piano, Four Hands (1886–1889) Ernő Dohnányi (1877–1960) Andante rubato, alla zingaresca (Gypsy Andante) from Ruralia hungarica, op.
    [Show full text]
  • The Pedagogical Legacy of Johann Nepomuk Hummel
    ABSTRACT Title of Document: THE PEDAGOGICAL LEGACY OF JOHANN NEPOMUK HUMMEL. Jarl Olaf Hulbert, Doctor of Philosophy, 2006 Directed By: Professor Shelley G. Davis School of Music, Division of Musicology & Ethnomusicology Johann Nepomuk Hummel (1778-1837), a student of Mozart and Haydn, and colleague of Beethoven, made a spectacular ascent from child-prodigy to pianist- superstar. A composer with considerable output, he garnered enormous recognition as piano virtuoso and teacher. Acclaimed for his dazzling, beautifully clean, and elegant legato playing, his superb pedagogical skills made him a much sought after and highly paid teacher. This dissertation examines Hummel’s eminent role as piano pedagogue reassessing his legacy. Furthering previous research (e.g. Karl Benyovszky, Marion Barnum, Joel Sachs) with newly consulted archival material, this study focuses on the impact of Hummel on his students. Part One deals with Hummel’s biography and his seminal piano treatise, Ausführliche theoretisch-practische Anweisung zum Piano- Forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung, 1828 (published in German, English, French, and Italian). Part Two discusses Hummel, the pedagogue; the impact on his star-students, notably Adolph Henselt, Ferdinand Hiller, and Sigismond Thalberg; his influence on musicians such as Chopin and Mendelssohn; and the spreading of his method throughout Europe and the US. Part Three deals with the precipitous decline of Hummel’s reputation, particularly after severe attacks by Robert Schumann. His recent resurgence as a musician of note is exemplified in a case study of the changes in the appreciation of the Septet in D Minor, one of Hummel’s most celebrated compositions.
    [Show full text]
  • Vaughan Williams
    VAUGHAN WILLIAMS The Lark Ascending Suite of Six Short Pieces The Solent Fantasia Jennifer Pike, Violin Sina Kloke, Piano Chamber Orchestra of New York Salvatore Di Vittorio Ralph Vaughan Williams (1872-1958): The Lark Ascending a flinty, tenebrous theme for the soloist is succeeded by an He rises and begins to round, The Solent · Fantasia for Piano and Orchestra · Suite of Six Short Pieces orchestral statement of a chorale-like melody. The rest of He drops the silver chain of sound, the work offers variants upon these initial ideas, which are Of many links without a break, rigorously developed. Various contrasting sections, In chirrup, whistle, slur and shake. Vaughan Williams’ earliest compositions, which date from The opening phrase of The Solent held a deep significance including a scherzo-like passage, are heralded by rhetorical 1895, when he left the Royal College of Music, to 1908, for the composer, who returned to it several times throughout statements from the soloist before the coda recalls the For singing till his heaven fills, the year he went to Paris to study with Ravel, reveal a his long creative life. Near the start of A Sea Symphony chorale-like theme in a virtuosic manner. ’Tis love of earth that he instils, young creative artist attempting to establish his own (begun in the same year The Solent was written), it appears Vaughan Williams’ mastery of the piano is evident in And ever winging up and up, personal musical language. He withdrew or destroyed imposingly to the line ‘And on its limitless, heaving breast, the this Fantasia and in the concerto he wrote for the Our valley is his golden cup many works from that period, with the notable exception ships’.
