DOCSLIB.ORG

Sir Andrew Davis Conductor Vladimir Feltsman Piano Turnage Texan

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sir Andrew Davis Conductor Vladimir Feltsman Piano Turnage Texan Program ONe HuNdRed TweNTieTH SeASON Chicago Symphony orchestra riccardo muti Music director Pierre Boulez Helen Regenstein Conductor emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, November 18, 2010, at 8:00 Saturday, November 20, 2010, at 8:00 Sunday, November 21, 2010, at 3:00 Tuesday, November 23, 2010, at 7:30 Sir andrew Davis Conductor Vladimir Feltsman Piano Turnage Texan Tenebrae Commissioned by the Canary Islands Music Festival for the London Philharmonic Orchestra, the Royal Concertgebouw Orchestra, and the Chicago Symphony Orchestra United States premiere Beethoven Piano Concerto No. 4 in G Major, Op. 58 Allegro moderato Andante con moto— Rondo: Vivace VlAdiMiR FelTSMAN InTermISSIon Vaughan Williams Symphony No. 9 in e Minor Moderato maestoso Andante sostenuto Scherzo: Allegro pesante Andante tranquillo First Chicago Symphony Orchestra performances CSO Tuesday series concerts are sponsored by United Airlines. Steinway is the official piano of the Chicago Symphony Orchestra. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. CommenTS by PHilliP HuSCHeR mark-anthony Turnage Born June 10, 1960, Grays, Essex, England. Texan Tenebrae ark-Anthony Turnage, who death of Anna Nicole Smith a good Mis no stranger to controversy, subject for an opera?” 78.2 percent surprised even some of the people of the respondents said yes. who know his music best when he It was Turnage’s first opera, announced that he was writing an Greek, completed in 1988, that opera about Anna Nicole Smith, began to attract international the American model and celebrity attention for the composer, and who died in 2007 of an appar- it also made headlines because of ent drug overdose, following the the violence of its theme (an urban death of her twenty-year-old son, a updating of the Oedipus myth, lengthy lawsuit over her husband’s with “Eddy” fighting the sphinx of estate, and a dispute over the Margaret Thatcher’s conservatism); paternity of her newborn daughter. the occasional obscenity of its hard- Complicated and lurid stories have hitting libretto; and its eclectic long been the mainstay of opera, musical style, with touches of jazz, and, in recent years, more and more soul, and football songs. Turnage’s contemporary subjects, sometimes roots in popular music are also practically lifted from the pages of particularly strong in the Miles the tabloids, have made their way Davis–influenced Some Days, the to the opera house. When London’s first piece of his that the Chicago The Guardian conducted a poll last Symphony played, under Bernard February, asking “Is the life and Haitink’s baton, in 1997. (Miles ComPoSeD FIrST PerFormanCe three trumpets, two 2009 January 21, 2010, Santa Cruz trombones, two soprano de Tenerife, by the lPO saxophones, tubular bells, Commissioned by the vibraphone, triangle, güiro, Canary islands Music These are the first CSO bass drum, tenor drum, Festival for the london performances, u.S. premiere suspended cymbal, tam-tam, Philharmonic Orchestra, harp, celesta, piano, strings the Royal Concertgebouw InSTrumenTaTIon Orchestra, and the Chicago three flutes, three oboes, aPProxImaTe Symphony Orchestra two clarinets and bass PerFormanCe TIme clarinet, two bassoons and 9 minutes contrabassoon, four horns, 2 and Stravinsky were Turnage’s two performed here by the Orchestra biggest obsessions when he was under Haitink in 2007. in his teens, and each helped to Texan Tenebrae is an orchestral shape his own emerging voice as a fantasy on material from Turnage’s composer.) Jazz and classical music new opera Anna Nicole, which cohabitate in many of Turnage’s will be given its premiere by the major works, particularly pieces Royal Opera House at Covent such as Scorched, a work for jazz trio Garden in February, conducted and orchestra that the CSO played by Antonio Pappano, with Eva- in May 2009. Maria Westbroek in the title role. Trained at the Royal College of (Turnage’s librettist is Richard Music and a student, in the broad- Thomas, who was one of the est sense of the word, of Oliver creators of Jerry Springer: The Knussen, John Lambert, Gunther Opera.) Texan Tenebrae unfolds in Schuller, and Hans