Richard Hickox Fritz Curzon Fritz

Total Page:16

File Type:pdf, Size:1020Kb

Richard Hickox Fritz Curzon Fritz BRUCH VIOLIN CONCERTOS NOS 2 AND 3 Lydia Mordkovitch violin London Symphony Orchestra Richard Hickox Fritz Curzon Fritz Lydia Mordkovitch (1944 – 2014) Max Bruch (1838 – 1920) Violin Concerto No. 2, Op. 44 29:21 in D minor • in d-Moll • en ré mineur 1 I Adagio ma non troppo 15:02 2 II Recitative. Allegro moderato 4:32 3 III Finale. Allegro molto 9:43 Violin Concerto No. 3, Op. 58 41:19 in D minor • in d-Moll • en ré mineur 4 I Allegro energico 20:27 5 II Adagio 11:50 6 III Finale. Allegro molto 9:02 TT 70:52 Lydia Mordkovitch violin London Symphony Orchestra Richard Hickox 3 Max Bruch: Violin Concertos Max Bruch (1838 – 1920) was the son of from such virtuosi as Joachim, Sarasate and a police official and a singing teacher. Willy Hess. Ten years separate the first two At fourteen he won the coveted Mozart violin concertos (the third followed in 1891), Foundation prize and studied with eminent and whereas the First Concerto was timely teachers in the Rhineland, including in adding to the repertoire twenty years after Ferdinand Hiller, who was to exert a long- Mendelssohn’s, Bruch’s Second was less so, lasting influence. In 1858 Bruch embarked on appearing in 1877 just a year before Brahms’s a study tour of Germany visiting Leipzig, with only (and triumphant) contribution to the form its famous Conservatory, the Gewandhaus (for which Joachim was again the dedicatee). Orchestra, the choir of St Thomas’s church where Bach had ruled supreme, and the Violin Concerto No. 2 in D minor, Op. 44 opera house. The city’s musical activities The premiere of Bruch’s Second Violin Concerto had, until his death eleven years earlier, been took place at London’s Crystal Palace on dominated by Mendelssohn and it was this 4 November 1877 with Sarasate, for whom composer whose fingerprints can be found it was written, as soloist and the composer all over Bruch’s published music, from Op. 1 conducting. It is unusual in having a slow first to Op. 97. movement (‘intolerable for normal people’, Bruch is particularly famous for his First sneered Brahms), which, in sonata form, is Violin Concerto of 1867, much to his bitter broad and powerful in its orchestration and regret, for he sold the rights and made contains brilliant passagework for the soloist. no fortune from a work which is still very It is followed by another unusual feature, a popular. His inspiration lay in melody and folk middle movement in the style of a recitative music but he also loved the violin whereas leading directly into a substantial and rhythmic he loathed the piano. For Bruch the violin Finale. ‘can sing a melody, and melody is the soul of music’ and for his nine concerted works Violin Concerto No. 3 in D minor, Op. 58 for the instrument he always took advice The third concerto was written in 1891 when 4 Bruch was established in Berlin as Professor Lydia Mordkovitch was born in Russia of Composition at the Music Academy at and studied at the Odessa Conservatory, the invitation of its director Joachim. Unlike then at the Tchaikovsky Conservatory its two predecessors, the Third Violin in Moscow, where she was master pupil Concerto is written in the classical mould, of, and assistant to, David Oistrakh. She its opening robust concertante movement emigrated to Israel in 1974 and from 1980 broad and heroic rather than lyrical. The lived in Britain, appearing regularly with slow movement is reminiscent of that of the the London Symphony Orchestra, London famous First Concerto, a simple structure Philharmonic Orchestra, Royal Philharmonic with the soloist developing the main theme Orchestra, The Hallé, BBC Philharmonic, and and its expansive cantilena by figurations English Chamber Orchestra. She worked and variations against a background of with such distinguished conductors as subdued orchestral accompaniment. The Sir Georg Solti, Riccardo Muti, Vassily finale, a conventional rondo, is dominated Sinaisky, Neeme Järvi, Richard Hickox, Hugh