DOCSLIB.ORG

Programm 24.–27

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

ESSENTIALS 2012 Kammer musik festival Thun Programm 24.–27. Mai Wir haben uns bewusst dafür entschieden, Welcome to GAIA im Jahr 2012 den ursprünglichen Traum des Essentials 2012 – Herzlich Festivals wieder aufleben zu lassen und zu dem zurückzukehren, woraus es entstan- we look forward to being with you den ist – der Vision, grossartige Musik zu willkommen präsentieren, die von einer kleinen Gruppe and sharing every moment! herausragender Musiker an atemberauben- bei GAIA Essentials 2012 – den Orten für ein warmherziges Publikum dargeboten wird; ein Publikum, das neugie- In 2012, we have consciously decided to reco - wir freuen uns darauf, rig auf inspirierende Begegnungen ist. Alle, ver this Festival’s first dream and to revisit die bei GAIA mitwirken, lieben die Musik that of which it was born – a vision to offer Sie bei uns zu haben und und das, was sie uns zu enthüllen vermag. sublime music, performed by a small group Die Planung dieses Festivals beschwingt uns of outstanding musicians in breathtaking ve- jeden Augenblick jedes Jahr aufs Neue: ein Fest voller Kunst, nues to an open-hearted audience curious to Sinnenfreude, Austausch, Emotionen und experience more. We at GAIA love music and mit Ihnen zu teilen! Freundschaft. Diese Wechselbeziehung ist all that it can reveal. We are fulfilled each nur ein kleiner Teil unseres Spektrums ... year anew when we conceive this Festival: Die Welt ist schön – voller Magie und a celebration of art, senses, exchange, emo- Wunder, erfüllt durch ihre eigene Existenz tions, and friendship. This interrelationship und in sich vollkommen. Die Menschheit is just a small piece of our spectrum… baut auf diese Wahrheit, und je mehr wir ver- The world is a beautiful place – full of suchen, die Essenz des Lebens zu ergründen, magic and wonder, fulfilled by its own exis - desto stärker wächst in uns wieder das Ver - tence, complete within itself. Mankind builds langen nach Erfahrungen, die uns in Erstau- on this truth, and the more we strive to find nen versetzen können – der Wahrhaftigkeit the essence of life, the more we return to a eines Augenblicks, einem ungekünstelten desire for experiences in their most elusive Gedanken, der Natur in ihrer reinsten Form. state – the realness of a moment, an uncon - Wir hoffen, Sie geniessen Ihre Zeit bei trived idea, or nature in its purest form. uns und lassen sich von Ihrem GAIA-Erleb- We hope that you enjoy your time with us nis bewegen. Wenn Sie in unsere Mailingliste and are moved by your experience at GAIA. aufgenommen oder Teil der GAIA Commu- If you would like to join our mailing list or Inhalt nity werden möchten, besuchen Sie bitte become part of the GAIA Community, please 4 Zum Geleit unsere Internetseite www.gaia-festival.com. visit our website: www.gaia-festival.com. Mit Ihrer kontinuierlichen Unterstüt- With your continued support, we will be able 8 Konzerte zung werden wir beim GAIA Kammermusik- to make the GAIA Chamber Music Festival 30 Portraits Mitwirkende festival 2013 ein unvergessliches 5. Jubiläum 2013 an unforgettable 5 th anniversary feiern können! celebration! 46 Mitwirkende seit der Gründung von GAIA 2006 48 Uraufführungen und Schweizer Erstaufführungen Gwendolyn Masin, Christoph Ott, Gwendolyn Masin, Christoph Ott, beim GAIA Kammermusikfestival Thun Florian Schalit und das Team, Florian Schalit and the Team 50 Impressum das GAIA Leben einhaucht who breathe life into GAIA Nichts liebe ich mehr als Kammermusik. There is nothing I love more than Chamber Mein ganzes Leben lang hat mich diese Music. My whole life has been connected to Zum Geleit Musikform nicht losgelassen. Von meiner this medium. From my own participation as aktiven Teilnahme als dreizehnjähriger a violinist at the High School of Music and «Nichts liebe ich mehr als Kammermusik.» Violinist an der High School of Music and Art in NYC at thirteen years of age, to the Arts in New York bis zu den Engagements, more recent opportunities of coaching cham- die ich in jüngerer Zeit als Lehrer von Kam - ber groups. mermusikensembles hatte. In meinem Leben Throughout my life there is nothing I habe ich nichts mehr genossen, als mit guten have enjoyed more than getting together with Freunden einen Abend lang zu musizieren good friends for a night of sharing music, – egal, ob als Quartett, Trio oder Sextett – quartets, trios, sextets, it did not matter as Hauptsache, wir konnten zusammen spielen. long as we could play together. Kürzlich hörte ich von GAIA und seinem I recently heard of GAIA and the success Erfolg. In der Welt der Musik machen Neu - it was having. Word spreads quickly in the igkeiten schnell die Runde und ich erkannte music world and it was very clear to me that sofort, dass dieses Festival Aufmerksamkeit this was a Festival worthy of