DOCSLIB.ORG

Rimsky-Korsakov/Capriccio Espagnol Bartók/The Wooden Prince Rachmaninoff/Symphonic Dances

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rimsky-Korsakov/Capriccio Espagnol Bartók/The Wooden Prince Rachmaninoff/Symphonic Dances MUSIC RIMSKY-KORSAKOV/CAPRICCIO ESPAGNOL BARTÓK/THE WOODEN PRINCE RACHMANINOFF/SYMPHONIC DANCES College of Charleston Sottile Theater May 28 at 7:30pm Stefan Asbury, conductor Spoleto Festival USA Orchestra Capriccio espagnol (1887) Nikolai Rimsky-Korsakov (1844–1908) I. Alborada II. Variations III. Alborada IV. Scena e canto gitano V. Fandango asturiano The Wooden Prince (Suite, 1914–16) Béla Bartók (1881–1945) Prelude The Princess The Wood Worksong of the Prince The Stream Dance of the Wooden Prince Epilogue INTERMISSION Symphonic Dances (1940) Serge Rachmaninoff (1873–1943) Non Allegro Andante con moto—tempo di valse Lento assai This performance is made possible in part through funds from the Spoleto Festival USA Endowment, generously supported by BlueCross BlueShield of South Carolina. PROGRAM NOTES comparison of how the “same” music can give off a notably different flavor and scent. The second movement meanwhile sets Capriccio espagnol, Op. 34 (Rimsky-Korsakov) the scene at night and lays out five variations on the reflective When Nikolai Rimsky-Korsakov started emerging in the second melody first heard in the horns. half of the 19th century, a push by fellow Russian composers Another scene, nearly cinematic in the way it alternates solo was underway to cultivate a distinctly Slavic brand of music. But close-ups and the wide shot of the full ensemble, depicts a “gypsy the principle of mining the riches of folkloric dance and melody song” via five fantasia treatments of the material. These end with encouraged a skill that could be readily transferred to other a full-scale outburst of orchestral sonority that sets the tone for cultures. Thanks to his parallel career in the Russian navy, Rimsky- the dance-oriented last movement. Based on a timeless fandango Korsakov was widely traveled and had in fact passed through theme, the finale also throws backward glances at the Capriccio’s Spain in his youth as a cadet. earlier themes as it whirls towards its finish with thrillingly Written in 1887, Capriccio espagnol was originally envisioned unbridled energy. as a violin concerto (hence the prominent role of violin solos, especially in the fourth movement). As it took shape, the Capriccio Suite from The Wooden Prince, Op. 13 (Bartók) came to include many soloistic passages for other instruments as In 1911 Béla Bartók composed his first (and only) opera, well: the musical term “capriccio” connotes images of virtuosity Bluebeard’s Castle, but its rejection only intensified his alienation and fantasy. from Hungary’s conservative musical establishment. His librettist In addition to the Spanish associations it elicits, the Capriccio, for Bluebeard, the playwright Béla Balázs, was at the time which was an instant success, can be enjoyed as a crash course exploring a potent blend of folk and fairy-tale with symbolism, in the marvelous contrasts and combinations of sound a brilliant and his tale of The Wooden Prince captured Bartók’s imagination. orchestrator can call forth. Cast in five brief movements, With his folk research travels curtailed by the first World War, the Capriccio begins with a lively, fanfarish “morning song” Bartók focused on composing again, this time preparing a (“Alborada”). This music is repeated in the third movement—but “ballet-pantomime” score rather than an opera from Balázs’s not quite verbatim. Rimsky-Korsakov shifts the key up a half step scenario. When it premiered in Budapest in 1917, The Wooden and reallocates his orchestration, which makes for a fascinating Prince marked the composer’s first real breakthrough with the 81 MUSIC RIMSKY-KORSAKOV/BARTÓK/RACHMANINOFF public. The score consolidates many of the influences of Bartók’s Much of the movement’s drama is generated