Music of Samuel Barber

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July 24, 2016 :: Las Puertas :: Albuquerque :: #418 Music of Samuel Barber (1910–1981) 6-year-old Moxie is attending her A performance to share the music of Samuel Barber, composer of the opera very first Chatter concert. Vanessa, performed for the first time this summer at The Santa Fe Opera. G-Ma and Poppa love Moxie. Rebecca Krynski Cox soprano | Jarrett Ott baritone Robert Tweten piano Del Sol String Quartet featuring Benjamin Kreith, Rick Shinozaki violin Charlton Lee viola | Kathryn Bates cello CHATTER SUNDAY Three Songs Opus 10 (1936) Sunday, July 31 @ 10:30am III I Hear an Army Peter Gilbert Intermezzi, world premiere Love at the Door (1934) Philip Glass Etudes No. 3, 2, 8, and 9 Four Songs Opus 13 (1940) III Sure on this Shining Night Aaron Jay Kernis Air for Violin and Piano Frederic Rzewski ABQ Slam Team poets Winnsboro Cotton Mill Blues Emanuele Arciuli piano Dover Beach Opus 3 (1931) David Felberg violin String Quartet Opus 11 (1936) Rich Boucher poet I Molto allegro e appassionata II Molto adagio (attacca) CHATTER SUNDAY III Molto allegro (come prima) 50 weeks every year at 10:30am Las Puertas, 1512 1st St NW, Abq Celebration of Silence :: Two Minutes Subscribe to eNEWS at ChatterABQ.org Videos at YouTube.com/ChatterABQ Share/follow us on social media: Hermit Songs Opus 29 (1953) · facebook.com/ChatterABQ I At Saint Patrick’s Purgatory VI Sea-Snatch · twitter.com/ChatterABQ II Church Bells at Night VII Promiscuity · instagram.com/ChatterABQ III St. Ita’s Vision VIII The Monk and His Cat Tix at ChatterABQ.org/boxoffice IV The Heavenly Banquet IX The Praises of God V The Crucifixion X The Desire of Hermitage Chatter is grateful for the support of the National Endowment for the Arts About Vanessa by Samuel Barber :: A Company Premiere Sung in English with Opera Titles in English and Spanish. First performed at New York’s Metropolitan Opera in 1958. Performances on July 30, Aug 3, 12, 18, 24. A limited number of seats remain at SantaFeOpera.org.

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Colorado-Wyoming District Stephen Dilts Karen Mohr Chris Mohr Lynn Harrington Committee
NATIONAL COUNCIL 2020–21 SEASON COLO≤ DO-WYOMING DISTRICT AUDITIONS SUNDAY, JANUARY 31, 2021 The 2020 National Council Finalists photo: fay fox / met opera CAMILLE LABARRE NATIONAL COUNCIL AUDITIONS chairman The Metropolitan Opera National Council Auditions program cultivates young opera CAROL E. DOMINA singers and assists in the development of their careers. The Auditions are held annually president in 39 districts and 12 regions of the United States, Canada, and Mexico—all administered MELISSA WEGNER by dedicated National Council members and volunteers. Winners of the region auditions executive director advance to compete in the national semifnals. National fnalists are then selected and BRADY WALSH compete in the Grand Finals Concert. During the 2020–21 season, the auditions are being administrator held virtually via livestream. Singers compete for prize money and receive feedback from LISETTE OROPESA judges at all levels of the competition. national advisor Many of the world’s greatest singers, among them Lawrence Brownlee, Anthony Roth Costanzo, Renée Fleming, Lisette Oropesa, Eric Owens, and Frederica von Stade, have won National Semifnals the Auditions. More than 100 former auditioners appear appear on the Met roster each season. Sunday, May 9, 2021 The National Council is grateful to its donors for prizes at the national level and to the Tobin Grand Finals Concert Endowment for the Mrs. Edgar Tobin Award, given to each frst-place region winner. Sunday, May 16, 2021 Support for this program is generously provided by the Charles H. Dyson National Council The Semifnals and Grand Finals are Audition Program Endowment Fund at the Metropolitan Opera. currently scheduled to take place at the Met.
