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SEASON 2020/2021 Stickers for Programme Choice ARTISTS LIST
SEASON 2020/2021 Stickers for Programme Choice ARTISTS LIST STRING QUARTET Arditti Quartet Cuarteto Casals Quatuor Modigliani Artemis Quartett Jerusalem Quartet Quatuor Van Kuijk Belcea Quartet Novus String Quartet Schumann Quartett Brooklyn Rider Quatuor Ébène VIOLIN VIOLA CELLO Marc Bouchkov Amihai Grosz Miklós Perényi Isabelle Faust Jean-Guihen Queyras Vadim Gluzman Alisa Weilerstein Gidon Kremer Nikolaj Szeps-Znaider PIANO FORTEPIANO MANDOLIN Piotr Anderszewski Alexander Melnikov Avi Avital Saleem Ashkar Elena Bashkirova Jonathan Biss Alexander Melnikov CLARINET VOICE RECITATION Sharon Kam Georg Nigl (Baritone) Martina Gedeck CONDUCTOR ENSEMBLE PROJECTS Ariane Matiakh Brandt Brauer Frick Building Bridges Nikolaj Szeps-Znaider Ensemble Beethoven Cycle Scharoun Ensemble International ARDITTI QUARTET & JAKE ARDITTI STRING STRING QUARTET & COUNTER-TENOR Dillon: String Quartet No. 9 Paredes: “Canciones Lunáticas” QUARTET Henze: String Quartet No. 5 Sciarrino: “Cosa resta” On the occasion of the string quartet biennals in Paris and Amsterdam, as well as at the invitation of the Cologne Philharmonie, several world premieres are pending, by Ben Mason and Christian Mason, as well as Betsy Jolas and Toshio Hosokawa. ARTEMIS QUARTETT The Artemis Quartett, in their new top-class lineup, has created a first programme for the fall of 2020. Additional ones for the spring of 2021 to follow. Mendelssohn: String Quartet No. 2 in A minor, Op. 13 Vasks: New work for String Quartet (2020) Beethoven: String Quartet No. 15 in A minor, Op. 132 BELCEA QUARTET In the fall of 2020 with the Beethoven string quartet cycle, however, already fully booked. Spring 2021: Britten: String Quartet No. 1 in D major, Op. 25 Shostakovich: String Quartet No. -
Mozart Magic Philharmoniker
THE T A R S Mass, in C minor, K 427 (Grosse Messe) Barbara Hendricks, Janet Perry, sopranos; Peter Schreier, tenor; Benjamin Luxon, bass; David Bell, organ; Wiener Singverein; Herbert von Karajan, conductor; Berliner Mozart magic Philharmoniker. Mass, in C major, K 317 (Kronungsmesse) (Coronation) Edith Mathis, soprano; Norma Procter, contralto...[et al.]; Rafael Kubelik, Bernhard Klee, conductors; Symphonie-Orchester des on CD Bayerischen Rundfunks. Vocal: Opera Così fan tutte. Complete Montserrat Caballé, Ileana Cotrubas, so- DALENA LE ROUX pranos; Janet Baker, mezzo-soprano; Nicolai Librarian, Central Reference Vocal: Vespers Vesparae solennes de confessore, K 339 Gedda, tenor; Wladimiro Ganzarolli, baritone; Kiri te Kanawa, soprano; Elizabeth Bainbridge, Richard van Allan, bass; Sir Colin Davis, con- or a composer whose life was as contralto; Ryland Davies, tenor; Gwynne ductor; Chorus and Orchestra of the Royal pathetically brief as Mozart’s, it is Howell, bass; Sir Colin Davis, conductor; Opera House, Covent Garden. astonishing what a colossal legacy F London Symphony Orchestra and Chorus. Idomeneo, K 366. Complete of musical art he has produced in a fever Anthony Rolfe Johnson, tenor; Anne of unremitting work. So much music was Sofie von Otter, contralto; Sylvia McNair, crowded into his young life that, dead at just Vocal: Masses/requiem Requiem mass, K 626 soprano...[et al.]; Monteverdi Choir; John less than thirty-six, he has bequeathed an Barbara Bonney, soprano; Anne Sofie von Eliot Gardiner, conductor; English Baroque eternal legacy, the full wealth of which the Otter, contralto; Hans Peter Blochwitz, tenor; soloists. world has yet to assess. Willard White, bass; Monteverdi Choir; John Le nozze di Figaro (The marriage of Figaro). -