from the contrast youthful period while also displaying his early mastery in writing between this opening material and the folk song-like melody that for a large orchestra. emerges as its foil (scored for saxophone). Rachmaninoff stages The one-act narrative relates the quest of a nameless prince the return of the opening theme to marvelous effect: relentlessly, to win the favor of a nameless princess who lives nearby. A local the theme stalks its way back on the scene. The composer’s fairy uses the elements of the natural world to thwart his efforts. fondness for bell-like sounds emerges in a colorful coda. Unable to get close to her, the prince creates a wooden likeness The second movement unfolds as a rueful waltz. Solo instrumental of himself that he hopes will alert the princess to his presence. lines emerge and retreat like a rapidly fragmenting dream. The But she becomes too interested in the substitute when the fairy final movement—the longest of the three—alternates between intervenes and animates it, and she ends up preferring the effigy extreme slow and fast tempos. Rachmaninoff recalls some of to the human original. The tables are turned as the princess tries the spirit of the opening movement, but the music has a more to win the prince, who has become aloof after this rejection. demonic character. The medieval chant known as the Dies irae All ends happily though as the two embrace in a long final kiss. (“Day of wrath”) from the requiem mass for the dead appears in On another level, this seemingly charming story allegorizes various disguised forms as a challenge to the main theme. the challenges of genuine human love versus the immature, The Dies irae had served Rachmaninoff as a recurrent motif in “romantic” emotion and the role of the artist in structuring earlier works.Toward the end of Symphonic Dances, he challenges perceptions of the world. its fatalism with a more hopeful sacred melody taken from his Bartók’s original full ballet score lasts close to an hour. From luminous a cappella choral music written decades ago, before this he later fashioned a shorter concert suite which presents his exile from Russia (the All-Night Vigil). In the end, its consoling several interlinked dances framed by a prelude and a postlude. In presence robs the Dies irae of its sting. general the sound world here recalls the lush orchestral tapestries and nuances of composers who had been Bartók’s early models: ©2013 Thomas May Richard Strauss and the French Impressionist composers. The opening music seems to riff on the strategy Wagner used STEFAN ASBURY’S (conductor) recent to launch his Ring cycle: the sounds of a world emerging from and current highlights include performances mystery and slowly assuming shape. Bartók however blurs the with the Boston Symphony Orchestra, pristine C major backdrop with chromatic harmonies. This music the Royal Concertgebouw Orchestra, corresponds to the significant role played by nature in the ballet Sinfonieorchester des Bayerischen (in contrast to the “artificial” wooden prince). The princess Rundfunks, Gewandhausorchester Leipzig, enters the scene as a capricious character associated with the and the Tokyo Symphony Orchestra, among clarinet. Nature is again at the center in Bartók’s swirling scales others. Previous seasons have also included for the forest and the “dance of the trees” set in motion by the engagements with the London Symphony, fairy to impede the prince and his resolute theme. So, too, in Seattle Symphony, Seoul Philharmonic the “dance of the waves,” as the fairy sets the river raging. Here and West Australian Symphony orchestras, the Los Angeles Bartók’s orchestration is especially striking, including a passage Philharmonic, RAI Turin, Dresdner Philharmonie, and the Orchestra for saxophones set against flute triplets. of St Luke’s. Asbury enjoys frequent collaborations with the Basel At its center the ballet revolves around the princess’s dance with Sinfonietta, WDR