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Barber–String Quartet
Samuel Barber (b. West Chester, PA, March 9, 1910; d. New York, NY, January 23, 1981) String Quartet, op. 11 (1936) Composed: 1936 Approximate duration: 16 minutes Since accompanying the radio announcement of President Franklin Roosevelt’s death in 1945, Samuel Barber’s Adagio for Strings has stood as arguably the most iconic work of American classical repertoire. As a compositional feat, the Adagio is nothing short of a minor miracle: melodically and harmonically concise, emotionally devastating. It epitomizes the fervent lyricism and expressive immediacy that have established Barber among the twentieth century’s most venerated American musical figures. While frequently performed in Barber’s version for string orchestra, the Adagio less often appears in its original form, as the second movement (marked Molto adagio) of his String Quartet, op. 11, composed in 1936. (Barber, nota bene, recognized what he had accomplished; on September 19 of that year, he wrote to the cellist Orlando Cole, “I have just finished the slow movement of my quartet today—it is a knockout! Now for a Finale.”) Yet its presentation in the context of the three-movement Quartet affords the listener a special opportunity. Played by just two violins, viola, and cello, the Adagio’s breathless lines burn with an intimate intensity muted by the quiet army of orchestral strings. Furthermore, framed by the Quartet’s outer movements—the angular Molto allegro e appassionato, and the concluding reprise of the first movement’s material—the ubiquitous slow movement takes on a more nuanced significance. For prefaced by the angular dissonance of the opening movement, the Adagio emerges as a response to worldly strife.
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Program Notes
with the NASHVILLESYMPHONY CLASSICAL SERIES THURSDAY, FEBRUARY 21, AT 7 PM | FRIDAY & SATURDAY, FEBRUARY 22 & 23, AT 8 PM NASHVILLE SYMPHONY GIANCARLO GUERRERO, conductor CONCERT PARTNER ALBAN GERHARDT, cello AARON JAY KERNIS Symphony No. 4, “Chromelodeon” Out of Silence Thorn, Rose | Weep, Freedom (after Handel) Fanfare Chromelodia SAMUEL BARBER This weekend's performances are made Concerto for Cello and Orchestra, Op. 22 possible through the generosity of Allegro moderato Drs. Mark & Nancy Peacock. Andante sostenuto Molto allegro ed appassionato Alban Gerhardt, cello – INTERMISSION – LUDWIG VAN BEETHOVEN Symphony No. 7 in A Major, Op. 92 Poco sostenuto – Vivace Allegretto Presto Allegro con brio This concert will last 1 hour and 55 miutes, including a 20-minute intermission. INCONCERT 33 TONIGHT’S CONCERT AT A GLANCE AARON JAY KERNIS Symphony No. 4, “Chromelodeon” • New York City-based composer Kernis has earned the Pulitzer Prize in Music and the prestigious Grawemeyer Award, as well a 2019 GRAMMY® nomination for Best Contemporary Classical Composition. (Winners had not yet been announced at the time of the program guide’s printing.) He also serves as workshop director for the Nashville Symphony’s Composer Lab & Workshop. • The title of his latest symphony, “Chromelodeon,” comes from an unusual word previously used by maverick American composer Harry Partch to describe one of his musical inventions. As defined by the composer, this word aptly describes his own creation here: “chromatic, colorful, melodic music performed by an orchestra.” • The idea of color is especially significant in Kernis’ work, as the composer has synesthesia, a condition that associates specific notes and chords and with distinct colors.
