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Alexander Briger: What Makes a Conductor Is Personality
Alexander Briger: What Makes a Conductor is Personality The Australian conductor tells us about growing up in a musical clan, founding the Australian World Orchestra, and reducing the work load to better enjoy performances and time with his young family. by Jo Litson, 16 May 2019 The Australian conductor tells us about growing up in a musical clan, founding the Australian World Orchestra, and reducing the work load to better enjoy performances and time with his young family. Was there lots of music around you when you were growing up? Yeah, a lot. My mother was a ballet dancer. My uncle Alastair [Mackerras] who lived downstairs was the Headmaster of Sydney Grammar, and he would drive me to school. He was a classical music fanatic. He owned thousands and thousands of CDs, from A to Z, and he was so methodical about it. So, I learnt a hell of a lot of music. Alexander Briger. Photo © Cameron Grayson What instrument did you play? I played violin but I didn’t really take it all that seriously, I have to say. I was much more into aeroplanes, that sort of thing. My uncle was Charles Mackerras, although I didn’t really know him well, he didn’t live here. He would come home to conduct the Sydney Symphony or the opera occasionally. I remember when I was 12, I was taken to a concert that he gave, Mahler’s Fourth Symphony with the Sydney Symphony, and that was the first concert that I was allowed to go to. I remember just being completely blown away by it and that’s when I started to take music very seriously and to think about conducting. -
BRITISH and COMMONWEALTH CONCERTOS from the NINETEENTH CENTURY to the PRESENT Sir Edward Elgar
BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Sir Edward Elgar (1857-1934) Born in Broadheath, Worcestershire, Elgar was the son of a music shop owner and received only private musical instruction. Despite this he is arguably England’s greatest composer some of whose orchestral music has traveled around the world more than any of his compatriots. In addition to the Conceros, his 3 Symphonies and Enigma Variations are his other orchestral masterpieces. His many other works for orchestra, including the Pomp and Circumstance Marches, Falstaff and Cockaigne Overture have been recorded numerous times. He was appointed Master of the King’s Musick in 1924. Piano Concerto (arranged by Robert Walker from sketches, drafts and recordings) (1913/2004) David Owen Norris (piano)/David Lloyd-Jones/BBC Concert Orchestra ( + Four Songs {orch. Haydn Wood}, Adieu, So Many True Princesses, Spanish Serenade, The Immortal Legions and Collins: Elegy in Memory of Edward Elgar) DUTTON EPOCH CDLX 7148 (2005) Violin Concerto in B minor, Op. 61 (1909-10) Salvatore Accardo (violin)/Richard Hickox/London Symphony Orchestra ( + Walton: Violin Concerto) BRILLIANT CLASSICS 9173 (2010) (original CD release: COLLINS CLASSICS COL 1338-2) (1992) Hugh Bean (violin)/Sir Charles Groves/Royal Liverpool Philharmonic Orchestra ( + Violin Sonata, Piano Quintet, String Quartet, Concert Allegro and Serenade) CLASSICS FOR PLEASURE CDCFP 585908-2 (2 CDs) (2004) (original LP release: HMV ASD2883) (1973) -
Basic Music Course: Keyboard Course
B A S I C M U S I C C O U R S E KEYBOARD course B A S I C M U S I C C O U R S E KEYBOARD COURSE Published by The Church of Jesus Christ of Latter-day Saints Salt Lake City, Utah © 1993 by Intellectual Reserve, Inc. All rights reserved Printed in the United States of America Updated 2004 English approval: 4/03 CONTENTS Introduction to the Basic Music Course .....1 “In Humility, Our Savior”........................28 Hymns to Learn ......................................56 The Keyboard Course..................................2 “Jesus, the Very Thought of Thee”.........29 “How Gentle God’s Commands”............56 Purposes...................................................2 “Jesus, Once of Humble Birth”..............30 “Jesus, the Very Thought of Thee”.........57 Components .............................................2 “Abide with Me!”