Sinfonieorchester, hr-Sinfonieorchester, NDR the wooden prince. Bartók’s rhythmic accentuations and brittle Sinfonieorchester and ORF Radio-Symphonieorchester Wien. sonorities are almost like Cubism in sound. The dance reaches Asbury is a regular guest conductor at such festivals as Automne a climax, and then the suite gently concludes with a return to en Normandie, Wien Modern, Wiener Festwochen, Munich and where we started: a reconciliation with the rhythms of nature Venice Biennale, and Salzburger Festspiele. In opera, Stefan heard in the prelude. conducted John Adams’s A Flowering Tree for the 2009 Perth International Arts Festival with other recent productions including Symphonic Dances, Op. 45 (Rachmaninoff) Wolfgang Rihm’s Jakob Lenz for the 2008 Wiener Festwochen, Symphonic Dances is Rachmaninoff’s last major work and was a concert version of Britten’s Owen Wingrave with Tapiola completed in 1940, just three years before his death. From the Sinfonietta, the world premiere of Van Vlijmen’sThyeste at Théâtre start, Rachmaninoff prepared two simultaneous versions of this Royal de La Monnaie, Staud’s Berenice at the Munich Biennale, music: the familiar one for orchestra that we hear on this program, and A Midsummer Night’s Dream in Karlsruhe in December 2010. as well as a suite for two pianos. In this way Symphonic Dances, which is often considered a kind of final artistic testament, also THE SPOLETO FESTIVAL USA ORCHESTRA appears sums up Rachmaninoff’s dual personalities as a composer and as at the Festival in many different configurations, performing in a pianist. opera, symphonic, choral, chamber, and contemporary music During the preliminary stages of composition, Rachmaninoff performances. Formed anew each year through nationwide implied a loose program by naming each of the work’s three auditions, the orchestra is largely comprised of young movements after times of the day (“Noon,” “Twilight,” and professionals or players in advanced degree programs. Alumni of “Midnight”). Though he later abandoned these titles, it’s possible the Spoleto Festival USA Orchestra are on the rosters of leading he conceived this music as a metaphorical series of panels orchestras throughout the world, including the Metropolitan reflecting on different stages of the artist’s life.
Load more

Recommended publications
  • Capriccio Espagnol Legal Use Requires Purchase
    GRADE LEVEL— MEDIUM EASY Alfred’s Growing Band Series Capriccio Espagnol Nicolai Kimsky-Korsakov / Arr. by Mark Williams Rimsky-Korsakov’s Capriccio Espagnol is known worldwide as one of the master- works of orchestration. It has been admired and studied by many composers including Tchaikovsky. It was written in 1887 at about the same time as his famous Scheherazade and Russian Easter Overture. This arrangement of the final sections of the work capture its exciting Spanish flavor and rhythms in a format that is very accessible to young bands. This piece can be conducted in one beat to the measure, or in three, or in a combination of the two. It is important that the tempo remain steady and not be allowed to bog down. The optimum tempo will be determined by how well the ensemble can play the fast eighth-note sec- tions at measures 44 and 103 . Generally, a faster tempo will contribute more to the energy and drive of the music. INSTRUMENTATION 1 — Conductor Score 3 — 1st Bb Cornet 5 — 1st Flute 3 — 2nd Bb Cornet 5 — 2nd Flute 3 — 3rd Bb Cornet 2 — Oboe 2 — 1st Trombone 2 — Bassoon 2 — 2nd Trombone 4 — 1st Bb Clarinet 2 — Baritone T.C. 4 — 2nd Bb Clarinet 2 — Baritone B.C. 4 — 3rd Bb Clarinet 4 — Tuba 1 — Eb Alto Clarinet 1 — Mallets (Xylophone, Bells) 2 — Bb Bass Clarinet 2 — Percussion 1 (Snare Drum, Bass 2 — 1st Eb Alto Saxophone Drum, Crash Cymbals) 2 — 2nd Eb Alto Saxophone 2 — Percussion 2 (Tambourine, Suspended 2 — Bb Tenor Saxophone Cymbal, Triangle, Castanets) 1 — Eb Baritone Saxophone 1 — Timpani 2 — 1st F Horn 2 — 2nd F Horn Preview Only Legal Use Requires Purchase Alfred Publishing Co., Inc.