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WORLD YOUTH SYMPHONY ORCHESTRA Andreas Delfs, Conductor
99th Program of the 88th Season Interlochen, Michigan * WORLD YOUTH SYMPHONY ORCHESTRA Andreas Delfs, conductor with guest soloist James Ehnes, violin Sunday, July 19, 2015 8:00pm, Kresge Auditorium 7:00pm pre-concert talk Violin Concerto, Op. 14 .................................................................................... Samuel Barber Allegro (1910-1981) Andante Presto in moto perpetuo James Ehnes, violin Also sprach Zarathustra, Op. 30 .................................................................... Richard Strauss Einleitung, oder Sonnenaufgang (Introduction, or Sunrise) (1864-1949) Von den Hinterweltlern (Of Those in Backwaters) Von der großen Sehnsucht (Of the Great Longing) Von den Freuden und Leidenschaften (Of Joys and Passions) Das Grablied (The Song of the Grave) Von der Wissenschaft (Of Science and Learning) Der Genesende (The Convalescent) Das Tanzlied (The Dance Song) Nachtwandlerlied (Song of the Night Wanderer) The audience is requested to remain seated during the playing of the Interlochen Theme and to refrain from applause upon its completion. * * * PROGRAM NOTES Samuel Barber, Violin Concerto, Op. 14 In comparison to his colleagues Aaron Copland, Leonard Bernstein, and George Gershwin, American composer Samuel Barber’s unique compositional voice may be the most cosmopolitan. His sophisticated Romanticism has a universal quality that is related to the European tradition and yet remains distinctly American. Perhaps this is why his soaring lyricism, rhythmic complexity, and harmonic language appealed to early–and mid–20th- century luminaries such as Fritz Reiner, Arturo Toscanini, Vladimir Horowitz, and Dimitri Mitropoulos. He achieved success early in his career, writing his first opera at age 10, and, at 14, entering Philadelphia’s Curtis Institute of Music, where he excelled in composition, piano, and voice. At 18, he won the Joseph H.
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SAMUEL BARBER Evening During Term in the College Chapel and Presents an Annual Concert Series
559053bk Barber 15/6/06 9:51 pm Page 5 Choir of Ormond College, University of Melbourne Deborah Kayser Deborah Kayser performs in areas as diverse as ancient Byzantine chant, French and German Baroque song and In June and July of 2005 the Choir of Ormond College gave its eleventh international concert tour, visiting classical contemporary music, both scored and improvised. Her work has led her to tour regularly both within AMERICAN CLASSICS Switzerland, Germany, Denmark, Poland and Italy. Other tours have included New Zealand, Singapore, Japan, Australia, and internationally to Europe and Asia. She has recorded, as soloist, on numerous CDs, and her work is Holland, England, Scotland, Switzerland and Belgium. These tours have received outspoken praise from the public frequently broadcast on ABC FM. As a member of Jouissance, and the contemporary music ensembles Elision and and critics alike. The choir was formed by its Director; Douglas Lawrence, Master of the Chapel Music, in 1982. Libra, she has performed radical interpretations of Byzantine and Medieval chant, and given premières of works There are 24 Choral Scholars: ten sopranos, four altos, four tenors, and six basses. The choir sings each Sunday written specifically for her voice by local and overseas composers. Her performance highlights include works by SAMUEL BARBER evening during term in the College chapel and presents an annual concert series. Each year a number of outside composers Liza Lim, Richard Barrett and Chris Dench, her collaboration with bassist Nick Tsiavos, and oratorio and engagements are undertaken. These have included concerts for the Australian Broadcasting Commission, Musica choral works with Douglas Lawrence.
