Holst's the Planets Land of the Living Dead Hansel & Gretel7:30 Pm An

Total Page:16

File Type:pdf, Size:1020Kb

Holst's the Planets Land of the Living Dead Hansel & Gretel7:30 Pm An tBuildh youre own l series!ov Choosee alll aconcertsn dor get ao flexpassrc andh attende whenst your wanta Northern Colorado’s best entertainment value is only getting better ... and with performances this thrilling, you’ll be on the edge of your seat at every concert! expand your horizons berlioz, rachmaninov, ives holiday magic 18th century elegance midsummer night’s dream family fun holst’s land of the hansel an evening dreams harry the planets7:30 pm living 7:30dead pm & gretel7:30 pm of mozart7:30 pm & deja7:30 vu pm potter7:30 pm FRIDAY, SEPTEMBER 13 FRIDAY, OCTOBER 25 FRIDAY, DECEMBER 13 FRIDAY, JANUARY 31 FRIDAY, APRIL 17 FRIDAY, MAY 15 GOOD SHEPHERD CHURCH • LOVELAND GOOD SHEPHERD CHURCH • LOVELAND GOOD SHEPHERD CHURCH • LOVELAND GOOD SHEPHERD CHURCH • LOVELAND GOOD SHEPHERD CHURCH • LOVELAND GOOD SHEPHERD CHURCH • LOVELAND Masterpiece Concert #1 • Pre-concert talk at 7 pm Masterpiece Concert #2 • Pre-concert talk at 7 pm Masterpiece Concert #3 • Pre-concert talk at 7 pm Masterpiece Concert #4 • Pre-concert talk at 7 pm Masterpiece Concert #5 • Pre-concert talk at 7 pm Masterpiece Concert #6 • Pre-concert talk at 7 pm ELGAR IVES TCHAIKOVSKY ALL-MOZART MENDELSSOHN PROKOFIEV Dream Children Gong on the Hook & Ladder Suites No. 1 and 2 Serenata Notturna, K. 239 Overture and Peter and the Wolf from The Nutcracker Incidental music from MOZART RACHMANINOV Sinfonia concertante, POULENC Symphony No. 41, HUMPERDINCK for flute, oboe, bassoon his setting of Shakespeare’s Isle of the Dead A Midsummer Night’s Dream Babar, The Little Elephant K. 551 “Jupiter” Selections from and horn, K. 297b (Levin) BERLIOZ Hansel & Gretel VAUGHAN WILLIAMS JOHN WILLIAMS HOLST Symphonie fantastique Nicole Steinmetz, flute Music from Harry Potter Veronica Lovely, oboe Symphony No. 2, The Planets Guest artists & other selections to be announced & The Sorcerer’s Stone Steve Hanna, bassoon “London” Rob Allen, horn PLUS ... Subscribers and single ticket buyers who join our mailing list will be notified by email of any changes regarding A solo work featuring the winner changes in programs, dates or guest artists. Notices will also be placed on our website and in regional media outlets. Symphony No. 25, K. 183 of our 2020 Young Artist Competition extras make a good thing better! Season tickets now on sale! Get all events for $60 special event! $ $ community sing-along Make your own combo: Get a10-ticket flexpass for 85 or a 4-pack for 35 handel’s TICKETS — RESERVE YOUR SEATS TODAY INVEST IN YOUR ORDER ONLINE OR BY MAIL - IT’S AS EASY AS 1-2-3 messiah COMMUNITY ORCHESTRA Tickets cover only a fraction of our MAIL PO Box 2577 • Loveland CO 80538 SEASON TICKETS WILL BE MAILED IN AUGUST FRIDAY, DEC. 6 7:30 pm operating expenses. Please consider adding a gift to your order so that ONLINE www.lovelandorchestra.org GENERAL ADMISSION SEATING • FOR TICKETING PURPOSES, GOOD SHEPHERD CHURCH • LOVELAND we may continue to keep ticket INFO [email protected] “CHILDREN” ARE YOUNGSTERS NOT YET 13 YEARS OF AGE Doors open at 6 pm • Pre-concert talk at 7 pm prices affordable to the public. Name FREE CONCERT! TLO Annual Fund Every donation over $100 will be OUR GIFT TO YOU, THE PEOPLE acknowledged in each of our Address OF NORTHERN COLORADO 2019-2020 program books. Soloists to be announced • Songsheets provided City, State, Zip $2,500+ Maestro’s Circle $1,000-$2,499 President’s Circle Phone E-mail $ $ 500- 999 Benefactor CHOOSE YOUR PACKAGE special event! $ $ th 250- 499 Patron $ $ SERIES TYPE # TICKETS PRICE PER SEAT TOTAL in honor of the 250 100- 249 Donor TICKETSu anniversary of his birth Adult $60.00 Adopt a Musician SEASON PASS All 7 concerts! Student $35.00 When