The Organ Ricercars of Hans Leo Hassler and Christian Erbach
INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material subm itted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame 3. When a map, dravdng or chart, etc., is part of the material being photo graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again-beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy. -
Vocal & Instrumental Music
Legrenzi Canto & Basso Vocal & Instrumental Music Ensemble Zenit Canto & Basso Vocal & Instrumental Music Giovanni Legrenzi 1626-1690 Giovanni Legrenzi Carlo Francesco Pollarolo 1653-1723 Giovanni Legrenzi 1. Sonata ‘La Foscari’ à 2 3’06 6. Sonata ‘La Colloreta’ à 2 2’56 11. Sonata No.2 del Pollaroli 12. Albescite flores à 4 6’14 from Sonate a due, e tre Op.2, from Sonate a due, e tre Op.2, di Venezia 2’54 from Harmonia d’affetti devoti, Venice 1655 Venice 1655 from Sonate da organo di varii Venice 1655 autori, Bologna 1697 Tarquinio Merula 1595-1665 7. Ave Regina coelorum à 2 4’39 2. Canzon di Tarquinio Merula 5’01 from Sentimenti devoti, Venice 1660 from Libro di Fra’ Gioseffo da Ravenna, Ravenna Classense Giovanni Paolo Colonna 1637-1695 Ensemble Zenit MS.545 8. Sonata No.7 del Colonna di Pietro Modesti cornetto · Fabio De Cataldo baroque trombone Bologna 4’31 Gilberto Scordari organ Giovanni Legrenzi from Sonate da organo di varii 3. Plaudite vocibus 5’55 autori, Bologna 1697 Isabella Di Pietro alto · Roberto Rilievi tenor from Acclamationi divote a voce sola, Bologna 1670 Giovanni Legrenzi 9. Suspiro Domine 7’46 4. Hodie collentatur Coeli à 2 6’09 from Acclamationi divote a voce from Harmonia d’affetti devoti, sola, Bologna 1670 Venice 1655 10 Sonata ‘La Donata’ à 2 4’05 Luigi Battiferri 1600-1682 from Sonate a due, e tre Op.2, 5. Ricercare Sesto. Venice 1655 Con due sogetti. 3’58 from Ricercari a quattro, a cinque, e a sei Op.3, Bologna 1699 This recording was made possible with the support of Recording: September 2018, Monastero -
NEWSLETTER American Musical Instrument Society
NEWSLETTER Of The American Musical Instrument Society Vol. XVIII, No.1 February 1989 Courtesy of The Metropolitan Museum of Art AM IS members attending the annual meeting in New York City will be able to view this exhibition of recently-acquired Korean instruments in the Andre' Mertens Galleries for Musical Instruments. sions, musical interludes, and other activities struments, will be on view in the Amsterdam AMIS MEETS MAY 25-28 follow on the next two days, with the AMIS Gallery of the Library & Museum of the Per IN NEW YORK CITY business meeting and extra events on Sunday. forming Arts at Lincoln Center, and the The schedule (see pp. 2-3 of this Newsletter) American Museum of Natural History has In honor of the centennial of the Crosby allows ample time to visit the Andre Mertens deployed many of its non-Western instruments Brown Collection at The Metropolitan Museum Galleries for Musical Instruments at the in new galleries. of Art, the 18th-annual AMIS meeting will be Metropolitan Museum and to enjoy A Musical Other highlights of the meeting include a held in New York City, May 25-28, 1989. Most Offering, a special, NEA-funded exhibition of concert by the Mozartean Players, during of the official sessions will occur at Barnard about 100 outstanding recent acquisitions, which the Curt Sachs Award for 1989 will be College, which marks its centenary at the same many of which have not been displayed before. prllsented; this program will be followed by a time. Low-cost lodging is available in Bar The Museum is also planning a display of ex reception at the lovely townhouse of AMIS nard's dormitory, located directly across the citing new instruments by Ben Hume, a young member, Frederick R. -