    [Show full text]
  • An Annotated Catalogue of the Major Piano Works of Sergei Rachmaninoff Angela Glover
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2003 An Annotated Catalogue of the Major Piano Works of Sergei Rachmaninoff Angela Glover Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC AN ANNOTATED CATALOGUE OF THE MAJOR PIANO WORKS OF SERGEI RACHMANINOFF By ANGELA GLOVER A Treatise submitted to the School of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2003 The members of the Committee approve the treatise of Angela Glover defended on April 8, 2003. ___________________________________ Professor James Streem Professor Directing Treatise ___________________________________ Professor Janice Harsanyi Outside Committee Member ___________________________________ Professor Carolyn Bridger Committee Member ___________________________________ Professor Thomas Wright Committee Member The Office of Graduate Studies has verified and approved the above named committee members. TABLE OF CONTENTS Abstract………………………………………………….............................................. iv INTRODUCTION……………………………………………………………………. 1 1. MORCEAUX DE FANTAISIE, OP.3…………………………………………….. 3 2. MOMENTS MUSICAUX, OP.16……………………………………………….... 10 3. PRELUDES……………………………………………………………………….. 17 4. ETUDES-TABLEAUX…………………………………………………………… 36 5. SONATAS………………………………………………………………………… 51 6. VARIATIONS…………………………………………………………………….. 58 BIBLIOGRAPHY………………………………………………………………….
    [Show full text]
  • Pittsburgh Symphony Orchestra 2018-2019 Mellon Grand Classics Season March 15 and 17, 2019 JURAJ VALČUHA, CONDUCTOR LUKÁŠ
    Pittsburgh Symphony Orchestra 2018-2019 Mellon Grand Classics Season March 15 and 17, 2019 JURAJ VALČUHA, CONDUCTOR LUKÁŠ VONDRÁČEK, PIANO SERGEI RACHMANINOFF Concerto No. 3 in D minor for Piano and Orchestra, Opus 30 I. Allegro ma non tanto II. Intermezzo: Adagio — III. Finale: Alla breve Mr. Vondráček Intermission OTTORINO RESPIGHI The Fountains of Rome I. The Valle Giulia Fountain at Dawn II. The Triton Fountain at Morning III. The Trevi Fountain at Noon IV. The Villa Medici Fountain at Sunset (Played without pause) OTTORINO RESPIGHI The Pines of Rome I. The Pines of the Villa Borghese II. Pines near a Catacomb III. The Pines of the Janiculum IV. The Pines of the Appian Way (Played without pause) March 15-17, 2019, page 1 PROGRAM NOTES BY DR. RICHARD E. RODDA SERGEI RACHMANINOFF Concerto No. 3 in D minor for Piano and Orchestra, Op. 30 Sergei Rachmaninoff was born in Oneg (near Novgorod), Russia, on April 1, 1873, and died in Beverly Hills, California, on March 28, 1943. He composed his Third Piano Concerto in 1909, and it was premiered at Carnegie Hall in New York by the New York Philharmonic with conductor Walter Damrosch and Rachmaninoff as the soloist on November 28, 1909. The Pittsburgh Symphony first performed the concerto at Syria Mosque with conductor Fritz Reiner and Rachmaninoff again as the soloist in January 1941, and most recently performed it with conductor Gianandrea Noseda and pianist Denis Kozhukhin in January 2016. The score calls for pairs of woodwinds, four horns, two trumpets, three trombones, timpani, percussion and strings.
