REQUIEM·AVE VERUM Mozart MISSA HYEMALIS Richter INSANÆ & VANÆ CURÆ Haydn 16 October 2008 Thursday at 7:30 Pm

Total Page：16

File Type：pdf, Size：1020Kb

REQUIEM·AVE VERUM Mozart MISSA HYEMALIS Richter INSANÆ & VANÆ CURÆ Haydn 16 october 2008 thursday at 7:30 pm The concert opens with Haydn’s motet, Insanae et Requiem Mass in D Minor, k. 626 vanae curae, a wonderful “storm chorus” of great Ave verum corpus, k. 618 dramatic impact, adapted towards the end of Wolfgang Amadeus Mozart Haydn’s life from his first oratorio, Il Ritorno di Tobia. Missa Hyemalis This is followed by the first modern perform- Franz Xaver Richter ance of the Missa in A by Franz Xaver Richter. Insanae et vanae curae Richter was a major contributor to the Mannheim Franz Joseph Haydn School of Composition, and worked as Kapellmeis- ter at the Strasbourg Cathedral from 1769-1789, a The Saint Thomas Choir of position most envied by Mozart. Franz Xaver Men and Boys with Richter probably wrote his Missa in A (one of his 34 Sinfonia New York settings of the Mass) with the nickname, Hyemalis John Scott, conductor (winter), between 1781 and 1783, during his tenure Laura Heimes, soprano at Strasbourg. Richter achieves a festive character Brenda Patterson, contralto with musical variety by means of a comparably Lawrence Wiliford, tenor modest ensemble. Sumner Thompson, bass Composed in the last year of his life, Mozart’s Ave verum corpus encompasses a universe of refined emotion and sublime intensity in its mere 46 meas- ures. In its serenity, it resembles parts of the Requiem Mass, Mozart’s final composition. The Requiem is one of his most powerful and well-known works, not only for its music, but also for the debate over how much of the music Mozart managed to com- plete before his death, and how much was later composed by his student Franz Xaver Süssmayr. The music captures Mozart’s special attitude towards mortality which is reflected in an oft-quoted letter he wrote to his father in 1787. In it, Mozart speaks of death as “the one true goal of our exis- tence…the best and truest friend of mankind . something very soothing and consoling.” The profoundly beautiful music of this Requiem was sung at Haydn’s funeral in 1809..

Copy Link

Recommended publications

VIVACE AUTUMN / WINTER 2016 Photo © Martin Kubica Photo
VIVACEAUTUMN / WINTER 2016 Classical music review in Supraphon recordings Photo archive PPC archive Photo Photo © Jan Houda Photo LUKÁŠ VASILEK SIMONA ŠATUROVÁ TOMÁŠ NETOPIL Borggreve © Marco Photo Photo © David Konečný Photo Photo © Petr Kurečka © Petr Photo MARKO IVANOVIĆ RADEK BABORÁK RICHARD NOVÁK CP archive Photo Photo © Lukáš Kadeřábek Photo JANA SEMERÁDOVÁ • MAREK ŠTRYNCL • ROMAN VÁLEK Photo © Martin Kubica Photo XENIA LÖFFLER 1 VIVACE AUTUMN / WINTER 2016 Photo © Martin Kubica Photo Dear friends, of Kabeláč, the second greatest 20th-century Czech symphonist, only When looking over the fruits of Supraphon’s autumn harvest, I can eclipsed by Martinů. The project represents the first large repayment observe that a number of them have a common denominator, one per- to the man, whose upright posture and unyielding nature made him taining to the autumn of life, maturity and reflections on life-long “inconvenient” during World War II and the Communist regime work. I would thus like to highlight a few of our albums, viewed from alike, a human who remained faithful to his principles even when it this very angle of vision. resulted in his works not being allowed to be performed, paying the This year, we have paid special attention to Bohuslav Martinů in price of existential uncertainty and imperilment. particular. Tomáš Netopil deserves merit for an exquisite and highly A totally different hindsight is afforded by the unique album acclaimed recording (the Sunday Times Album of the Week, for of J. S. Bach’s complete Brandenburg Concertos, which has been instance), featuring one of the composer’s final two operas, Ariane, released on CD for the very first time.
