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Richard Strauss's Ariadne Auf Naxos
Richard Strauss’s Ariadne auf Naxos - A survey of the major recordings by Ralph Moore Ariadne auf Naxos is less frequently encountered on stage than Der Rosenkavalier or Salome, but it is something of favourite among those who fancy themselves connoisseurs, insofar as its plot revolves around a conceit typical of Hofmannsthal’s libretti, whereby two worlds clash: the merits of populist entertainment, personified by characters from the burlesque Commedia dell’arte tradition enacting Viennese operetta, are uneasily juxtaposed with the claims of high art to elevate and refine the observer as embodied in the opera seria to be performed by another company of singers, its plot derived from classical myth. The tale of Ariadne’s desertion by Theseus is performed in the second half of the evening and is in effect an opera within an opera. The fun starts when the major-domo conveys the instructions from “the richest man in Vienna” that in order to save time and avoid delaying the fireworks, both entertainments must be performed simultaneously. Both genres are parodied and a further contrast is made between Zerbinetta’s pragmatic attitude towards love and life and Ariadne’s morbid, death-oriented idealism – “Todgeweihtes Herz!”, Tristan und Isolde-style. Strauss’ scoring is interesting and innovative; the orchestra numbers only forty or so players: strings and brass are reduced to chamber-music scale and the orchestration heavily weighted towards woodwind and percussion, with the result that it is far less grand and Romantic in scale than is usual in Strauss and a peculiarly spare ad spiky mood frequently prevails. -
With a Rich History Steeped in Tradition, the Courage to Stand Apart and An
With a rich history steeped in tradition, the courage to stand apart and an enduring joy of discovery, the Wiener Symphoniker are the beating heart of the metropolis of classical music, Vienna. For 120 years, the orchestra has shaped the special sound of its native city, forging a link between past, present and future like no other. In Andrés Orozco-Estrada - for several years now an adopted Viennese - the orchestra has found a Chief Conductor to lead this skilful ensemble forward from the 20-21 season onward, and at the same time revisit its musical roots. That the Wiener Symphoniker were formed in 1900 of all years is no coincidence. The fresh wind of Viennese Modernism swirled around this new orchestra, which confronted the challenges of the 20th century with confidence and vision. This initially included the assured command of the city's musical past: they were the first orchestra to present all of Beethoven's symphonies in the Austrian capital as one cycle. The humanist and forward-looking legacy of Beethoven and Viennese Romanticism seems tailor-made for the Symphoniker, who are justly leaders in this repertoire to this day. That pioneering spirit, however, is also evident in the fact that within a very short time the Wiener Symphoniker rose to become one of the most important European orchestras for the premiering of new works. They have given the world premieres of many milestones of music history, such as Anton Bruckner's Ninth Symphony, Arnold Schönberg's Gurre-Lieder, Maurice Ravel's Piano Concerto for the Left Hand and Franz Schmidt's The Book of the Seven Seals - concerts that opened a door onto completely new worlds of sound and made these accessible to the greater masses. -
Dec 21 to 27.Txt