....................................31 “Jesus, Once of Humble Birth”..............58 Advice to Students ......................................3 Finding and Practicing the White Keys ......32 “God Loved Us, So He Sent His Son”....60 A Note of Encouragement...........................4 Finding Middle C.....................................32 Accidentals ................................................62 Finding and Practicing C and F...............34 Sharps ....................................................63 SECTION 1 ..................................................5 Finding and Practicing A and B...............35 Flats........................................................63 Getting Ready to Play the Piano -
PRODUCT MANUAL Personal Electronic Piano
YAMAHA ® AUTHORIZED PRODUCT MANUAL YPP-50 Personal Electronic Piano IMPORTANT Check your power supply Make sure that your local AC mains voltage matches the voltage specified on the name plate on the bottom panel. In some areas a voltage selec- tor may be provided on the rear panel of the main keyboard unit. Make sure that the voltage selector is set for the voltage in your area. The lightning flash with arrowhead symbol, within an equilateral triangle, is intended to alert the user to the presence of uninsulated “danger- ous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK. DO NOT REMOVE COVER (OR BACK). The exclamation point within an equilateral tri- NO USER-SERVICEABLE PARTS INSIDE. angle is intended to alert the user to the presence REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. of important operating and maintenance (servic- ing) instructions in the literature accompanying theproduct. See bottom of keyboard enclosure for graphic symbol markings IMPORTANT SAFETY AND INSTALLATION INSTRUCTIONS INFORMATION RELATING TO POSSIBLE PERSONAL INJURY, ELECTRIC SHOCK, AND FIRE HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST. —When using electronic products, basic pre- Some Yamaha electronic products can be made to operate with WARNING cautions should always be followed, including 8 . or without the side panels or other components that constitute the following: a stand. These products should be used only with the components supplied or a cart or stand that is recommended by the manufacturer. Read all Safety and Installation Instructions, Explanation of 1 . -
Concerts with the London Philharmonic Orchestra for Seasons 1946-47 to 2006-07 Last Updated April 2007
Artistic Director NEVILLE CREED President SIR ROGER NORRINGTON Patron HRH PRINCESS ALEXANDRA Concerts with the London Philharmonic Orchestra For Seasons 1946-47 To 2006-07 Last updated April 2007 From 1946-47 until April 1951, unless stated otherwise, all concerts were given in the Royal Albert Hall. From May 1951 onwards, unless stated otherwise, all concerts were given in The Royal Festival Hall. 1946-47 May 15 Victor De Sabata, The London Philharmonic Orchestra (First Appearance), Isobel Baillie, Eugenia Zareska, Parry Jones, Harold Williams, Beethoven: Symphony 8 ; Symphony 9 (Choral) May 29 Karl Rankl, Members Of The London Philharmonic Orchestra, Kirsten Flagstad, Joan Cross, Norman Walker Wagner: The Valkyrie Act 3 - Complete; Funeral March And Closing Scene - Gotterdammerung 1947-48 October 12 (Royal Opera House) Ernest Ansermet, The London Philharmonic Orchestra, Clara Haskil Haydn: Symphony 92 (Oxford); Mozart: Piano Concerto 9; Vaughan Williams: Fantasia On A Theme Of Thomas Tallis; Stravinsky: Symphony Of Psalms November 13 Bruno Walter, The London Philharmonic Orchestra, Isobel Baillie, Kathleen Ferrier, Heddle Nash, William Parsons Bruckner: Te Deum; Beethoven: Symphony 9 (Choral) December 11 Frederic Jackson, The London Philharmonic Orchestra, Ceinwen Rowlands, Mary Jarred, Henry Wendon, William Parsons, Handel: Messiah Jackson Conducted Messiah Annually From 1947 To 1964. His Other Performances Have Been Omitted. February 5 Sir Adrian Boult, The London Philharmonic Orchestra, Joan Hammond, Mary Chafer, Eugenia Zareska, -
Tasmania Discovery Orchestra 2011 Concert 1