    [Show full text]
  • RIMSKY-KORSAKOV Orchestral Works Including SHEHERAZADE
    Kees Bakels RIMSKY-KORSAKOV Orchestral works including SHEHERAZADE BIS-CD-1667/68 MALAYSIAN PHILHARMONIC ORCHESTRA / KEES BAKELS BIS-CD-1667/68 RK:booklet 15/6/07 11:48 Page 2 RIMSKY-KORSAKOV, Nikolai (1844–1908) Disc 1 [74'34] Sheherazade 43'28 Symphonic Suite after the ‘Thousand and One Nights’, Op. 35 (1888) 1 I. The Sea and Sinbad’s Ship 9'02 2 II. The Tale of the Kalender Prince 12'00 3 III. The Young Prince and the Young Princess 10'22 4 IV. Festival in Baghdad – The Sea – The Ship Goes to Pieces on a Rock Surmounted by a Bronze Warrior – Conclusion 11'50 Markus Gundermann violin solo Symphony No. 2 (Symphonic Suite), ‘Antar’ 30'01 Op. 9 (1868/75/97) 5 I. Largo – Allegro – Allegretto – Largo 11'29 6 II. Allegro 4'38 7 III. Allegro risoluto 5'22 8 IV. Allegretto – Adagio 8'09 2 BIS-CD-1667/68 RK:booklet 15/6/07 11:48 Page 3 Disc 2 [76'42] Capriccio espagnol, Op. 34 (1887) 15'00 1 I. Alborada. Vivo e strepitoso 1'12 2 II. Variazioni. Andante con moto 4'38 3 III. Alborada. Vivo e strepitoso 1'14 4 IV. Scena e canto gitano. Allegretto 4'39 5 V. Fandango asturiano – Coda. Vivace assai – Presto 3'15 6 Piano Concerto in C sharp minor, Op.30 (1882–83) 14'06 Noriko Ogawa piano The Tale of Tsar Saltan, Suite, Op. 57 (1899–1900) 19'49 7 I. The Tsar’s Farewell and Departure. Allegro – Allegretto alla Marcia 4'44 8 II.
    [Show full text]
  • Download Program Notes
    Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair Erwartung (Expectation), from Vier Lieder (Four Songs), Op. 2, No. 1 Erwartung, Monodrama in One Act, Op. 17 Arnold Schoenberg rnold Schoenberg spent the summer In any case, her libretto did serve as the ba- A of 1909 in the Lower Austrian town of sis for Schoenberg’s Erwartung, a monodrama Steinakirchen, ostensibly on vacation. In in which a single character, a woman, wanders fact, he kept busy composing, and during through a forest searching for her lover, who that summer he not only wrote his mono- has deceived her, finally stumbling across his drama Erwartung (Expectation) but also murdered, still-bleeding corpse. Schoenberg, completed his Five Orchestra Pieces (Op. however, removed from Pappenheim’s libret- 16) and the third of his Three Piano Pieces to language that suggested that the woman (Op. 11) — landmark works all. Devotees sur- rounded him, including the composer Alex- In Short ander von Zemlinsky, who had become his brother-in-law when Schoenberg married Born: September 13, 1874, in Vienna, Austria Zemlinsky’s sister Mathilde in 1901. Also Died: July 13, 1951, in Los Angeles, California passing through was Marie Pappenheim, Works composed and premiered: the song a published poet who had just graduated Erwartung, to a text by Richard Dehmel, was from medical school. Although her special- premiered August 9, 1899; premiered December 1, ty was dermatology, she was well versed in 1901, in Vienna, by tenor Walter Pieau with the recent advances in psychology proposed pianist Alexander von Zemlinsky.
