DOCSLIB.ORG

The Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat Sat, Mar 20, 2021 - 00 The Classical Station, WCPE 1 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 00:01:30 11:07 Vivaldi Cello Concerto in B minor, RV Tortelier/London 05300 EMI 79521 724347952128 424 Mozart Players/Ledger 00:13:3716:15 Bach Prelude and Fugue Nos. 17-20 Andras Schiff 00498 London 414 388 02894143882 from The Well-Tempered Clavier, Book 1 00:31:2228:27 Mozart Clarinet Concerto in A, K. 622 Goodman/Boston 04774 RCA 68804 090266880423 Symphony/Munch 01:01:1907:23 Weber Jubilee Overture Philharmonia/Sawallisc 01642 EMI 69572 077776957227 h 01:09:4208:34 Turina The Bullfighter's Prayer, Op. 34 Salzburg Concert 06694 Bayer 100167 401156310167 Ensemble/Lucker 3 01:19:4640:34 Busoni Turandot Suite, Op. 41 Hong Kong 07319 Naxos 8.555373 747313537327 Philharmonic/Wong 02:01:5020:17 Schumann Forest Scenes, Op. 82 Sviatoslav Richter 06656 DG 447 440 028944744026 02:23:22 13:40 Geminiani Sonata for Cello and Continuo O'Sullivan/Four 12650 Orchid 100049 506018956049 in C, Op. 5 No. 3 Nations Ensemble Classics 3 02:38:3220:27 Boieldieu Harp Concerto in C Michel/Monte-Carlo 01757 Philips 422 288 028942228825 Opera Orchestra/Almeida 03:00:2921:20 D'Indy Piano Quintet in G minor, Op. Prunyi/New Budapest 04089 Marco Polo 8.223691 730099369121 81 Quartet 03:23:0428:31 Delibes Suite from Naila Royal Scottish National CD07 Chandos 5257 095115525722 Orchestra/Jarvi 03:53:0506:42 Corigliano Voyage Metamorphosen/Yoo 09825 Albany 194 034061019428 04:01:17 09:00 Weber Concertino in E flat for Clarinet Hilton/City of 00952 Chandos 8305 N/A & Orchestra, Op. 26 Birmingham Symphony/Jarvi 04:11:3206:46 Marais Suite in D for viol and theorbo Palladian Ensemble 04131 Linn 100 691062601009 04:19:3338:01 Beethoven Piano Trio in B flat, Op. 97 Trio Elegiaque 11039 Brilliant 94327 502842194327 "Archduke" Classics 5 04:59:04 13:23 Cramer Concert Piece For 2 Clarinets Klocker/Wandel/SW 01999 Schwann 11111 N/A & Orchestra German Radio Symphony/Tomayo 05:13:4218:21 Boccherini Symphony in C, Op. 12 No. 3 Cantilena/Shepherd 00974 Musical 11066K n/a Heritage Society 05:33:3308:07 Harbach Arcadian Reverie for String Slovak Radio 08416 MSR 1252 681585125229 Orchestra Symphony/Trevor 05:42:40 06:18 Liszt Hungarian Rhapsody No. 6 in Byron Janis 02166 Mercury 432 002 028943200226 D flat 05:49:53 09:32 Fill Music: announcer selects 06:01:1509:30 Haydn Baryton Trio No. 87 in A minor Esterhazy Baryton Trio 02073 EMI 69836 077776983622 06:12:00 08:28 Lalande Trumpet Concerto for the Touvron/Paillard 02251 Erato 45220 022924522024 Festival on the Versailles Canal Chamber Orchestra 06:21:4309:44 Chopin Scherzo No. 2 in B flat minor, Sviatoslav