The Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
ARSC Journal, Spring 1992 69 Sound Recording Reviews
SOUND RECORDING REVIEWS Chicago Symphony Orchestra: The First Hundred Years CS090/12 (12 CDs: monaural, stereo; ADD)1 Available only from the Chicago Symphony Orchestra, 220 S. Michigan Ave, Chicago, IL, for $175 plus $5 shipping and handling. The Centennial Collection-Chicago Symphony Orchestra RCA-Victor Gold Seal, GD 600206 (3 CDs; monaural, stereo, ADD and DDD). (total time 3:36:3l2). A "musical trivia" question: "Which American symphony orchestra was the first to record under its own name and conductor?" You will find the answer at the beginning of the 12-CD collection, The Chicago Symphony Orchestra: The First 100 Years, issued by the Chicago Symphony Orchestra (CSO). The date was May 1, 1916, and the conductor was Frederick Stock. 3 This is part of the orchestra's celebration of the hundredth anniversary of its founding by Theodore Thomas in 1891. Thomas is represented here, not as a conductor (he died in 1904) but as the arranger of Wagner's Triiume. But all of the other conductors and music directors are represented, as well as many guests. With one exception, the 3-CD set, The Centennial Collection: Chicago Symphony Orchestra, from RCA-Victor is drawn from the recordings that the Chicago Symphony made for that company. All were released previously, in various formats-mono and stereo, 78 rpm, 45 rpm, LPs, tapes, and CDs-as the technologies evolved. Although the present digital processing varies according to source, the sound is generally clear; the Reiner material is comparable to RCA-Victor's on-going reissues on CD of the legendary recordings produced by Richard Mohr. -
Benjamin Grosvenor, Piano
BENJAMIN GROSVENOR, PIANO a formidable technician and a thoughtful, coolly assured interpreter - Allan Kozinn, New York Times, ...a skill and talent not heard since Kissins teenage Russian debut - Bryce Morrison, Gramophone Magazine British pianist Benjamin Grosvenor is internationally recognized for his electrifying performances and penetrating interpretations. An exquisite technique and ingenious flair for tonal colour are the hallmarks which make Benjamin Grosvenor one of the most sought-after young pianists in the world. His virtuosic command over the most strenuous technical complexities never compromises the formidable depth and intelligence of his interpretations. Described by some as a Golden Age pianist (American Record Guide) and one almost from another age (The Times), Benjamin is renowned for his distinctive sound, described as poetic and gently ironic, brilliant yet clear-minded, intelligent but not without humour, all translated through a beautifully clear and singing touch (The Independent). Benjamin first came to prominence as the outstanding winner of the Keyboard Final of the 2004 BBC Young Musician Competition at the age of eleven. Since then, he has become an internationally regarded pianist performing with orchestras including the London Philharmonic, RAI Torino, New York Philharmonic, Philharmonia, Tokyo Symphony, and in venues such as the Royal Festival Hall, Barbican Centre, Singapores Victoria Hall, The Frick Collection and Carnegie Hall (at the age of thirteen). Benjamin has worked with numerous esteemed conductors including Vladimir Ashkenazy, Jií Blohlávek, Semyon Bychkov and Vladimir Jurowski. At just nineteen, Benjamin performed with the BBC Symphony Orchestra on the First Night of the 2011 BBC Proms to a sold-out Royal Albert Hall. -
Spring/Summer 2016