Tasmania Discovery Orchestra 2011 The Discovery Series, Season II Concert 1: Discover the Orchestra Alex Briger – Conductor Mozart Overture Die Zauberflöte , K. 620 Beethoven Symphony No. 7 in A Major, Op. 92 Coffee and Cake in the foyer with musicians and conductor Sunday 17 h April 2011 | 2:30pm Stanley Burbury Theatre Sandy Bay, Hobart The Tasmania Discovery Orchestra The TDO is a refreshingly new, bold idea in Australian orchestral music making, designed to offer musicians with advanced orchestral instrument skills the opportunity to come together and make great music in Hobart, Tasmania. The TDO was created in 2010, and was an immediate success, drawing musicians from around Australia to Hobart for the inaugural performance. The response for more performance opportunities for orchestral players is evident by the large number of TDO applicants for both the 2010 and 2011 seasons. This demand led to the creation of another new initiative by the Conservatorium of Music, the TDO Sinfonietta , which will be continuing in 2011. This ensemble performs the chamber music repertoire of the 20th- Century and works composed for mixed orchestral ensemble. With a repertoire of known favourites, this ensemble of more intimate proportions than the TDO, is designed for orchestral musicians with advanced chamber instrumental skills. The TDO and TDO Sinfonietta are about investing in the future of Australian music. Our mission is simple: Australian orchestral musicians, not employed in full-time positions with orchestras, need more opportunities to perform. We want our community and audience to get involved! Have you ever wondered how an orchestra works? Or, perhaps, you’ve always wanted to know what the Conductor does. -
The Turn of the Screw
OPÉRA DE BENJAMIN BRITTEN THE TURN OF THE SCREW VENDREDI 12 MARS 2021 À 19 H 30 — CONSERVATOIRE DE PARIS ALEXANDER BRIGER DIRECTION MUSICALE ORCHESTRE DU CONSERVATOIRE DE PARIS BRIGITTE JAQUES-WAJEMAN MISE EN SCÈNE CONSERVATOIRE NATIONAL SUPÉRIEUR DE MUSIQUE ET DE DANSE DE PAR I S RETRANSMISSION EN DIRECT VENDREDI 12 MARS 2021 — 19 H 30 www.conservatoiredeparis.fr SALLE RÉMY-PFLIMLIN DURÉE ESTIMÉE 1 H 45 SANS ENTRACTE Coproduction Conservatoire de Paris et Cité de la musique – Philharmonie de Paris en partenariat avec le CRR de Paris/ Nous remercions l’Opéra national de Paris et la Comédie-Française pour le prêt gracieux de costumes et d’accessoires. photographies : Ferrante Ferranti conception graphique : Mioï Lombard THE TURN OF THE SCREW MUSIQUE DE BENJAMIN BRITTEN LIVRET DE MYFANWY PIPER Une fois par an, le Conservatoire de Paris propose, avec la Philharmonie de Paris, une grande production lyrique qui rassemble tous les talents de l’école. Dirigés par des grands noms de la scène internationale de l’opéra, pour la direction musicale comme pour la mise en scène, ils abordent tous les aspects du processus de création, dans des conditions professionnelles. L’orchestre et les étudiants des classes de chant du Conservatoire de Paris donnent l’opéra de chambre The Turn of the Screw, composé en 1954 pour la Biennale de Venise par Britten. « La cérémonie de l’innocence est noyée », chantent Miss Jessel et Peter Quint, morts dans des conditions mystérieuses, et qui hantent maintenant le manoir où Flora et Miles sont envoyés avec leur nouvelle gouvernante. Fondé sur une nouvelle fantastique d’Henry James datant de la toute fin du XIXe siècle, l’opéra de Britten est dirigé par Alexander Briger, familier de ce répertoire (il a notamment dirigé en Australie, dont il est originaire, The Rape of Lucretia et A Midsummer Night’s Dream, dans une mise en scène de Baz Luhrmann), et que les Parisiens connaissent pour l’avoir apprécié dans les opéras de John Adams, Nixon in China et I Was Looking at the Ceiling and Then I Saw the Sky au Théâtre du Châtelet. -
Le Tour D'écrou