[Show full text]
Download Booklet
Classics Contemporaries of Mozart Collection COMPACT DISC ONE Franz Krommer (1759–1831) Symphony in D major, Op. 40* 28:03 1 I Adagio – Allegro vivace 9:27 2 II Adagio 7:23 3 III Allegretto 4:46 4 IV Allegro 6:22 Symphony in C minor, Op. 102* 29:26 5 I Largo – Allegro vivace 5:28 6 II Adagio 7:10 7 III Allegretto 7:03 8 IV Allegro 6:32 TT 57:38 COMPACT DISC TWO Carl Philipp Stamitz (1745–1801) Symphony in F major, Op. 24 No. 3 (F 5) 14:47 1 I Grave – Allegro assai 6:16 2 II Andante moderato – 4:05 3 III Allegretto/Allegro assai 4:23 Matthias Bamert 3 Symphony in G major, Op. 68 (B 156) 24:19 Symphony in C major, Op. 13/16 No. 5 (C 5) 16:33 5 I Allegro vivace assai 7:02 4 I Grave – Allegro assai 5:49 6 II Adagio 7:24 5 II Andante grazioso 6:07 7 III Menuetto e Trio 3:43 6 III Allegro 4:31 8 IV Rondo. Allegro 6:03 Symphony in G major, Op. 13/16 No. 4 (G 5) 13:35 Symphony in D minor (B 147) 22:45 7 I Presto 4:16 9 I Maestoso – Allegro con spirito quasi presto 8:21 8 II Andantino 5:15 10 II Adagio 4:40 9 III Prestissimo 3:58 11 III Menuetto e Trio. Allegretto 5:21 12 IV Rondo. Allegro 4:18 Symphony in D major ‘La Chasse’ (D 10) 16:19 TT 70:27 10 I Grave – Allegro 4:05 11 II Andante 6:04 12 III Allegro moderato – Presto 6:04 COMPACT DISC FOUR TT 61:35 Leopold Kozeluch (1747 –1818) 18:08 COMPACT DISC THREE Symphony in D major 1 I Adagio – Allegro 5:13 Ignace Joseph Pleyel (1757 – 1831) 2 II Poco adagio 5:07 3 III Menuetto e Trio.
[Show full text]
7619990104068.Pdf
Franz Xaver Richter Johann Stamitz Flute Concertos & Trios Jana Semerádová transverse flute Ensemble Castor Petra Samhaber-Eckhardt, Recording: 14-16 February 2019, Landesmusikschule, Ried (Austria) Monika Toth violin Recording producer, digital editing & mastering: Uwe Walter Executive producer: Michael Sawall Peter Aigner viola Layout & booklet editor: Joachim Berenbold Translation: Katie Stephens (English) Peter Trefflinger violoncello Cover picture: “Boy playing the flute“, Judith Leyster (early 1630s), Nationalmuseum Stockholm Barbara Fischer violone + © 2019 note 1 music gmbh, Heidelberg, Germany CD manufactured in The Netherlands Erich Traxler harpsichord Franz Xaver Richter (1709-1789) Franz Xaver Richter Flute Concerto in E minor Harpsichord Trio in D major for transverse flute, strings & b.c. for obbligato harpsichord, violin & cello 1 Allegro moderato 9:09 10 Allegretto 7:18 2 Andantino 7:33 11 Larghetto 6:49 3 Allegro, ma non troppo 4:15 12 Presto, ma non troppo 3:00 Trio Sonata Op. 4 No. 1 in B flat major Harpsichord Trio in G minor for 2 violins & b.c. for obbligato harpsichord, violin & cello 4 Allegro brillante 3:25 13 Andante 7:37 5 Poco andante gracioso 5:23 14 Larghetto - Un poco andante 4:39 6 Allegro 2:39 15 Allegro, ma non troppo 3:02 Johann Stamitz (1717-1757) Flute Concerto in G major for transverse flute, strings & b.c. 7 Allegro moderato 6:07 8 Adagio 4:53 9 Presto 4:01 Was haben die Medici, die gleichsam wohlha- ein beträchtliches Vermögen verfügen konnte. erkannte Karl Theodor das repräsentative Einer der Vorreiter des neuen musikalischen bende und einflussreiche Bankiersfamilie aus Einer Überlieferung zufolge soll Anna Maria Potential der Instrumentalmusik.