you Adopt-A-Musician, your Plus you get name will appear in the program Messiah - FREE! Child FREE under your musician’s name. FLEXPASS $ beethoven7:30 pm $2,500 Conductor 10-pack 85.00 Use at one event FRIDAY, MARCH 6 $1,000 Concertmaster or throughout the 7-pack $60.00 $500 Principals season! Plus you GOOD SHEPHERD CHURCH • LOVELAND $ $ get Messiah - FREE! 4-pack 35.00 Doors open at 6 pm • Pre-concert talk at 7 pm 250 2nd chairs $100 Section Players INVEST IN YOUR COMMUNITY ORCHESTRA TOTAL ALL-BEETHOVEN Please consider including a donation with your ticket order. Music Library SUPPORTv TICKETS Overture to Fidelio When you sponsor a work of music, ___ Annual Fund ___ Adopt a Musician ___ Honor / Memorial your name will be listed in our pro- Please include instructions on how to acknowledge your gift with your order form. Piano Concerto No. 5 gram books as a sponsor. Rates vary; DONATION in E Major, “Emperor” visit our website for details or write CHECKOUT i [email protected]. PAYMENTw _____ My check, payable to TLO or Loveland Orchestra, is enclosed. Julie King, piano In Honor / Memorial Gifts _____ Charge ____ AmEx ____ MC ____ Visa ____ Discover Contributions in recognition of GRAND Symphony No. 5 Name on card __________________________________________________ others will be listed in each of TOTAL in C Minor, Op. 21 our 2019-2020 program books. Card # _________________________________ EXP ______ Code ______ Tickets / Info We’llw sell youw the wholew seat, .but you’relo only vgoing eto needl thea edge —n Orderd ticketso by Augustr 31c for hthe beste deals —s Singlet ticketsr ago on sale. Septemberor 1g edge BRINGING NORTHERN COLORADO COMMUNITIES TOGETHER THROUGH MUSIC SINCE 1981 SINCE MUSIC THROUGH TOGETHER COMMUNITIES COLORADO NORTHERN 2019-2020 BRINGING www.lovelandorchestra.org the concert season concert LUCIANO R. SILVESTRI JR., MUSIC DIRECTOR MUSIC JR., SILVESTRI R. LUCIANO THE LOVELAND ORCHESTRA LOVELAND THE going to need to going 2019-2020 but you’re only only you’re but the whole seat, whole the we’ll sell you you sell we’ll a r t s e h c r to miss a single moment. moment. single a miss to o you’re not going to want want to going not you’re all-Beethoven special event, event, special all-Beethoven , and an an and , Handel’s Messiah a free presentation of of presentation free a d n a l e v o (3 with a family focus), focus), family a with (3 l masterpiece concerts masterpiece With six outstanding outstanding six With overflowing with them. them. with overflowing Our 2019-2020 season is season 2019-2020 Our the wish would never end. end. never would wish Moments you secretly secretly you Moments Unforgettable evenings. evenings. Unforgettable remember. music director music Luciano R. Silvestri, Jr. Silvestri, R. Luciano it a night to to night a it We’ll make make We’ll town LOVE on the the on THE LIVE EXPERIENCE LIVE THE a night a Make it it Make the loveland orchestra Build your own series package! Order tickets for every concert or get a flexpass for 10, 7 or 4 tickets and attend only when you want! Save up to 15% off box office prices! No more waiting in line ... as a TLO series ticket holder, you’ll save time and money. Get the inside scoop ... ASAP Get breaking news via e-mail, Facebook, Twitter or Instagram. Or download program notes SIX SOLOISTS FROM THE ORCHESTRA TO BE FEATURED IN 2019-2020 and Tempo Magazine before each event! Music made here in town by your friends and neighbors Our orchestra serves Northern Colorado residents by providing a place for local musicians to make music together. We are delighted to feature these six outstanding members of Nicole Steinmetz Veronica Lovely Kay Broughton Steve Hanna Rob Allen Julie King orchestra as soloists in the 2019-2020 concert season. flute oboe clarinet bassoon horn piano attend all events or get a flexpass for 10, 7 or 4 tickets!.