SALLE RÉMY PFIMLIN – CONSERVATOIRE DE PARIS Vendr edi 12 mar s 2021 – 19h30 Le Tour d’écrou Orchestre et étudiants du département des disciplines vocales du Conservatoire de Paris Maîtrise de Paris Alexander Briger Brigitte Jaques-Wajeman CONCERT FILMÉ Concert diffusé le 12 mars 2021 à 19h30 sur conservatoiredeparis.fr où il restera disponible pendant 6 mois et sur Philharmonie Live où il restera disponible pendant 4 mois. Concert également diffusé sur les pages Facebook du Conservatoire national supérieur de musique de Paris et de la Philharmonie de Paris. Programme PROLOGUE P. 6 SYNOPSIS P. 7 BENJAMIN BRITTEN ET LA MUSIQUE DU TEXTE, OU LES ENJEUX D’UNE NOUVELLE TRANSFORMÉE P. 10 SYNOPSIS – D’APRÈS FLORA ET MILES P. 12 AMBIGUÏTÉ D’INTERPRÉTATION ET DUALITÉ DES PERSONNAGES P. 16 SYNOPSIS – D’APRÈS PETER QUINT P. 18 UNE INQUIÉTANTE ÉTRANGETÉ : ENTRETIEN AVEC BRIGITTE JAQUES-WAJEMAN P. 20 SYNOPSIS – D’APRÈS LA GOUVERNANT P. 23 BENJAMIN BRITTEN ET LA FRACTURE DES CODES DE L’OPÉRA TRADITIONNEL : ENTRETIEN AVEC ALEXANDER BRIGE P. 25 LE COMPOSITEUR P. 30 L’ÉQUIPE ARTISTIQUE P. 32 Programme Benjamin Britten Le Tour d’écrou Orchestre du Conservatoire de Paris Étudiants du département des disciplines vocales du Conservatoire de Paris CRR de Paris Thomas Ricart, ténor (le Prologue) Clarisse Dalles, soprano (la Gouvernante) Lucie Peyramaure, soprano (Mrs Grose) Parveen Savart, mezzo-soprano (Miss Jessel) Léo Vermot Desroches, ténor (Peter Quint) Clélia Horvat et Bérénice Arru, sopranos (Flora, en alternance) Robinson Hallensleben et Émile Grizzo, sopranos (Miles, en alternance) Alexander Briger, direction Antoine Petit-Dutaillis, chef assistant Brigitte Jaques-Wajeman, mise en scène Raphaëlle Blin, assistante mise en scène Grégoire Faucheux, scénographie Nicolas Faucheux, création lumières Pascale Robin, création costumes Catherine Saint-Sever, création coiffures et maquillages Coproduction Conservatoire national supérieur de musique et de danse de Paris, Conservatoire à rayonnement régional de Paris, Philharmonie de Paris. -
Functional Orchestral Collaboration Skills for Wind Band
FUNCTIONAL ORCHESTRAL COLLABORATION SKILLS FOR WIND BAND PIANISTS: A STUDY GUIDE Jisoo Grace Kim Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2016 APPROVED: Pamela Mia Paul, Major Professor Eugene Migliaro Corporon, Committee Member Steven Harlos, Committee Member Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Vice Provost of the Toulouse Graduate School Kim, Jisoo Grace. Functional Orchestral Collaboration Skills for Wind Band Pianists: A Study Guide. Doctor of Musical Arts (Performance), August 2016, 54 pp., 2 tables, 9 figures, references, 32 titles. As opportunities to perform as a soloist diminish, more pianists consider chamber and orchestral playing as an alternative solution. By so doing, ample performance opportunities are introduced. Although most university music programs offer ensemble courses for pianists and have begun to offer degrees with an emphasis in accompaniment, their curriculum lacks instructions specifically designed to train and prepare pianists for playing in large ensembles, especially wind bands. This dissertation addresses the difficulties, which one might encounter in large ensemble collaboration, and recommends useful suggestions for acquiring functional skills to solve these difficulties. Pianists can attain professional status by acquiring the functional skills presented in each chapter. The goal of this study is to provide pedagogical support and direction for novice pianists in the larger ensemble collaboration. Copyright 2016 by Jisoo Grace Kim ii ACKNOWLEDGMENTS First and foremost, I would like to express the deepest appreciation to my major professor, Dr. Pamela Mia Paul, without whose supervision and dedicated involvement in the process, this dissertation would not be possible. -
Wind Symphony
Illinois State University ISU ReD: Research and eData School of Music Programs Music 4-22-2007 Wind Symphony Stephen K. Steele Conductor Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/somp Part of the Music Performance Commons Recommended Citation Steele, Stephen K. Conductor, "Wind Symphony" (2007). School of Music Programs. 