[Show full text]
FRIENDS a Munich Chamber Orchestra Hans Stadlmair, Conductor Andrea Griminelli, Flute CHAMBER Sunday, March 29, 1992, 3:00 P.M
FRIENDS a Munich Chamber Orchestra Hans Stadlmair, Conductor Andrea Griminelli, Flute CHAMBER Sunday, March 29, 1992, 3:00 p.m. Faye Spanos Concert Hall University of the Pacific MUSIC Stockton, California Program Divertimento in F major, K. 138 Wolfgang Amadeus Mozart Allegro Andante Presto Five Deutsche (German Dances) and Franz Schubert Seven Trios with Coda, D. 90 Capriccio for Solo Flute and 15 Strings Hans Stadlmair - Intermission - Adagio and Fugue in G minor Franz Xaver Richter Flute Concerto in G major, Op. 29 Carl Stamitz Allegro Andante non troppo moderato Rondo - Allegro ** * * * * ** * ** * * COLUMBIA ARTISTS MANAGEMENT, INC. Personal Direction: DAVID V. FOSTER Associate: Michael Mushalla 165 West 57th Street, New York, New York 10019 This concert is partially underwritten by a generous grant from the City ofStockton. Munich Chamber Orchestra The soloist is the prize-winning young 5 piano pieces, and twelve chamber Hans Stadlmair, Conductor Italian flutist Andrea Griminelli, who works, including a wind octet, a wind Violin I has studied under Jean-Pierre Rampal nonet, five string quartets and the Five Slobodan Fio, Concertmaster at the Paris Conservatory and John German Dances and Seven Trios ioizb Wladimir Astrachanzew, Assistant Galway. Coda, D. 90. As rapid writers as Bach, Concertmaster Griminelli, winner of the prestigious Handel and Haydn were, none of them Page Woodworth Prix de Paris award, will be heard in ever showed a feat of fecundity such as Bernhard Jestl one of Hans Stadlmair's own works, this. Indeed, having died at age 31, his Romauld Kozik the Capriccio for Solo Flute and 15 short creative period of eighteen years produced over one thousand works.
[Show full text]
Volume 35, Number 05 (May 1917) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 5-1-1917 Volume 35, Number 05 (May 1917) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 35, Number 05 (May 1917)." , (1917). https://digitalcommons.gardner-webb.edu/etude/635 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. SYMPHONY NUMBER THE ETUDE PRESSERS MUSICAL MAGAZINE MAY, 1917 FIRST PERFORMANCE IN AMERICA OF GUSTAV MAHLER’S EIGHTH SYMPHONY PHILADELPHIA ORCHESTRA _ PRICE 15 CENTS $1.50 AYEAR THE ETUDE Page 2S9 MAY 1917 Men at the Heights in Almost Evervj Life Vocation Have Climbed There on Home Made Ladders of Opportunity Music boasts its WAGNER, statecraft its LINCOLN, invention its EDISON, literature its SHAKESPEARE, art its MICHAELANGELO, finance and manufacture its ROCKEFELLERS, CARNEGIES, SCHWABS—all supermen wbo owe tbeir greatness not to colleges and universities, but to books and life. Rich and poor, young and old, worker and dreamer, The college merely starts a man. everybody can find help in these wonderful books, because The conservatory merely starts a woman.
