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(Wettbewerb 2000
QUARTETTO ARMONICO Gegründet 1995. Die Mitglieder absolvierten 1997 ihr Studium an der Tokyo National University of Fine Arts and Music, anschließend Studium Kammermusik (Streichquartett), Unterricht bei Kiyoshi Okayama und Kazuki Sawa sowie beim Tokyo String Quartet, Vermeer Quartet, Panocha Quartet, Amadeus Quartett, Alban-Berg-Quartett, Artis-Quartett und Prager Streichquartett. 1997 1. Preis und Prix Mercure bei der Internationalen Sommerakademie in Wien, 1998 Ehrenpreis beim Internationalen "Karl-Klingler"-Wettbewerb in Berlin, 1998 und 1999 Mical Music Prize beim Resonare Music Festival, Stipendium der Matsuo-Stiftung 1998 und 1999 sowie 1999 Preisträger beim Internationalen Kammermusikfestival "Allegro vivo" in Niederösterreich. 2000 2. Preis beim 8. International String Quartet Competition in London. Sayo SUGAYA, Violine Geboren 1975 in Japan. Studium bei Kazuki Sawa und Sonoko Numata. 1. Preis beim All Japan Music Competition 1992 (Osaka Junior High School division), 2. Preis beim Japan Chamber Music Competition 1996. Emi IKUTA, Violine Geboren 1974 in Japan. Studium bei Takaya Urakawa und Gerhard Bosse. 1988 1. Preis beim All Japan Music Competition (Osaka Junior High School division) und Ataka-Preis als beste Geigerin des Jahres 1996 an der Universität. Natsuko SAKAMOTO, Viola Geboren 1974 in Japan. Studium bei Kazuki Sawa und Sonoko Numata. 1992 1. Preis beim Kanagawa Music Competition (Osaka Junior High School division). Ryo KUBOTA, Violoncello Geboren 1974 in Japan. Violoncellostudium bei Hakuro Mohri. Preisträger beim Japan Viva Hall Cello Contest, 1996 solistischer Auftritt mit dem Deutschen Kammerorchester. Ataka-Preis als bester Cellist des Jahres 1996 an der Universität. QUARTETTO ARMONICO Founded in 1995. In 1997 the members graduated from the Tokyo National University of Fine Arts and Music. -
20Th-Century Repertory
Mikrokosmos List 665. - 2 - January 2021 ....20TH-CENTURY REPERTORY 1 Adam, Claus: Vcl Con/ Barber: Die Natali - Kates vcl, cond.Mester 1975 S LOUISVILLE LS 745 A 12 2 Adams, John: Shaker Loops, Phrygian Gates - McCray pno, Ridge SQ, etc 1979 S 1750 ARCH S 1784 A 10 3 Baaren, Kees van: Musica per orchestra; Musica per organo/Brons, Carel: Prisms DONEMUS 72732 A 8 (organ) - Wolff organ, cond.Haitink , (score enclosed) S 4 Badings: Con for Orch/H.Andriessen: Kuhnau Var/Brahms: Sym 4 - Regionaal 2 x REGIONAAL JBTG A 15 Jeugd Orkest, cond.Sevenhuijsen live, 1982, 1984 S 7118401 5 Bax: Sym 3, The Happy Forest - London SO, cond.Downes (UK) (p.1969) S RCA SB 6806 A 8 6 Bernstein, Elmer: Summer and Smoke (sound track) - cond.comp S ENTRACTE ERS 6519 A 8 7 Bernstein, Elmer: The Magnificent Seven - cond.comp S LIBERTY EG 260581 A 8 8 Bernstein, Elmer: To Kill a Mockingbird (film music) - Royal PO, cond.E.Bernstein FILMMUSIC FMC 7 A 25 1976 S 9 Bernstein, Elmer: Walk on the Wild Side (soundtrack) - cond.comp S CHOREO AS 4 A 8 10 Bernstein, Ermler: Paris Swings (soundtrack) S CAPITOL ST 1288 A 8 11 Bolling: The Awakening (soundtrack) S ENTRACTE ERS 6520 A 8 12 Bretan, Nicolae: Ady Lieder - comp.pno & vocal (one song only), L.Konya bar, MHS 3779 A 8 F.Weiss, M.Berkofsky pno S 13 Castelnuovo-Tedesco: The Well-Tempered Guitars - Batendo Guitar Duo (gatefold) 2 x ETCETERA ETC 2009 A 15 (p.1986) S 14 Casterede, Jacques: Suite a danser - Hewitt Orch (light music) 10" DISCOPHILE SD 5 B+ 10 15 Dandara, Liviu: Timpul Suspendat, Affectus, Quadriforium III -
Cds by Composer/Performer