    [Show full text]
  • PROGRAM NOTES by Phillip Huscher
    PROGRAM NOTES by Phillip Huscher Nikolai Rimsky-Korsakov – Capriccio espagnol, Op. 34 Born March 18, 1844, Tikhvin, near Novgorod, Russia. Died June 21, 1908, Liubensk, near Saint Petersburg, Russia. Capriccio espagnol, Op. 34 Rimsky-Korsakov composed this work in the summer of 1887 and conducted the first performance on November 12 of that year in Saint Petersburg. The score calls for two flutes and piccolo, two oboes and english horn, two clarinets, two bassoons, four horns, two trumpets, three trombones and tuba, timpani, snare drum, bass drum, cymbals, triangle, tambourine, castanets, harp, and strings. Performance time is approximately fifteen minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Rimsky-Korsakov’s Capriccio espagnol were given at the Auditorium Theatre on March 29 and 30, 1901, with Theodore Thomas conducting. Our most recent subscription concert performances were given at Orchestra Hall on May 10, 11, 12, 13, and 14, 2000, with Bobby McFerrin conducting. The Orchestra first performed this work at the Ravinia Festival on July 31, 1936, with Werner Janssen conducting, and most recently on July 26, 2003, with Christoph Eschenbach conducting. Rimsky-Korsakov had never heard an orchestra until his father took him to Saint Petersburg to enroll in the College of Naval Cadets at the age of twelve. When he attended his first opera there, it was not the stage spectacle or the singing, but the great sound rising from the pit that excited him most. Early in 1857, he wrote home: Imagine my joy, today I’m going to the theater! I shall see Lucia! I shall hear the enormous orchestra and the tam-tam! and I shall see how the conductor waves his little stick.
    [Show full text]
  • 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.
    [Show full text]
  • Download the Programme (PDF
    Sunday 19 January 2020 7–9.05pm Thursday 13 February 2020 7.30–9.35pm Barbican LSO SEASON CONCERT CHRIST ON THE MOUNT OF OLIVES Berg Violin Concerto Interval Beethoven Christ on the Mount of Olives Sir Simon Rattle conductor Lisa Batiashvili violin Elsa Dreisig soprano Pavol Breslik tenor David Soar bass London Symphony Chorus Simon Halsey chorus director Part of Beethoven 250 at the Barbican Thursday 13 February 2020 broadcast live on BBC Radio 3 Welcome Latest News On Our Blog will be recorded for LSO Live, the Orchestra DONATELLA FLICK LSO LUNAR NEW YEAR PREMIERES: is also joined by the full force of the London CONDUCTING COMPETITION LSO DISCOVERY COMPOSERS Symphony Chorus, led by Chorus Director PAST AND PRESENT Simon Halsey. Applications are now open for the 16th Donatella Flick LSO Conducting Competition Following a sold-out debut in January 2019, Berg’s Violin Concerto opens these concerts, in 2021, founded in 1990 by Donatella Flick artist collective Tangram return to LSO St for which we welcome soloist Lisa Batiashvili, and celebrating its 30th anniversary this year. Luke’s on 25 January to interweave folk who first performed with the Orchestra on the melodies with brand-new compositions. Barbican stage in 2006, and has appeared • lso.co.uk/more/news We caught up with composers Raymond Yiu, regularly in recent years. We look forward to Jasmin Kent Rodgman and Alex Ho – all LSO Lisa Batiashvili joining us on tour for further Discovery composers of past and present warm welcome to these LSO performances of this concerto in Europe.
    [Show full text]
  • CHAPTER 4 the Second Violin Concerto
    i ABSTRACT The Violin Concerti of Béla Bartók By So Jin Kim There are two violin concertos in Béla Bartók’s body of compositions. The first concerto written in 1907 is obscure and rarely heard, while the second, completed in 1939, is widely performed and generally regarded as a twentieth-century masterwork. Bartók had contrasting relationships with the violinists for whom the works were written: the first, for Stefi Geyer; and the second, for Zoltán Székely. My thesis will compare the two concerti, illustrating how the second refines, expands and more fully develops the compositional approach of the first. It will also examine the working relationship and influence the performers had on the ultimate outcome of the concerti. This comparison of two works with very different outcomes offers insights into Bartók’s compositional methods and development. ii ACKNOWLEDGMENTS Dr. Anthony Brandt, for your guidance, patience, expertise, and insights. Dr. Bailey, for your detailed and thoughtful advice. Cho-Liang Lin, for your encouragement and being the source of my artistic inspiration throughout my time at Rice University. And to my family, for their love and support. CONTENTS ABSTRACT i ACKNOWLEDGMENTS ii INTRODUCTION 1 CHAPTER ONE. BRIEF BIOGRAPHICAL INFORMATION ON BÉLA BARTÓK AND BACKGROUND INFORMATION ON THE FIRST AND SECOND VIOLIN CONCERTOS Béla Viktor János Bartók (1881-1945) 3 The First Violin Concerto 11 The Second Violin Concerto 14 CHAPTER TWO. THE FIRST VIOLIN CONCERTO Unconventional Concept 18 The discovery of folk music and early compositions (1904-1907) 19 Bartók’s First Violin Concerto 25 Bartók and Geyer: Their Relationship 36 CHAPTER THREE.