Recommended publications
  • Loose Adaptation for Chamber Orchestra (2013, Commissioned by Festival Berlioz) by Arthur Lavandier (Born in 1987)
    LE BALCON SYMPHONIE FANTASTIQUE Loose adaptation for chamber orchestra BERLIOZ | LAVANDIER Le Balcon New Label — Le Balcon French national release : September 20th, 2016 CD BOX : TRANSAURAL VERSION – 3D SURROUND MIX FOR LOUDSPEAKERS- DOWNLOAD CODE INCLUDED FOR BINAURAL VERSION -3D SURROUND MIX FOR HEADPHONES Concerts : Théâtre de l’Athénée Sep 24 & 25, 2016 — Festival de Pâques de Deauville Apr 15, 2017 Teatro Mayor Jun 9, 2017 — Théâtre de Carcassonne Dec 8, 2017 — Opéra de Lille Mar 25, 2018 press [at] lebalcon.com PRESENTATION Hector Berlioz (1803-1869) Symphonie fantastique op. 14 (1830) Loose adaptation for chamber orchestra (2013, commissioned by Festival Berlioz) by Arthur Lavandier (born in 1987) In commissioning the Balcon ensemble for an ‘interpretation’ of the Symphonie Fantastique, the Festival Berlioz took a considerable risk. Given the size of the orchestra, a ‘transcription’, an ‘adaptation’ was necessary or in Arthur Lavandier’s words a ‘recreation’ – a term that we will retain since it was he who undertook this hazardous task. It is not a case of Berlioz against Lavandier, and the contrary even less so. It is an ‘encounter of a third kind’, a mosaic challenge, an open-minded tribute, an orchestral game, and shared laughter despite the centuries that divide them both. We could also say that it was like a fan- tasy film re-make. LE BALCON CONDUCTOR, MAXIME PASCAL PRODUCTION AND EDITORIAL CONCEPT, FLORENT DEREX SOLO VIOLIN, YOU JUNG HAN FLUTE, CLAIRE LUQUIENS OBOE, YE CHANG JUNG CLARINET, IRIS ZERDOUD BASSOON, JULIEN ABBES
    [Show full text]
  • Hector Berlioz Harold in Italy, Op. 16
    PROGRAM NOTES by Phillip Huscher Hector Berlioz Born December 11, 1803, Côte-Saint-André, France. Died March 8, 1869, Paris, France. Harold in Italy, Op. 16 Berlioz composed Harold in Italy in 1834. The first performance was given on November 23 of that year in Paris. The score calls for solo viola and an orchestra consisting of two flutes and piccolo, two oboes and english horn, two clarinets, four bassoons, four horns, two cornets and two trumpets, three trombones and tuba, timpani, snare drum, triangle, cymbals, harp, and strings. Performance time is approximately forty-two minutes. The Chicago Symphony Orchestra's first performances of Berlioz's Harold in Italy were given on subscription concerts at the Auditorium Theatre on March 11 and 12, 1892 with August Junker as soloist and Theodore Thomas conducting. At one of the first performances of his blockbuster Symphonie fantastique, Hector Berlioz noticed that a man stayed behind in the empty concert hall after the ovations had ended and the musicians were packing up to go home. He was, as Berlioz recalls in his Memoirs, "a man with long hair and piercing eyes and a strange, ravaged countenance, a creature haunted by genius, a Titan among giants, whom I had never seen before, the first sight of whom stirred me to the depths." The man stopped Berlioz in the hallway, grabbed his hand, and "uttered glowing eulogies that thrilled and moved me to the depths. It was Paganini." Paganini, is, of course, Italian-born Nicolò Paganini, among the first of music's one-name sensations. In 1833, the year he met Berlioz, Paganini was one of music's greatest celebrities, known for the almost superhuman virtuosity of his violin playing as well as his charismatic, commanding presence.