by its strongly rhythmic perpetuum mobile Wolff, Jan Latham-Koenig, Vernon Handley, interspersed by lyrical passages often using Gennady Rozhdestvensky, and Stanisłav double-stopping. Skrowaczewski. An impressive discography reflects her comprehensive catalogue, and © Christopher Fifield encompasses music from the complete works for solo violin by Bach to the concertos The violinist Lydia Mordkovitch (1944 – 2014) of Shostakovich, her recording of which took a wealth of musical experience from the for Chandos won a Gramophone Award and former Soviet Union via Israel to Britain, which a Diapason d’Or. In addition to her award she made her home for the second half of her nominations, Gramophone seven times made life. A strong, charismatic performer, she was a disc of hers a Critics’ Choice and her last a faithful interpreter of a composer’s wishes recordings won major nominations and prizes and made more than sixty recordings for across Europe. Chandos. Her native and adopted countries Lydia Mordkovitch was several times are strongly represented in a wide repertoire, named ‘Woman of the Year’ by the American shown particularly effectively in the four-part Biographical Institute, and also ‘Outstanding Tribute released in 2015. Woman of the Twentieth and Twenty-first 5 Centuries’. She was a Professor and Honorary Philharmonia Orchestra he conducted Elgar, Member of the Royal Academy of Music in Walton, and Britten festivals at the South Bank London. As a founding artist for Chandos and a semi-staged performance of Gloriana at Records she will be very much missed. the Aldeburgh Festival. Apart from his activities at the Sydney At the time of his untimely death at the age of Opera House, he enjoyed recent engagements sixty in November 2008, Richard Hickox CBE, with The Royal Opera, Covent Garden, English one of the most gifted and versatile British National Opera, Vienna State Opera, and conductors of his generation, was Music Washington Opera, among others. He guest Director of Opera Australia, having served conducted such world-renowned orchestras as Principal Conductor of the BBC National as the Pittsburgh Symphony Orchestra, Orchestra of Wales from 2000 until 2006 when Orchestre de Paris, Bavarian Radio Symphony he became Conductor Emeritus. He founded the Orchestra, and New York Philharmonic. City of London Sinfonia, of which he was Music His phenomenal success in the recording Director, in 1971. He was also Associate Guest studio resulted in more than 280 recordings, Conductor of the London Symphony Orchestra, including most recently cycles of orchestral Conductor Emeritus of the Northern Sinfonia, works by Sir Lennox and Michael Berkeley and and co-founder of Collegium Musicum 90. Frank Bridge with the BBC National Orchestra He regularly conducted the major of Wales, the symphonies by Vaughan Williams orchestras in the UK and appeared many times with the London Symphony Orchestra, and at the BBC Proms and at the Aldeburgh, Bath, a series of operas by Britten with the City of and Cheltenham festivals, among others. London Sinfonia. He received a Grammy (for With the London Symphony Orchestra at the Peter Grimes) and five Gramophone Awards. Barbican Centre he conducted a number of Richard Hickox was awarded a CBE in the semi-staged operas, including Billy Budd, Queen’s Jubilee Honours List in 2002, and was Hänsel und Gretel, and Salome. With the the recipient of many other awards, including Bournemouth Symphony Orchestra he gave two Music Awards of the Royal Philharmonic the first ever complete cycle of Vaughan Society, the first ever Sir Charles Groves Award, Williams’s symphonies in London. In the the Evening Standard Opera Award, and the course of an ongoing relationship with the Award of the Association of British Orchestras. 