CLASSIC CHOICES PLAYLIST Dec. 21 - 27, 2020 PLAY DATE: Mon, 12/21/2020 6:02 AM Antonio Vivaldi Concerto, Op. 3, No. 10 6:12 AM TRADITIONAL Gabriel's Message (Basque carol) 6:17 AM Francisco Javier Moreno Symphony 6:29 AM Heinrich Ignaz Franz Biber Sonata No.4 6:42 AM Johann Christian Bach Sinfonia Concertante for Violin, Cello 7:02 AM Various In dulci jubilo/Wexford Carol/N'ia gaire 7:12 AM Wolfgang Amadeus Mozart Piano Sonata No. 7 7:30 AM Georg Philipp Telemann Concerto for Trumpet and Violin 7:43 AM Franz Joseph Haydn Concerto 8:02 AM Henri Dumont Magnificat 8:15 AM Johann ChristophFriedrich Bach Oboe Sonata 8:33 AM Franz Krommer Concerto for 2 Clarinets 9:05 AM Joaquin Turina Sinfonia Sevillana 9:27 AM Philippe Gaubert Three Watercolors for Flute, Cello and 9:44 AM Ralph Vaughan Williams Fantasia on Christmas Carols 10:00 AM Wolfgang Amadeus Mozart Prelude & Fugue after Bach in d, 10:07 AM Wolfgang Amadeus Mozart Piano Sonata No. 9 10:25 AM Wolfgang Amadeus Mozart Symphony No. 29 10:50 AM Wolfgang Amadeus Mozart Prelude (Fantasy) and Fugue 11:01 AM Mily Balakirev Symphony No. 2 11:39 AM Georg Philipp Telemann Overture (suite) for 3 oboes, bsn, 2vns, 12:00 PM THE CHRISTMAS REVELS: IN CELEBRATION OF THE WINTER SOLSTICE 1:00 PM Richard Strauss Oboe Concerto 1:26 PM Ludwig Van Beethoven String Quartet No. 9 2:00 PM James Pierpont Jingle Bells 2:07 PM Julius Chajes Piano Trio 2:28 PM Francois Devienne Symphonie Concertante for flute, 2:50 PM Antonio Vivaldi Concerto, "Il Riposo--Per Il Natale" 3:03 PM Zdenek Fibich Symphony No. -
Bach Festival the First Collegiate Bach Festival in the Nation
Bach Festival The First Collegiate Bach Festival in the Nation ANNOTATED PROGRAM APRIL 1921, 2013 THE 2013 BACH FESTIVAL IS MADE POSSIBLE BY: e Adrianne and Robert Andrews Bach Festival Fund in honor of Amelia & Elias Fadil DEDICATION ELINORE LOUISE BARBER 1919-2013 e Eighty-rst Annual Bach Festival is respectfully dedicated to Elinore Barber, Director of the Riemenschneider Bach Institute from 1969-1998 and Editor of the journal BACH—both of which she helped to found. She served from 1969-1984 as Professor of Music History and Literature at what was then called Baldwin-Wallace College and as head of that department from 1980-1984. Before coming to Baldwin Wallace she was from 1944-1969 a Professor of Music at Hastings College, Coordinator of the Hastings College-wide Honors Program, and Curator of the Rinderspacher Rare Score and Instrument Collection located at that institution. Dr. Barber held a Ph.D. degree in Musicology from the University of Michigan. She also completed a Master’s degree at the Eastman School of Music and received a Bachelor’s degree with High Honors in Music and English Literature from Kansas Wesleyan University in 1941. In the fall of 1951 and again during the summer of 1954, she studied Bach’s works as a guest in the home of Dr. Albert Schweitzer. Since 1978, her Schweitzer research brought Dr. Barber to the Schweitzer House archives (Gunsbach, France) many times. In 1953 the collection of Dr. Albert Riemenschneider was donated to the University by his wife, Selma. Sixteen years later, Dr. Warren Scharf, then director of the Conservatory, and Dr. -
Newsletter 2-2009
Newsletter 2 / 2009 Bock’s Music Shop Glasauergasse 14/3 1130 Wien (Europe) Tel.- u. Fax: (+43-1)877-89-58 e-mail: [email protected] website: www.bocksmusicshop.at Liebe Musik- und Buchfreunde! In dieser Ausgabe finden Sie folgende Themen: • 80. Geburtstag des Kammersängers Kurt Equiluz • Die erste Produktion unseres neu gegründeten CD-Labels Bock Productions • Die CDs des Monats aus den Bereichen JAZZ und KLASSIK. • Aktuelle CD- und DVD-Veröffentlichungen • Buch-Neuerscheinungen Kurt Equiluz – Tenor und Musiker Zum 80. Geburtstag (geb. 13. Juni 1929) Foto: Kurt Equiluz Copyright: D. Bock Selbstporträt Kurt Equiluz Ich wurde am 13. Juni 1929 in Wien geboren. Schon in frühen Jahren kündigte sich eine musikalische Begabung an. Als ich im Alter von zehn Jahren zu den Wiener Sängerknaben kam und dort bald auch solistische Aufgaben zu bewältigen hatte, war mein Weg für die Zukunft vor- programmiert. 