3175. https://ir.library.illinoisstate.edu/somp/3175 This Concert Program is brought to you for free and open access by the Music at ISU ReD: Research and eData. It has been accepted for inclusion in School of Music Programs by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. Illinois State University I College of Fine Arts , School of Music I ,I WIND SYMPHONY I I Stephen K. Steele, Conductor Cleveland Duo, Guest Soloists I Stephen Warner, Violin Carolyn Gadiel Warner, Piano I Band Concerto Winner Bradley Harris, Trombone I Narong Prangcharoen, Guest Composer ,I I I Center for the Performing Arts Sunday Afternoon April 22, 2007 I This is the one hundred seventy third program of the 2006-2007 Season 3:00 p.m. Program Notes Program I I Born in Platteville, Wisconsin in 1974, Nathan Tanouye began studying music in elementary school, first with piano lessons and later on NATHAN TANOUYE Kokopellis' Dance (2005)· I ,I (born 1974) trombone. At age 11 he moved to Hawaii, where he attended high school and began college. While at the University of Hawaii, Manoa, Mr. Tanouye studied trombone with members of the Honolulu Symphony, I I including Jim Decker and Mike Becker. -
Shostakovich: Cello Concerto No 2 & Britten: Cello Symphony
Shostakovich Cello Concerto No. 2 Britten Cello Symphony Dmitri Shostakovich (1906 - 1975) Concerto for Cello and Orchestra No. 2 in G, Op. 126 1.Largo [14.39] 2. Allegretto [4.32] 3. Allegretto [15.41] Benjamin Britten (1913 - 1976) Symphony for Cello and Orchestra, Op. 68 4. Allegro maestoso [13.10] 5. Presto inquieto [3.55] 6. Adagio [9.43] 7. Passacaglia: Andante allegro [7.48] Total Timings [69.33] Jamie Walton cello Philharmonia Orchestra Alexander Briger conductor www.signumrecords.com Shostakovich’s Second Cello Concerto and the apparent condescension from an older Britten’s Cello Symphony make the most likely of generation of British composers, excoriated them bedfellows. These works were written by composers as, ‘the “eminent English Renaissance” composers who were pretty much direct contemporaries, who, sniggering in the stalls…There is more in a single in their own ways, and within utterly different page of his Macbeth than in the whole of their political climates, composed in an approachable “elegant” output.’ Around this time, Shostakovich’s manner which could speak not only to their own occasional influence can be spotted in a number of homeland, but to the world at large. Both were Britten’s works, including the Sinfonia da Requiem catapulted into the international limelight as and Britten continued to be fascinated by young men (age 27 in Shostakovich’s case, 31 in Shostakovich’s major works over the years, issuing a Britten’s) by virtue of the phenomenal success of heartfelt and warm tribute on the occasion of the full scale, serious and surprisingly mature operas latter’s 60th birthday. -
Tedeschi & Omega
Principal sponsor Media partner Major sponsor and Artistic Director’s Chair sponsor Other supporters Huntington Estate, Art Gallery Society of NSW, 2easy Telecom, Ars Musica Australis, Carlisle Print, City of Sydney, City Recital Hall Angel Place, Boardroom Partners, DFK Laurence Varnay Patrons’ Program $5000 + Mr and Mrs Bruce and Mary Anne Terry Mr and Mrs Chris and Pat Wetherall Anonymous (1) Dr Nicholas Wilcken Anonymous (3) $1000 + Professors Peter and Christine Alexander $250 + Mr and Mrs Steve and Maggie Banks Dr Danielle Chiel Ms Erica Booker Ms Phillipa Clark Mr Randell Heyman Ms Sarah Dunn Mr and Mrs Diccon and Liz Loxton Drs Russ and Virginia Hancock Tedeschi & Omega Drs Keith and Eileen Ong Mr and Mrs Bruce and Alison Handmer The Hon. George Palmer AM QC Mr and Mrs Robert and Jocelyn Hellyer Mr and Mrs Adrian and Dairneen Pilton Mr and Mrs Alex and Libby Jones Françaix Quartet for Winds "Quatuor à vents" John Sydney Smith and Nola Charles Ms Anne Knight Spohr Septet for Flute, Clarinet, Horn, Bassoon, Violin, Cello Professor John Snowdon Mr and Mrs Richard and Alison Morgan and Piano in A minor, Op. 147 The Suttie Family Ms Rossie Ogilvie Dr and Mrs Anthony and Doffy White Ms Petrina Slaytor Anonymous (2) Professor Gill Straker INTERVAL Mr Mark Tedeschi and Ms Sharon Tofler $500 + Robert Titterton Strauss Capriccio, Op. 85 Mr and Mrs Roberto and Ofelia Brozky Mr Geoffrey White Shostakovich Quintet for Piano and Strings in G minor, Op. 57 Mr Mark Dempsey SC Ms Sandy Williams Mr and Mrs Hugh and Frances Dixson Justice David