6 Max Bruch: Violinkonzerte Max Bruch (1838 – 1920) war der Sohn eines Beliebtheit erfreut. Bruchs Inspiration lag in Polizeioffiziers und einer Gesangslehrerin. der Melodik und der Volksmusik. Er liebte die Mit vierzehn gewann er den begehrten Violine, verabscheute aber das Klavier. Die Preis der Mozart-Stiftung und erhielt bei Violine konnte für ihn “eine Melodie singen, führenden Lehrern im ganzen Rheinland und Melodie ist die Seele der Musik”. Bei der Unterricht, von denen Ferdinand Hiller einen Komposition aller neun seiner konzertanten lebenslangen Einfluß auf ihn ausüben sollte. Werke für dieses Instrument ließ er sich 1858 trat Bruch eine Bildungsreise durch immer von Virtuosen wie Joachim, Sarasate Deutschland an und besuchte dabei auch oder Willy Hess beraten. Er schrieb drei Leipzig, wo er das rege Musikleben der Stadt Violinkonzerte, das letzte im Jahre 1891, als mit Begeisterung beobachtete: das berühmte er Professor für Kompositionslehre an der Konservatorium, das Gewandhausorchester, Berliner Musikhochschule war, auf Bitten von den Thomanerchor, wo der Einfluß Johann deren Direktor – eben Joseph Joachim. Sebastian Bachs noch immer spürbar war, und die Oper. Der musikalische Betrieb Violinkonzert Nr. 2 d-moll op. 44 Leipzigs war, zumindest bis zu dessen Bruchs Zweites Violinkonzert wurde am Tod neun Jahre zuvor, durch Mendelssohn 4. November 1877 im Londoner Crystal Palace geprägt worden, und es ist vornehmlich der uraufgeführt: Solist war Sarasate, für den Stempel dieses Meisters, der sich in Bruchs das Stück geschrieben worden war, und am sämtlichen veröffentlichten Werken vom op. 1 Dirigentenpult stand der Komponist selbst. bis hin zum op. 97 wiederfindet. Es ist insofern ungewöhnlich, als es einen Besonders berühmt wurde Bruch mit langsamen ersten Satz hat (“für normale seinem ersten Violinkonzert – zu seinem Menschen unerträglich”, spottete Brahms), bitteren Leidwesen, hatte er doch die der in Sonatenhauptsatzform angelegt ist Rechte dafür verkauft und folglich keinen und mit weitgreifender und aussagestarker Anteil mehr an dem kommerziellen Erfolg Orchestrierung dem Solisten virtuose eines Werkes, das sich nach wie vor großer Figurationen bietet. Es folgt ein weiteres 7 Kuriosum, nämlich ein Mittelsatz im Stil eines eine starke, charismatische Künstlerin und Rezitativs, der direkt in ein umfangreiches getreue Interpretin der Intentionen des und besonders rhythmisches Finale Komponisten; für Chandos machte sie mehr überleitet.
Recommended publications
  • 572840 Bk Eton EU
    Music from THE ETON CHOIRBOOK LAMBE • STRATFORD • DAVY BROWNE • KELLYK • WYLKYNSON TONUS PEREGRINUS Music from the Eton Choirbook Out of the 25 composers The original index lists more represented in the Eton than 60 antiphons – all votive The Eton Choirbook – a giant the Roses’, and the religious reforms and counter-reforms Choirbook, several had strong antiphons designed for daily manuscript from Eton College of Henry VIII and his children. That turbulence devastated links with Eton College itself: extraliturgical use and fulfilling Chapel – is one of the greatest many libraries (including the Chapel Royal library) and Walter Lambe and, quite Mary’s prophecy that “From surviving glories of pre- makes the surviving 126 of the original 224 leaves in Eton possibly, John Browne were henceforth all generations shall Reformation England. There is a College Manuscript 178 all the more precious, for it is just there in the late 1460s as boys. call me blessed”; one of the proverb contemporary with the one of a few representatives of several generations of John Browne, composer of the best known – and justifiably so Eton Choirbook which might English music in a period of rapid and impressive astounding six-part setting of – is Walter Lambe’s setting of have been directly inspired by development. Eton’s chapel library itself had survived a Stabat mater dolorosa 5 may have gone on to New Nesciens mater 1 in which the composer weaves some the spectacular sounds locked forced removal in 1465 to Edward IV’s St George’s College, Oxford, while Richard Davy was at Magdalen of the loveliest polyphony around the plainchant tenor up in its colourful pages: “Galli cantant, Italiae capriant, Chapel – a stone’s throw away in Windsor – during a College, Oxford in the 1490s.