Richter 06643 Regis 1199 505503131199 Op. 31 6 06:33:17 25:34 Schumann Cello Concerto in A minor, Op. Rostropovich/Lenigrad 07773 DG 00289 n/a 129 Philharmonic/Rozdestv 477 6579 enski 07:00:4108:51 Mozart Suite from The Magic Flute Solid Brass 04881 Dorian 90108 053479010827 07:10:4729:43 Bruch Scottish Fantasy for Violin and Ehnes/Montreal 06138 CBC 5222 059582522226 Orchestra, Op. 46 Symphony/Bernardi 07:42:20 10:15 Suppe Overture to Poet and Peasant Cincinnati Pops/Kunzel 00723 Telarc 80116 N/A Sat, Mar 20, 2021 - 08 The Classical Station, WCPE 2 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 07:53:50 05:11 Bach Air from Orchestral Suite No. 3 Paillard Chamber 01641 RCA 60011 090266001125 in D, BWV 1068 "Air on the G Orchestra/Paillard String" 08:00:5111:05 Zavateri Concerto No. 6 in A Von der Goltz/Freiburg 03900 DHM 77352 054727735226 Baroque Orchestra 08:13:1112:14 Saint-Saëns Fantasie in A for Violin and Lee/Kibbey 11904 Music@Me n/a 653738268626 Harp, Op. 124 nlo Live 08:27:15 10:50 Fill Music: announcer selects 08:39:2020:40 Schubert Fantasia in C, D. 760 Sviatoslav Richter 06641 EMI 72567 724357256728 "Wanderer Fantasy" 09:02:00 05:19 Chopin Polonaise in A, Op. 40 No. 1 Maurizio Pollini 01598 DG 413 795 028941379528 "Military" 09:10:4904:52 Bach 1st mvt (Allegro) from Trio Balsom/Ibragimova/Ca CD01 Warner 01902951 019029515744 Sonata in C, BWV 529 udle/Ross Classics 57449 9 09:19:11 07:43 Tchaikovsky Waltz-Scherzo, Op. 34 Fischer/Russian 06520 Pentatone 5186095 827949009563 National Orchestra/Kreizberg 09:29:5406:18 Arban Variations on Casta Diva Balsom/Gothenburg CD01 Warner 01902951 019029515744 Symphony/Gardner Classics 57449 9 09:39:1204:10 Berlioz Rakoczy March from The Boston Pops/Fiedler 02113 RCA 60700 090266070022 Damnation of Faust 09:45:2204:25 Piazzolla Libertango Balsom/Gothenburg CD01 Warner 01902951 019029515744 Symphony/Gardner Classics 57449 9 09:53:1806:42 Dvorak Slavonic Dance in A flat, Op. Bournemouth 11875 Warner 08256461 825646132010 72 No. 8 Symphony/Serebrier Classics 32010 10:02:0003:13 Boccherini "Celebrated" minuet from String Cincinnati Pops/Kunzel 00907 Telarc 80129 089408012921 Quintet in E 10:08:4308:52 Beethoven 2nd mvt (Allegretto) from Rotterdam CD02 Warner 01902951 190295177683 Symphony No. 7 in A, Op. 92 Philharmonic/Shani Classics 77683 10:21:0506:53 Ravel Menuet antique Boston 05059 Philips 454 452 028945445229 Symphony/Haitink 10:30:5809:44 Beethoven Finale (Rondo) from Piano Shani/Rotterdam CD02 Warner 01902951 190295177683 Concerto No. 4 in G, Op. 58 Philharmonic Classics 77683 10:43:4210:03 Vivaldi Concerto in C, RV 558 English 00539 Archiv 415 674 028941567420 Concert/Pinnock 10:57:4102:19 Sousa El Capitan (a march) Dallas