1944 begann ich außerdem mit dem Studium der Harfe und der Musiktheorie an der Staatsakademie in Wien, 1946 kam das Gesangsstudium dazu, das ich bei Kammersänger Adolf Vogel absolvierte. Noch während des Studiums trat ich 1945 in den Akademie-Kammerchor unter der Leitung von Prof. Ferdinand Grossmann ein, der schon zuvor während meiner Knabenzeit künstlerischer Leiter der Wiener Sängerknaben war. BOCK'S MUSIC SHOP Seite 1 Newsletter 2 / 2009 1950 wurde ich an die Wiener Staatsoper engagiert, an der ich bis 1983 Ensemblemitglied gewesen bin. Dort feierte ich vor allem als Interpret der Tenor-Bufforollen große Erfolge; als Don Curzio in ‚Figaros Hochzeit‘ war ich allein 154mal, als Scaramuccio in ‚Ariadne auf Naxos‘ 123mal zu sehen. Obendrein gab ich den Balthasar Zorn in den ‚Meistersingern‘, den Spoletta in der ‚Tosca‘, den Monostatos in der ‚Zauberflöte‘ oder den Rossillon in der ‚Lus- tigen Witwe‘. -
Franz Schmidt
Franz Schmidt (1874 – 1939) was born in Pressburg, now Bratislava, a citizen of the Austro- Hungarian Empire and died in Vienna, a citizen of the Nazi Reich by virtue of Hitler's Anschluss which had then recently annexed Austria into the gathering darkness closing over Europe. Schmidt's father was of mixed Austrian-Hungarian background; his mother entirely Hungarian; his upbringing and schooling thoroughly in the prevailing German-Austrian culture of the day. In 1888 the Schmidt family moved to Vienna, where Franz enrolled in the Conservatory to study composition with Robert Fuchs, cello with Ferdinand Hellmesberger and music theory with Anton Bruckner. He graduated "with excellence" in 1896, the year of Bruckner's death. His career blossomed as a teacher of cello, piano and composition at the Conservatory, later renamed the Imperial Academy. As a composer, Schmidt may be seen as one of the last of the major musical figures in the long line of Austro-German composers, from Haydn, Beethoven, Schubert, Brahms, Bruckner and Mahler. His four symphonies and his final, great masterwork, the oratorio Das Buch mit sieben Siegeln (The Book with Seven Seals) are rightly seen as the summation of his creative work and a "crown jewel" of the Viennese symphonic tradition. Das Buch occupied Schmidt during the last years of his life, from 1935 to 1937, a time during which he also suffered from cancer – the disease that would eventually take his life. In it he sets selected passages from the last book of the New Testament, the Book of Revelation, tied together with an original narrative text. -
570034Bk Hasse 23/8/10 5:34 PM Page 4
572118bk Schmidt4:570034bk Hasse 23/8/10 5:34 PM Page 4 Vassily Sinaisky Vassily Sinaisky’s international career was launched in 1973 when he won the Gold Franz Medal at the prestigious Karajan Competition in Berlin. His early work as Assistant to the legendary Kondrashin at the Moscow Philharmonic, and his study with Ilya Musin at the Leningrad Conservatory provided him with an incomparable grounding. SCHMIDT He has been professor in conducting at the Music Conservatory in St Petersburg for the past thirty years. Sinaisky was Music Director and Principal Conductor of the Photo: Jesper Lindgren Moscow Philharmonic from 1991 to 1996. He has also held the posts of Chief Symphony No. 4 Conductor of the Latvian Symphony and Principal Guest Conductor of the Netherlands Philharmonic Orchestra. He was appointed Music Director and Principal Variations on a Hussar’s Song Conductor of the Russian State Orchestra (formerly Svetlanov’s USSR State Symphony Orchestra), a position which he held until 2002. He is Chief Guest Conductor of the BBC Philharmonic and is a regular and popular visitor