    [Show full text]
  • 18 SEMANA DE MÚSICA ANTIGUA DE ESTELLA 1987 Iglesia De Santa Clara
    18 SEMANA DE MÚSICA ANTIGUA DE ESTELLA 1987 Iglesia de Santa Clara José Miguel Moreno, vihuela, laúd Renacimiento español, francés e inglés Trío La Stravaganza, flautas, clave, viola de gamba Frescobaldi, Cima, Marcello, Telemann, Marais, Hotteterre, Morel (ss. XVI-XVIII) Claudi Arimany, flauta Jordi Reguant, clave Música virtuosística para flauta de J. S. Bach y sus alumnos Quinteto “Música Humana”, canto, violín, viola de gamba, tiorba, arpa, guitarra barroca Música inglesa, italiana y española del s. XVII Quinteto “La Folía”, flauta, violines, bajo continuo Mancini, Loeillet, J. S. Bach, Telemann, Corelli, Naudot (ss. XVII-XVIII) Quinteto vocal “Gregor” Polifonía del Siglo de Oro española. Música colonial de las catedrales de América. 19 SEMANA DE MÚSICA ANTIGUA DE ESTELLA 1988 Iglesia de Santa Clara Romá Escalas, flauta de pico Josep Borrás, fagot Albert Romaní, clave Génesis y proyección del lenguaje barroco instrumental Iñaki Fresán, barítono Albert Romaní, clave Arias italianas del XVI al XVIII Couperin, Rameau, Padre Soler, B. de Astorga (ss. XVII-XVIII) Quinteto “Turba Musici”, voz, viento, cuerda, percusión, teclado Los trovadores y los monasterios (ss. XII-XIV) Cuarteto “Diatessaron”, flautas, oboe, viola de gamba, clave Música italiana e inglesa del s. XVII Jordi Savall, viola de gamba Tobias Hume y J. S. Bach Sebastián Durón, grupo vocal e instrumental Música española de los siglos XVI y XVII Coro Samaniego Gregoriano, polifonía de los siglos XIII-XVIII 20 SEMANA DE MÚSICA ANTIGUA DE ESTELLA 1989 Iglesia de Santa Clara Antiqua
    [Show full text]
  • International Conducting Studies Conference 2018 21St – 23Rd June St Anne’S College University of Oxford
    International Conducting Studies Conference 2018 21st – 23rd June St Anne’s College University of Oxford International Conducting 2018 Studies Conference 21-23 June, St Anne’s College WELCOME It is with great pleasure that we welcome you to St Anne’s College and the Oxford Conducting Institute International Conducting Studies Conference 2018. The conference brings together 40 speakers from around the globe, presenting on a wide range of topics that demonstrate the rich and multifaceted realm of conducting studies. The discipline of conducting is at the core of a multitude of global musical endeavours, continually shaping musical practices and experiences in substantial ways. Scholars and practitioners have explored, and continue to explore, historical, philosophical, social and psychological aspects of conducting across a wide range of practices; The OCIICSC 2018 aims to bring together these diverse perspectives in the pursuit of a shared and more cohesive knowledge. While professional organizations and educational institutions have worked to develop the field through conducting master-classes and conferences focused on professional development, and academic researchers have sought to explicate various aspects of conducting through focussed studies, researchers and practitioners are rarely in dialogue about these findings and experiences. The OCIICSC 2018 seeks to redress this by continuing the conversation fostered at the 2016 conference, again bringing together practitioners and researchers to participate in productive and scholarly dialogue. We hope that this conference will provide a fruitful exchange of ideas and again serve as a catalyst for the further development of the topic of Conducting Studies. The OCI International Conducting Studies Conference 2018 Committee Dr Cayenna Dr John Traill Prof.
    [Show full text]
  • 95.3 FM 7:00 Pm the STORIES BEHIND LIEDER Short and Lyrical, Melancholy and Bright, Timeless and Per- Petually Timely
    N March/April 2020 Volume 48, No. 3 95.3 FM 7:00 pm THE STORIES BEHIND LIEDER Short and lyrical, melancholy and bright, timeless and per- petually timely. This feature focuses on the stories behind lieder, which have carved a unique niche in classical music cannon by WHRB bridging the gap between poetry and music. Here, we explore how lieder developed as an art form, focusing specifically on how the inspirations, travails, and stories of each composer 95.3 FM inspired their work to create this flourishing genre of music. Introduction to Lieder Von Wolkenstein: Wach auff mein hort; New London Consort, Sunday, March 1 Pickett (Oiseau-Lyre) 7:00 am BLUES HANGOVER Senfl: Songs; Binkley, Studio der frühen Musik (Telefunken) 11:00 am MEMORIAL CHURCH SERVICE Wolf: Mignon 1; Lott, Parsons (Chandos) Mahler: Selbstgefühl (from Lieder und Gesänge aus der Jugen- Preacher: The Rev. Ian Oliver, Senior Associate Chaplain for dzeit); Fischer-Dieskau, Bernstein (Sony) Protestant Life & Pastor of the University Church in Yale; Lec- Schubert: “Die Forelle,” D. 550; Bonney, Ax (Sony) turer, Yale Divinity School. Anthem: Messe en cantiques. Guest Schubert: “An Sylvia,” D. 891; Schwarzkopf, Fischer (EMI) director: Pedro Memelsdorff, Christoph Wolff Distinguished 7:30 pm SPECIAL CONCERT Visiting Scholar. 12:30 pm CRIMSON SPORTSTALK The Devil’s Interval. The dissonant augmented fourth, also 1:30 pm AS WE KNOW IT known as a tritone, was a musical taboo for centuries. Explore 2:30 pm SUNDAY SERENADE romantic, baroque, and modern works that employ the devil’s 6:00 pm HISTORIC PERFORMANCES interval to create tension, atmosphere, and nerve.