Wind 05814 Reference 94 030911109424 Symphony/Junkin Recordings 11:02:0004:30 Delius La Calinda Symphony Nova 03922 CBC 96 059582059623 Scotia/Tintner 11:10:0005:04 Wagner Ride of the Valkyries from Die Royal CD06 Brilliant 96146 502842196146 Walkure Philharmonic/Ellis Classics 0 11:18:3408:25 Haydn Finale from Symphony No. 071 Hanover 04266 Hyperion 66526 034571165264 in B flat Band/Goodman 11:29:5909:49 Strauss Jr. The Blue Danube Royal CD06 Brilliant 96146 502842196146 Philharmonic/Ellis Classics 0 11:42:4806:05 Saint-Saëns Tarantelle, Op. 6 D&A McGill/Chicago PV1224 Cedille 187 n/a Youth SO/Tinkham 11:52:2907:31 Verdi Gloria all' Egitto (Grand March) Royal Philharmonic & CD06 Brilliant 96146 502842196146 from Aida Choral/Hughes Classics 0 12:02:0003:38 Vivaldi Concerto in G, RV 151 “Alla Scottish 03080 Virgo 7873 724356110328 Rustica” Ensemble/Rees 12:09:0805:21 Dvorak Goin' Home Ma/Stott CD05 Sony 982237 194398223728 Classical 12:17:5908:07 Mozart 1st mvt (Molto allegro) from Cologne Chamber 07683 Naxos www.thec n/a Symphony No. 40 in G minor, Orchestra/Müller-Brühl lassicalst K. 550 ation.org Sat, Mar 20, 2021 - 12 The Classical Station, WCPE 3 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 12:29:06 05:22 Tong Rain Falling from the Roof Ma/Stott CD05 Sony 982237 194398223728 Classical 12:37:2806:07 Grieg Wedding Day at Troldhaugen Houston 00680 Pro Arte 267 N/A from Lyric Pieces, Op. 65 Symphony/Comissiona 12:45:35 05:17 Traditional Shenandoah Ma/Stott CD05 Sony 982237 194398223728 Classical 12:54:5005:10 Handel Overture to Athalia Frankfort Baroque 08672 Naxos 8.554364- 636943436424 Orchestra/Martini 65 13:00:00 76:28 Rossini Metropolitan Opera, Le Comte Florez/Yende/Gunn/Be Ory, Part I nini 14:17:4585:36 Rossini Metropolitan Opera, Le Comte Florez/Yende/Gunn/Be Ory, Part II nini 15:45:11 13:11 Bach Violin Concerto No. 1 in A Manze/Academy of 04494 HM 907155 093046715526 minor, BWV 1041 Ancient Music 16:00:1219:07 Respighi Suite No. 2 from Ancient Airs & Philharmonia 01693 Mercury 416 496 028941649621 Dances Hungarica/Dorati 16:20:34 20:17 Haydn Symphony No. 047 in G, Austro-Hungarian 04927 Nimbus 5531 710357553028 "Palindrome" Haydn Orchestra/Fischer 16:42:4116:49 Ravel Le Tombeau de Couperin Academy of St. 06910 ASV 517 501197505172 Martin-in-the-Fields/Ma 5 rriner 17:01:2018:14 Liszt Piano Concerto No. 1 in E flat, Richter/London 00685 Philips 412 006 028941200624 "Triangle" Symphony/Kondrashin 17:20:49 14:42 Beethoven Leonore Overture No. 2 Philharmonia/Ashkena 08799 Musical 11135Z n/a zy Heritage Society 17:37:21 08:57 Fill Music: announcer selects 17:47:3311:52 Grieg Two Norwegian Dances, Op. Moscow 01115 RCA Red 60368 090266036820 63 Soloists/Bashmet Seal.