CPCC MUSIC LIBRARY COMPACT DISCS Updated May 2007 Abercrombie, John (Furs on Ice and 9 other selections) guitar, bass, & synthesizer 1033 Academy for Ancient Music Berlin Works of Telemann, Blavet Geminiani 1226 Adams, John Short Ride, Chairman Dances, Harmonium (Andriessen) 876, 876A Adventures of Baron Munchausen (music composed and conducted by Michael Kamen) 1244 Adderley, Cannonball Somethin’ Else (Autumn Leaves; Love For Sale; Somethin’ Else; One for Daddy-O; Dancing in the Dark; Alison’s Uncle 1538 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 1 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 2 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 1 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 2 Aebersold, Jamey: Jazz Improvisation (vol 1) 1270 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 1 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 2 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 1 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 2 Aebersold, Jamey: The II-V7-1 Progression (vol 3) 1271 Aerosmith Get a Grip 1402 Airs d’Operettes Misc. arias (Barbara Hendricks; Philharmonia Orch./Foster) 928 Airwaves: Heritage of America Band, U.S. Air Force/Captain Larry H. Lang, cond. 1698 Albeniz, Echoes of Spain: Suite Espanola, Op.47 and misc. pieces (John Williams, guitar) 962 Albinoni, Tomaso (also Pachelbel, Vivaldi, Bach, Purcell) 1212 Albinoni, Tomaso Adagio in G Minor (also Pachelbel: Canon; Zipoli: Elevazione for Cello, Oboe; Gluck: Dance of the Furies, Dance of the Blessed Spirits, Interlude; Boyce: Symphony No. 4 in F Major; Purcell: The Indian Queen- Trumpet Overture)(Consort of London; R,Clark) 1569 Albinoni, Tomaso Concerto Pour 2 Trompettes in C; Concerto in C (Lionel Andre, trumpet) (also works by Tartini; Vivaldi; Maurice André, trumpet) 1520 Alderete, Ignacio: Harpe indienne et orgue 1019 Aloft: Heritage of America Band (United States Air Force/Captain Larry H. -
Compact Discs by 20Th Century Composers Recent Releases - Spring 2020
Compact Discs by 20th Century Composers Recent Releases - Spring 2020 Compact Discs Adams, John Luther, 1953- Become Desert. 1 CDs 1 DVDs $19.98 Brooklyn, NY: Cantaloupe ©2019 CA 21148 2 713746314828 Ludovic Morlot conducts the Seattle Symphony. Includes one CD, and one video disc with a 5.1 surround sound mix. http://www.tfront.com/p-476866-become-desert.aspx Canticles of The Holy Wind. $16.98 Brooklyn, NY: Cantaloupe ©2017 CA 21131 2 713746313128 http://www.tfront.com/p-472325-canticles-of-the-holy-wind.aspx Adams, John, 1947- John Adams Album / Kent Nagano. $13.98 New York: Decca Records ©2019 DCA B003108502 2 028948349388 Contents: Common Tones in Simple Time -- 1. First Movement -- 2. the Anfortas Wound -- 3. Meister Eckhardt and Quackie -- Short Ride in a Fast Machine. Nagano conducts the Orchestre Symphonique de Montreal. http://www.tfront.com/p-482024-john-adams-album-kent-nagano.aspx Ades, Thomas, 1971- Colette [Original Motion Picture Soundtrack]. $14.98 Lake Shore Records ©2019 LKSO 35352 2 780163535228 Music from the film starring Keira Knightley. http://www.tfront.com/p-476302-colette-[original-motion-picture-soundtrack].aspx Agnew, Roy, 1891-1944. Piano Music / Stephanie McCallum, Piano. $18.98 London: Toccata Classics ©2019 TOCC 0496 5060113444967 Piano music by the early 20th century Australian composer. http://www.tfront.com/p-481657-piano-music-stephanie-mccallum-piano.aspx Aharonian, Coriun, 1940-2017. Carta. $18.98 Wien: Wergo Records ©2019 WER 7374 2 4010228737424 The music of the late Uruguayan composer is performed by Ensemble Aventure and SWF-Sinfonieorchester Baden-Baden. http://www.tfront.com/p-483640-carta.aspx Ahmas, Harri, 1957- Organ Music / Jan Lehtola, Organ. -
Navigating, Coping & Cashing In