    [Show full text]
  • Download Booklet
    A Celebration of the Artistry of richardWithin a DreamHickox in association with CHAN 10568(2) The Richard Hickox Foundation A Celebration of the Artistry of richardWithin a DreamHickox (1948–2008) Greg Barrett Greg They are not long, the weeping and the laughter, Love and desire and hate: I think they have no portion in us after We pass the gate. They are not long, the days of wine and roses: Out of a misty dream Our path emerges for a while, then closes Within a dream. Ernest Dowson (1867–1900) Concluding words of Songs of Sunset by Frederick Delius (1862 –1934) 5 COMPACT DISC ONE Frank Bridge (1879 – 1941) Joseph Haydn (1732 – 1809) 1 I Seascape. Allegro ben moderato 7:14 5 IV Finale. Presto 4:51 from The Sea (CHAN 10012) from Symphony No. 102 in B flat major (CHAN 0662) BBC National Orchestra of Wales Collegium Musicum 90 Benjamin Britten (1913 –1976) Sir Edward Elgar (1857 –1934) 2 ‘Come along, darling, come follow me quick!’ 2:28 6 IV Lento – Allegro – Grandioso (poco largamente) 12:10 Sid and Nancy’s Duet from Act II, Scene 2 of Albert Herring, Op. 39 from Symphony No. 1 in A flat major, Op. 55 (CHSA 5049) (CHAN 10036(2)) BBC National Orchestra of Wales Roderick Williams baritone Pamela Helen Stephen mezzo-soprano (1841 –1904) James Gilchrist tenor Antonín Dvořák City of London Sinfonia 7 ‘O moon in the velvet heavens’ 8:12 Rusalka’s Invocation to the Moon from Rusalka, Op. 114, B 203 Ralph Vaughan Williams (1872 – 1958) (CHAN 10449(3)) Cheryl Barker soprano 3 I Lento – Allegro risoluto 15:01 Bruce Martin bass from A London Symphony (Symphony No.
    [Show full text]
  • Richard Hickox
    SUPER AUDIO CD HolstOrchestral Works Ballet from ‘The Perfect Fool’ The Lure . The Golden Goose The Morning of the Year Joyful Company of Singers BBC National Orchestra of Wales Richard Hickox CHSA 5069 32 volume 1 Gustav Holst (1874 –1934) The Ballet from ‘The Perfect Fool’, Op. 39 (1918–22) 11: 32 1 Andante – 1:00 2 Dance of Spirits of Earth. Moderato – Andante – 3:48 3 Dance of Spirits of Water. Allegro – 3:02 © Lebrecht Music & Arts Photo Library 4 Dance of Spirits of Fire. Allegro moderato – Andante 3:41 The Golden Goose, Op. 45 No. 1 (1926) 24:50 A Choral Ballet founded on a tale of Grimm Adapted from Grimm by J.M. Joseph To Morley College 5 ‘Sound of drum and trumpets play’ 3:50 6 The Mummers’ Play 4:35 7 The Human Organ 1:53 8 Jack creeps up, unseen by court 3:07 9 Dance of the Three Girls 3:24 10 The Goose Dance 2:57 11 Jack and Princess embrace 4:58 Gustav Holst 3 Gustav Holst (1874 –1934) The Ballet from ‘The Perfect Fool’, Op. 39 (1918–22) 11: 32 1 Andante – 1:00 2 Dance of Spirits of Earth. Moderato – Andante – 3:48 3 Dance of Spirits of Water. Allegro – 3:02 © Lebrecht Music & Arts Photo Library 4 Dance of Spirits of Fire. Allegro moderato – Andante 3:41 The Golden Goose, Op. 45 No. 1 (1926) 24:50 A Choral Ballet founded on a tale of Grimm Adapted from Grimm by J.M. Joseph To Morley College 5 ‘Sound of drum and trumpets play’ 3:50 6 The Mummers’ Play 4:35 7 The Human Organ 1:53 8 Jack creeps up, unseen by court 3:07 9 Dance of the Three Girls 3:24 10 The Goose Dance 2:57 11 Jack and Princess embrace 4:58 Gustav Holst 3 Holst: Orchestral Works, Volume 1 12 The Lure (1921) 10:15 Those who know only The Planets hardly and patron of the arts Alice Barney, who Ballet music for orchestra know Holst at all.