    [Show full text]
  • Il Recupero Dell'antico Nell'opera Di Ottorino
    SCUOLA DI DOTTORATO IN STORIA E CRITICA DEI BENI ARTISTICI , MUSICALI E DELLO SPETTACOLO XXII CICLO IL RECUPERO DELL’ANTICO NELL’OPERA DI OTTORINO RESPIGHI E L’ARCHIVIO DOCUMENTARIO ALLA FONDAZIONE “GIORGIO CINI” DI VENEZIA Coordinatore: prof. ALESSANDRO BALLARIN Supervisore: prof. ANTONIO LOVATO Dottoranda: MARTINA BURAN DATA CONSEGNA TESI 30 giugno 2010 2 A Riccardo e Veronica 3 4 INDICE PREMESSA ………………………………………..…………………………..……. p. 9 I. IL FONDO “OTTORINO RESPIGHI ” ………………………………………… » 13 1. Configurazione originaria del fondo ………………………………………… » 14 2. Interventi di riordino …………………………………………………………. » 16 3. Descrizione del contenuto ……………………………………………………. » 20 II. RITRATTO DI OTTORINO RESPIGHI ……………………………..……..... » 31 1. L’infanzia e le prime opere …………………………………………………... » 32 2. I primi passi verso il recupero dell’antico …………………………………… » 35 3. L’incontro con Elsa …………………………………………………………... » 38 4. Le trascrizioni di musiche antiche e Casa Ricordi …………………………... » 40 5. Il “periodo gregoriano” ……………………………………………………... » 42 6. L’incontro con Claudio Guastalla …………………………………………… » 44 7. Le opere ispirate al gregoriano ……………………………………………… » 46 8. La nomina all’Accademia d’Italia e il Manifesto…………………………….. » 48 9. La fiamma e l’elaborazione dell’Orfeo ………………………………………. » 53 10. Lucrezia ……………………………………………………………………... » 58 III. IL CONTESTO ………………………………………..………………...……… » 63 1. Il recupero dell’antico ………………………………………………………... » 63 1.1 La rinascita del gregoriano …………………………………………. » 64 1.2 Angelo De Santi, Giovanni Tebaldini e Lorenzo Perosi …………….
    [Show full text]
  • EXPLORING MUSIC with Bill Mcglaughlin Broadcast Schedule – Summer 2019
    EXPLORING MUSIC with Bill McGlaughlin Broadcast Schedule – Summer 2019 PROGRAM #: EXP 19-40 RELEASE: Week of June 24, 2019 Ports of Call, Part II This week Exploring Music continues traveling with composers around the world. Listen to them express the sounds of their native land and paint musical pictures of their travels. We will hear music of homesick George Gershwin in Paris, Charles Ives floating down the Housatonic River in the Berkshire Mountains of Massachusetts, and Ella Fitzgerald and her friends on the “A” train in New York City. PROGRAM #: EXP 19-41 RELEASE: Week of July 1, 2019 Arias and Barcarolles Taking a cue from President Eisenhower's famous remark to Leonard Bernstein, “… I like music with a theme, not all them arias and barcarolles." This week is a sampling of arias, overtures, barcarolles, and other melodic delights that deserve more time on the airwaves. Bill will spin tunes like Lawrence Welk’s “Bubbles in the Wine” and Fred Waring and his Pennsylvanians performing Jerome Kern’s “Smoke Gets in Your Eyes.” This is a week to just sit back and enjoy. PROGRAM #: EXP 19-42 RELEASE: Week of July 8, 2019 Hector Berlioz Louis-Hector Berlioz (1803-69) wrote that “Beethoven opened before me a new world of music, as Shakespeare had revealed a new universe of poetry.” Bill covers the arc of Berlioz’s life and music, from leaving medical school in Paris to attend the opera and studying at the Paris Conservatory, then being a model of the Romantic movement. This week’s fifth episode features the last two movements of Symphonie Fantastique, displaying Berlioz's gift for spectacular drama and concludes with an excerpt from his setting of “La Marseillaise,” the French national anthem.
