Index of Mozart's Works by Köchel Number
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Season 2018-2019 the Philadelphia Orchestra
Season 2018-2019 The Philadelphia Orchestra Saturday, June 15, at 8:00 Sunday, June 16, at 2:00 Yannick Nézet-Séguin Conductor Richard Woodhams Oboe Ricardo Morales Clarinet Daniel Matsukawa Bassoon Jennifer Montone Horn Mozart Sinfonia concertante in E-flat major, K. 297b, for winds and orchestra I. Allegro II. Adagio III. Andantino con variazioni—Andante The June 15 concert is sponsored by Ralph Muller. The June 16 concert is sponsored by John McFadden and Lisa Kabnick. 24 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra Philadelphia is home and orchestra, and maximizes is one of the preeminent the Orchestra continues impact through Research. orchestras in the world, to discover new and The Orchestra’s award- renowned for its distinctive inventive ways to nurture winning Collaborative sound, desired for its its relationship with its Learning programs engage keen ability to capture the loyal patrons at its home over 50,000 students, hearts and imaginations of in the Kimmel Center, families, and community audiences, and admired for and also with those who members through programs a legacy of imagination and enjoy the Orchestra’s area such as PlayINs, side-by- innovation on and off the performances at the Mann sides, PopUP concerts, concert stage. The Orchestra Center, Penn’s Landing, free Neighborhood is inspiring the future and and other cultural, civic, Concerts, School Concerts, transforming its rich tradition and learning venues. The and residency work in of achievement, sustaining Orchestra maintains a Philadelphia and abroad. the highest level of artistic strong commitment to Through concerts, tours, quality, but also challenging— collaborations with cultural residencies, presentations, and exceeding—that level, and community organizations and recordings, the on a regional and national by creating powerful musical Orchestra is a global cultural level, all of which create experiences for audiences at ambassador for Philadelphia greater access and home and around the world. -
The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice. -
Betulia Liberata
Wolfgang Amadeus Mozart Pietro Metastasio BETULIA LIBERATA 1771 Éditionsǀ ǀ Copyright © 2018 Nicolas Sceaux, Les Talens Lyriques – Christophe Rousset. Nicolasǀ ǀ Sheet music from http://nicolas.sceaux.free.fr typeset using LilyPond on 2018-11-16. Sceauxǀ ǀ Creative Commons Attribution-ShareAlike 4.0 License — free to download, distribute, modify and perform. 2 TABLE DES MATIÈRES Libretto .......................................... 3 1-0 Overtura ......................................... 12 Parte Prima 1-1 Recitativo. Ozia: Popoli di Betulia, ah qual v’ingombra . 23 1-10 Aria. Giuditta: Del pari infeconda ................... 79 1-2 Aria. Ozia: D’ogni colpa la colpa maggiore ............ 24 1-11 Recitativo. Ozia, Cabri, Giuditta: Oh saggia, oh santa, 1-3 Recitativo. Cabri, Amital: E in che sperar? ............ 47 oh eccelsa donna! ................................. 91 1-4 Aria. Cabri: Ma qual virtù non cede .................. 48 1-12 Aria con Coro. Ozia, Coro: Pietà, se irato sei ........... 93 1-5 Recitativo. Ozia, Cabri, Amital: Già le memorie antiche . 54 1-13 Recitativo. Oh saggia, oh santa, oh eccelsa donna! ..... 100 1-6 Aria. Amital: Non hai cor, se in mezzo a questi ......... 56 1-14 Aria. Achior: Terribile d’aspetto ..................... 102 1-7 Recitativo. Ozia, Amital, Coro: E qual pace sperate ..... 65 1-15 Recitativo. Ti consola, Achior ....................... 112 1-8 Aria con Coro. Ozia, Coro: Pietà, se irato sei ........... 67 1-16 Aria. Giuditta: Parto inerme, e non pavento ........... 114 1-9 Recitativo. Cabri, Amital, Ozia, Giuditta: Chi è costei, 1-17 Coro: Oh prodigio! Oh stupor! ....................... 133 che qual sorgente aurora ........................... 74 Parte Seconda 2-1 Recitativo. Achior, Ozia: Troppo mal corrisponde ...... 144 2-9 Recitativo. -