The RECORDING Navigating, Coping & Cashing In Maze November 2013 Introduction Trying to get a handle on where the recording business is headed is a little like trying to nail Jell-O to the wall. No matter what side of the business you may be on— producing, selling, distributing, even buying recordings— there is no longer a “standard operating procedure.” Hence the title of this Special Report, designed as a guide to the abundance of recording and distribution options that seem to be cropping up almost daily thanks to technology’s relentless march forward. And as each new delivery CONTENTS option takes hold—CD, download, streaming, app, flash drive, you name it—it exponentionally accelerates the next. 2 Introduction At the other end of the spectrum sits the artist, overwhelmed with choices: 4 The Distribution Maze: anybody can (and does) make a recording these days, but if an artist is not signed Bring a Compass: Part I with a record label, or doesn’t have the resources to make a vanity recording, is there still a way? As Phil Sommerich points out in his excellent overview of “The 8 The Distribution Maze: Distribution Maze,” Part I and Part II, yes, there is a way, or rather, ways. But which Bring a Compass: Part II one is the right one? Sommerich lets us in on a few of the major players, explains 11 Five Minutes, Five Questions how they each work, and the advantages and disadvantages of each. with Three Top Label Execs In “The Musical America Recording Surveys,” we confirmed that our readers are both consumers and makers of recordings. -
Focus 2020 Pioneering Women Composers of the 20Th Century
Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers. -
City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Pace, I. ORCID: 0000-0002-0047-9379 (2021). New Music: Performance Institutions and Practices. In: McPherson, G and Davidson, J (Eds.), The Oxford Handbook of Music Performance. Oxford, UK: Oxford University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/25924/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] New Music: Performance Institutions and Practices Ian Pace For publication in Gary McPherson and Jane Davidson (eds.), The Oxford Handbook of Music Performance (New York: Oxford University Press, 2021), chapter 17. Introduction At the beginning of the twentieth century concert programming had transitioned away from the mid-eighteenth century norm of varied repertoire by (mostly) living composers to become weighted more heavily towards a historical and canonical repertoire of (mostly) dead composers (Weber, 2008). -
2O21-22 Season
CELEBRATING 2O21-22 SEASON EST. 1996 2021-22 contents 5 Welcome 6 Season Calendar 8 Subscribe 10 Series 22 Performances 86 Performances for Young People 88 How to Order 89 Discounts 91 Helpful Information 92 Beyond the Footlights 94 Support On the cover: Hodgson Concert Hall 2Camerata RCO Painting: J.N. Smith 3 Welcome Back What a time it has been! Our world has experienced unprecedented disruption since we last gathered in the spring of 2020 in our beautiful venues to witness exquisite music, dance, and theatre together. Throughout these many long and painful months of separation and isolation, I have been yearning for the time when we can be together once again. It appears that time is finally now upon us! I am absolutely thrilled to share our plans for celebrating the University of Georgia Performing Arts Center’s historic 25th anniversary season throughout the fall of 2021 and spring of 2022. Our silver anniversary season will feature a variety of acclaimed guest artists—some new to us and some returning favorites—with an equally wide variety of personal life experiences. They will come to us from across the United States and several different countries. Their experiences inform their work, and we will, for a brief moment in time, commune together as the universal languages of music, spoken word, and movement unite us in hope and healing. Not only has the world changed significantly since we first opened our doors 25 years ago, it has changed dramatically in the last year as we have endured the devastating impact of a global pandemic, social injustice, political uncertainty, and any number of other things. -