attention, young verdiente: junge Künstler, die auf hohem artists performing at a high level, interesting Niveau musizieren, interessante und aufre- and exciting programs, and as you the au - gende Programme und, wie Sie als Zuhörer dience know, a perfect setting. wissen, ein perfektes Ambiente. I feel very honored to have been asked to Dass mir die Schirmherrschaft angetra- be a Patron, and I encourage you to strongly gen wurde, hat mich sehr geehrt, und ich support this Festival. In these difficult times möchte Ihnen ans Herz legen, dieses Fes - throughout the world, it is so important to tival aktiv zu unterstützen. In diesen welt- have a place and time to share in the magic weit schwierigen Zeiten ist es sehr wichtig, of music and the connection it makes with einen Ort und eine Zeit zu finden, wo man each one of us, performer and listener. GAIA gemeinsam die Magie der Musik und die Art, is this place. Treasure it. wie sie jeden von uns, ob Darbietender oder Zuhörer, berührt, geniessen kann. GAIA ist dieser Ort. Bewahren Sie ihn. David Zinman David Zinman Chefdirigent des Tonhalle-Orchesters Zürich Chief conductor of Zurich’s Tonhalle und Schirmherr des GAIA Festivals Orchestra, and Patron of GAIA 4 5 KONZERTE KONZERT 1 Violine: Ludwig van Beethoven (1779 – 1827) Reconstructions Gwendolyn Masin Violinsonate Nr. 9 A-Dur op. 47 («Kreutzer-Sonate») Lena Neudauer Adagio sostenuto Tatiana Samouil Presto Jan Talich Andante con Variazioni I–IV Finale. Presto Viola: In einer Bearbeitung für Streichquintett Guy Ben-Ziony mit zwei Violoncelli von Ferdinand Ries Ilya Hoffman Ausführende: Natalia Tchitch Jan Talich, Tatiana Samouil, Guy Ben-Ziony, Louise Hopkins, Quirine Viersen Donnerstag, 24. Mai, 19 Uhr Violoncello: Dongkyun An Wolfgang Amadeus Mozart (1756 – 1791) Louise Hopkins Sinfonia concertante Es-Dur KV 364 (320d) Kirche Blumenstein Quirine Viersen Allegro maestoso Andante Presto In einer anonymen Bearbeitung für Streichsextett («Grande Sestetto Concertante») Ausführende: Lena Neudauer, Gwendolyn Masin, Natalia Tchitch, 1 Ilya Hoffman, Dongkyun An, Quirine Viersen Pause Johannes Brahms (1833 – 1897) Klavierquintett f-Moll op. 34 Allegro non troppo Andante un poco Adagio Scherzo. Allegro – Trio Finale. Poco sostenuto – Allegro non troppo In einer Rekonstruktion von Anssi Karttunen für Streichquintett mit zwei Violoncelli Ausführende: Jan Talich, Gwendolyn Masin, Guy Ben-Ziony, Quirine Viersen, Louise Hopkins 8 9 KONZERT 1 Angela Beuerle Reise – eine Anstellung, die ihm einen dauerhaf- an einem eben solchen Streichquintett mit zwei ten Abschied von dem ihm inzwischen verhass- Violoncelli. Clara Schumann, der Brahms die Par- Ein neuer Blick ten Salzburg bringen konnte – nicht eingestellt titur gezeigt hatte, schrieb am 3. September 1862: hatte, in Paris war zudem noch Mozarts Mutter «Ich weiss nicht recht, wie ich’s anfangen soll, Dir gestorben, die ihn diesmal begleitet hatte. Ob mit ruhigen Worten zu sagen, welche Wonne ich und inwieweit Mozarts Sehnsucht, Trauer und an Deinem Quintett habe! Ich habe es viele Male Frustration in diese Komposition miteingeflos- [am Klavier] gespielt, und mir ist das Herz ganz Re-con-struere – lateinisch für wieder-zusam- Erzählens. Janáček schrieb, inspiriert von Beetho- sen sind, wird eine musikalische Analyse nicht voll davon! Das wird ja immer schöner, herrli- men-schichten, wieder-zusammen-bauen: Unter ven und Tolstoi, ein Streichquartett dieses Titels. herausfinden können. Deutlich wird jedoch, wie cher!» Auch der mit Brahms befreundete Geiger diesem Motto stehen die Werke dieses Konzertes. Beinahe emblematisch steht Beethovens Sonate sein Aufenthalt in der Musikmetropole Paris und Joseph Joachim zeigte sich bei seiner ersten An- Alle drei sind «Rekonstruktionen» insofern, als dabei für die äussersten Formen von Liebe und besonders in Mannheim, wo er mit der Mann- sicht der Partitur begeistert, äusserte sich jedoch das musikalische Material der ursprünglichen Eifersucht, für eine auch durch Verstand und Er- heimer Hofkapelle einem der führendsten und wenig später, nachdem er das Werk mit anderen Kompositionen für andere Instrumente als die ur- ziehung nicht mehr zu bändigende Leidenschaft. fortschrittlichsten europäischen Orchester der Musikern geprobt hatte, bedenklich: «So wie das sprünglich vorgesehenen «wieder neu zusammen Dass diese Musik in ihrer Ausdrucksintensität bis Zeit begegnen konnte, seine Orchesterbehand- Werk jetzt ist, möchte ich es nicht öffentlich pro- gebaut» wurde. Unweigerlich verändert sich ein an die unmittelbaren Grenzen ihrer Gattung geht, lung differenziert und bereichert hatte. Auch die duzieren [...]». 1863 schrieb Brahms das Quintett Werk durch solch eine neue Zusammensetzung in wurde schon von Zeitgenossen wahrgenommen. musikalische Gattung der «Sinfonia concertan-
Recommended publications
  • Dissertation FINAL 5 22