    [Show full text]
  • Berlioz's Orchestration Treatise
    Berlioz’s Orchestration Treatise A Translation and Commentary HUGH MACDONALD published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge CB2 2RU, UK 40 West 20th Street, New York, NY 10011-4211, USA 477 Williamstown Road, Port Melbourne, VIC 3207, Australia Ruiz de Alarc´on 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Cambridge University Press 2002 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2002 Printed in the United Kingdom at the University Press, Cambridge Typeface New Baskerville 11/13 pt. System LATEX2ε [TB] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication data Berlioz, Hector, 1803–1869. [Grand trait´e d’instrumentation et d’orchestration modernes. English] Berlioz’s orchestration treatise: a translation and commentary/[translation, commentary by] Hugh Macdonald. p. cm. – (Cambridge musical texts and monographs) Includes bibliographical references and index. ISBN 0 521 23953 2 1. Instrumentation and orchestration. 2. Conducting. I. Macdonald, Hugh, 1940– II. Title. III. Series. MT70 .B4813 2002 781.374–dc21 2001052619 ISBN 0 521 23953 2 hardback Contents List of illustrations
    [Show full text]
  • Harold En Italie Les Nuits D'été
    HECTOR BERLIOZ Harold en Italie Les Nuits d’été Les Siècles François-Xavier Roth Tabea Zimmermann Stéphane Degout FRANZ LISZT HECTOR BERLIOZ (1803-1869) Harold en Italie Symphonie avec un alto principal en 4 parties, op. 16, H. 68 D’après Childe Harold’s Pilgrimage de George Gordon Byron 1 | No 1. Harold aux montagnes. Scènes de mélancolie, de bonheur et de joie. Adagio - Allegro 15’14 2 | No 2. Marche de pèlerins chantant la prière du soir. Allegretto 7’51 3 | No 3. Sérénade d'un montagnard des Abruzzes à sa maîtresse. Allegro assai 5’58 4 | No 4. Orgie de brigands. Souvenirs des scènes précédentes. Allegro frenetico 11’44 Les Nuits d'été Six mélodies avec un petit orchestre, op. 7, H. 81B Poèmes de Théophile Gautier (extraits de La Comédie de la mort) 5 | 1. Villanelle, H. 8 2’12 6 | 2. Le Spectre de la rose, H. 83 6’40 7 | 3. Sur les lagunes - Lamento, H. 84 5’43 8 | 4. Absence, H. 85 5’45 9 | 5. Au cimetière - Clair de lune, H. 86 5’41 10 | 6. L'Île inconnue, H. 87 3’37 Tabea Zimmermann, alto Stéphane Degout, baryton Les Siècles, François-Xavier Roth Les Siècles (instruments d’époque, cordes en boyaux) Violons I François-Marie Drieux Amaryllis Billet, Laure Boissinot, Pierre-Yves Denis, Hélène Marechaux, Jérôme Mathieu, Simon Milone, Sébastien Richaud, Laetitia Ringeval, Noémie Roubieu, Matthias Tranchant, Fabien Valenchon Violons II Martial Gauthier David Bahon, Virgile Demillac, Caroline Florenville, Julie Friez, Chloé Jullian, Mathieu Kasolter, Arnaud Lehmann, Thibaut Maudry, Jin-Hi Paik, Rachel Rowntree, Marie-Laure Sarhan Altos
    [Show full text]
  • Beavert Symphony
    BEAVERT SYMPHONY Spring Concert: Planets and other heavenly music SVOBODA TCHAI 7:30pm Friday, March 11, 2016 3:00pm Sunday, March 13, 2016 beavertonsymphony.org Our guest Soloist Twenty-three year-old pianist Eloise Kim is a 2014 Jack Kent Cooke Foundation Graduate Arts Award Recipient, one of only 20 artists in the United States to receive this award of $50,000 scholarship annually for graduate studies. Kim received her Bachelor of Music at The Colburn Conservatory and now pursues her Master's of Music at the Manhattan School of Music studying with Andre-Michel Schub. Eloise Kim has had numerous award recognitions, including grand- prize of the Pinault International Piano Competition where she had her Carnegie Weill Recital Hall debut at age 11, semi-finalist of the Gina Bachauer International Piano Competition, and finalist of the New York International Piano Competition. Kim won top prizes in the Lennox, Kingsville, WPPC (dedicated to Leon Fleisher), and Jefferson Young Artists International piano competitions. She was one of the six finalist groups of the International Chamber Music Ensemble Competition where the Kim-Garbot Duo made their first debut at Carnegie Weill Recital Hall. She has been a scholarship recipient of the Chopin National Foundation of the United States, featured young artist at Chamber Music Northwest, and a recipient of the Beaux Arts Society Award in Portland, Oregon. Kim performs solo recitals and chamber music concerts extensively throughout Oregon, Colorado, New York, California, and Canada. She has been a featured soloist at the Colburn Contemporary Ensemble concerts in Los Angeles and The Best of Colburn winter concert series in Three Rivers, California.