FRENCH SYMPHONIES from the Nineteenth Century to the Present
FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen. -
Liner Notes, Visit Our Web Site
“Music of Our Time” When I worked at Columbia Records during the second half of the 1960s, the company was run in an enlightened way by its imaginative president, Goddard Lieberson. Himself a composer and a friend to many writers, artists, and musicians, Lieberson believed that a major record company should devote some of its resources to projects that had cultural value even if they didn’t bring in big profits from the marketplace. During those years American society was in crisis and the Vietnam War was raging; musical tastes were changing fast. It was clear to executives who ran record companies that new “hits” appealing to young people were liable to break out from unknown sources—but no one knew in advance what they would be or where they would come from. Columbia, successful and prosperous, was making plenty of money thanks to its Broadway musical and popular music albums. Classical music sold pretty well also. The company could afford to take chances. In that environment, thanks to Lieberson and Masterworks chief John McClure, I was allowed to produce a few recordings of new works that were off the beaten track. John McClure and I came up with the phrase, “Music of Our Time.” The budgets had to be kept small, but that was not a great obstacle because the artists whom I knew and whose work I wanted to produce were used to operating with little money. We wanted to produce the best and most strongly innovative new work that we could find out about. Innovation in those days had partly to do with creative uses of electronics, which had recently begun changing music in ways that would have been unimaginable earlier, and partly with a questioning of basic assumptions. -
BRIDGE Orchestral Works the Collector’S Edition
BRIDGE ORCHESTRAL WORKS The Collector’s Edition Sarah Connolly mezzo-soprano Howard Shelley piano Philip Langridge tenor BBC National Chorus of Wales Roderick Williams baritone BBC National Orchestra of Wales Alban Gerhardt cello Richard Hickox Greg Barrett Richard Hickox (1948 – 2008) Frank Bridge (1879 – 1941) COMPACT DISC ONE 1 Enter Spring, H 174 (1926 – 27) 18:36 Rhapsody Allegro moderato – Tempo giusto – Andante tranquillo – Tempo I – Energico – Andante molto tranquillo 2 Isabella, H 78 (1907) 18:00 Symphonic Poem after Keats Adagio ma non troppo – Allegretto moderato – L’istesso tempo – Allegro vivo – Adagio ma non troppo – Più adagio Two Poems for Orchestra, H 118 (1915) 12:58 after Richard Jefferies 3 I Andante moderato e semplice 8:35 4 II Allegro con brio 4:18 premiere recording 5 Mid of the Night, H 30 (1903) 26:05 Symphonic Poem for Orchestra Andante – Allegro moderato – Poco più vivo – Andante moderato – Allegro moderato – Andante moderato – Più lento TT 75:47 3 COMPACT DISC TWO premiere recording in this version 1 Dance Rhapsody, H 84 (1908) 19:16 for orchestra Allegro energico – Moderato – Allegretto moderato – Tempo di valse – Vivo – Allegro energico Five Entr’actes, H 95 (1910) 12:05 from the play The Two Hunchbacks by Émile Cammaerts (1878 – 1953) for orchestra 2 I Prelude to Act I. Allegretto moderato – Lento 3:20 3 II Intermezzo from Act II. Andantino 1:36 4 III Intermezzo from Act III. Allegretto (marziale) 1:19 5 IV Prelude to Act III. Lento 2:36 6 V Entr’acte between Acts II and III. Moderato 3:04 7 Dance Poem, H 111 (1913) 13:48 for orchestra Tempo di valse – Lento e languido – Tempo di valse – Largamente – Grazioso – Tempo di valse – A tempo, poco lento – Vivo – Presto 4 8 Norse Legend, H 60 (1905 / 1938) 4:48 for small orchestra Andante con moto The Sea, H 100 (1910 – 11) 22:08 Suite for Orchestra 9 1 Seascape. -
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.