Load more

Recommended publications
  • PROGRAM NOTES Franz Liszt Piano Concerto No. 2 in a Major
    PROGRAM NOTES by Phillip Huscher Franz Liszt Born October 22, 1811, Raiding, Hungary. Died July 31, 1886, Bayreuth, Germany. Piano Concerto No. 2 in A Major Liszt composed this concerto in 1839 and revised it often, beginning in 1849. It was first performed on January 7, 1857, in Weimar, by Hans von Bronsart, with the composer conducting. The first American performance was given in Boston on October 5, 1870, by Anna Mehlig, with Theodore Thomas, who later founded the Chicago Symphony, conducting his own orchestra. The orchestra consists of three flutes and piccolo, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones and tuba, timpani, cymbals, and strings. Performance time is approximately twenty-two minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Liszt’s Second Piano Concerto were given at the Auditorium Theatre on March 1 and 2, 1901, with Leopold Godowsky as soloist and Theodore Thomas conducting. Our most recent subscription concert performances were given at Orchestra Hall on March 19, 20, and 21, 2009, with Jean-Yves Thibaudet as soloist and Jaap van Zweden conducting. The Orchestra first performed this concerto at the Ravinia Festival on August 4, 1945, with Leon Fleisher as soloist and Leonard Bernstein conducting, and most recently on July 3, 1996, with Misha Dichter as soloist and Hermann Michael conducting. Liszt is music’s misunderstood genius. The greatest pianist of his time, he often has been caricatured as a mad, intemperate virtuoso and as a shameless and
    [Show full text]
  • Ferruccio Busoni 1866–1924
    Ferruccio Busoni 1866–1924 150. Geburtstag 2016 150th Birthday 2016 150. Geburtstag Busoni-Jahr 2016 Zwischen Klassizität und Experiment – die Orchesterwerke Ferruccio Busonis „Unsicherheit ist charakteristisch für diese Zeit“ be- Neben seiner pianistischen Laufbahn betätigte fand Nietzsche 1886 und kommentierte damit die sich Busoni als Pädagoge (Lehrtätigkeiten in Hel- sich in Europa verstärkenden außerstaatlichen und sinki, Moskau und Boston), Dirigent, Herausgeber, innergesellschaftlichen Spannungen. Industri a - Bearbeiter von Musik, Verfasser von Libretti sowie lisierung, Verstädterung und Säkula risie rungs - zahlreicher Abhandlungen zur Musikästhetik und prozesse vereinigten sich zu einem verbreiteten anderen Themen. Mittelpunkt seines Wirkens bildete Kulturpessimismus, dem ein unerschütterlicher Fort- für Busoni jedoch das Komponieren. Hierbei wollte schrittsglaube gegen über stand. er „noch einen Zipfel der neuen Tonkunst erwischen Die Kunstschaffenden reagierten auf diesen und womöglich selbst einen Saum daran nähen“. Zwiespalt mit der Suche nach neuen, adäquaten Mehr als die Hälfte der etwa 300 Kompositionen Ausdrucksmitteln, in deren Folge sich auch die Busonis entstanden bis 1900 und gelten heute als Sprache der Musik ändern sollte: schon kurz nach Frühwerke. Trotz kompositorischer Eigenart orien- der Jahrhundertwende begannen Schönberg und tierte sich Busoni noch an klassischen Vorbildern wie Webern mit Tönen in freier Atonalität zu experi- Bach, Beethoven und Brahms. Danach wollte Busoni mentieren. Abbild für diese Zeit des Umbruchs sich hiervon lösen und wandte sich dem Experimen- und des Suchens sind Werk und Persönlichkeit von tellen zu. Äußerlich tritt dies an den von ihm ab und empfinde, dass jeder Gedanke, jedes Motiv, Ferruccio Busoni (1866–1924) – eine epochale, 1902 geleiteten Berliner Orchesterabenden hervor, jedes Individuum eine eigene im Verhältnis zum europäische Künstlerfigur, dessen 150.