    [Show full text]
  • 01 April 2020
    01 April 2020 12:01 AM Johann Christoph Pez (1664-1716) Overture in D minor Hildebrand'sche Hoboisten Compagnie DEWDR 12:10 AM Edvard Grieg (1843-1907) 3 Pieces from Slatter (Norwegian Peasant Dances), Op 72 Havard Gimse (piano) NONRK 12:19 AM Veljo Tormis (1930-2017) Sugismaastikud (Autumn landscapes) Norwegian Soloists' Choir, Grete Helgerod (conductor) DKDR 12:29 AM Jean-Baptiste Quinault (1687-1745) Overture and Dances - from the Comedy 'Le Nouveau Monde' (1723) L'ensemble Arion CACBC 12:38 AM Mario Nardelli (b.1952) Three pieces for guitar (1979) Mario Nardelli (guitar) HRHRT 12:47 AM Gabriel Faure (1845-1924), Jon Washburn (orchestrator) Messe Basse Henriette Schellenberg (soprano), Vancouver Chamber Choir, CBC Vancouver Orchestra, Jon Washburn (conductor) CACBC 12:57 AM Joseph Haydn (1732-1809) Symphony No. 97 in C major Hob.I:97 (1792) Royal Concertgebouw Orchestra, Nikolaus Harnoncourt (conductor) NLNPO 01:23 AM Johann Sebastian Bach (1685-1750), Felix Mendelssohn (arranger) Chaconne in D minor, from 'Partita No. 2, BWV 1004' arr. Mendelssohn Hiro Kurosaki (violin), Linda Nicholson (fortepiano) DEWDR 01:35 AM Wolfgang Amadeus Mozart (1756-1791) Quintet for piano, oboe, clarinet, bassoon and horn in E flat major, K452 Douglas Boyd (oboe), Hans Christian Braein (clarinet), Kjell Erik Arnesen (french horn), Per Hannisdal (bassoon), Andreas Staier (piano) NONRK 02:01 AM Bela Bartok (1881-1945) Divertimento, Sz. 113 Romanian Chamber Orchestra, Cristian Macelaru (conductor) ROROR 02:27 AM Dan Variu (b.1983) MikroDivertisment Romanian
    [Show full text]
  • Anna Laura Trombetti Budriesi Una Cittá E Il Suo "Re": Storia E Leggenda1 [A Stampa in Bologna Re Enzo E Il Suo Mito, a Cura Di A
    Anna Laura Trombetti Budriesi Una cittá e il suo "re": storia e leggenda1 [A stampa in Bologna re Enzo e il suo mito, a cura di A. I. Pini - A. L. Trombetti Budriesi, Deputazione di Storia Patria per le Province di Romagna (Documenti e Studi, vol. XXX), Bologna 2001, pp. 19-48 © dell'autrice - Distribuito in formato digitale da "Reti Medievali"] Dopo aver molto sperato nei mesi o negli anni passati lo dico anch'io che mi sono rassegnato. Il popolo di Bologna al ponte di Sant'Ambrogio non ha avuto solo un altro giorno di gloria ma, eh sì! ha fatto leggenda della storia. Con questa lucida constatazione messa in bocca a Enzo, che vede la propria vicenda umana ormai al termine proiettata in un futuro ove si fondono e si confondono storia e leggenda, Roberto Roversi chiude il poema Enzo Re, importante tappa della moderna mitizzazione, a livello artistico, della figura del Re prigioniero. Nei versi immediatamente precedenti il personaggio della Carestiamorte gli aveva predetto: Un quadro di famiglia all'ultima illustrazione. Poi a voi resterà il fiato grosso giorno per giorno appena sufficiente per l'invecchiamento. Ci sarà ancora qualche piccola soddisfazione forse nel ventre di una donna o in una canzone scritta o nell'ultimo tramonto. Sarà un momento. Ma niente da raccogliere che non sia vento2. Vaticinata condanna senza appello, presagio di giorni uguali con qualche barlume di luce, ma nulla, in fondo3. 1 Con il titolo "Bologna re Enzo e il suo mito" ho ideato e proposto alcuni eventi di carattere storico e artistico ispirati alla figura del re di Sardegna e alla sua prigionia a Bologna, nella storia e nel mito.