A Comparative Analysis of the Six Duets for Violin and Viola by Michael Haydn and Wolfgang Amadeus Mozart
A COMPARATIVE ANALYSIS OF THE SIX DUETS FOR VIOLIN AND VIOLA BY MICHAEL HAYDN AND WOLFGANG AMADEUS MOZART by Euna Na Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Frank Samarotto, Research Director ______________________________________ Mark Kaplan, Chair ______________________________________ Emilio Colón ______________________________________ Kevork Mardirossian April 30, 2021 ii I dedicate this dissertation to the memory of my mentor Professor Ik-Hwan Bae, a devoted musician and educator. iii Table of Contents Table of Contents ............................................................................................................................ iv List of Examples .............................................................................................................................. v List of Tables .................................................................................................................................. vii Introduction ...................................................................................................................................... 1 Chapter 1: The Unaccompanied Instrumental Duet... ................................................................... 3 A General Overview -
Musician Consortiums
February 8 | 5:00 pm St. John the Divine Christopher Rountree, Conductor Andy Lin, Erhu • Kevin Lau, Composer Alejandro Basulto* (Bah-SOOL-Toe) Fanfarria de Feria ----2 minutes---- Kevin Lau* (LAUW) Between the Earth and Forever - Concerto for Erhu and Orchestra ----15 minutes---- Wolfgang Amadeus Mozart (MOT-zahrt) Maurerische Trauermusik (Masonic Funeral Music), in C minor, K. 477 (1785) ----5 minutes---- Jean-Féry Rebel (zhahn FEH-ree re-BEL) Chaos and other movements from Les Élémens (The Elements) (1737) ----12 minutes---- Kate Salfelder* Ephemera ----2 minutes---- William Grant Still Darker America (1924) ----15 minutes---- Jess Langston Turner* Fanfares and Riffs for Tiny Despots ----2 minutes---- *ROCO COMMISSIONED WORLD PREMIERE Please see page 6 for instructions on how to use LiveNote. Audio program notes are available on our website and produced with thanks to Catherine Lu and Houston Public Media. This evening’s music will include the pieces above, not necessarily in this order, with a Take 5 (short intermission) and possible surprises. * Scott Strong Nathan Williams Kristin Wolfe Jensen Matt McClung Principal Principal Principal Principal Musician Consortium Gretchen and Andrew McFarland Gavin Reed Jeanie Flowers Sarah & Jeffrey McParland Chair Chair Beverly and Bill Coit in loving memory of in memory of Angeleen McParland Chair Maiko Sasaki Dan Flowers Chair Founding Consortium Chair Daniel Chrisman Chair Jo Ann & Bob Fry Chair Clarinet/ Christina Carroll Eb Clarinet Susan Whitfield Chair Erik Gronfor Founding Consortium -
EMR 11384 Maurerische Trauermusik