    [Show full text]
  • View List (.Pdf)
    Symphony Society of New York Stadium Concert United States Premieres New York Philharmonic Commission as of November 30, 2020 NY PHIL Biennial Members of / musicians from the New York Philharmonic Click to jump to decade 1842-49 | 1850-59 | 1860-69 | 1870-79 | 1880-89 | 1890-99 | 1900-09 | 1910-19 | 1920-29 | 1930-39 1940-49 | 1950-59 | 1960-69 | 1970-79 | 1980-89 | 1990-99 | 2000-09 | 2010-19 | 2020 Composer Work Date Conductor 1842 – 1849 Beethoven Symphony No. 3, Sinfonia Eroica 18-Feb 1843 Hill Beethoven Symphony No. 7 18-Nov 1843 Hill Vieuxtemps Fantasia pour le Violon sur la quatrième corde 18-May 1844 Alpers Lindpaintner War Jubilee Overture 16-Nov 1844 Loder Mendelssohn The Hebrides Overture (Fingal's Cave) 16-Nov 1844 Loder Beethoven Symphony No. 8 16-Nov 1844 Loder Bennett Die Najaden (The Naiades) 1-Mar 1845 Wiegers Mendelssohn Symphony No. 3, Scottish 22-Nov 1845 Loder Mendelssohn Piano Concerto No. 1 17-Jan 1846 Hill Kalliwoda Symphony No. 1 7-Mar 1846 Boucher Furstenau Flute Concerto No. 5 7-Mar 1846 Boucher Donizetti "Tutto or Morte" from Faliero 20-May 1846 Hill Beethoven Symphony No. 9, Choral 20-May 1846 Loder Gade Grand Symphony 2-Dec 1848 Loder Mendelssohn Violin Concerto in E minor 24-Nov 1849 Eisfeld Beethoven Symphony No. 4 24-Nov 1849 Eisfeld 1850 – 1859 Schubert Symphony in C major, Great 11-Jan 1851 Eisfeld R. Schumann Introduction and Allegro appassionato for Piano and 25-Apr 1857 Eisfeld Orchestra Litolff Chant des belges 25-Apr 1857 Eisfeld R. Schumann Overture to the Incidental Music to Byron's Dramatic 21-Nov 1857 Eisfeld Poem, Manfred 1860 - 1869 Brahms Serenade No.
    [Show full text]
  • PROGRAM NOTES by Phillip Huscher
    PROGRAM NOTES by Phillip Huscher Wolfgang Mozart – Piano Concerto No. 20 in D Minor, K. 464 Born January 27, 1756, Salzburg, Austria. Died December 5, 1791, Vienna, Austria. Piano Concerto No. 20 in D Minor, K. 464 Mozart entered this concerto in his catalog on February 10, 1785, and performed the solo in the premiere the next day in Vienna. The orchestra consists of one flute, two oboes, two bassoons, two horns, two trumpets, timpani, and strings. At these concerts, Shai Wosner plays Beethoven’s cadenza in the first movement and his own cadenza in the finale. Performance time is approximately thirty-four minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Mozart’s Piano Concerto no. 20 were given at Orchestra Hall on January 14 and 15, 1916, with Ossip Gabrilowitsch as soloist and Frederick Stock conducting. Our most recent subscription concert performances were given on March 15, 16, and 17, 2007, with Mitsuko Uchida conducting from the keyboard. The Orchestra first performed this concerto at the Ravinia Festival on July 6, 1961, with John Browning as soloist and Josef Krips conducting, and most recently on July 8, 2007, with Jonathan Biss as soloist and James Conlon conducting. This is the Mozart piano concerto that Beethoven admired above all others. It’s the only one he played in public (and the only one for which he wrote cadenzas). Throughout the nineteenth century, it was the sole concerto by Mozart that was regularly performed—its demonic power and dark beauty spoke to musicians who had been raised on Beethoven, Chopin, and Liszt.
    [Show full text]
  • A Study of Tyzen Hsiao's Piano Concerto, Op. 53
    A Study of Tyzen Hsiao’s Piano Concerto, Op. 53: A Comparison with Rachmaninoff’s Piano Concerto No. 2 D.M.A Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Lin-Min Chang, M.M. Graduate Program in Music The Ohio State University 2018 D.M.A. Document Committee: Professor Steven Glaser, Advisor Dr. Anna Gowboy Dr. Kia-Hui Tan Copyright by Lin-Min Chang 2018 2 ABSTRACT One of the most prominent Taiwanese composers, Tyzen Hsiao, is known as the “Sergei Rachmaninoff of Taiwan.” The primary purpose of this document is to compare and discuss his Piano Concerto Op. 53, from a performer’s perspective, with the Second Piano Concerto of Sergei Rachmaninoff. Hsiao’s preferences of musical materials such as harmony, texture, and rhythmic patterns are influenced by Romantic, Impressionist, and 20th century musicians incorporating these elements together with Taiwanese folk song into a unique musical style. This document consists of four chapters. The first chapter introduces Hsiao’s biography and his musical style; the second chapter focuses on analyzing Hsiao’s Piano Concerto Op. 53 in C minor from a performer’s perspective; the third chapter is a comparison of Hsiao and Rachmaninoff’s Piano Concertos regarding the similarities of orchestration and structure, rhythm and technique, phrasing and articulation, harmony and texture. The chapter also covers the differences in the function of the cadenza, and the interaction between solo piano and orchestra; and the final chapter provides some performance suggestions to the practical issues in regard to phrasing, voicing, technique, color, pedaling, and articulation of Hsiao’s Piano Concerto from the perspective of a pianist.