Werner Henze, a single span of slow music, dark Turnage became the Chicago and tragic in tone. The Texan of the Symphony’s Mead Composer-in- title is Anna Nicole, who was born Residence in 2006. During his Vickie Lynn Hogan in the small four seasons with the Orchestra, town of Mexia (the town motto is Chicagoans heard several major “a great place, no matter how you new works by Turnage, includ- pronounce it”) near Houston, in ing No Let Up, commissioned 1967. Tenebrae, the Latin word for by the MusicNOW series; From darkness or shadows, refers to the All Sides, Turnage’s first work for Holy Week services of penitence dance, premiered by the CSO and and lamentation. After the tolling Hubbard Street Dance Chicago, bells that open the piece, Turnage with choreography by Jorma Elo; introduces his main theme—music and Chicago Remains, a tribute to that is associated with Anna our city’s powers of reinvention Nicole in the opera—which is and our architectural modern- based on a melody from Mahler’s ism—it was inspired by a Chicago Kindertotenlieder—songs on the River boat cruise—that was first death of children. 3 Ludwig van Beethoven Born December 16, 1770, Bonn, Germany. Died March 26, 1827, Vienna, Austria. Piano Concerto no. 4 in g major, op. 58 n December 17, 1808, a substantial program—long even OViennese paper announced a by the generous standards of the concert to be given by Ludwig van nineteenth century—were three Beethoven at the Theater an der movements from the Mass in C, Wien five days later: “All the pieces the concert aria Ah! perfido, and are of his own composition, entirely improvisations at the keyboard by new, and not yet heard in public.” the composer. Although Beethoven’s publicist “There we sat from 6:30 till fudged that last detail ever so 10:30,” the composer J.F. Reichardt slightly, the list of world premieres later recalled, “in the most bitter lined up for one evening is aston- cold, and found by experience that ishing: both the Fifth and Sixth one might have too much even symphonies; the Choral Fantasy; of a good thing.” What should and this work, Beethoven’s fourth have been the greatest night of piano concerto. (Those who didn’t Beethoven’s career was ruined by like too much new and unfamiliar too much music and too little heat. music at one sitting surely stayed The performances were no doubt home that night.) To round out this wretched, for rehearsals had gone ComPoSeD moST reCenT aPProxImaTe 1805–early 1806 CSo PerFormanCeS PerFormanCe TIme November 30, 2008; 34 minutes FIrST PerFormanCeS Orchestra Hall; Murray private: March 1807, Vienna, Perahia, pianist; bernard CSo reCorDIngS the composer as soloist Haitink conducting 1942 with Artur Schnabel, pianist, and Frederick Stock public premiere: July 16, 2010; Ravinia conducting, RCA december 22, 1808, Vienna, Festival; Jorge Federico the composer as soloist Osorio, pianist; James 1963 with Van Cliburn, Conlon conducting pianist, and Fritz Reiner FIrST CSo conducting, RCA PerFormanCe InSTrumenTaTIon 1972 with Vladimir November 4, 1892; solo piano, one flute, two Ashkenazy, pianist, and Auditorium Theatre; Ferrucio oboes, two clarinets, two Sir Georg Solti conducting, busoni, pianist; Theodore bassoons, two horns, two london Thomas conducting trumpets, timpani, strings 1983 with Alfred brendel, CaDenzaS pianist, and James levine by beethoven conducting, Philips 4 badly. For one thing, Beethoven this concerto in G major, and surely had so annoyed the members of most members of the audience were the Theater an der Wien orchestra surprised that he went straight to the previous month that they now the keyboard and started to play. insisted that he sit in the anteroom Anyone who troubled to buy a whenever he wasn’t needed at the ticket to this concert would have keyboard and wait for the concert- known that a concerto begins with master to check with him between a long orchestral exposition that movements. Beethoven was so gives you all the tunes before the desperate to see this concert take soloist begins. But Beethoven had place that he agreed. (It promised begun to examine every conven- him both wide exposure and a tion he inherited, to rethink every nice profit.) choice a composer could make. Not surprisingly, there wasn’t He realized that the only way enough time for the orchestra to to call greater attention to