    [Show full text]
  • 95.3 FM Mendelssohn: Symphony No
    October/November 2015 Volume 44, No. 1 95.3 FM Mendelssohn: Symphony No. 5 in D, Op. 107, “Reformation”; WHRB Gardener, Vienna Philharmonic Orchestra (DG) Lutoslawski: Variations on a Theme of Paganini for Two Pianos; Argerich, Freire (Philips) 95.3 FM Scriabin: Symphony No. 2 in c, Op. 29; Järvi, Scottish National Orchestra (Chandos) October-November, 2015 Scarlatti: Sonatas in c, K. 303, L. 9, P. 212, G, K. 201, L. 129, P. 252, and d, K. 52, L. 267, P. 41; Horowitz (Sony) Poulenc: Concerto in g for Organ, Strings, and Timpani; Preston, Thursday, October 1 Firth, Ozawa, Boston Symphony Orchestra (DG) Josquin: Chansons, selection; Parrott, Taverner Consort; 5:00 am JAZZ SPECTRUM Lawrence-King (EMI) 1:00 pm AFTERNOON CONCERT Mozart: Piano Concerto No. 17 in G, K. 453; Pollini, Vienna Shostakovich: String Quartet No. 4 in D, Op. 83; Borodin String Philharmonic Orchestra (DG) Quartet (EMI) Bolcom: Graceful Ghost, Concert Variation for Violin and Piano; Lalo: Symphonie espagnole for Violin and Orchestra in d, Op. Lewin-Muresanu Duo (Centaur) 21; Oistrakh, Kondrashin, USSR Symphony Orchestra Chopin: Piano Concerto No. 2 in f, Op. 21; Rubinstein, (Brilliant Classics) Barbirolli, London Symphony Orchestra (RCA Red Seal) Gibbons: Fantasy in C; Gould (Philips) 6:30 pm HARVARD FOOTBALL – Gibbons: Lord of Salisbury Pavan and Galliard; Gould (Philips) UNUSUAL TIME AND DAY! Sibelius: Symphony No. 7 in C, Op. 105; Karajan, Berlin Harvard vs. Georgetown. Philharmonic Orchestra (DG) 10:00 pm RECORD HOSPITAL Takemitsu: Entre-temps, for string quartet and oboe; Van Den Hauwe, Werthen, I Fiamminghi (Telarc) Méhul: Symphony No.
    [Show full text]
  • Rachel Podger
    CHANNEL CLASSICS CCS SA 30910 RACHEL PODGER BRECON BAROQUE JS BACH Violin Concertos Rachel Podger – Instrument: Grancino, 1680 Rachel Podger is one of the most creative talents to emerge in the field of period performance. Over the last two decades she has established herself as a leading interpreter of the music of the Baroque and Classical periods and holds numerous recordings to her name ranging from early seventeenth century music to Mozart. She was educated in Germany and in England at the Guildhall School of Music and Drama, where she studied with David Takeno and Micaela Comberti. After beginnings with The Palladian Ensemble and Florilegium, she was leader of The English Concert from 1997 to 2002. In 2004 Rachel began a guest directorship with The Orchestra of the Age of Enlightenment, touring Europe and the usa. A high- light of this collaboration was a televised concert at the bbc Proms in 2007. 2009 saw a recording of Mozart’s Sinfonia Concertante with violist Pavlo Beznosiuk, togeth- er with 2 Haydn Violin concertos. Over the years Rachel has enjoyed numerous collaborations with orchestras all over the world; projects special to her have been those with Arte dei Suonatori (Poland), Musica Angelica and Santa Fe Pro Musica (usa), The Academy of Ancient Music, The European Union Baroque Orchestra and the Holland Baroque Society. Rachel records exclusively for Channel Classics; her highly acclaimed interpre- tation of J.S.Bach’s Sonatas and Partitas for Solo Violin and his Sonatas for Violin and Harpsichord (with Trevor Pinnock) were both awarded first place by the bbc’s ‘Building a Library’ programme.