    [Show full text]
  • Rimsky Korsakov Spanish Capriccio Op 34 1 Piano 4 Hands Score and Parts Sheet Music
    Rimsky Korsakov Spanish Capriccio Op 34 1 Piano 4 Hands Score And Parts Sheet Music Download rimsky korsakov spanish capriccio op 34 1 piano 4 hands score and parts sheet music pdf now available in our library. We give you 6 pages partial preview of rimsky korsakov spanish capriccio op 34 1 piano 4 hands score and parts sheet music that you can try for free. This music notes has been read 8526 times and last read at 2021-09-25 21:14:39. In order to continue read the entire sheet music of rimsky korsakov spanish capriccio op 34 1 piano 4 hands score and parts you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: 1 Piano 4 Hands Ensemble: Mixed Level: Advanced [ READ SHEET MUSIC ] Other Sheet Music Rimsky Korsakov Capriccio Espagnol For Piano Duet 1 Piano 4 Hands Pr835 Rimsky Korsakov Capriccio Espagnol For Piano Duet 1 Piano 4 Hands Pr835 sheet music has been read 3609 times. Rimsky korsakov capriccio espagnol for piano duet 1 piano 4 hands pr835 arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-25 13:51:36. [ Read More ] Clarinet Duet Capriccio Espagnol By Rimsky Korsakov Clarinet Duet Capriccio Espagnol By Rimsky Korsakov sheet music has been read 4753 times. Clarinet duet capriccio espagnol by rimsky korsakov arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-24 16:56:58. [ Read More ] Rimsky Korsakov Sheherazade Ii For Piano Duet 1 Piano 4 Hands Pr832 Rimsky Korsakov Sheherazade Ii For Piano Duet 1 Piano 4 Hands Pr832 sheet music has been read 4731 times.
    [Show full text]
  • Intimate Chamber Ensemble Series Curated by Individual ROCO Musicians COMMON SENSE
    Intimate chamber ensemble series curated by individual ROCO musicians COMMON SENSE TAKES CENTER Saturday, October 17, 2020 Live from Nancy Littlejohn Fine Art STAGE HERE. Rebecca Powell Garfield, flute Spring Hill, oboe/oboe d’amore/English horn Laurie Meister, harp *Karim Al-Zand (All-ZAHND) Dance Interlude for Two Oboes and English horn (2020) Alecia Lawyer, oboe • Erin Tsai, oboe ----3 minutes---- Alan Hovhaness (Hoe-VAHN-ess) The Garden of Adonis, Op. 245 (1971) We’ve been giving sensible, prudent advice since 1868. And we’ll ----15 minutes---- never stop working to make you a big fan of everything we do. Benedetto Marcello (Mar-CHELL-o) See how at frostbank.com/expectmore Sonata in F Major (1712) or call us at (800) 51-FROST. ----7 minutes---- Carl Nielsen (KNEEL-son) The Fog is Lifting, Op. 41 (1920) Frost is proud to partner with the River Oaks Chamber Orchestra ----2 minutes---- as we work to make our community a better place. Alberto Ginastera (Gee-nuh-STARE-uh/Hee-nuh-STARE-uh) Duo for Flute and Oboe, Op. 13 (1945) ----8 minutes---- Leo Delibes (Deh-LEEB) Flower Duet from “Lakmé” (1883) MEMBER FDIC ----4 minutes---- *ROCO Commission World Premiere/part of FIFteen Project 3 the National Flute Association Orchestral Audition Competition, the Mid- South Flute Society Young Artist Competition, and the San Francisco Conservatory Concerto Competition. Additionally, she was a Semifinalist in the National Flute Association’s Young Artist Competition. Rebecca began her flute studies with Ruth Ann McClain in Memphis, Tennessee. She holds degrees from Indiana University and the San Francisco Conservatory of Music, where she studied under Jacques Zoon, Thomas Robertello, and Timothy Day, respectively, as well as with Barbara Kallaur on the Baroque Flute.