News for Friends of Leonard Bernstein Spring/Summer 2016 High-brow, Low-brow, All-brow Bernstein, Gershwin, Ellington, and the Richness of American Music © VICTOR © VICTOR KRAFT by Michael Barrett uch of my professional life has been spent on convincing music lovers Mthat categorizing music as “classical” or “popular” is a fool’s errand. I’m not surprised that people s t i l l c l i n g t o t h e s e d i v i s i o n s . S o m e w h o love classical masterpieces may need to feel reassured by their sophistication, looking down on popular culture as dis- posable and inferior. Meanwhile, pop music fans can dismiss classical music lovers as elitist snobs, out of touch with reality and hopelessly “square.” Fortunately, music isn’t so black and white, and such classifications, especially of new music, are becoming ever more anachronistic. With the benefit of time, much of our country’s greatest music, once thought to be merely “popular,” is now taking its rightful place in the category of “American Classics.” I was educated in an environment that was dismissive of much of our great American music. Wanting to be regarded as a “serious” musician, I found myself going along with the thinking of the times, propagated by our most rigid conservatory student in the 1970’s, I grew work that studiously avoided melody or key academic composers and scholars of up convinced that Aaron Copland was a signature. the 1950’s -1970’s. These wise men (and “Pops” composer, useful for light story This was the environment in American yes, they were all men) had constructed ballets, but not much else. -
2003-2004 Amernet String Quartet: Strings of the Heart Series
I CONSERVATORY OF Music presents Al\1ERNET STRING QUARTET Strings of the Heart Series with Sergiu Schwartz ~ violin Sylvia Kim~ violin Dmitry Pogorelov ~viola Johanne Perron ~ cello and Tao Lin ~ harpsichord Friday, October 17, 2003 7:30p.m. Amamick-Goldstein Concert Hall de Hoemle International Center Program String Quartet No. 19 in C Major, K 465 "Dissonance" ..... W. A. Mozart (1756-1791) Adagio-Allegro Andante Cantabile Menuetto-Allegro Allegro Amernet String Quartet Misha Vitenson - violin Marsha Littley- violin Michael Klotz- viola Javier Arias- cello Concerto ind minor for Two Violins, BWV 1043 .............. J. S. Bach (1685-1750) Vivace Largo ma non tanto Allegro Sergiu Schwartz-violin Misha Vitenson - violin Marcia Littley, Sylvia Kim-violin Michael Klotz, Dmitry Pogorelov -viola Javier Arias, Johanne Perron-cello Tao Lin - harpsichord INTERMISSION 1 Octet, Op. 20 .................................................................... Felix Mendelssohn (1809-1847) Allegro moderato Andante Scherzo -Allegro leggierissimo Presto Misha Vitenson, Sergiu Schwartz, Sylvia Kim, MarciaLittley-violin Michael Klotz, Dmitry Pogorelov -viola Javier Arias, Johanne Perron-cello Biographies r Amernet String Quartet The Amernet String Quartet, Ensemble-in-Residence at Northern .,_ Kentucky University, has garnered worldwide praise and recognition as one of today's exceptional young string quartets. i It rose to international attention after only one year of existence, after winning the Gold Medal at the 7th Tokyo International Music Competition in 1992. Three years later the group was the First Prize winner of the prestigious 5th Banff International String Quartet Competition. The Amernet String Quartet has been described by The New York Times as "an accomplished and intelligent ensemble," and by the Niirnberger Nachrichten (Germany) as "fascinating with flawless intonation, extraordinary beauty of sound, virtuosic brilliance and homogeneity of ensemble." The Amernet String Quartet formed in 1991, while two of its members were students at The Juilliard School. -
In Concert AUGUST–SEPTEMBER 2012