    [Show full text]
  • Ferruccio Busoni – the Six Sonatinas: an Artist’S Journey 1909-1920 – His Language and His World
    Ferruccio Busoni – The Six Sonatinas: An Artist’s Journey 1909-1920 – his language and his world Jeni Slotchiver This is the concluding second Part of the author’s in-depth appreciation of these greatly significant piano works. Part I was published in our issue No 1504 July- September 2015. t summer’s end, 1914, Busoni asks for artists in exile from Europe. Audiences are A a year’s leave of absence from his in thin supply. He writes to Edith Andreae, position as director of the Liceo Musicale June 1915, “I didn’t dare set to work on in Bologna. He signs a contract for his the opera… for fear that a false start American tour and remains in Berlin over would destroy my last moral foothold.” Christmas, playing a Bach concert to Busoni begins an orchestral comp- benefit charities. This is the first all-Bach osition as a warm-up for Arlecchino, the piano recital for the Berlin public, and Rondò Arlecchinesco. He sets down ideas, Dent writes that it is received with hoping they might be a useful study, if all “discourteous ingratitude.” Busoni outlines else fails, and writes, “If the humour in the his plan for Dr. Faust, recording in his Rondò manifests itself at all, it will have a diary, “Everything came together like a heartrending effect.” With bold harmonic vision.” By Christmastime, the text is language, Busoni clearly defines this complete. With the outbreak of war in composition as his last experimental work. 1914 and an uncertain future, Busoni sails The years give way to compassionate to New York with his family on 5 January, reflection.
    [Show full text]
  • A Survey of Selected Piano Concerti for Elementary, Intermediate, and Early-Advanced Levels
    Graduate Theses, Dissertations, and Problem Reports 2017 A Survey of Selected Piano Concerti for Elementary, Intermediate, and Early-Advanced Levels Achareeya Fukiat Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Fukiat, Achareeya, "A Survey of Selected Piano Concerti for Elementary, Intermediate, and Early-Advanced Levels" (2017). Graduate Theses, Dissertations, and Problem Reports. 5630. https://researchrepository.wvu.edu/etd/5630 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. A SURVEY OF SELECTED PIANO CONCERTI FOR ELEMENTARY, INTERMEDIATE, AND EARLY-ADVANCED LEVELS Achareeya Fukiat A Doctoral Research Project submitted to College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Piano Performance James Miltenberger,
    [Show full text]
  • Ferruccio Busoni Biography
    Ferruccio Busoni His Life And Times Beginnings Youth in Italy The Prodigy is Heard Busoni as Composer Free at Last First Experiences Marriage Busoni as Editor Hitting his Stride Busoni as Conductor Masterpiece Unveiled America again Turandot /Die Brautwahl The Author Debuts Back on the Road Paris, D’Annunzio Opera’s Seduction Liceo Rossini War in Europe The Artist at 50 The Last Years Final Enthusiasms Last Days FERRUCCIO BUSONI - HIS LIFE AND TIMES The Busoni heritage begins in Spicchio, a little village on the north bank of the Arno, inhabited mainly by barge-men, one of whom bore the name. The family is thought originally to have come from Corsica. Though reasonably well-off in their day, the Busonis fell on hard times, and upon the father’s death, moved to Empoli. Additional misfortune followed when the second son of three, Giovanni Battista also died later of a long illness in 1860, his wife following shortly thereafter. From this group of three sons, it would be the eldest, Ferdinando who would produce the artist the world learned to know and cherish. In Empoli his siblings became prosperous makers of felt hats, but Ferdinando would have none of that. He hid himself in corners to read the classics and practice the clarinet. Nothing would alter his intention to be a musician of prominence; he was capricious, self-willed, hot-tempered and impatient. These qualities would, lifelong, result in a reputation as difficult, highly-strung, opinionated, quarrelsome and to some a jeffatore...the possessor of the “evil eye.” He was largely self-taught, attained a high degree of proficiency on his instrument, adopted a career as a travelling virtuoso.