    [Show full text]
  • 197066 Q NS I
    11 q NS I Now 2,4.40 1 Z THE TREATMENT OF THE HARP IN ORCHESTRAL LITERATURE FROM THE EIGHTEENTH CENTURY TO THE PRESENT THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By 197066 Anita Tsianina Harvey, B. M. Denton, Texas January, 1952 197066 TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS.v. Pag Chapter I. MECHANICAL EVOLUTION OF THE HARP . 1 II. THE TREATMENT OF TBE HARP IN THE ORCHESTRA. BY COMPOSERS OF THE CLASSICAL SCHOOL . 12 III* THE TREATMENT OF THE HARP IN THE ORCHESTRA. BY COMPOSERS OF THE ROMANTIC SCHOOL . 22 IV. THE TREATMENT OF THE HARP IN THE ORCHESTRA BY COMPOSERS OF THE RUSSIAN NATIONALIST AND FRENCH IMPRESSIONIST SCHOOLS . 43 V. THE TREATMENT OF THE HARP IN THE ORCHESTRA BY COMPOSERS OF THE TWENTIETH CENTURY . 60 VI. CONCLUSIONLUSIO .......... .. 68 BIBLIOGRAPHY - . 70 iii LIST OF ILLUSTRATIONS Figure Page 1. Lyon and Healy Harp . 0 4. 2. Diagram of Single-Action Pedals - . $ Diagram of Erard's Disc 10 3. M cement . 0 . * 8 4. Diagram of ErardIs Double -0Action Pe dals ... 9 5. Handel, Julius Caesar - - . 0 - * * * . 0 * * 13 6. Handel, Esther . * . 14 Handel, Esther, . 7. - - . - . - * - - * * 15 * 15 . 8. Handel, Alexander Balus - . * - . 0 . 9. Gluck, Orfeo ed Euridiee . 17 10. Gluck, Orfeo ed Euridice . 18 11. Beethoven, Creations of Prometheus . 20 12. Meyerbeer, Le Proph'bte . 23 13. Rossini, Le Siege de Corinthe ... 24 14. Berlioz, Harold in Italy . .. 26 15. Berlioz, Symphonie Fantastique. 27 Mendelssohn, 16. iOedn Colonos . 29 17.