ABOUT THE MUSIC GRIEG CONCERTO /IN CONCERT AUGUST–SEPTEMBER 2012 GRIEG CONCERTO 30 AUGUST–1 SEPTEMBER STEPHEN HOUGH PLAYS TCHAIKOVSKY 14, 15 AND 17 SEPTEMBER TCHAIKOVSKY’S PATHÉTIQUE 20–22 SEPTEMBER ENIGMA VARIATIONS 28 SEPTEMBER MEET YOUR MSO MUSICIANS: SYLVIA HOSKING AND MICHAEL PISANI PIERS LANE VISITS GRIEG’S BIRTHPLACE STEPHEN HOUGH ON TCHAIKOVSKY’S PIANO CONCERTO NO.2 SIR ANDREW DAVIS HAILS THE NEW HAMER HALL twitter.com/melbsymphony facebook.com/melbournesymphony IMAGE: SIR ANDREW Davis CONDUCTING THE MELBOURNE SYMPHONY ORCHESTRA Download our free app 1 from the MSO website. www.mso.com.au/msolearn THE SPONSORS PRINCIPAL PARTNER MSO AMBASSADOR Geoffrey Rush GOVERNMENT PARTNERS MAESTRO PARTNER CONCERTMASTER PARTNERS MSO POPS SERIES REGIONAL TOURING PRESENTING PARTNER PARTNER ASSOCIATE PARTNERS SUPPORTING PARTNERS MONASH SERIES PARTNER SUPPLIERS Kent Moving and Storage Quince’s Scenicruisers Melbourne Brass and Woodwind Nose to Tail WELCOME Ashton Raggatt McDougall, has (I urge you to read his reflections been reported all over the world. on Grieg’s Concerto on page 16) and Stephen Hough, and The program of music by Grieg conductors Andrew Litton and and his friend and champion HY Christopher Seaman, the last of Percy Grainger that I have the whom will be joined by two of the privilege to conduct from August finest brass soloists in the world, otograp 29 to September 1 will be a H P Radovan Vlatkovic (horn) and wonderful opportunity for you to ta S Øystein Baadsvik (tuba), for our O experience all the richness our C special Town Hall concert at the A “new” hall has to offer. -
Czech Philharmonic
Biography Czech Philharmonic “The Czech Philharmonic is among the very few orchestras that have managed to preserve a unique identity. In a music world that is increasingly globalized and uniform, the Orchestra’s noble tradition has retained authenticity of expression and sound, making it one of the world's artistic treasures. When the orchestra and Czech government asked me to succeed beloved Jiří Bělohlávek, I felt deeply honoured by the trust they were ready to place in me. There is no greater privilege for an artist than to become part of and lead an institution that shares the same values, the same commitment and the same devotion to the art of music.” Semyon Bychkov, Chief Conductor & Music Director The 125 year-old Czech Philharmonic gave its first concert – an all Dvořák programme which included the world première of his Biblical Songs, Nos. 1-5 conducted by the composer himself - in the famed Rudolfinum Hall on 4 January 1896. Acknowledged for its definitive interpretations of Czech composers, whose music the Czech Philharmonic has championed since its formation, the Orchestra is also recognised for the special relationship it has to the music of Brahms and Tchaikovsky - friends of Dvořák - and to Mahler, who gave the world première of his Symphony No. 7 with the Orchestra in 1908. The Czech Philharmonic’s extraordinary and proud history reflects both its location at the very heart of Europe and the Czech Republic’s turbulent political history, for which Smetana’s Má vlast (My Homeland) has become a potent symbol. The Orchestra gave its first full rendition of Má vlast in a brewery in Smíchov in 1901; in 1925 under Chief Conductor Václav Talich, Má vlast was the Orchestra’s first live broadcast and, five years later, the first work that the Orchestra committed to disc. -
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. -
Pierre-Laurent Aimard, Piano Tamara Stefanovich, Piano
Thursday, March 12, 2015, 8pm Zellerbach Hall Pierre-Laurent Aimard, piano Tamara Stefanovich, piano The Piano Music of Pierre Boulez PROGRAM Pierre Boulez (b. 1925) Notations (1945) I. Fantastique — Modéré II. Très vif III. Assez lent IV. Rythmique V. Doux et improvisé VI. Rapide VII. Hiératique VIII. Modéré jusqu'à très vif IX. Lointain — Calme X. Mécanique et très sec XI. Scintillant XII. Lent — Puissant et âpre Boulez Sonata No. 1 (1946) I. Lent — Beaucoup plus allant II. Assez large — Rapide Boulez Sonata No. 2 (1947–1948) I. Extrêmement rapide II. Lent III. Modéré, presque vif IV. Vif INTERMISSION PLAYBILL PROGRAM Boulez Sonata No. 3 (1955–1957; 1963) Formant 3 Constellation-Miroir Formant 2 Trope Boulez Incises (1994; 2001) Boulez Une page d’éphéméride (2005) Boulez Structures, Deuxième livre (1961) for two pianos, four hands Chapitre I Chapitre II (Pièces 1–2, Encarts 1–4, Textes 1–6) Funded, in part, by