Maurerische Trauermusik Masonic Funeral Music / Musique Funèbre Maçonnique Wind Band / Concert Band / Harmonie / Blasorchester / Fanfare Arr.: Jérôme Naulais Wolfgang Amadeus Mozart EMR 11384 st + 1 Score 2 1 Trombone nd + 1 Piccolo 2 2 Trombone st + 4 1 Flute 1 Bass Trombone nd + 4 2 Flute 2 Baritone 1 Oboe (optional) 2 E Bass 1 Bassoon (optional) 2 B Bass 1 E Clarinet (optional) 2 Tuba st 5 1 B Clarinet 1 String Bass (optional) nd 4 2 B Clarinet 1 Timpani rd 4 3 B Clarinet 1 B Bass Clarinet (optional) 1 B Soprano Saxophone (optional) Special Parts Fanfare Parts st 2 1 E Alto Saxophone st 2 1st Flugelhorn nd 1 1 B Trombone 1 2 E Alto Saxophone nd 2 2nd Flugelhorn st 1 2 B Trombone 2 1 B Tenor Saxophone rd 1 B Bass Trombone 2 3 Flugelhorn 1 2nd B Tenor Saxophone 1 B Baritone 1 E Baritone Saxophone (optional) 1 E Tuba 1 E Trumpet / Cornet (optional) st 1 B Tuba 3 1 B Trumpet / Cornet nd 3 2 B Trumpet / Cornet rd 3 3 B Trumpet / Cornet 2 1st F & E Horn 2 2nd F & E Horn 2 3rd F & E Horn Print & Listen Drucken & Anhören Imprimer & Ecouter Route du Golf 150 CH-3963 Crans-Montana (Switzerland) Tel. +41 (0) 27 483 12 00 Fax +41 (0) 27 483 42 43 E-Mail : [email protected] www.reift.ch DISCOGRAPHY Funeral Music Track Titel / Title Time N° EMR N° EMR N° (Komponist / Composer) Blasorchester Brass Band Concert Band 1 Introitus (from the Requiem) (Mozart) 4’53 EMR 11229 - 2 Funeral March (Grieg) 6’56 EMR 11393 EMR 9008 3 Nimrod (Elgar) 4’21 EMR 10892 EMR 3742 4 Funeral March (Chopin) 6’05 EMR 10982 EMR 9009 5 Marche Funèbre (David) -
Richard Lert Papers 0210
http://oac.cdlib.org/findaid/ark:/13030/kt638nf3ww No online items Finding Aid of the Richard Lert papers 0210 Finding aid prepared by Rebecca Hirsch The processing of this collection and the creation of this finding aid was funded by the generous support of the National Historic Publications and Records Commission. USC Libraries Special Collections Doheny Memorial Library 206 3550 Trousdale Parkway Los Angeles, California, 90089-0189 213-740-5900 [email protected] June 2010 Finding Aid of the Richard Lert 0210 1 papers 0210 Title: Richard Lert papers Collection number: 0210 Contributing Institution: USC Libraries Special Collections Language of Material: English Physical Description: 58.51 Linear feet70 boxes Date (inclusive): 1900-1981 Abstract: This collection consists of Richard Lert's video and audio recordings of performances, rehearsals and lectures, personal papers and his music score library. Lert was born in Vienna and trained as an orchestral conductor in Germany. He moved to the United States in 1932 with his family and was the conductor of the Pasadena Symphony Orchestra from 1932 until his retirement in 1972. creator: Lert, Richard, 1885-1980 Biographical Note Richard Lert was born September 19, 1885, in Vienna, Austria. He trained as an orchestral conductor under Arthur Nikisch and began his career in Darmstadt, Germany, where he met and married his wife, Vicki Baum, in 1916. They had two sons. Lert held posts in Frankfurt, Kiel and Hannover before becoming the music director of the Berlin National Opera. Lert and his family moved to Los Angeles in 1932, where he became the music director of the Pasadena Symphony Orchestra. -
Program Notes When Mozart Wrote the Three Divertimentos, KV 136-8 at the Age of 16, He Had Already Spent More Than Two Years Away from His Hometown of Salzburg
Program Notes When Mozart wrote the three Divertimentos, KV 136-8 at the age of 16, he had already spent more than two years away from his hometown of Salzburg. He had lived in London and Paris and travelled throughout Austria, Germany, France, the Netherlands, and Italy. Besides giving concerts at court, he met many famous musicians of the time and had opportunities to hear and study their music. Mozart’s early compositions are therefore often case studies in the styles and traditions of where his travels had most recently taken him. The Divertimentos were written in the winter 1771/2, after the second of three extended trips to Italy. A