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ALBAN Gerhardt ANNE-Marie Mcdermott
THE KINDLER FOUNDATION TRUST FUND iN tHE LIBRARY oF CONGRESS ALBAN GERHARDT ANNE-MARIE MCDERMOTT Saturday, January 16, 2016 ~ 2 pm Coolidge Auditorium Library of Congress, Thomas Jefferson Building In 1983 the KINDLER FOUNDATION TRUST FUND in the Library of Congress was established to honor cellist Hans Kindler, founder and first director of the National Symphony Orchestra, through concert presentations and commissioning of new works. Please request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 or [email protected]. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the concerts. Other events are open to all ages. • Please take note: Unauthorized use of photographic and sound recording equipment is strictly prohibited. Patrons are requested to turn off their cellular phones, alarm watches, and any other noise-making devices that would disrupt the performance. Reserved tickets not claimed by five minutes before the beginning of the event will be distributed to stand-by patrons. Please recycle your programs at the conclusion of the concert. The Library of Congress Coolidge Auditorium Saturday, January 16, 2016 — 2 pm THE KINDLER FOUNDATION TRUST FUND iN tHE LIBRARY oF CONGRESS ALBAN GERHARDT, CELLO ANNE-MARIE MCDERMOTT, PIANO • Program SAMUEL BARBER (1910-1981) Sonata for cello and piano, op. 6 (1932) Allegro ma non troppo Adagio—Presto—Adagio Allegro appassionato BENJAMIN BRITTEN (1913-1976) Sonata in C major for cello and piano, op. 65 (1960-1961) Dialogo Scherzo-pizzicato Elegia Marcia Moto perpetuo LUKAS FOSS (1922-2009) Capriccio (1946) iNtermission 1 LEONARD BERNSTEIN (1918-1990) Three Meditations from Mass for cello and piano (1971) Meditation no.
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STUDIO RECITAL Voice Afternoon Leshowitz Recital Hall Sunday, November 22nd, 2020 2:00 pm Program Un disprezzato affetto from Ottone G. F. Handel 1685-1759 Rudy Giron, countertenor Michael Caldwell, piano Se tu m’ami, se sospiri Alessandro Parisotti 1853-1913 Gabrielle Guida, soprano Ron Levy, piano Non lo dirò col labbro George Frideric Handel from Tolomeo 1685-1759 Alianna Davis, mezzo-soprano Michael Caldwell, piano A vucchella Francesco Paolo Tosti 1846-1916 Richie Cardile, tenor Michael Caldwell, piano *** Der Sandmann Robert Schumann from Album für die Jugend 1810-1856 Jamie Garcia, soprano Beth Robin, piano Volksliedchen Robert Schumann 1810-1856 Shannon Leff, soprano Ron Levy, piano Gretchen am Spinnrade Franz Schubert 1797-1828 Lisa Bremer, soprano William Hobbs, piano Souvent un air de vérité Germaine Tailleferre 1892-1983 Vanessa Silva, mezzo-soprano Ginny Stephens, piano Fêtes Galantes Reynaldo Hahn 1875-1947 Victoria Domiciano, soprano Michael Caldwell, piano *** My Funny Valentine from Babes in Arms Richard Rodgers 1933 - Present Briana Alvarez, soprano Michael Caldwell, piano Miss Byrd from Closer Than Ever David Shire 1937- Present Jenny Brady, mezzo-soprano Sarah Brett England, piano *** For You There Is No Song Leslie Adams from Five Millay Songs 1932 - Present Israel Romero, tenor/countertenor Soyeon Kim, piano My Johann Edvard Grieg from 6 Songs Op.48 1843-1907 Adrianna Viera, soprano Sojung Park, piano Go, Lovely Rose Roger Quilter 1877-1953 Ruben Centeno, baritone Michael Caldwell, piano Love's Philosophy Roger Quilter 1877-1953 Nick Scafuto, tenor Michael Caldwell, piano *** Avant de quitter ces lieux from Faust Charles Gounod 1818 - 1893 Chisom James Maduakor, baritone Joe Nigro, piano Si la rigueur et la vengeance from La Juive Fromental Halévy 1799 - 1862 Taylor Droege, bass Michael Caldwell, piano Donde lieta from La Bohème Giacomo Puccini 1858-1924 GaDa Lambert, soprano Mary Pinto, piano.