1 Ludwig Van Beethoven Symphony #9 in D Minor, Op. 125 2 Johann Sebastian Bach St. Matthew Passion
1 Ludwig van Beethoven Symphony #9 in D minor, Op. 125 2 Johann Sebastian Bach St. Matthew Passion "Ebarme dich, mein Gott" 3 George Frideric Handel Messiah: Hallelujah Chorus 4 Wolfgang Amadeus Mozart Symphony 41 C, K.551 "Jupiter" 5 Samuel Barber Adagio for Strings Op.11 6 Wolfgang Amadeus Mozart Clarinet Concerto A, K.622 7 Ludwig van Beethoven Piano Concerto 5 E-Flat, Op.73 "Emperor" (3) 8 Antonin Dvorak Symphony No 9 (IV) 9 George Gershwin Rhapsody In Blue (1924) 10 Wolfgang Amadeus Mozart Requiem in D minor K 626 (aeternam/kyrie/lacrimosa) 11 George Frideric Handel Xerxes - Largo 12 Johann Sebastian Bach Toccata And Fugue In D Minor, BWV 565 (arr Stokowski) 13 Ludwig van Beethoven Symphony No 5 in C minor Op 67 (I) 14 Johann Sebastian Bach Orchestral Suite #3 BWV 1068: Air on the G String 15 Antonio Vivaldi Concerto Grosso in E Op. 8/1 RV 269 "Spring" 16 Tomaso Albinoni Adagio in G minor 17 Edvard Grieg Peer Gynt 1, Op.46 18 Sergei Rachmaninov Piano Concerto No 2 in C minor Op 18 (I) 19 Ralph Vaughan Williams Lark Ascending 20 Gustav Mahler Symphony 5 C-Sharp Min (4) 21 Peter Ilyich Tchaikovsky 1812 Overture 22 Jean Sibelius Finlandia, Op.26 23 Johann Pachelbel Canon in D 24 Carl Orff Carmina Burana: O Fortuna, In taberna, Tanz 25 Wolfgang Amadeus Mozart Serenade G, K.525 "Eine Kleine Nachtmusik" 26 Johann Sebastian Bach Brandenburg Concerto No 5 in D BWV 1050 (I) 27 Johann Strauss II Blue Danube Waltz, Op.314 28 Franz Joseph Haydn Piano Trio 39 G, Hob.15-25 29 George Frideric Handel Water Music Suite #2 in D 30 Wolfgang Amadeus Mozart Ave Verum Corpus, K.618 31 Johannes Brahms Symphony 1 C Min, Op.68 32 Felix Mendelssohn Violin Concerto in E minor, Op. -
LCSH Section L
L (The sound) Formal languages La Boderie family (Not Subd Geog) [P235.5] Machine theory UF Boderie family BT Consonants L1 algebras La Bonte Creek (Wyo.) Phonetics UF Algebras, L1 UF LaBonte Creek (Wyo.) L.17 (Transport plane) BT Harmonic analysis BT Rivers—Wyoming USE Scylla (Transport plane) Locally compact groups La Bonte Station (Wyo.) L-29 (Training plane) L2TP (Computer network protocol) UF Camp Marshall (Wyo.) USE Delfin (Training plane) [TK5105.572] Labonte Station (Wyo.) L-98 (Whale) UF Layer 2 Tunneling Protocol (Computer network BT Pony express stations—Wyoming USE Luna (Whale) protocol) Stagecoach stations—Wyoming L. A. Franco (Fictitious character) BT Computer network protocols La Borde Site (France) USE Franco, L. A. (Fictitious character) L98 (Whale) USE Borde Site (France) L.A.K. Reservoir (Wyo.) USE Luna (Whale) La Bourdonnaye family (Not Subd Geog) USE LAK Reservoir (Wyo.) LA 1 (La.) La Braña Region (Spain) L.A. Noire (Game) USE Louisiana Highway 1 (La.) USE Braña Region (Spain) UF Los Angeles Noire (Game) La-5 (Fighter plane) La Branche, Bayou (La.) BT Video games USE Lavochkin La-5 (Fighter plane) UF Bayou La Branche (La.) L.C.C. (Life cycle costing) La-7 (Fighter plane) Bayou Labranche (La.) USE Life cycle costing USE Lavochkin La-7 (Fighter plane) Labranche, Bayou (La.) L.C. Smith shotgun (Not Subd Geog) La Albarrada, Battle of, Chile, 1631 BT Bayous—Louisiana UF Smith shotgun USE Albarrada, Battle of, Chile, 1631 La Brea Avenue (Los Angeles, Calif.) BT Shotguns La Albufereta de Alicante Site (Spain) This heading is not valid for use as a geographic L Class (Destroyers : 1939-1948) (Not Subd Geog) USE Albufereta de Alicante Site (Spain) subdivision. -