    [Show full text]
  • Dan Morgan and Brian Wilson
    Second Thoughts and Short Reviews: Early Summer 2017 By Dan Morgan and Brian Wilson Reviews are by Brian Wilson except those marked [DM]. Index ALBINONI, CALDARA, CORELLI, TARTINI, TORELLI, VIVALDI – The Italian Job – La Serenissima/Chandler – Avie ANTHEIL Symphony No.4 – LSO/Goossens – Prominence Records or Mangora Classical (+ GINASTERA or COPLAND) Symphonies Nos. 4 and 5 – Storgårds – Chandos J.S. BACH, HANDEL, TELEMANN, VIVALDI, von WASSENAER – Baroque Road Trip – New Dutch Academy/Murphy – Pentatone BERLIOZ Herminie; Les Nuits d’Été; RAVEL Shéhérazade – Gens - Ondine COPLAND Symphony No.3; Latin American Symphonies – Detroit SO/Slatkin – Naxos DAVIES Organ Music – Fisher - Dutton Violin Sonata; HOLST, VAUGHAN WILLIAMS – EM Records Josquin DESPREZ – Tallis Scholars – Gimell ENESCŮ – Three Symphonies – Chandos FODOR, WILMS – Keyboard Concertos; SCHMITT Piano Quartet – Cristofori – Alpha GESUALDO – Sixth Book of Madrigals – Collegium Vocale/Herreweghe – PHI Lou HARRISON Piano Concerto – see Wood JIRÁNEK Violin Concerto – see Vivaldi LUDFORD, PYGOTT – Sacred Music – Blue Heron MARTINŮ – Four Cantatas – Prague Philharmonic Choir – Supraphon MESSIAEN La Nativité – Canning – Sheva MASON, PYGOTT – Masses – Christ Church – Nimbus MONTANARI, MOSSI, VALENTINI – Maestro Corelli’s Violins – Collegium Musicum 90/Standage - Chandos MONTEVERDI – Pianto della Madonna – Glossa Selva morale e spirituale – The Sixteen – Coro Vespers 1610 – La Compagnia del Madrigale – Glossa The Other Vespers – I Fagiolini/Hollingworth – Decca Vespers 1650 – Capella
    [Show full text]
  • Shropshire Music Trust 2018/19
    SHROPSHIRE MUSIC TRUST 2018/19 Shropshire Music Trust is an independent organisation supported by Arts Council England, business sponsors, trusts and a Patrons & Friends scheme including a large body of volunteers. Promoted by Shropshire Music Trust Reg. Charity 515026 Shropshire Music Booking Form Saver Offers Substantial Discounts for 5 events or more – see opposite and indicate below Please complete form below and calculate discount here: Less % discount for events minimum = £ Available from all three Box Offices: ONLINE TICKETSOURCE SALOP SHEET MUSIC www.ticketsource.co.uk Tel 0333 666 3366 Tel 01743 365561 (Address below) Season Events £1.00 Child Tickets Date Event Price £ No. 25’s & No. 18’s & No. Total Under £ Under £ 21 Sep Pre-Season Launch 5.00 P/F Gratis 1.00 12 Oct Bach by Candlelight II 10.00 5.00 1.00 27 Oct London Mozart Players – family 5.00 3.00 1.00 27 Oct London Mozart Players 20.00 10.00 1.00 11 Nov Collegium Musicum 90 17.00 9.00 1.00 26 Nov Lunch: String Beats 6.00 3.00 1.00 29 Nov Mid Wales Opera 12.00 6.00 1.00 7 Dec Ex Cathedra: Christmas* 21.00 10.00 1.00 20 Jan Quintets at Dusk 17.00 8.00 1.00 8 Feb Gilchrist/Symons Song Recital 15.00 7.50 1.00 15 Feb A4 Brass Quartet 10.00 5.00 1.00 28 Feb Zemlinsky Quartet 17.00 8.50 1.00 3 Mar Pop-Up Opera: Carmen 18.00 9.00 1.00 4 Mar Lunch: Sax & Guitar 6.00 3.00 1.00 10 Mar Carducci I: Romantic Quintets 17.00 FREE FREE 24 Mar Versatility Serenaders 15.00 7.50 1.00 16 Apr Carducci II 17.00 FREE FREE 26 Apr Hebrides Ensemble 16.00 8.00 FREE 2 May EUCO Orchestra: Clarinet 20.00 10.00 1.00 12 May Carducci III 17.00 FREE FREE 26 May Beethoven I 15.00 5.00 1.00 " Beethoven II 15.00 7.50 1.00 " Beethoven Saver: I&II 25.00 10.00 2.00 " Buffet: pre-Eve 10.00 10.00 10.00 14 Jun Ex Cathedra: Summer 20.00 10.00 1.00 Booking Service Fee: * St.