    [Show full text]
  • R Obert Schum Ann's Piano Concerto in AM Inor, Op. 54
    Order Number 0S0T795 Robert Schumann’s Piano Concerto in A Minor, op. 54: A stemmatic analysis of the sources Kang, Mahn-Hee, Ph.D. The Ohio State University, 1992 U MI 300 N. Zeeb Rd. Ann Arbor, MI 48106 ROBERT SCHUMANN S PIANO CONCERTO IN A MINOR, OP. 54: A STEMMATIC ANALYSIS OF THE SOURCES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Mahn-Hee Kang, B.M., M.M., M.M. The Ohio State University 1992 Dissertation Committee: Approved by Lois Rosow Charles Atkinson - Adviser Burdette Green School of Music Copyright by Mahn-Hee Kang 1992 In Memory of Malcolm Frager (1935-1991) 11 ACKNOWLEDGMENTS I would like to express my gratitude to the late Malcolm Frager, who not only enthusiastically encouraged me In my research but also gave me access to source materials that were otherwise unavailable or hard to find. He gave me an original exemplar of Carl Relnecke's edition of the concerto, and provided me with photocopies of Schumann's autograph manuscript, the wind parts from the first printed edition, and Clara Schumann's "Instructive edition." Mr. Frager. who was the first to publish information on the textual content of the autograph manuscript, made It possible for me to use his discoveries as a foundation for further research. I am deeply grateful to him for giving me this opportunity. I express sincere appreciation to my adviser Dr. Lois Rosow for her patience, understanding, guidance, and insight throughout the research.
    [Show full text]
  • Kansas State University Orchestra Programs 1990—2018 Updated January 13, 2018 David Littrell, Conductor
    Kansas State University Orchestra Programs 1990—2018 updated January 13, 2018 David Littrell, conductor 1990-1991 October 16, 1990 Tragic Overture, Op. 81 Brahms Oboe Concerto R. Strauss Dr. Sara Funkhouser, oboe Symphony No. 4 in C Minor (“Tragic”) Schubert December 11, 1990 Orchestral Suite No. 1 in C Major, BWV 1066 JS Bach “Vedrai, carino” from Don Giovanni Mozart Dayna Snook, mezzo-soprano Scaramouche Suite, 2nd & 3rd mvts. Milhaud Christopher Goins, alto saxophone “Son vergin vezzosa” from I Puritani Bellini Ai-ze Wang, soprano Symphony No. 1 in F Minor, Op. 10 Shostakovich April 4-5-6, 1991 The Magic Flute (Opera) Mozart April 23, 1991 Overture to Ruy Blas Mendelssohn Symphony No. 101 in D Major (“Clock”) Haydn Symphony No. 5 in Eb Major, Op. 82 Sibelius 1991-1992 October 1, 1991 Overture to Il Signor Bruschino Rossini Concerto Grosso for Four String Orchestras Vaughan Williams assisting musicians: Manhattan public school string students Symphony No. 2 in B Minor Borodin repeat performance October 2, 1991 at Concordia KS October 24-25-26, 1991 West Side Story Bernstein December 9, 1991 In Memoriam, Wolfgang Amadeus Mozart Sinfonia concertante in Eb Major, K. 364 Mozart Cora Cooper, violin Melinda Scherer Bootz, viola Requiem, K. 626 Mozart John Alldis, guest conductor soloists: Lori Zoll, Juli Borst, Rob Fann, Andy Stuckey KSU Concert Choir March 3, 1992 Overture to Der Freischütz von Weber “Faites-lui mes aveux” from Faust Gounod Juli Borst, mezzo-soprano “Ah, per sempre” from I Puritani Bellini Andy Stuckey, baritone Concerto in D Haydn Lisa Leuthold, horn Symphony No.