to the BBC Malmö Symphony Orchestra Proms each summer. In January 2007 Sinaisky took over as Principal Conductor of the Malmö Symphony Orchestra in Sweden. His appointment forms part of an ambitious new development plan for Vassily Sinaisky the orchestra which has already resulted in hugely successful projects both in Sweden and further afield. In September 2009 he was appointed a ‘permanent conductor’ at the Bolshoi in Moscow (a position shared with four other conductors). Malmö Symphony Orchestra The Malmö Symphony Orchestra (MSO) consists of a hundred highly talented musicians who demonstrate their skills in a wide range of concerts. -
Staged Treasures
Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio -
Robin Fisher, DMA Soprano
Robin Fisher, DMA Soprano 730 Whitehall Way Sacramento, California 95864 Phone & FAX: 916 / 971-9607 Email: [email protected] EDUCATION The University of Texas at Austin: Austin, Texas (08/98-08/01) . Doctor of Musical Arts (August 2001) GPA = 4.0 . Areas of Specialization: Vocal Performance, Vocal Pedagogy . Treatise: “The Writings and Art Songs of John Duke: 1917-1945” Vienna State Academy for Music & the Performing Arts: Vienna, Austria (9/86-1/90) . Diplom (January 1990) . Areas of Specialization: Vocal Performance, Art Song, Opera, Diction Hamburg State Academy of Music & the Performing Arts: Germany (9/83-7/86) . Areas of Study: Vocal Performance, Movement, Diction, Vocal Pedagogy Hamburg State University: Hamburg, Germany (9/83-7/85) . Areas of Study: Modern German History, Political Science . Research Paper: “Mitbestimmung and the German Labor Movement of the 1950s” Smith College: Northampton, Massachusetts (9/81-5/83) . Bachelor of Arts cum laude . Areas of Study: German Literature, European History . Phi Beta Kappa, Outstanding German Student San José State University: San Jose, California (9/79-6/81) . Major: Music (Vocal Performance) . Outstanding Fine Arts Student, 1981 TEACHING Assistant Professor of Voice: California State University, Sacramento (present) . Graduate & Undergraduate Applied Voice (MM, BM, BA) . Class Voice Assistant Professor of Voice, tenured: Baylor University, Waco, Texas (1995-2002) . Graduate & Undergraduate Applied Voice (MM, BM, BME, BA) . German, Italian, and English Diction Lecturer of Vocal -
Berliner Philharmoniker Kirill Petrenko Beethoven Tchaikovsky Schmidt Stephan
BERLINER PHILHARMONIKER KIRILL PETRENKO BEETHOVEN TCHAIKOVSKY SCHMIDT STEPHAN 1 2 3 Inhalt · Contents Kirill Petrenko Zu dieser Edition · About the edition 6 Ludwig van Beethoven Symphonie Nr. 7 · Symphony No. 7 10 Symphonie Nr. 9 · Symphony No. 9 12 Gesangstext · Sung text 14 Peter Tschaikowsky Symphonie Nr. 5 · Symphony No. 5 18 Symphonie Nr. 6 · Symphony No. 6 20 Franz Schmidt Symphonie Nr. 4 · Symphony No. 4 22 Rudi Stephan Musik für Orchester · Music for Orchestra 24 »Finis coronat opus«? Alles andere als endgültige Bemerkungen zum Finalproblem in der Symphonie 29 “Finis coronat opus”? Far from final remarks on the symphony’s finale problem 41 Die extremste Form des Musikalischen Eine soziologische Perspektive auf die Symphonie 53 Music in Its Most Extreme Form A sociological perspective on the symphony 63 Berliner Philharmoniker Mitglieder · Members 74 Rosemarie Trockel Über die Künstlerin · About the artist 76 Credits 78 Zu dieser Edition Diese Edition ist so etwas wie eine klingende Moment- sie anfängt und aufhört, hat Schmidt als »die letzte aufnahme der beginnenden Zusammenarbeit zwischen Musik, die man ins Jenseits mitnimmt« beschrieben. Ich von Kirill Petrenko den Berliner Philharmonikern und mir, gleichsam die wollte sie dem Orchester, das dieses Werk jahrzehnte- Initialzündung unserer Gemeinschaft. lang nicht gespielt hatte, und dem Berliner Publikum so bald