    [Show full text]
  • 2018 Winter Festival America, Inspiring: Respighi & Prokofiev
    NOTES ON THE PROGRAM BY LAURIE SHULMAN, ©2017 2018 Winter Festival America, Inspiring: Respighi & Prokofiev ONE-MINUTE NOTES Chen Yi: Ge Xu (Antiphony). Chen Yi’s music fuses Chinese traditions with Western forms and instruments. Ge Xu is based on the antiphonal singing with which the Southern Chinese celebrate the Lunar New Year. The piece is about high spirits and hope. PROKOFIEV: Piano Concerto No. 3. Romanticism, classicism and modernism are finely balanced in Prokofiev’s dazzling Third Concerto. The second-movement variations, based on the Baroque gavotte, reveal his quirky melodic gift, while hisbiting humor surfaces in the finale. RESPIGHI: Pines of Rome and Fountains of Rome. Respighi’s famous tone poems are brilliant orchestral evocations of the Eternal City. Fountains evokes the interplay of water and light at various times of day. The more landscape-oriented Pines delves into imagined recollections of Rome’s glory days. The brass in the finale will raise the hairs on the back of your neck! CHEN YI: Ge Xu (Antiphony) CHEN YI Born: April 4, 1953 in Guangzhou, China. Currently resides in Kansas City, Missouri. Composed: 1993–94 World Premiere: January 28, 1995, in San Francisco NJSO Premiere: These are the NJSO premiere performances. Duration: 8 minutes As with other Chinese-American composers, Chen Yi’s life and philosophy were formed by China’s Cultural Revolution. Her parents were both well-to-do physicians with a keen interest in music. Chen studied both violin and piano from age 3. In the late 1960s, she was sent to the Chinese countryside to do forced labor.
    [Show full text]
  • View Commencement Program
    THOSE WHO EXCEL REACH THE STARS FRIDAY, MAY 10, 2019 THE RIVERSIDE CHURCH MANHATTAN SCHOOL OF MUSIC NINETY-THIRD COMMENCEMENT Processional The audience is requested to rise and remain standing during the processional. ANTHONY DILORENZO “The Golden Palace and the Steamship” from The Toymaker (b. 1967) WILLIAM WALTON Crown Imperial: Coronation March (1902–1983) (arr. J. Kreines) BRIAN BALMAGES Fanfare canzonique (b. 1975) Commencement Brass and Percussion Ensemble Kyle Ritenauer (BM ’11, MM ’15), Conductor Gustavo Leite (MM ’19), trumpet Changhyun Cha (MM ’20), trumpet Caleb Laidlaw (BM ’18, MM ’20), trumpet Sean Alexander (BM ’20), trumpet Imani Duhe (BM ’20), trumpet Matthew Beesmer (BM ’20), trumpet Olivia Pidi (MM ’19), trumpet Benjamin Lieberman (BM ’22), trumpet Kevin Newton (MM ’20), horn Jisun Oh (MM ’19), horn Eli Pandolfi (BM ’20), horn Liana Hoffman (BM ’20), horn Emma Potter (BM ’22), horn Kevin Casey (MM ’20), trombone Kenton Campbell (MM ’20), trombone Julia Dombroski (MM ’20), trombone David Farrell (MM ’20), trombone Morgan Fite (PS ’19), bass trombone Patrick Crider (MM ’19), bass trombone Mark Broschinsky (DMA ’11), euphonium Logan Reid (BM ’20), bass trombone Emerick Falta (BM ’21), tuba Brandon Figueroa (BM ’20), tuba Cooper Martell (BM ’20), percussion Hyunjung Choi (BM ’19), percussion Tae McLoughlin (BM ’20), percussion Hamza Able (BM ’20), percussion Introduction Monica Coen Christensen, Dean of Students Greetings Lorraine Gallard, Chair of the Board of Trustees James Gandre, President Presentation of Commencement Awards Laura Sametz, Member of the Musical Theatre faculty and the Board of Trustees Musical Interlude GEORGE LEWIS Artificial Life 2007 (b. 1952) Paul Mizzi (MM ’19), flute Wickliffe Simmons (MM ’19), cello Edward Forstman (MM ’19), piano Thomas Feng (MM ’19), piano Jon Clancy (MM ’19), percussion Presentation of the President’s Medal for Distinguished Service President Gandre Joyce Griggs, Executive Vice President and Provost John K.
    [Show full text]