[Show full text]
The Birth of the String Quartet
The Original Fab Four: The Birth of the String Quartet Welcome everyone. I’m Bob Greenberg, Music Historian-in-Residence for San Francisco Perfor- mances, and the title of this BobCast is The Original Fab Four: The Birth of the String Quartet.. Let us consider ensembles, and no, I’m not talking about smartly matching clothes and hand- bags but musical ensembles. When we think about vocal ensembles—I don’t know about you, but such thoughts occupy a really disproportionate amount of my waking day—we generally think in groups of four. For example, the basic and time-honored distribution of mixed-voice ensembles into soprano, alto, tenor and bass. Barbershop quartets and Gospel quartets. Such household name vocal groups as the Carter Sisters, the Chordettes, the Oak Ridge Boys, the Four Freshman, the Four Seasons, the Four Tops, the Mills Brothers, the Mamas and the Papas, Manhattan Transfer, and the Weavers; vocal quartets all. Why this prevalence of musical foursomes? And it’s not just vocal ensembles. The most com- mon configuration for a rock ‘n’ roll band or pop group is likewise a quartet, from the “Fab Four” (the Beatles), to Metallica, to the Who, Red Hot Chili Peppers, Led Zeppelin, Queen, the Doors, Pink Floyd, Dire Straits, Kiss, the Talking Heads, and Creedence Clearwater Revival. (Good god; I almost forgot to include Weezer and Megadeath.) In the world of so-called concert music, the string quartet has been the pre-eminent genre of chamber music for 250 years. Put simply, no other specific grouping of instruments has shown such longevity; and no other particular grouping of instruments has been lavished with such an extraordinary repertoire.
[Show full text]
Programme, Programme Concept and Programme Notes © Simon Murphy, 2014
Programme, Programme Concept and Programme Notes © Simon Murphy, 2014 Simon Murphy, Strasbourg Philharmonic Orchestra Concert Programme, Strasbourg, December 2014 Programme Title: Birth of the Symphony or “Grand Tour Symphonique” Simon Murphy conductor Gudrun Sidonie Otto soprano Strasbourg Philharmonic Orchestra A personal welcome from conductor Simon Murphy It is a great pleasure and honour to perform this special, hand-crafted programme for you, here this evening. Taking us on a musical journey visiting some of the glittering 18th century European symphonic centres, the programmes celebrates some specific, distinctive European regional flavours as well as the very special European version of cosmopolitanism which enabled the inspiring, energising cultural exchange which resulted in the creation of such mind-blowing, European cultural phenomena as the symphony and the symphony orchestra. The programme focuses on the period of the “birth of the symphony” and on the enormous energy and vision of this generation of composers which created this expressive medium and musical language in the mid-18th century. In particular, the programme honours the symphonic pioneer Franz Xaver Richter, underlining his special place in the cultural heritage of Strasbourg and the Alsace. Together with fellow Bohemian, Johann Stamitz, Richter was a trail-blazer, a major generator in the process of the creation of the symphony and the symphony orchestra. A central figure at the Mannheim court, Richter's ground-breaking musical impulses gave the new medium of the symphony form and face. After several decades at Mannheim, he became master of music at Strasbourg's Cathedral, preceding Pleyel in the role. Opening the programme this evening is Richter's Symphony in D.
[Show full text]
Strasbourg, 26Th Oct., Mon Trés Cher Pére!1 1778. I Am Still Here, As You
0503. MOZART TO HIS FATHER, SALZBURG Strasbourg, 26th Oct., Mon Trés cher Pére!1 1778. I am still here, as you see, in fact on the advice of the esteemed Herr Franck2 and other Strasburg heroes – but tomorrow I will set off; – [5] in the last letter,3 which you have hopefully received safely, I wrote4 to you saying that I would give something approximating to a little model of a concert on Saturday the 17th, because giving concerts here is even worse than in Salzburg; that is of course now past; – I played entirely alone – took no musicians with me at all so that I would on no account make a loss – [10] in short, my takings were all of 3 louis d'or;5 – the main part however consisted of the cries of Bravo and Bravissimo which winged their way to me from all sides – and Prince Max von Zweybrücken,6 no less, also honoured the room with his presence – I need not tell you that all were satisfied; – thereafter I wanted to leave at once, but I was advised I should stay on until the next Saturday7 [15] and give a grand concert in the theatre; – then I had the same takings, to the astonishment and vexation and shame of all Strasburgers; the Directeur, M:sr Villeneuve,8 cursed over the inhabitants of this truly abominable town in a truly stylish manner; – I would of course have earned a little more, but the expenses of the musicians |: who are very bad, but ask to be paid very well :|, [20] the lighting, guards, printing, the crowd of people at the entrances etc.