the learn so much challenging new soloist’s first line was to do some- music. Reichardt remembered that thing unexpected. In his Violin “it had been found impossible to Concerto, first performed several get a single full rehearsal for all the months before, he had made the pieces to be performed, every one of wait almost interminable and then them filled with the greatest diffi- sneaked the violinist in, so that if culties.” The Choral Fantasy, which you weren’t paying attention you Beethoven composed at the very missed it altogether. And here, he last moment (inexplicably thinking caught his audience completely the concert lacked a blockbuster off guard again by starting with finish), was scarcely rehearsed at the piano. It’s a brilliant trick—so all. When it broke down completely perfectly handled that it has hardly during the performance, Beethoven ever been imitated—and Beethoven started it over again from the quickly follows one masterstroke beginning, making a very long with another—the orchestra enters evening even longer. six bars later in the unexpected key By all reports, Beethoven was of B major.
Load more

Recommended publications
  • On Modulation —
    — On Modulation — Dean W. Billmeyer University of Minnesota American Guild of Organists National Convention June 25, 2008 Some Definitions • “…modulating [is] going smoothly from one key to another….”1 • “Modulation is the process by which a change of tonality is made in a smooth and convincing way.”2 • “In tonal music, a firmly established change of key, as opposed to a passing reference to another key, known as a ‘tonicization’. The scale or pitch collection and characteristic harmonic progressions of the new key must be present, and there will usually be at least one cadence to the new tonic.”3 Some Considerations • “Smoothness” is not necessarily a requirement for a successful modulation, as much tonal literature will illustrate. A “convincing way” is a better criterion to consider. • A clear establishment of the new key is important, and usually a duration to the modulation of some length is required for this. • Understanding a modulation depends on the aural perception of the listener; hence, some ambiguity is inherent in distinguishing among a mere tonicization, a “false” modulation, and a modulation. • A modulation to a “foreign” key may be easier to accomplish than one to a diatonically related key: the ear is forced to interpret a new key quickly when there is a large change in the number of accidentals (i.e., the set of pitch classes) in the keys used. 1 Max Miller, “A First Step in Keyboard Modulation”, The American Organist, October 1982. 2 Charles S. Brown, CAGO Study Guide, 1981. 3 Janna Saslaw: “Modulation”, Grove Music Online ed. L. Macy (Accessed 5 May 2008), http://www.grovemusic.com.
    [Show full text]
  • Key Relationships in Music
    LearnMusicTheory.net 3.3 Types of Key Relationships The following five types of key relationships are in order from closest relation to weakest relation. 1. Enharmonic Keys Enharmonic keys are spelled differently but sound the same, just like enharmonic notes. = C# major Db major 2. Parallel Keys Parallel keys share a tonic, but have different key signatures. One will be minor and one major. D minor is the parallel minor of D major. D major D minor 3. Relative Keys Relative keys share a key signature, but have different tonics. One will be minor and one major. Remember: Relatives "look alike" at a family reunion, and relative keys "look alike" in their signatures! E minor is the relative minor of G major. G major E minor 4. Closely-related Keys Any key will have 5 closely-related keys. A closely-related key is a key that differs from a given key by at most one sharp or flat. There are two easy ways to find closely related keys, as shown below. Given key: D major, 2 #s One less sharp: One more sharp: METHOD 1: Same key sig: Add and subtract one sharp/flat, and take the relative keys (minor/major) G major E minor B minor A major F# minor (also relative OR to D major) METHOD 2: Take all the major and minor triads in the given key (only) D major E minor F minor G major A major B minor X as tonic chords # (C# diminished for other keys. is not a key!) 5. Foreign Keys (or Distantly-related Keys) A foreign key is any key that is not enharmonic, parallel, relative, or closely-related.