    [Show full text]
  • Symphonie Fantastique
    CLASSICAL�SERIES SYMPHONIE FANTASTIQUE THURSDAY, NOVEMBER 7, AT 7 PM FRIDAY & SATURDAY, NOVEMBER 8 & 9, AT 8 PM NASHVILLE SYMPHONY THIERRY FISCHER, conductor STEPHEN HOUGH, piano ANDREW NORMAN Unstuck – 10 minutes FELIX MENDELSSOHN Concerto No. 1 in G Minor for Piano and Orchestra, Op. 25 – 21 minutes Molto allegro con fuoco Andante Presto – Molto allegro e vivace Stephen Hough, piano – INTERMISSION – HECTOR BERLIOZ Symphonie fantastique, Op. 14 – 49 minutes Reveries and Passions A Ball Scene In the Country March to the Scaff old Dream of a Witches' Sabbath This concert will last one hour and 55 minutes, including a 20-minute intermission. This concert will be recorded live for future broadcast. To ensure the highest-quality recording, please keep noise to a minimum. INCONCERT 19 CLASSICAL PROGRAM SUMMARY How do young artists find a unique voice? This program brings together three works, each written when their respective composers were only in their 20s. The young American Andrew Norman was already tapping into his gift for crafting vibrantly imaginative, almost hyper-active soundscapes in Unstuck, the brief but event-filled orchestral piece that opens our concert. Felix Mendelssohn had already been in the public eye as a child prodigy before he embarked on a series of travels across Europe from which he stored impressions for numerous mature compositions — including the First Piano Concerto. Just around the time Mendelssohn wrote this music, his contemporary Hector Berlioz was refining the ideas that percolate in his first completed symphonic masterpiece. The Symphonie fantastique created a sensation of its own with its evocation of a tempestuous autobiographical love affair through an unprecedentedly bold use of the expanded Romantic orchestra.
    [Show full text]
  • Season 2013-2014
    27 Season 2013-2014 Thursday, December 5, at 8:00 The Philadelphia Orchestra Saturday, December 7, at 8:00 Sunday, December 8, at 2:00 Yannick Nézet-Séguin Conductor Hélène Grimaud Piano Brahms Piano Concerto No. 2 in B-flat major, Op. 83 I. Allegro non troppo II. Allegro appassionato III. Andante—Più adagio—Tempo I IV. Allegretto grazioso—Un poco più presto Intermission Berlioz Symphonie fantastique, Op. 14 I. Daydreams, Passions (Largo—Allegro agitato e appassionato assai) II. A Ball (Valse. Allegro non troppo) III. In the Meadows (Adagio) IV. March to the Scaffold (Allegretto non troppo) V. Dream of a Witches’ Sabbath (Larghetto— Allegro) This program runs approximately 2 hours, 5 minutes. The December 7 concert is sponsored by the Louis N. Cassett Foundation. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit www.wrti.org to listen live or for more details. PO Book 12.indd 1 11/26/13 11:13 AM 28 Please join us immediately following the December 8 concert for a Chamber Postlude, featuring members of The Philadelphia Orchestra. Brahms String Quartet No. 1 in C minor, Op. 51, No. 1 I. Allegro II. Romanze (Poco adagio) III. Allegretto molto moderato e comodo—Un poco più animato IV. Allegro Juliette Kang Violin Daniel Han Violin Che-Hung Chen Viola Yumi Kendall Cello PO Book 12.indd 2 11/26/13 11:13 AM 3 Story Title 29 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra community itself. His concerts to perform in China, in 1973 is one of the preeminent of diverse repertoire attract at the request of President orchestras in the world, sold-out houses, and he has Nixon, today The Philadelphia renowned for its distinctive established a regular forum Orchestra boasts a new sound, desired for its for connecting with concert- partnership with the National keen ability to capture the goers through Post-Concert Centre for the Performing hearts and imaginations of Conversations.