wie möglich bekannt machen, und ich freue mich, Die Sechste Symphonie von Peter Tschaikowsky haben dass dank dieser Ausgabe noch weitere musikliebende wir im ersten Konzert nach meiner Ernennung aufgeführt. Kreise mit ihr in Berührung kommen. Das war ein Moment, auf den wir mit großer Nervosität und beinahe berstender Spannung hingearbeitet haben, Auch den Komponisten Rudi Stephan halte ich für sehr und etwas von dieser Spannung spürt man noch in bedeutend und bei weitem nicht genug bekannt und diesem Mitschnitt: wie eine Energiequelle, die bis heute gewürdigt. -
Franz Schmidt (Geb
Franz Schmidt (geb. Preßburg/Bratislava, 22. Dezember 1874 - gest. Perchtoldsdorf, 11. Februar 1939) II. Streich-Quartett, G-dur (1929) I Molto tranquillo II Adagio III Scherzo. Allegro vivace IV Allegro Vorwort Franz Schmidt hat sein II. Streich-Quartett, G-dur 1929 in Perchtoldsdorf bei Wien geschrieben. Widmungsträger ist Arnold Rosé (1863-1946), der berühmte Violinist, der mit seinem Rosé-Quartett das Werk am 22. März 1930 in Wien zur Urauffühurng brachte. Was eigentlich dabei geschah, weiß man dank einer nicht gerade unbefangen-objektiven Kritik des Abends aus der Feder Julius Korngolds: „Rosé wollte zeigen, daß das vorgeschützte Bedürfnis nach zeitgenössischen Novitäten, zumal in der Kammermusik, bei der nicht Szene, nicht Kinobild nachhelfen und die nun einmal ein ernstmusikalisches Publikum hat, nur ein Parteibedürfnis sei“ – und habe daher Freikarten und Gesichtsentrees untersagt. Das Resultat war ein „gähnend leerer Saal“ in dem „jeder Erschienene sich in Beifall zu verzehnfachen wünschte, um den Künstler zu entschädigen.“ Das mag wohl alles stimmen; immerhin ist es merkwürdig, dass Rosé, der für seine Parteinahme für schwierige oder umstrittene Werke, die er für wertvoll hielt, überall bekannt war, kein zweites Mal das Werk aufs Programm setzte. Es war der Verdienst eines zweiten Wiener Ensembles, des Sedlak-Winkler-Quartetts, dessen wiederholte Aufführungen dafür sorgten, dass sich das Wiener Publikum allmählich mit Schmidts neuem Quartett anfreundete. Denn Schmidts II. Streich-Quartett gehört keineswegs zu den unmittelbar -
The Historical Figures of the Birthday Cantatas of Johann Sebastian Bach
Southern Illinois University Carbondale OpenSIUC Theses Theses and Dissertations 5-15-2010 The iH storical Figures of the Birthday Cantatas of Johann Sebastian Bach Marva J. Watson Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/theses Recommended Citation Watson, Marva J., "The iH storical Figures of the Birthday Cantatas of Johann Sebastian Bach" (2010). Theses. Paper 157. This Open Access Thesis is brought to you for free and open access by the Theses and Dissertations at OpenSIUC. It has been accepted for inclusion in Theses by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. THE HISTORICAL FIGURES OF THE BIRTHDAY CANTATAS OF JOHANN SEBASTIAN BACH by Marva Jean Watson B.M., Southern Illinois University, 1980 A Thesis Submitted in Partial Fulfillment of the Requirements for the Master of Music Degree School of Music in the Graduate School Southern Illinois University Carbondale May 2010 THESIS APPROVAL THE HISTORICAL FIGURES OF THE BIRTHDAY CANTATAS OF JOHANN SEBASTIAN BACH By Marva Jean Watson A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music in the field of Music History and Literature Approved by: Dr. Melissa Mackey, Chair Dr. Pamela Stover Dr. Douglas Worthen Graduate School Southern Illinois University Carbondale April 2, 2010 AN ABSTRACT OF THE THESIS OF MARVA JEAN WATSON, for the Master of Music degree in Music History and Literature, presented on 2 April 2010, at Southern Illinois University Carbondale. TITLE: THE HISTORICAL FIGURES OF THE BIRTHDAY CANTATAS OF JOHANN SEBASTIAN BACH MAJOR PROFESSOR: Dr.