    [Show full text]
  • An Afternoon at the Proms 24 March 2018
    AN AFTERNOON AT THE PROMS 24 MARCH 2018 CONCERT PROGRAM MELBOURNE SIR ANDREW DAVIS TASMIN SYMPHONY LITTLE ORCHESTRA Courtesy B Ealovega Established in 1906, the Chief Conductor of the Tasmin Little has performed Melbourne Symphony Orchestra Melbourne Symphony Melbourne Symphony in prestigious venues Sir Andrew Davis conductor Orchestra (MSO) is an Orchestra, Sir Andrew such as Carnegie Hall, the arts leader and Australia’s Davis is also Music Director Concertgebouw, Barbican Tasmin Little violin longest-running professional and Principal Conductor of Centre and Suntory Hall. orchestra. Chief Conductor the Lyric Opera of Chicago. Her career encompasses Sir Andrew Davis has been He is Conductor Laureate performances, masterclasses, Elgar In London Town at the helm of MSO since of both the BBC Symphony workshops and community 2013. Engaging more than Orchestra and the Toronto outreach work. Vaughan Williams The Lark Ascending 3 million people each year, Symphony, where he has Already this year she has the MSO reaches a variety also been named interim Vaughan Williams English Folksong Suite appeared as soloist and of audiences through live Artistic Director until 2020. in recital around the UK. performances, recordings, Britten Young Person’s Guide to the Orchestra In a career spanning more Recordings include Elgar’s TV and radio broadcasts than 40 years he has Violin Concerto with Sir Wood Fantasia on British Sea Songs and live streaming. conducted virtually all the Andrew Davis and the Royal Elgar Pomp and Circumstance March No.1 Sir Andrew Davis gave his world’s major orchestras National Scottish Orchestra inaugural concerts as the and opera companies, and (Critic’s Choice Award in MSO’s Chief Conductor in at the major festivals.
    [Show full text]
  • Download Program Notes
    Symphony No. 5 in E minor, Op. 64 Pyotr Ilyich Tchaikovsky t should come as no surprise that Pyotr Ily- background to this piece, which involved Iich Tchaikovsky approached his Fifth Sym- resignation to fate, the designs of provi- phony from a position of extreme self-doubt, dence, murmurs of doubt, and similarly since that was nearly always his posture vis- dark thoughts. à-vis his incipient creations. In May 1888 he Critics blasted the symphony at its pre- confessed in a letter to his brother Modest miere, due in part to the composer’s limited that he feared his imagination had dried up, skill on the podium; and yet the audience that he had nothing more to express in mu- was enthusiastic. Predictably, Tchaikovsky sic. Still, there was a glimmer of optimism: “I decided the critics must be right. In Decem- am hoping to collect, little by little, material ber he wrote to von Meck: for a symphony,” he wrote. Tchaikovsky spent the summer of 1888 Having played my Symphony twice in Pe- at a vacation home he had built on a forest- tersburg and once in Prague, I have come ed hillside at Frolovskoe, not far from his to the conclusion that it is a failure. There home base in Moscow. The idyllic locale ap- is something repellent in it, some over- parently played a major role in his manag- exaggerated color, some insincerity of ing to complete this symphony in the span fabrication which the public instinctive- of four months. Tchaikovsky made a habit ly recognizes. It was clear to me that the of keeping his principal patron, Nadezhda applause and ovations referred not to von Meck, informed about his compositions this but to other works of mine, and that through detailed letters, and thanks to this the Symphony itself will never please ongoing correspondence a good deal of in- the public.