    [Show full text]
  • Bartók the Wooden Prince • Hungarian Pictures the Miraculous Mandarin • Concerto for Orchestra
    BARTÓK The Wooden Prince • Hungarian Pictures The Miraculous Mandarin • Concerto for Orchestra Philharmonia Orchestra Royal Scottish National Orchestra Neeme Järvi Béla Bartók,1916 AKG Images, London / De Agostini Picture Library / A. Dagli Orti Béla Bartók (1881 – 1945) COMPACT DISC ONE The Wooden Prince, Op. 13, BB 74 (1914 – 16, orchestrated 1916 – 17)* 54:06 A Dance-pantomime in One Act by Béla Balázs (1884 – 1949) 1 Prelude – 4:58 2 Dance 1. Dance of the Princess in the Forest – 5:06 3 Dance 2. Dance of the Trees – 5:14 4 Dance 3. Dance of the Waves – 11:16 5 Dance 4. Dance of the Princess with the Wooden Doll – 15:25 6 Dance 5. The Princess pulls and pushes him [the wooden prince] and tries to make him dance – 1:43 7 Dance 6. She tries to attract him [the real prince] with a seductive dance – 1:31 8 Dance 7. Alarmed, the Princess rushes after him [the real prince], but the Forest stops her – 6:42 9 Postlude 2:09 3 Hungarian Pictures, BB 103 (1931)* 11:47 10 1 An Evening in the Village 3:06 11 2 Bear Dance 1:39 12 3 Melody 2:26 13 4 Slightly Tipsy 2:31 14 5 Swineherd’s Dance 2:03 TT 66:07 COMPACT DISC TWO The Miraculous Mandarin, Op. 19, BB 82 (1918 – 19, orchestrated 1924, revised 1926 – 31)† 34:26 Pantomime in One Act by Melchior Lengyel (1880 – 1974) London Voices Terry Edwards director 1 A shabby room in the slums – 3:34 2 First decoy game – 4:18 3 Second decoy game – 3:34 4 Third decoy game – 4:00 5 The girl is undecided – 4:37 6 The passion of the Mandarin is finally roused – 5:07 4 7 Suddenly the Mandarin’s head appears between the pillows – 4:24 8 The Mandarin’s body begins to glow with a greenish- blue light – 2:17 9 The Mandarin falls to the floor and at once leaps at the girl 2:33 Concerto for Orchestra, BB 123 (1943, revised 1945)‡ 40:35 10 I Introduzione.
    [Show full text]
  • 8/11/2020 FOA CONCERT MPA MUSIC LIST - by Classification 1 2020-2021 (Approved 07/23/2020)
    8/11/2020 FOA CONCERT MPA MUSIC LIST - By Classification 1 2020-2021 (Approved 07/23/2020) Class Music Code Title Composer Publisher Notes ** Note: This list is to be used for FOA 2020-2021 District & State Festivals. Unless otherwise specified in Performance notes all pieces are "Play All" AF 9135 A Walk to the Paradise Garden Delius/Beecham ANY AF 9000 Academic Festival Overture Brahms ANY AF 9151 Adagio from Spartacus Khachaturian ANY AF 9001 Afternoon in Montreal Creston SP AF 9002 American in Paris, An Gershwin ANY AF 9003 American Salute Gould BEL AF 9004a Ancient Airs and Dances Respighi ANY Mvt. 1 AF 9004b Ancient Airs and Dances Respighi ANY Mvt. 2 AF 9004c Ancient Airs and Dances Respighi ANY Mvt. 3 AF 9004d Ancient Airs and Dances Respighi ANY Mvt. 4 AF 9141 Ballet Music from Faust Gounod ANY Any 2 mvts. AF 9159 Ballet Suite No 1 Shostakovich ANY Any 2 contrasting mvts. AF 9005 Barber of Seville Overture Rossini / Isaac WYNN AF 9161a Bartered Bride, The Smetana ANY Act 1 AF 9161b Bartered Bride, The Smetana ANY Act 2 AF 9161c Bartered Bride, The Smetana ANY Act 3 AF 9161d Bartered Bride, The Smetana ANY Overture AF 9007 Candide Overture Bernstein ANY AF 9008 Capriccio Bohemien Rachmaninoff ANY AF 9009a Capriccio Espagnol Rimsky-Korsakov ANY Mvts. 1,2&3 AF 9009b Capriccio Espagnol Rimsky-Korsakov ANY Mvts. 4&5 AF 9010 Capriccio Italien Tchaikovsky ANY AF 9011 Carmen Suite No. 1 Bizet ANY Any 3 mvts. AF 9012 Carmen Suite No. 2 Bizet ANY Any 2 mvts.
    [Show full text]