    [Show full text]
  • University of Cincinnati
    UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ CURRENT TRENDS IN ALTO TROMBONE PEDAGOGY IN THE UNITED STATES A document submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctorate of Musical Arts (D.M.A.) in the Performance Studies Division of the College-Conservatory of Music 2005 by DOUGLAS G. WARNER B.M., University of Tennessee at Chattanooga, 1988 M.M., University of Cincinnati College-Conservatory of Music, 1997 Committee Chair: David Vining ABSTRACT This paper examined alto trombone pedagogy from three vantage points. First an in-depth analysis of the alto trombone methods currently available was presented. The methods were analyzed with regard to progressive arrangement, readability of text and music, balance in the use of keys and registers, inclusion of a position chart and orchestral excerpts, and the pedagogical and musical quality of the etudes. The second part of this paper was a study of occurrences of the alto trombone on student recitals in the United States as reported in publications of the International Trombone Association from 1979-2004. The frequency of performances
    [Show full text]
  • Performing the Timpani Parts to "Symphonie Fantastique"
    Performing the Timpani Parts to “Symphonie Fantastique” BY ANDREW P. SIMCO Editor’s Note: To get the most out of this Originally, Berlioz placed the move- for the thunderstorm sequence near the article, I suggest following the original ment titled “A Ball” third, with the end of the third movement, which re- timpani part while reading the following “Scene in the country” coming second, but quires playing with the utmost sensitiv- text. The complete timpani part to changed the order of the movements to ity and touch. “Symphonie Fantastique” can be found in their present position at a later date. Note that Berlioz requires sponge- Orchestral Excerpts from the Symphonic This made much more sense to the highly headed mallets for these last passages. Repertoire for Timpani by Scott Stevens creative composer, and it is in this form Felt was not yet in general use as a cov- (International Music Co., New York). The that the work has stood the test of time. ering for timpani mallets, so Berlioz, who measure numbers referred to in the fol- Considering the work from the view- was a percussionist of sorts himself, ex- lowing article are not indicated in the point of an orchestral timpanist, the last perimented with sea-sponge and was Stevens book; therefore, I suggest that three movements of the symphony pose most satisfied with the effect produced by readers mark measure numbers at the be- the biggest challenge for several reasons. that material. Today, timpanists use vari- ginning of each line, so as to derive the First, Berlioz uses the instruments in ous grades of piano felt as covering for most benefit from the text.
    [Show full text]
  • Manfred Symphony
    PETER ILYICH TCHAIKOVSKY MANFRED SYMPHONY Sit back and enjoy Peter Ilyich Tchaikovsky The redemption of himself to this and to its eponymous The Manfred Symphony: an experienced before his death at only Manfred Symphony, Op. 58 hero with zeal, and seemed to unrestrained self-portrait 36 years of age, was enough to cover Manfred even somewhat transform himself Romantic poet surrounded by several lifetimes: inheriting a title 1. Lento lugubre – Moderato con moto – Andante 17.27 into Manfred during the intensive scandal and strife-torn hero – the at 10 years old, entering the House 2. Vivace con spirito 9.57 Peter Ilyich Tchaikovsky’s Manfred is period of work. After all, he was literary model of Lords when he came of age; 3. Andante con moto 11.24 a hermaphrodite – at least, as far as also suffering from inner torment. Had George Gordon Noel Byron early travels to the Mediterranean 4. Allegro con fuoco 20.21 the music is concerned. For although And this can be heard in the music, lived in the present day, then the and further onwards to Asia Minor; the work (dating from 1885) was which appears to be full of inner abundant major and minor scandals instantaneous literary fame thanks 59.29 indeed dubbed by its creator as a conflict. Nowadays, Manfred that surrounded him would almost to Childe Harold’s Pilgrimage; social symphony, it still did not receive is rarely heard in the concert certainly have given the ever-hungry scandals following relationships a number alongside Tchaikovsky’s hall. Perhaps due to its rather tabloid press something to feast on.