    [Show full text]
  • Holst, the Toronto Symphony, Andrew Davis
    Holst The Planets mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: The Planets Country: Canada Released: 1986 Style: Modern MP3 version RAR size: 1165 mb FLAC version RAR size: 1455 mb WMA version RAR size: 1248 mb Rating: 4.2 Votes: 915 Other Formats: ADX WAV MP4 TTA MIDI DXD AA Tracklist Hide Credits A1 Mars, The Bringer Of War 7:50 A2 Venus, The Bringer Of Peace 7:12 A3 Mercury, The Winged Messenger 4:04 A4 Jupiter, The Bringer Of Jollity 7:24 B1 Saturn, The Bringer Of Old Age 8:30 B2 Uranus, The Magician 5:45 Neptune, The Mystic B3 8:05 Chorus – Toronto Children's ChorusChorus Master – Jean Ashworth Bartle Companies, etc. Recorded At – Centre In The Square, Kitchener, Ontario, Canada Credits Composed By – Gustav Holst Conductor – Andrew Davis Engineer [Assistant] – Malcolm Harris Engineer, Producer – Anton Kwiatkowski Liner Notes – Frank Granville Barker, Godfrey Ridout Orchestra – The Toronto Symphony* Notes Recorded in The Centre in The Square, Kitchener, Ontario, Canada on january 20, 1986. Other versions Category Artist Title (Format) Label Category Country Year Holst*, The Holst*, The Toronto CDC Toronto Symphony*, Andrew Angel CDC US 1986 547417 Symphony*, Davis - The Planets Records 547417 Andrew Davis (CD, Album) Holst*, The Holst*, The Toronto Toronto Symphony*, Andrew Angel DS 537362 DS 537362 US 1986 Symphony*, Davis - The Planets Records Andrew Davis (LP, Album, Club) His Holst*, The Holst*, The Toronto Master's EL 27 0429 Toronto Symphony*, Andrew Voice, His EL 27 0429 UK 1986 1 Symphony*, Davis - The Planets Master's 1 Andrew Davis (LP) Voice Digital Holst*, The Holst*, The Toronto CDC Toronto Symphony*, Andrew Angel CDC US 1986 547417 Symphony*, Davis - The Planets Records 547417 Andrew Davis (CD, Album, Club) Holst*, The Holst*, The Toronto 4DS Toronto Symphony*, Andrew Angel 4DS US Unknown 537362 Symphony*, Davis - The Planets Records 537362 Andrew Davis (Cass, Club) Related Music albums to The Planets by Holst Gustav Holst, The London Symphony Orchestra, Gustav Holst - The Planets Op.
    [Show full text]
  • British and Commonwealth Concertos from the Nineteenth Century to the Present
    BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Composers I-P JOHN IRELAND (1879-1962) Born in Bowdon, Cheshire. He studied at the Royal College of Music with Stanford and simultaneously worked as a professional organist. He continued his career as an organist after graduation and also held a teaching position at the Royal College. Being also an excellent pianist he composed a lot of solo works for this instrument but in addition to the Piano Concerto he is best known for his for his orchestral pieces, especially the London Overture, and several choral works. Piano Concerto in E flat major (1930) Mark Bebbington (piano)/David Curti/Orchestra of the Swan ( + Bax: Piano Concertino) SOMM 093 (2009) Colin Horsley (piano)/Basil Cameron/Royal Philharmonic Orchestra EMI BRITISH COMPOSERS 352279-2 (2 CDs) (2006) (original LP release: HMV CLP1182) (1958) Eileen Joyce (piano)/Sir Adrian Boult/London Philharmonic Orchestra (rec. 1949) ( + The Forgotten Rite and These Things Shall Be) LONDON PHILHARMONIC ORCHESTRA LPO 0041 (2009) Eileen Joyce (piano)/Leslie Heward/Hallé Orchestra (rec. 1942) ( + Moeran: Symphony in G minor) DUTTON LABORATORIES CDBP 9807 (2011) (original LP release: HMV TREASURY EM290462-3 {2 LPs}) (1985) Piers Lane (piano)/David Lloyd-Jones/Ulster Orchestra ( + Legend and Delius: Piano Concerto) HYPERION CDA67296 (2006) John Lenehan (piano)/John Wilson/Royal Liverpool Philharmonic Orchestra ( + Legend, First Rhapsody, Pastoral, Indian Summer, A Sea Idyll and Three Dances) NAXOS 8572598 (2011) MusicWeb International Updated: August 2020 British & Commonwealth Concertos I-P Eric Parkin (piano)/Sir Adrian Boult/London Philharmonic Orchestra ( + These Things Shall Be, Legend, Satyricon Overture and 2 Symphonic Studies) LYRITA SRCD.241 (2007) (original LP release: LYRITA SRCS.36 (1968) Eric Parkin (piano)/Bryden Thomson/London Philharmonic Orchestra ( + Legend and Mai-Dun) CHANDOS CHAN 8461 (1986) Kathryn Stott (piano)/Sir Andrew Davis/BBC Symphony Orchestra (rec.