[Show full text]
Hat Franz Xaver Richter Das Streichquartett Erfunden? Überlegungen Zum 300
Archiv für Musikwissenschaft 66. Jahrgang · 2009 herausgegeben von Albrecht Riethmüller Franz Steiner Verlag in Verbindung mit Reinhold Brinkmann, Ludwig Finscher, Hans-Joachim Hinrichsen, Birgit Lodes, Wolfram Steinbeck Inhalt des 66. Jahrgangs Michael Custodis, Theodor W. Adorno und Joseph Müller-Blattau: Strategische Partnerschaft 185 Marän Gimm, Eine Episode im Leben von Franz Liszt: Die Familie Hans Conon von der Gabelentz in Aitenburg 321 Peter Gülke, „Neu instrumentirt u zusammengezogen"- wo und welche ist Bruckners Vierte Symphonie? 343 Helmut Hell, Es existiert kein Musikautograph von Arcangelo Corelli 261 Gregor Herzfeld, Historisches Bewusstsein in Morton Feldmans Unterrichtsskizzen 218 Made Louise Herzfeld-Schild, Serialismus aus Tradition. Milton Babbitts Schönberg-Rezeption 69 Andreas Jacob, Der Gestus des Improvisatorischen und der Schein der Freiheit 1 Nors S. Josephson, Janäcek's Intimate Letters (Listy düv£rne). Erotic Biography and Creative Genesis 155 Daniel Jütte, Juden als Virtuosen. Eine Studie zur Sozialgeschichte der Musik sowie zur Wirkmächtigkeit einer Denkfigur des 19. Jahrhunderts 127 Jin-Ah Kim, Zur Korrelation von Musikkonzept und Person bei G. Ph. Telemann im Vergleich zu J. S. Bach 272 Helmut Kirchmeyer, Stockhausens Elektronische Messe nebst einem Vorspann unveröffentlichter Briefe aus seiner Pariser Zeit an Herbert Eimert 234 Klaus Pietschmann, Zeit und Ewigkeit. Zum liturgischen Kontext der Gradual- und Alleluia-Gesänge im Magnus Liber Organi 54 Markus Rathey, Carl Philipp Emanuel Bachs Donnerode. Zur politischen Funktion des »Erhabenen* in der zweiten Hälfte des 18. Jahrhunderts 286 IvanaRentsch, Musik als leidenschaftlicher Augenblick. Jean-Jacques Rousseau, das ,Ballet en action' und die Ästhetik des frühen Melodramas 93 Hartmut Schick, Hat Franz Xaver Richter das Streichquartett erfunden? Überlegungen zum 300.
[Show full text]
Florida State University Libraries
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2018 The Influences of Mannheim Style in W.A. Mozart's Concerto for Oboe, K. 314 (285D) and Jacques-Christian-Michel Widerkehr's Duo Sonata for Oboe and Piano Scott D. Erickson Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE INFLUENCES OF MANNHEIM STYLE IN W.A. MOZART’S CONCERTO FOR OBOE, K. 314 (285D) AND JACQUES-CHRISTIAN-MICHEL WIDERKEHR’S DUO SONATA FOR OBOE AND PIANO By SCOTT D. ERICKSON A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music 2018 Scott Erickson defended this treatise on March 5, 2018. The members of the supervisory committee were: Eric Ohlsson Professor Directing Treatise Richard Clary University Representative Jeffery Keesecker Committee Member Deborah Bish Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS I am forever grateful to everyone who has helped me along this journey. I am particularly indebted to Dr. Eric Ohlsson, whose passion for teaching and performing has changed the course of my life and career. I am thankful for the immeasurable academic guidance and musical instruction I have received from my supervisory committee: Dr. Deborah Bish, Professor Jeffrey Keesecker, and Professor Richard Clary. Finally, I would never have fulfilled this dream without the constant support and encouragement from my wonderful family.