    [Show full text]
  • Alte Musik Im Internet1
    Alte Musik im Internet1 Johann Sebastian Bach (1685 - 1750) BWV = Bach-Werke-Verzeichnis J.S. Bach: Kantate "Wie schön leuchtet der Morgenstern" (BWV 1) - Netherlands Bach Collegium, Pieter Jan Leusink J.S. Bach: Himmelfahrts-Oratorium ("Lobet Gott in seinen Reichen", BWV 11) - Collegium Vocale Gent, Philippe Herreweghe J.S. Bach: Kantate "Ich hatte viel Bekümmernis" (BWV 21) - Münchener Bach Chor, Münchener Bach Orchester, Karl Richter J.S. Bach: Kantate "Ein feste Burg ist unser Gott" (BWV 80) - The Monteverdi Choir, The English Baroque Soloists , John Eliot Gardiner J.S. Bach: Kantate "Nimm von uns, Herr, du treuer Gott" (BWV 101) - Amsterdam Baroque Orchestra & Choir, Ton Koopman J.S. Bach: Kantate „Wachet Auf Ruft Uns Die Stimme“ (BWV 140) - Amsterdam Baroque Chor & Orchestra, Ton Koopman J.S. Bach: Kantate "Herz und Mund und Tat und Leben" (BWV 147) – Arnold- Schoenberg-Chor, Concentus Musicus Wien, Nikolaus Harnoncourt; Live vom Benediktinerkloster Melk, Österreich, 2000 J.S. Bach: Kantaten (BWV 139, 163, 52, 140) - Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner J.S. Bach: Kantaten (BWV 186, 107, 187) - Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner (Vol. 4, CD 2) J.S. Bach: "Kaffee-Kantate": "Schweigt stille, plaudert nicht" (BWV 211) - Deutsche Staatsoper Berlin, Apollo-Saal 1978, Dirigent: Peter Schreier J.S. Bach: „Bauernkantate“: „Mer hahn en neue Oberkeet” (BWV 212) - Berliner Philharmoniker, Chor der St. Hedwigs-Kathedrale, Karl Forster J.S. Bach: Kantaten-Auswahl - Wiener Sängerknaben und Chorus Viennensis, Concentus Musicus Wien, Nikolaus Harnoncourt J.S. Bach: 104 Choräle (Vol. 1) - Chamber Choir of Europe, Nicol Matt; Brilliant Classics J.S.
    [Show full text]
  • Rachel Brown Biography
    Rachel Brown biography A leading exponent of historical flutes, Rachel Brown is in great demand world- wide, as a soloist, orchestral player and teacher. As principal flute and recorder player with the Academy of Ancient Music, the Hanover Band, the Brandenburg Consort, Collegium Musicum 90, Ex Cathedra and, more recently, Arcangelo, she has recorded extensively and performed throughout Europe, North and South America, Japan, China and Australia. She has given many performances of the newly discovered Handel Flute Concerto and her championing of the works of the Berlin School has reawakened interest in the largely unknown masterpieces by Quantz. Her dazzling recordings of the Quantz and C.P.E. Bach Concertos have won international acclaim. Most recently, her recording of the C.P.E Bach D minor concerto was voted best by Polish radio. Rachel's acclaimed solo recordings include the Telemann Fantasias, sonatas and concertos by JS, CPE and JC Bach, Handel, Quantz and Leclair. Her most recent recording, A Tribute to Bach: Bach Flute Sonatas and Arias with Laurence Cum- mings and the London Handel Players was described by Andrew McGregor on BBC Radio 3’s Record Review programme as “SO beautiful…if you want a flautist’s guide to Bach, I don’t think it comes much better than this”. A new double disc, Revolutionary Flute Quartets: Mozart, Mannheim & Paris will be released this summer. Rachel’s publications include The Early Flute, A Practical Guide, cadenzas for the Mozart Concertos, two volumes of Quantz Flute Sonatas and her own completion of the Bach A major flute sonata.
    [Show full text]