    [Show full text]
  • Download the Concert Programme (PDF)
    London Symphony Orchestra Living Music Thursday 18 May 2017 7.30pm Barbican Hall Vaughan Williams Five Variants of Dives and Lazarus Brahms Double Concerto INTERVAL Holst The Planets – Suite Sir Mark Elder conductor Roman Simovic violin Tim Hugh cello Ladies of the London Symphony Chorus London’s Symphony Orchestra Simon Halsey chorus director Concert finishes approx 9.45pm Supported by Baker McKenzie 2 Welcome 18 May 2017 Welcome Living Music Kathryn McDowell In Brief Welcome to tonight’s LSO concert at the Barbican. BMW LSO OPEN AIR CLASSICS 2017 This evening we are joined by Sir Mark Elder for the second of two concerts this season, as he conducts The London Symphony Orchestra, in partnership with a programme of Vaughan Williams, Brahms and Holst. BMW and conducted by Valery Gergiev, performs an all-Rachmaninov programme in London’s Trafalgar It is always a great pleasure to see the musicians Square this Sunday 21 May, the sixth concert in of the LSO appear as soloists with the Orchestra. the Orchestra’s annual BMW LSO Open Air Classics Tonight, after Vaughan Williams’ Five Variants of series, free and open to all. Dives and Lazarus, the LSO’s Leader Roman Simovic and Principal Cello Tim Hugh take centre stage for lso.co.uk/openair Brahms’ Double Concerto. We conclude the concert with Holst’s much-loved LSO WIND ENSEMBLE ON LSO LIVE The Planets, for which we welcome the London Symphony Chorus and Choral Director Simon Halsey. The new recording of Mozart’s Serenade No 10 The LSO premiered the complete suite of The Planets for Wind Instruments (‘Gran Partita’) by the LSO Wind in 1920, and we are thrilled that the 2002 recording Ensemble is now available on LSO Live.
    [Show full text]
  • Belshazzar's Feast
    CONCERT PROGRAM Friday, February 24, 2017 at 8:00PM Saturday, February 25, 2017 at 8:00PM Sir Andrew Davis, conductor John Relyea, bass St. Louis Symphony Chorus Amy Kaiser, director NICOLAI Overture to The Merry Wives of Windsor (1810–1849) (Die lustigen Weiber von Windsor) (1849) ELGAR Falstaff, Symphonic Study in C minor, op. 68 (1913) (1857–1934) Falstaff and Prince Henry – Eastcheap – Gadshill – The Boar’s Head, revelry and sleep Dream Interlude: Jack Falstaff, now Sir John, a boy, and page to Thomas Mowbray, Duke of Norfolk – Falstaff’s march – The return through Gloucestershire – Interlude: Gloucestershire. Shallow’s orchard – The new king – The hurried ride to London – King Henry V’s progress – The repudiation of Falstaff, and his death INTERMISSION WALTON Belshazzar’s Feast (1931) (1902–1983) Thus spake Isaiah If I forget thee, O Jerusalem – Babylon was a great city In Babylon Belshazzar the King made a great feast – Praise ye, the God of Gold – Thus in Babylon, the mighty city – And in that same hour – Then sing aloud to God our strength The trumpeters and pipers Then sing aloud to God our strength John Relyea, bass St. Louis Symphony Chorus Amy Kaiser, director 23 ACKNOWLEDGMENTS These concerts are part of the Wells Fargo Advisors Orchestral Series. Sir Andrew Davis is the Felix and Eleanor Slatkin Guest Artist. The concert of Friday, February 24, is underwritten in part by a generous gift from Linda and Paul Lee. Pre-Concert Conversations are sponsored by Washington University Physicians. Large print program notes are available through the generosity of The Delmar Gardens Family, and are located at the Customer Service table in the foyer.