third journey was already in the planning and the Italian influence on Mozart’s writing is evident. It is uncer- tain whether the pieces are meant for a specific occasion; the title ‘Divertimento’ was in fact even added by another hand, possibly that of his father Leopold. The three-movement structure follows the pattern of the early Italian Sinfonia type, but J. Haydn and J.C. Bach have strongly influenced his compositions as well. Young Mozart met the two composers in London and looked up to them mentors and friends. The scholar Alfred Einstein hypothesizes that Mozart wrote the three pieces anticipating the need for some new symphonies during his next Italian journey. If required on short notice, Mozart would simply have added winds at the last moment. Before the birth of his gifted children, Leopold Mozart had made a business of writing musical novelties. He was a violinist, conductor, and teacher, his book ‘Versuch einer gründlichen Violinschule’ is alongside the textbooks by Quantz and C. -
Verdi Otello
VERDI OTELLO RICCARDO MUTI CHICAGO SYMPHONY ORCHESTRA ALEKSANDRS ANTONENKO KRASSIMIRA STOYANOVA CARLO GUELFI CHICAGO SYMPHONY CHORUS / DUAIN WOLFE Giuseppe Verdi (1813-1901) OTELLO CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI 3 verdi OTELLO Riccardo Muti, conductor Chicago Symphony Orchestra Otello (1887) Opera in four acts Music BY Giuseppe Verdi LIBretto Based on Shakespeare’S tragedy Othello, BY Arrigo Boito Othello, a Moor, general of the Venetian forces .........................Aleksandrs Antonenko Tenor Iago, his ensign .........................................................................Carlo Guelfi Baritone Cassio, a captain .......................................................................Juan Francisco Gatell Tenor Roderigo, a Venetian gentleman ................................................Michael Spyres Tenor Lodovico, ambassador of the Venetian Republic .......................Eric Owens Bass-baritone Montano, Otello’s predecessor as governor of Cyprus ..............Paolo Battaglia Bass A Herald ....................................................................................David Govertsen Bass Desdemona, wife of Otello ........................................................Krassimira Stoyanova Soprano Emilia, wife of Iago ....................................................................BarBara DI Castri Mezzo-soprano Soldiers and sailors of the Venetian Republic; Venetian ladies and gentlemen; Cypriot men, women, and children; men of the Greek, Dalmatian, and Albanian armies; an innkeeper and his four servers; -
3149028135572.Pdf
1 2 WOLFGANG AMADEUS MOZART BETULIA LIBERATA SANDRINE PIAU · AMANDA FORSYTHE · TERESA IERVOLINO PABLO BEMSCH · NAHUEL DI PIERRO ACCENTUS LES TALENS LYRIQUES CHRISTOPHE ROUSSET 3 Ce projet a reçu le généreux soutien de Monsieur Nizam Kettaneh. Les répétitions et la représentation publique du 22 juin 2019 à la Seine Musicale ont reçu le généreux soutien de Monsieur Alain Blanc-Brude. Enregistré par Little Tribeca le 22 juin 2019 et du 29 juin au 1er juillet 2019 à la Seine Musicale, Boulogne-Billancourt. Direction artistique : Gaëtan Juge Prise de son : Gaëtan Juge et Frédéric Briant Montage, mixage et mastering : Ignace Hauville Édition musicale : Nicolas Sceaux pour Les Talens Lyriques Traduction française par Dennis Collins (note) et Mary Pardoe (livret) English translation by Mary Pardoe (libretto) Deutsche Übersetzung von Hilla Maria Heintz (Libretto - Textbeilage) L’introduction par Simon Keefe, tirée du programme du concert donné à l’occasion de la Mozartwoche 2019, est ici reproduite avec l’autorisation de la Stiftung Mozarteum Salzburg. Les