FESTIVAL TICINO DOC Dal 19 Al 26 Settembre 2010
FESTIVAL TICINO DOC dal 19 al 26 settembre 2010 Musica nel Mendrisiotto DOC è l’acronimo che sottintende la “denominazione di origine controllata” di un prodotto e che ne certifica la zona di origine, il rispetto della Mendrisio tradizione realizzativa e – in buona sostanza – l’oggettiva qualità. Ma Lugano Rancate un simile marchio di valore è da concedersi soltanto a vini, formaggi e salamelle? Questa è la domanda che si sono posti Musica nel Mendrisiotto, la RSI Rete Due e l’Orchestra della Svizzera italiana. La risposta, manco a dirlo, è stata negativa. E a testimoniarlo saranno sette giorni di musica, dal 19 Ligornetto al 26 settembre prossimi, che porteranno nei vari quartieri della nuova Superstrada Mendrisio il meglio dei giovani interpreti cantonali dell’ambito classico. Autostrada Concerti cameristici, sinfonici e di musica barocca che dimostreranno Genestrerio l’intrinseca (e spesso conclamata) qualità di interpreti che in gran parte si Via Vallera a Campagnadorna sono trasferiti oltre Gottardo o all’estero durante e dopo gli studi. Vi Vi a Laveggio P Chiasso Lo scopo dei promotori è quello di creare uno scambio di esperienze tra gli Chiesa Stabio Sant’Antonio Abate Gaggiolo Via Mulino artisti formando formazioni da camera inedite e dando ampio spazio alle ia Canova Varese P V doti solistiche dei singoli musicisti. Vi Fiume Laveggio a al Péro Il pubblico avrà l’occasione unica di (ri)scoprire quanto il Ticino ha saputo Via Campagnola formare ed esportare in campo musicale negli ultimi quarant’anni. La RSI Rete due trasmetterà quotidianamente approfondimenti, interviste, concerti ed incisioni riguardanti il festival. -
Il Favore Degli Dei (1690): Meta-Opera and Metamorphoses at the Farnese Court
chapter 4 Il favore degli dei (1690): Meta-Opera and Metamorphoses at the Farnese Court Wendy Heller In 1690, Giovanni Maria Crescimbeni (1663–1728) and Gian Vincenzo Gravina (1664–1718), along with several of their literary colleagues, established the Arcadian Academy in Rome. Railing against the excesses of the day, their aim was to restore good taste and classical restraint to poetry, art, and opera. That same year, a mere 460 kilometres away, the Farnese court in Parma offered an entertainment that seemed designed to flout the precepts of these well- intentioned reformers.1 For the marriage of his son Prince Odoardo Farnese (1666–1693) to Dorothea Sofia of Neuberg (1670–1748), Duke Ranuccio II Farnese (1639–1694) spared no expense, capping off the elaborate festivities with what might well be one of the longest operas ever performed: Il favore degli dei, a ‘drama fantastico musicale’ with music by Bernardo Sabadini (d. 1718) and poetry by the prolific Venetian librettist Aurelio Aureli (d. 1718).2 Although Sabadini’s music does not survive, we are left with a host of para- textual materials to tempt the historical imagination. Aureli’s printed libretto, which includes thirteen engravings, provides a vivid sense of a production 1 The object of Crescimbeni’s most virulent condemnation was Giacinto Andrea Cicognini’s Giasone (1649), set by Francesco Cavalli, which Crescimbeni both praised as a most per- fect drama and condemned for bringing about the downfall of the genre. Mario Giovanni Crescimbeni, La bellezza della volgar poesia spiegata in otto dialoghi (Rome: Buagni, 1700), Dialogo iv, pp. -