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PROGRAM NOTES Masterworks II: Conflict
Quad City Symphony Orchestra PROGRAM NOTES Masterworks II: Conflict By Jacob Bancks Associate Professor of Music Augustana College SAMUEL BARBER (1910-1981) electronic remixes. Whatever the context, Adagio for Strings Barber’s endless staircases of melody, his weighty and inconclusive harmonic progres- Instrumentation: String orchestra. sions, and the intense pathos of a room full Premiere: Adagio for Strings was first performed as of vibrato never fail to elicit a highly emo- the third movement of Barber’s String Quartet tional audience response. in B minor, Op. 11, on December 14, 1936 in Rome. As a stand-alone arrangement for string The work is an arrangement of the slow orchestra, the work premiered just under two years later, on November 5, 1938, in a radio movement of Barber’s String Quartet in B broadcast by the NBC Symphony Orchestra, minor, written when the composer was 25 conducted by Arturo Toscanini. and already a rising star in the American QCSO Performance History: The QCSO has per- classical scene. Since its premiere, the Ada- formed Adagio for Strings four times previously: gio has appeared in a seemingly infinite in 1956, 1961, 1979, and 2008. number of arrangements, including a choral setting by the composer himself, using the In classical music, we have warhorses (e.g., text of the Agnus Dei. His own reaction to Beethoven’s Symphony No. 5), tear-jerkers the work’s infamy was apparently somewhat (e.g., Rachmaninoff’s Symphony No. 2), and ambivalent. “They always play that piece,” even a few warhorse tear-jerkers (e.g., he said in a radio interview.
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Kierkegaard, Literature, and the Arts
Kierke gaard, Literature, and the Arts Engraving, ca. 1837, by Carl Strahlheim showing the Gendarmenmarkt in Berlin, with what was then the Schauspielhaus, or Theater (center)— now the concert house of the Konzerthausorchester Berlin— flanked by the German Cathedral (left) and the French Cathedral (right). Pictured in the background to the immediate right of the theater is the building, still standing today, in which Kierkegaard lodged during his four stays in Berlin, in 1841– 42, 1843, 1845, and 1846. It was there, as noted by a plaque outside, that Kierkegaard wrote the first drafts of Either/Or, Repetition, and Fear and Trembling. Kierkegaard, Literature, and the Arts Edited by Eric Ziolkowski northwestern university press evanston, illinois Northwestern University Press www.nupress.northwestern.edu Copyright © 2018 by Northwestern University Press. Published 2018. All rights reserved. Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 Library of Congress Cataloging- in- Publication Data Names: Ziolkowski, Eric Jozef, 1958– editor. Title: Kierkegaard, literature, and the arts / edited by Eric Ziolkowski. Description: Evanston, Illinois : Northwestern University Press, 2018. | Includes index. Identifiers: LCCN 2017029795 | ISBN 9780810135970 (cloth : alk. paper) | ISBN 9780810135963 (pbk. : alk. paper) | ISBN 9780810135987 (e-book) Subjects: LCSH: Kierkegaard, Søren, 1813–1855. | Kierkegaard, Søren, 1813– 1855—Aesthetics. | Literature—Philosophy. | Music and philosophy. | Art and philosophy. | Performing arts—Philosophy. Classification: LCC B4377 .K4558 2018 | DDC 198.9—dc23 LC record available at https://lccn.loc.gov/2017029795 Except where otherwise noted, this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/.
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Come and Sing
guest soloist for a concert by the Fleet Choral of Music, Jonathan has been the soloist for Society, singing works by Mozart and Roman. a wide selection of choirs and choral societies come and sing Last year she sang a solo part with a Royal around Oxfordshire and beyond, singing a School of Church Music choir in a concert given repertoire ranging from the works of Bach and for the Guild of Musicians and Singers at the Handel at one end, through to Janacek, Britten Church of All Hallows by the Tower in London. and Carl Orff at the other. He also enjoys giving Faure’s Requiem Earlier last year she sang the role of Kate in the recitals, his latest one being a performance of Camberley-based Savoy Singers production of Schubert’s Winterreise earlier this month. G&S ‘Yeoman of the Guard’, and has recently As a bit of light relief, Jonathan plays both and played the roles of Nella and Sister Angelica double bass and keyboards and recently had in Puccini’s Operas ‘Gianni Schicchi’ and ‘Suor great fun in the band for Oxford Operatic’s Angelica’ for a production at Farnborough production of Beauty and the Beast. In real life, Handel’s Messiah 6th Form. he is a Methodist minister with responsibility for five churches in and around Woodstock. contralto: Vanessa Woodward (Part 2) Vanessa originally studied music at Colchester baritone: Institute, and later gained an advanced Benjamin Beurklian-Carter postgraduate diploma (voice) from Trinity Benjamin has always had a particular College of Music, where she was awarded the interest in sacred music.