the Koret Foundation, this performance is part of Cal Performances’ – Koret Recital Series, which brings world-class artists to our community. This performance is made possible, in part, by Patron Sponsor Françoise Stone. Hamburg Steinway piano provided by Steinway & Sons, San Francisco. Cal Performances’ – season is sponsored by Wells Fargo. CAL PERFORMANCES PROGRAM NOTES THE PROGRAM AT A GLANCE the radical break with tradition that his music supposedly embodies. If Boulez belongs to an Tonight’s program includes the complete avant-garde, it is to a French avant-garde tra - piano music of Pierre Boulez, as well as a per - dition dating back two centuries to Berlioz formance of the second book of Structures for and Delacroix, and his attitudes are deeply two pianos. -
Britten Connections a Guide for Performers and Programmers
Britten Connections A guide for performers and programmers by Paul Kildea Britten –Pears Foundation Telephone 01728 451 700 The Red House, Golf Lane, [email protected] Aldeburgh, Suffolk, IP15 5PZ www.brittenpears.org Britten Connections A guide for performers and programmers by Paul Kildea Contents The twentieth century’s Programming tips for 03 consummate musician 07 13 selected Britten works Britten connected 20 26 Timeline CD sampler tracks The Britten-Pears Foundation is grateful to Orchestra, Naxos, Nimbus Records, NMC the following for permission to use the Recordings, Onyx Classics. EMI recordings recordings featured on the CD sampler: BBC, are licensed courtesy of EMI Classics, Decca Classics, EMI Classics, Hyperion Records, www.emiclassics.com For full track details, 28 Lammas Records, London Philharmonic and all label websites, see pages 26-27. Index of featured works Front cover : Britten in 1938. Photo: Howard Coster © National Portrait Gallery, London. Above: Britten in his composition studio at The Red House, c1958. Photo: Kurt Hutton . 29 Further information Opposite left : Conducting a rehearsal, early 1950s. Opposite right : Demonstrating how to make 'slung mugs' sound like raindrops for Noye's Fludde , 1958. Photo: Kurt Hutton. Britten Connections A guide for performers and programmers 03 The twentieth century's consummate musician In his tweed jackets and woollen ties, and When asked as a boy what he planned to be He had, of course, a great guide and mentor. with his plummy accent, country houses and when he grew up, Britten confidently The English composer Frank Bridge began royal connections, Benjamin Britten looked replied: ‘A composer.’ ‘But what else ?’ was the teaching composition to the teenage Britten every inch the English gentleman. -
Programme Information
Programme information Saturday 18th April to Friday 24th April 2020 WEEK 17 THE FULL WORKS CONCERT: CELEBRATING HER MAJESTY THE QUEEN’S BIRTHDAY Tuesday 21st April, 8pm to 10pm Jane Jones honours a very special birthday, as Queen Elizabeth II turns 94 years old. We hear from several different Masters of the Queen’s (or King’s) Music, from William Boyce who presided during the reign of King George II, to Judith Weir who was appointed the very first female Master of the Queen’s Music in 2014. The Central Band of the Royal Air Force also plays Nigel Hess’ Lochnagar Suite, inspired by Prince Charles’ book The Old Man of Lochnagar. Her Majesty has also supported classical music throughout her inauguration of The Queen’s Music Medal which is presented annually to an “outstanding individual or group of musicians who have had a major influence on the musical life of the nation”. Tonight, we hear from the 2016 recipient, Nicola Benedetti, who plays Vaughan Williams’ The Lark Ascending. Classic FM is available across the UK on 100-102 FM, DAB digital radio and TV, at ClassicFM.com, and on the Classic FM and Global Player apps. 1 WEEK 17 SATURDAY 18TH APRIL 3pm to 5pm: MOIRA STUART’S HALL OF FAME CONCERT Over Easter weekend, the new Classic FM Hall of Fame was revealed and this afternoon, Moira Stuart begins her first Hall of Fame Concert since the countdown with the snowy mountains in Sibelius’ Finlandia, which fell to its lowest ever position this year, before a whimsically spooky dance by Saint-Saens. -