    [Show full text]
  • Bassoon Pedagogy: a Panel Discussion at the 2003 IDRS Conference
    Bassoon Pedagogy: A Panel Discussion at the 2003 IDRS Conference By: Michael Burns Burns, Michael. “Bassoon Pedagogy: Report on the Pedagogy Round Table.” The Double Reed, vol. 27-2, 2004. Made available courtesy of International Double Reed Society: http://www.idrs.org/publications/ ***Note: This version of the document is not the copy of record. ***Note: Figures may be missing from this format of the document The IDRS 2003 Conference in Greensboro North Carolina had a theme of "pedagogy revisited" and one of the events consisted of a Bassoon Pedagogy Round Table in which several distinguished international panellists were asked to discuss aspects of bassoon pedagogy in front of an audience. Prior to the conference. each panellist was sent a list of questions to answer by the moderator and co-host of IDRS 2003. Michael Burns, The following are the answers to those questions sent in advance and dispersed at the round-table as a handout. Burns then asked each of the panelists to illuminate their answers more in person which led to some wonderful additional inter- :haw amongst these bassoonists as well as question and answer sessions with the audience. I would like to once again thank my colleagues for their expertise and willingness to share their ideas. The panel consisted of: Meyrick Alexander, principal Philharmonia Orchestra, bassoon professor. Guildhall School of Music and Drama. London Judith Farmer, principal Santa Barbara Chamber Orchestra. bassoon professor. University of Southern California. Kiyoshi Koyama. principal Japan Philharmonic Symphony Orchestra Kim Walker, bassoon professor. Indiana University. International soloist Liu Zhaolu, principal Shanghai Symphony, bassoon professor, Shanghai Conservatory of Music MYRICK ALEXANDER'S ANSWERS How do you leach technique on the bassoon? I provide students with a quick and simple daity routine of scales and exercises which produces a retiable.
    [Show full text]
  • Polyphonic Harmony in Three of Ferruccio Busoni's Orchestral Elegies
    POLYPHONIC HARMONY IN THREE OF FERRUCCIO BUSONI’S ORCHESTRAL ELEGIES Colin Davis, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS May 2015 APPROVED: Timothy L. Jackson, Major Professor Hendrik Schulze, Committee Member Stephen Slottow, Committee Member Frank Heidlberger, Committee Member and Chair of the Department of Music History, Theory, and Ethnomusicology Benjamin Brand, Directory of Graduate Studies for the College of Music James Scott, Dean of the College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Davis, Colin. Polyphonic Harmony in Three of Ferruccio Busoni’s Orchestral Elegies. Doctor of Philosophy (Musicology - Music Theory), May 2015, 225 pp., 82 musical examples, bibliography, 91 titles. This dissertation focuses on three of Busoni’s late orchestral works known as “orchestral elegies”: Berceuse élégiaque (Elegie no. 1, 1909), Gesang vom Reigen der Geister (Elegie no. 4, 1915), and Sarabande (Elegie no. 5, 1918-19). The study seeks to provide a better understanding of Busoni’s late style as a crucial bridge from late nineteenth-century chromaticism in the works of Liszt, Wagner, and others to the post-tonal languages of the twentieth century. At the heart of this study lies a particular concept that forms the basis of many characteristic features of Busoni’s late style, namely the concept of polyphonic harmony, or harmony as a cumulative result of independent melodic lines. This concept is also related to a technique of orchestration in which the collective harmony is sounded in such a way that the individual voices are distinct. In the highly personal tonal language of Busoni’s late works, passages often consist of a web of motives weaved throughout the voices at the surface level of the music.
    [Show full text]