Talens Lyriques sont soutenus par le ministère de la Culture-DRAC Île-de-France, la Ville de Paris et le Cercle des Mécènes. L’ensemble remercie ses Grands Mécènes : la Fondation Annenberg / GRoW – Gregory et Regina Annenberg Weingarten, Madame Aline Foriel-Destezet et Mécénat Musical Société Générale. Les Talens Lyriques sont depuis 2011 artistes associés, en résidence à la Fondation Singer-Polignac. [LC] 83780 · AP235 ℗ 2020 Little Tribeca · Les Talens Lyriques © 2020 Little Tribeca · Les Talens Lyriques 1 rue Paul Bert, 93500 Pantin apartemusic.com lestalenslyriques.com 4 WOLFGANG AMADEUS MOZART BETULIA LIBERATA KV 118 [1771] Azione sacra in due parti Libretto by Pietro Metastasio 5 6 1. -
SONGS DANCES Acknowledgments & Recorded at St
SONGS DANCES Acknowledgments & Recorded at St. Mark’s Evangelical Lutheran Church, Jacksonville, Florida on June 13 and 14, 2018 Jeff Alford, Recording Engineer Gary Hedden, Mastering Engineer in THE SAN MARCO CHAMBER MUSIC SOCIETY collaboration THE LAWSON ENSEMBLE with WWW.ALBANYRECORDS.COM TROY1753 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2018 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. SanMarco_1753_book.indd 1-2 10/18/18 9:36 AM The Music a flute descant – commences. Five further variations ensue, each alternating characters and moods: a brisk second variation; a slow, sad, waltzing third; a short, enigmatic fourth; a sprawling fifth, this the Morning Elation for oboe and viola by Piotr Szewczyk (2010) emotional heart of the composition; and a contrapuntal sixth, which ends with a restatement of the theme Piotr Szewczyk was fairly new to Jacksonville when I asked him if he could compose an oboe/viola duo for now involving the flute. us in 2010, so I did not expect the enthusiasm and speed in which he composed “Morning Elation”! Two In all, it’s a complex, ambitious score, a glowing example of the American Romantic style of which days later he greeted me with the news that he had a burst of inspiration and composed our piece the day Beach, along with George Whitefield Chadwick, John Knowles Paine, and Arthur Foote, was such a wonder- before. -
Repertoire List
APPROVED REPERTOIRE FOR 2022 COMPETITION: Please choose your repertoire from the approved selections below. Repertoire substitution requests will be considered by the Charlotte Symphony on an individual case-by-case basis. The deadline for all repertoire approvals is September 15, 2021. Please email [email protected] with any questions. VIOLIN VIOLINCELLO J.S. BACH Violin Concerto No. 1 in A Minor BOCCHERINI All cello concerti Violin Concerto No. 2 in E Major DVORAK Cello Concerto in B Minor BEETHOVEN Romance No. 1 in G Major Romance No. 2 in F Major HAYDN Cello Concerto No. 1 in C Major Cello Concerto No. 2 in D Major BRUCH Violin Concerto No. 1 in G Minor LALO Cello Concerto in D Minor HAYDN Violin Concerto in C Major Violin Concerto in G Major SAINT-SAENS Cello Concerto No. 1 in A Minor Cello Concerto No. 2 in D Minor LALO Symphonie Espagnole for Violin SCHUMANN Cello Concerto in A Minor MENDELSSOHN Violin Concerto in E Minor DOUBLE BASS MONTI Czárdás BOTTESINI Double Bass Concerto No. 2in B Minor MOZART Violin Concerti Nos. 1 – 5 DITTERSDORF Double Bass Concerto in E Major PROKOFIEV Violin Concerto No. 2 in G Minor DRAGONETTI All double bass concerti SAINT-SAENS Introduction & Rondo Capriccioso KOUSSEVITSKY Double Bass Concerto in F# Minor Violin Concerto No. 3 in B Minor HARP SCHUBERT Rondo in A Major for Violin and Strings DEBUSSY Danses Sacrée et Profane (in entirety) SIBELIUS Violin Concerto in D Minor DITTERSDORF Harp Concerto in A Major VIVALDI The Four Seasons HANDEL Harp Concerto in Bb Major, Op.