    [Show full text]
  • Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan [email protected]
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 12-2-2014 Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Logan, Cameron, "Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax" (2014). Doctoral Dissertations. 603. https://opencommons.uconn.edu/dissertations/603 i Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan, Ph.D. University of Connecticut, 2014 This study explores the pitch structures of passages within certain works by Ralph Vaughan Williams and Arnold Bax. A methodology that employs the nonatonic collection (set class 9-12) facilitates new insights into the harmonic language of symphonies by these two composers. The nonatonic collection has received only limited attention in studies of neo-Riemannian operations and transformational theory. This study seeks to go further in exploring the nonatonic‟s potential in forming transformational networks, especially those involving familiar types of seventh chords. An analysis of the entirety of Vaughan Williams‟s Fourth Symphony serves as the exemplar for these theories, and reveals that the nonatonic collection acts as a connecting thread between seemingly disparate pitch elements throughout the work. Nonatonicism is also revealed to be a significant structuring element in passages from Vaughan Williams‟s Sixth Symphony and his Sinfonia Antartica. A review of the historical context of the symphony in Great Britain shows that the need to craft a work of intellectual depth, simultaneously original and traditional, weighed heavily on the minds of British symphonists in the early twentieth century.
    [Show full text]
  • Brahms Symphony No.2 & Symphony No.4
    SignumClassics PHILHARMONIA ORCHESTRA 2 CDs SignumClassics THE PHILHARMONIA ORCHESTRA SIGCD133 S I G C D 1 3 2 CHRISTOPH VON DOHNÁNYI SIR CHARLES MACKERRAS BRAHMS SYMPHONY No.2 & SYMPHONY No.4 S I G C D 1 3 5 VLADIMIR ASHKENAZY SIR CHARLES MACKERRAS SCHUBERT SHOSTAKOVICH FESTIVE OVERTURE SYMPHONY No.9 SYMPHONY No.5 SCHUBERT SYMPHONY No.9 www.signumrecords.com www.philharmonia.co.uk Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 SignumClassics PHILHARMONIA ORCHESTRA SIGCD168 S I G C D 1 3 2 SCHUBERT CHRISTOPH VON DOHNÁNYI BRAHMS SIR ANDREW DAVIS BRAHMS SYMPHONY No.2 & SYMPHONY No.4 S I G C D 1 3 3 BRAHMS SIR CHARLES MACKERRAS SCHUBERT SCHUBERT SYMPHONY No.9 SIR ANDREW DAVIS S I G C D 1 4 8 BRAHMS ELGAR CHRISTOPH VON DOHNÁNYI SCHUBERT STRAUSS ELGAR ENIGMA VARIATIONS STRAUSS TILL EULENSPIEGELS LUSTIGE STREICHE EIN HELDENLEBEN ENIGMA VARIATIONS IN THE SOUTH (ALASSIO) IN THE SOUTH (ALASSIO) www.signumrecords.com www.philharmonia.co.uk SERENADE FOR STRINGS Available through record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 SERENADE FOR STRINGS SIR ANDREW DAVIS SignumClassics PHILHARMONIA ORCHESTRA 2 CDs SIGCD132 S I G C D 1 3 3 BRAHMS SIR CHARLES MACKERRAS CHRISTOPH VON DOHNÁNYI SIR CHARLES MACKERRAS SCHUBERT SHOSTAKOVICH SCHUBERT SYMPHONY No.9 S I G C D 1 3 5 VLADIMIR ASHKENAZY CHRISTOPH VON DOHNÁNYI SHOSTAKOVICH FESTIVE OVERTURE SYMPHONY No.5 BRAHMS ELGAR BRAHMS SYMPHONY No.2 & SYMPHONY No.4 SYMPHONY No.2 & SYMPHONY No.4 www.signumrecords.com