Heinrich Neuhaus and Alternative Narratives of Selfhood in Soviet Russi
‘I wish for my life’s roses to have fewer thorns’: Heinrich Neuhaus and Alternative Narratives of Selfhood in Soviet Russia Abstract Heinrich Neuhaus (1888—1964) was the Soviet era’s most iconic musicians. Settling in Russia reluctantly he was dismayed by the policies of the Soviet State and unable to engage with contemporary narratives of selfhood in the wake of the Revolution. In creating a new aesthetic territory that defined himself as Russian rather than Soviet Neuhaus embodied an ambiguous territory whereby his views both resonated with and challenged aspects of Soviet- era culture. This article traces how Neuhaus adopted the idea of self-reflective or ‘autobiographical’ art through an interdisciplinary melding of ideas from Boris Pasternak, Alexander Blok and Mikhail Vrubel. In exposing the resulting tension between his understanding of Russian and Soviet selfhood, it nuances our understanding of the cultural identities within this era. Finally, discussing this tension in relation to Neuhaus’s contextualisation of the artistic persona of Dmitri Shostakovich, it contributes to a long- needed reappraisal of his relationship with the composer. I would like to gratefully acknowledge the support of the Guildhall School that enabled me to make a trip to archives in Moscow to undertake research for this article. Dr Maria Razumovskaya Guildhall School of Music & Drama, London Word count: 15,109 Key words: identity, selfhood, Russia, Heinrich Neuhaus, Soviet, poetry Contact email: [email protected] Short biographical statement: Maria Razumovskaya completed her doctoral thesis (Heinrich Neuhaus: Aesthetics and Philosophy of an Interpretation, 2015) as an AHRC doctoral scholar at the Royal College of Music in London. -
Benjamin Britten in the Music Culture of the Soviet Union in the 1960S (To the 100Th Anniversary of the Composer's Birth)
International Journal of Humanities and Social Science Vol. 3 No. 14 [Special Issue - July 2013] Benjamin Britten in the Music Culture of the Soviet Union in the 1960s (to the 100th Anniversary of the Composer's Birth) Alexander Rossinsky Department of Art Altai State University Russia Ekaterina Vorontsova Department of History Altai State University Russia Abstract The period of the 1960-s was difficult and controversial. Former allies of the anti-Hitler coalition turned to be on different sides of the acute ideological struggle which nearly led to the world war. Tremendous work was carried by artists, musicians who united disparate peoples into the community calling for the universal values. The central place in such the sphere of music belongs to one of the greatest composers of the 20th century, Benjamin Britten. Together with the Soviet musicians he pushed the world back from the sharp ideological confrontation. Keywords: B.Brittten, P.Pears, USSR, M.Rostropovich, G.Vishnevskaya, D.Shostakovich, symphonic and chamber music. The events unfolding in the world, which had survived the most destructive war in the history of human civilization, were dramatic and characterised by multi-vector directions of their development. The countries that joined the anti-Hitler coalition in the 40s, in the 60s were experiencing the peak of their ideological hostility, teetering on the verge of unleashing the third world war. At the same time, the Soviet Union, headed the unpredictable and highly controversial leader Nikita Khrushchev, pursued a policy of flirtations with liberalism in an attempt to overcome the cult of personality of Joseph Stalin and remove the notorious “Iron Curtain”, which for decades had protected the USSR from Western influence.