[Show full text]
Bernard Labadie, Conductor Jan Lisiecki, Piano
Pittsburgh Symphony Orchestra 2017-2018 Mellon Grand Classics Season April 6 and 8, 2018 BERNARD LABADIE, CONDUCTOR JAN LISIECKI, PIANO HENRI-JOSEPH RIGEL Symphony in C minor, Opus 12, No. 4 I. Allegro assai II. Largo non troppo III. Allegro spiritoso LUDWIG VAN BEETHOVEN Concerto No. 1 in C major for Piano and Orchestra, Opus 15 I. Allegro con brio II. Largo III. Rondo: Allegro scherzando Mr. Lisiecki Intermission FRANZ JOSEPH HAYDN Symphony No. 98 in B-flat major I. Adagio — Allegro II. Adagio III. Menuet: Allegro IV. Finale: Presto April 6-8, 2018, page 1 PROGRAM NOTES BY DR. RICHARD E. RODDA HENRI-JOSEPH RIGEL Symphony in C minor, Opus 12, No. 4 (pub. 1774) Henri-Joseph Rigel was born in Wertheim am Main, Germany on February 9, 1741, and died in Paris on May 2, 1799. He composed his Symphony in C minor, Opus 12, No. 4 in 1774, and it was premiered in Paris with Rigel conducting sometime that year. These performances mark the PSO premiere of the symphony, as well as the first performances of any composition by Henri-Joseph Rigel. The score calls for two oboes, bassoon, two horns and strings. Performance time: approximately 15 minutes London, Vienna and Paris were the centers of the orchestral world in the late 18th century. There had long been a tradition of music-making in churches, theaters and noble enclaves, but the first public concert-giving series was begun in London in 1672 by composer and violinist John Bannister (who had apparently been fired from the royal employ when he made impertinent remarks about the French musicians King Charles II favored).
[Show full text]
The Mannheim Rocket Program Book
Rocket Mannheim 2019 Concerts New Constellations Mendelssohn Octet Brahms Serenade Jakob Lehmann | Guest Director SYDNEY The Hills Grammar School Friday 16 August | 6.30pm NEWCASTLE Newcastle Music Festival Saturday 17 August | 7.00pm SYDNEY City Recital Hall Sunday 18 August | 3.00pm MELBOURNE Melbourne Recital Centre Thursday 22 August | 7.30pm SATURDAY 11 MAY | 4.00 PM Voyage of Musical RJ Phipps Performance Centre Discovery with The Hills Grammar School The Idea of North SUNDAY 12 MAY | 3.00 PM Dynamics & Expressive City Recital Hall | Sydney Techniques MONDAY 19 AUGUST | 6.30PM Voyage of Musical Discovery City Recital Hall, Sydney TUESDAY 14 MAY | 6.30 PM City Recital Hall | Sydney arco.org.au “With the rapturous response the finale received from the audience, the Australian Romantic & Classical Orchestra’s year is off to an exciting start.” Limelight Magazine, March 2019 In Celebration Mannheim Rocket | Saturday 11 and Sunday 12 May A program to transport you back to the explosive birth of the modern symphonic style of Mannheim in the late-18th century. The cutting-edge orchestral sinfonias of Stamitz and Richter were simultaneously energetic and sensuous, and were a significant influence on the young Mozart, who was later at the epicentre of the Classical Viennese style. His fifth violin concerto – nicknamed the Turkish and performed by soloist Rachael Beesley – inhabits a hazy world of love and intrigue, and the finale of Mozart’s Symphony No.40 contains the most famous ascending musical rocket of all. Voyage of Musical Discovery | Tuesday 14 May The orchestra shares the stage with Jane Rutter and her Third Culture World Music Ensemble.
[Show full text]