Imamura-Y-S03c[Naxos-2CD-Booklet
573936-37 bk Bach EU.qxp_573936-37 bk Bach 27/06/2018 11:00 Page 2 CD 1 63:49 CD 2 53:15 CD 2 Arioso from St John Passion, BWV 245 1Partita in E major, BWV 1006a 20:41 1Suite in E minor, BWV 996 18:18 # # Prelude 2:51 Consider, O my soul 2 Prelude 4:13 2 Betrachte, meine Seel’ Allemande 3:02 3 Loure 3:58 3 Betrachte, meine Seel’, mit ängstlichem Vergnügen, Consider, O my soul, with fearful joy, consider, Courante 2:40 4 Gavotte en Rondeau 3:29 4 Mit bittrer Lust und halb beklemmtem Herzen in the bitter anguish of thy heart’s affliction, Sarabande 4:24 5 Menuet I & II 4:43 5 Dein höchstes Gut in Jesu Schmerzen, thy highest good is Jesus’ sorrow. Bourrée 1:33 6 Bourrée 1:51 6 Wie dir auf Dornen, so ihn stechen, For thee, from the thorns that pierce Him, Gigue 2:27 Gigue 3:48 Die Himmelsschlüsselblumen blühn! what heavenly flowers spring. Du kannst viel süße Frucht von seiner Wermut brechen Thou canst the sweetest fruit from his wormwood gather, 7Suite in C minor, BWV 997 22:01 7Suite in G minor, BWV 995 25:15 Drum sieh ohn Unterlass auf ihn! then look on Him for evermore. Prelude 6:11 8 Prelude 3:11 8 Allemande 6:18 9 Fugue 7:13 9 Sarabande 5:28 0 Courante 2:35 Recitativo from St Matthew Passion, BWV 244b 0 $ $ Gigue & Double 6:09 ! Sarabande 2:50 Gavotte I & II 4:43 Ja freilich will in uns Yes! Willingly will we ! @ Prelude in C minor, BWV 999 1:55 Gigue 2:38 Ja freilich will in uns das Fleisch und Blut Yes! Willingly will we, Flesh and blood, Zum Kreuz gezwungen sein; Be brought to the cross; @ Fugue in G minor, BWV 1000 5:46 #Arioso from St John Passion, BWV 245 2:24 Je mehr es unsrer Seele gut, The harsher the pain Arioso: Betrachte, meine Seel’ Je herber geht es ein. -
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands. -
MONTEVERDI BACH Ensemble Barocco Concertazione a Cura Di Lorenzo Ghirlanda E Luca Pianca
MONTEVERDI BACH Ensemble barocco concertazione a cura di Lorenzo Ghirlanda e Luca Pianca C. Monteverdi, dai madrigali J.S. Bach, “Ich habe genug”, cantata Lunedì 10 settembre 2012, 20.30 Conservatorio della Svizzera italiana, Lugano Entrata gratuita conservatorio della svizzera italiana SUPSI con il sostegno della Fondazione Fabio Schaub Scuola universitaria Professionale scuola universitaria di musica | musikhochschule | haute école de musique della Svizzera Italiana C. Monteverdi (1567 – 1643) dal VII e VIII libro dei Madrigali e da “L’incoronazione di Poppea” Chiome d’oro per due soprani, flauto, due violini, clavicembalo e violoncello S’el vostro cor Madonna per soprano, basso e liuto M. Uccellini (1603 – 1680) Sonata terza op. 5 per violino e liuto C. Monteverdi dal VII e VIII libro dei Madrigali e da “L’incoronazione di Poppea” Io che nell’ozio nacqui per basso, liuto, clavicembalo e violoncello Non è di gentil core per due soprani Ohimè dov’è il mio ben Romanesca per due soprani, clavicembalo e violoncello F. Rognoni da Taeggio (1550 – 1626) Vestiva i colli per violino e liuto C. Monteverdi dal VII e VIII libro dei Madrigali e da “L’incoronazione di Poppea” Quel sguardo sdegnosetto per soprano, clavicembalo e violoncello Pur ti miro per due soprani, liuto, violoncello e clavicembalo A. Vivaldi (1678 – 1741) Trio in Sol minore per flauto, oboe, fagotto I. Allegro ma cantabile II. Adagio III. Allegro non molto pausa J. S. Bach (1685 – 1750) dalla Cantata „Höchster Güte“ BWV 51 per soprano, clavicembalo e violoncello G. P. Telemann (1681 – 1767) Ouverture in Sol minore per cinque violini, viola, tre violoncelli, fagotto, tre oboi e clavicembalo Ouverture Rondeau Les Capricieuses J.