    [Show full text]
  • A Collection of Stan Ruttenberg's Reviews of Mahler Recordings From
    A collection of Stan Ruttenberg’s Reviews of Mahler Recordings from the Archives Of the Colorado MahlerFest (Symphonies 3 through 7 and Kindertotenlieder) Colorado MahlerFest XIII Recordings of the Mahler Third Symphony Of the fifty recordings listed in Peter Fülöp’s monumental discography (up to 1955, and many more have been added since then), I review here fifteen at my disposal, leaving out two by Boulez and one by Scherchen as not as worthy as the others. All of these fifteen are recommendable, all with fine points, all with some or more weaknesses. I cannot rank them in any numerical order, but I can say that there are four which I would rather hear more than the others — my desert island choices. I am glad to have the others for their own particular merits. Getting ready for MFest XIII we discovered that the matter of score versions and parts is complex. I use the Dover score, no date but attributed to Universal Edition; my guess this is an early version. The Kalmus edition is copied from who knows which published version. Then there is the “Critical Edition,” prepared by the Mahler Gesellschaft, Vienna. I can find two major discrepancies between the Dover/Universal and the Critical (I) the lack of horns at RN25-5, doubling the string riff and (ii) only two harp glissandi at the middle of RN28, whereas the Critical has three. Our first horn found another. Both the Dover and Critical have the horn doublings, written ff at RN 67, but only a few conductors observe them.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 60,1940-1941, Subscription
    GREATEST MUSIC OFFER IN RECORD HISTORY! COLUMBIA RECORDS Reduces Prices as Much as Half in Revolutionary Move to Bring World's Finest Music Within Reach of Everyone! ALL "MASTERWORKS" (Blue Label) RECORDS NOW ONLY *1<*> kS 75c J£SS Lowest Prices in History for Finest Recordings SCHEHERAZADE ( Rimsky-Korsa- ven). Walter Gieseking (Pianist). Set kov). The Cleveland Orchestra, M-AM-MM 365. Three 12-inch Records Artur . Rodzinski, Conductor. Set M- in Album. Was- $5.00 NOW $3.50 AM-MM 398. Five 12-inch Records in Album. Was $10.00 NOW $5.50 Three Exciting Releases NUTCRACKER SUITE (Tchaikov- for the Coming Month sky). Chicago Symphony Orchestra, THE PHILHARMONIC-SYMPHONY OR- Frederick Stock, Conductor. Set M- CHESTRA OF NEW YORK. JOHN AM-MM 395. Three 12-inch Records BARBIROLLI, CONDUCTOR in Album. Was $5.00 NOW $3.50 SYMPHONY NO. 2 IN D MAJOR (Brahms). Set M-AM-MM 412. Five 12-inch SYMPHONY NO. 5 IN E MINOR records in Album. $5.50 (Tchaikovsky). The Cleveland Or- SYMPHONY NO. 5 IN E MINOR ("From chestra, Artur Rodzinski, Conductor. the New World") (Dvorak). Set M-AM- Set M-AM-MM 406. Five 12-inch MM 416. Six 12-inch records in Album. Records in Album. Was $10.00 $6.25 now $5.50 VIOLIN CONCERTO IN D MAJOR (Tchaikovsky). Nathan Milstein (Violin- symphony no. 6 in f major ist) and The Chicago Symphony Orchestra, ('Tastorale") (Beethoven). Minne- Frederick Stock, Conductor. Set M-AM- 413. Four 12-inch records in Album. Orchestra, Dimitri MM apolis Symphony $4.50 Mitropoulos, Conductor.
    [Show full text]