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Barber US 11/09/2003 11:14 Am Page 36
669140-41bk Barber US 11/09/2003 11:14 am Page 36 AMERICAN OPERA CLASSICS Also available in this series: SAMUEL BARBER Vanessa Chickering • Matthews • Dry • Bauwens • Conrad • Lima National Symphony Orchestra of Ukraine • Capella Dumka Gil Rose 8.559024 8.559088 8.559044 8.669140-41 36 669140-41bk Barber US 11/09/2003 11:14 am Page 2 Samuel (She kisses the Baroness.) (to the Baroness) Do you really think she believes what I said? ANATOL BARBER Goodbye, Erika. When I see you again (The Baroness pauses.) perhaps you will have learned to smile. (1910-1981) Grandmother? (Pause) Oh, I forgot that you will not ERIKA speak to me either now. I am truly alone! Vanessa I hope you will still be smiling (An opera in three acts) when I see you again. Goodbye, Anatol. (The Baroness sits by the fire.) DOCTOR (The Major-Domo comes in.) Vanessa, a lady of great beauty, in her late thirties . Ellen Chickering Goodbye, goodbye, my dear ones! (wiping his eyes) Will you please cover all the mirrors in this house Erika, her niece, a young girl of twenty . Andrea Matthews VANESSA (gently to Doctor) again. The Old Baroness, Vanessa’s mother and Erika’s grandmother . Marion Dry Please, please, no tears! Come in the sleigh with us, MAJOR-DOMO Anatol, a handsome young man in his early twenties . Ray Bauwens we shall drop you in the village. (astounded) What, Mademoiselle? The Old Doctor . Richard Conrad (The Major-Domo and a maid enter with coats and ERIKA Nicholas, the Major-Domo . Philip Lima wraps.) Yes, just as before.
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Opera: Love in Surprising Places Author: Waleson, Heidi Proquest Document Link Abstract: the 2016 Festival Season the Santa Fe Opera Through Aug
Document 1 of 1 Arts in Review -- Opera: Love in Surprising Places Author: Waleson, Heidi ProQuest document link Abstract: The 2016 Festival Season The Santa Fe Opera Through Aug. 27 Santa Fe, N.M. -- The Santa Fe Opera's 60th season presented several pieces that rank just below standard repertory status, making strong cases for each of them with polished productions. "Don Giovanni," directed by Ron Daniels and designed by Riccardo Hernandez, recalled an older Santa Fe Opera, with less built scenery than the other productions. Links: Check for full text via 360 Link Full text: The 2016 Festival Season The Santa Fe Opera Through Aug. 27 Santa Fe, N.M. -- The Santa Fe Opera's 60th season presented several pieces that rank just below standard repertory status, making strong cases for each of them with polished productions. Director Richard Jones and designer Miriam Buether staged Puccini's Gold Rush drama "La Fanciulla del West" in small spaces: The raucous miners in Minnie's ramshackle saloon seemed crowded together against the wild emptiness of the frontier outside, while big emotions filled the tiny cabin where Minnie and the sheriff Jack Rance played cards for the life of the bandit Dick Johnson. Mr. Jones's acute direction conveyed the opera's key theme of loneliness. A top-flight cast sold the splendid tunes of this underappreciated score. Patricia Racette brought warmth and honesty to the tough girl Minnie, playing mother and sister to the miners while holding out for true love; Gwyn Hughes Jones came on strong with his forceful, exciting tenor as Johnson, her unexpected prince; and Mark Delavan brought an appropriate harshness to the embittered Rance.
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