    [Show full text]
  • Hector Berlioz and Richard Strauss: Treatise on Instrumentation Free Download
    HECTOR BERLIOZ AND RICHARD STRAUSS: TREATISE ON INSTRUMENTATION FREE DOWNLOAD Hector Berlioz,Richard Strauss | 424 pages | 01 Dec 1991 | Dover Publications Inc. | 9780486269030 | English | New York, United States BERLIOZ TREATISE ON INSTRUMENTATION PDF Popularity and appreciation of his work came in the twentieth century. Barbaric it is nonetheless, since quite apart from the harmonic congestion produced, it necessarily introduces into the harmony the most dreadful chaos through the unavoidable inversion of chords. Details if Hector Berlioz and Richard Strauss: Treatise on Instrumentation :. He does not address this question. In this treatise he talks about what the different sounds that instruments make tone. Email address. Just a few years ago the flute had a range of only two octaves and a fifth: d' to a''', chromatically. Gian Paul Gauci rated it really liked it Feb 10, Ellis Hay rated it really liked it Jun 25, Finally, neither the violin, nor the viola, nor the violoncello—solo or in groups—could express this sublime lament of a suffering and despairing spirit. Side drums are rarely appropriate except in large ensembles of wind instruments. Foreword by Richard Strauss. In his score the composer must therefore indicate the layout that he thinks is appropriate. Dover Publications. BMG Music. The medium and high tones have no especially characteristic expression They are suitable for the most varied melodies and accents; however, they do not possess the artless gaiety of the oboe or the noble tenderness of the clarinet. Unlike most other renowned composers of his time, Berlioz was not a child prodigy and began studying music at the age of Symphonie Fantastique —4 timpanists to create a thunder effect in the third movement.
    [Show full text]
  • Berlioz, Hoffmann, and the Genre Fantastique in French Romanticism
    BERLIOZ, HOFFMANN, AND THE GENRE FANTASTIQUE IN FRENCH ROMANTICISM A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Francesca Mary Brittan August 2007 © 2007 Francesca Mary Brittan BERLIOZ, HOFFMANN, AND THE GENRE FANTASTIQUE IN FRENCH ROMANTICISM Francesca Mary Brittan, Ph.D. Cornell University, 2007 Taking Berlioz’s Symphonie fantastique as its focus, this dissertation explores the idea of a musical fantastic in nineteenth-century France. It offers a series of new readings of Berlioz’s first symphony that trace the work’s connection to literature, politics, visual art, and science, reconnecting it with the broader culture of the fantastic that evolved in late eighteenth- and early nineteenth-century Europe. Drawing extensively on nineteenth-century criticism, it identifies Berlioz as one of the key exponents of the genre fantastique, a musical category closely tied to the works of E.T.A. Hoffmann, Jacques Callot, Victor Hugo, Salvator Rosa, and Dante Alighieri, and theorized in major journals and dictionaries of the period. Chapter One begins by gathering together Berlioz’s own commentary on the musical fantastic, examining its implications for form, syntax, and orchestration. It goes on to look at reception of the Symphonie fantastique, tracing theories of the musical fantastic as they emerge in the nineteenth-century press and at broader notions of fantastic genius that permeate Hoffmann’s tales and French contes fantastiques. Chapter Two examines relationships between Berlioz’s symphonic program and emerging French psychiatric theory, identifying the idée fixe at the center of the work as the primary symptom of a pseudo-scientific disease called monomania.
    [Show full text]