    Dissertation FINAL 5 22

    ABSTRACT Title: BEETHOVEN’S VIOLINISTS: THE INFLUENCE OF CLEMENT, VIOTTI, AND THE FRENCH SCHOOL ON BEETHOVEN’S VIOLIN COMPOSITIONS Jamie M Chimchirian, Doctor of Musical Arts, 2016 Dissertation directed by: Dr. James Stern Department of Music Over the course of his career, Ludwig van Beethoven (1770–1827) admired and befriended many violin virtuosos. In addition to being renowned performers, many of these virtuosos were prolific composers in their own right. Through their own compositions, interpretive style and new technical contributions, they inspired some of Beethoven’s most beloved violin works. This dissertation places a selection of Beethoven’s violin compositions in historical and stylistic context through an examination of related compositions by Giovanni Battista Viotti (1755–1824), Pierre Rode (1774–1830) and Franz Clement (1780–1842). The works of these violin virtuosos have been presented along with those of Beethoven in a three-part recital series designed to reveal the compositional, technical and artistic influences of each virtuoso. Viotti’s Violin Concerto No. 2 in E major and Rode’s Violin Concerto No. 10 in B minor serve as examples from the French violin concerto genre, and demonstrate compositional and stylistic idioms that affected Beethoven’s own compositions. Through their official dedications, Beethoven’s last two violin sonatas, the Op. 47, or Kreutzer, in A major, dedicated to Rodolphe Kreutzer, and Op. 96 in G major, dedicated to Pierre Rode, show the composer’s reverence for these great artistic personalities. Beethoven originally dedicated his Violin Concerto in D major, Op. 61, to Franz Clement. This work displays striking similarities to Clement’s own Violin Concerto in D major, which suggests that the two men had a close working relationship and great respect for one another.
  • Violin Sonata No. 2 in a Major JOSEPH BOULOGNE, CHEVALIER DE SAINT-GEORGES (1745-1799) Composed in 1781

    Violin Sonata No. 2 in a Major JOSEPH BOULOGNE, CHEVALIER DE SAINT-GEORGES (1745-1799) Composed in 1781

    Page 1 (1/31/20) Violin Sonata No. 2 in A major JOSEPH BOULOGNE, CHEVALIER DE SAINT-GEORGES (1745-1799) Composed in 1781. Joseph Boulogne, Chevalier de Saint-Georges, one of music history’s most fascinating figures, was born on Christmas Day 1745 on the Caribbean island of Guadeloupe, where his father, a French civil servant, was stationed as comptroller-general; his mother was a black islander. The family moved to Paris when the boy was ten. Joseph was enrolled in the academy of Nicolas Texier de La Boëssière, one of France’s most renowned fencing masters, and there received a good general education as well as rigorous training in swimming, boxing, horse riding and other physical and social skills; he became one of the finest fencers in Europe. Saint-Georges’ musical education was less well documented, though he apparently had shown talent as a violinist even before leaving Guadeloupe and seems to have been a student of the celebrated composer François Gossec for several years. sHe joined Gossec’s orchestra at the Concert des Amateurs in 1769, made his debut there as a soloist three years later (in two of his own violin concertos), and became concertmaster and conductor of the group shortly thereafter. In 1777, Saint-Georges entered the employ of the Duke of Orléans, and four years later took on the additional position of concertmaster of the Concert de la Loge Olympique, for which Claude-François-Marie Rigoley, Comte d’Ogny commissioned Haydn’s “Paris” symphonies. Saint-Georges acted as intermediary in finalizing the arrangements with Haydn, and he presumably directed the premieres of the works.
  • Poslovni Vidiki Delovanja Samozaposlenih Pianistov

    Poslovni Vidiki Delovanja Samozaposlenih Pianistov

    UNIVERZA V LJUBLJANI FAKULTETA ZA DRUŽBENE VEDE mag. Tamara Goličnik Poslovni vidiki delovanja samozaposlenih pianistov Doktorska disertacija Ljubljana, 2015 UNIVERZA V LJUBLJANI FAKULTETA ZA DRUŽBENE VEDE mag. Tamara Goličnik Mentor: izr. prof. dr. Neven Borak Poslovni vidiki delovanja samozaposlenih pianistov Doktorska disertacija Ljubljana, 2015 Povzetek Poslovni vidiki delovanja samozaposlenih pianistov V nalogi na podlagi uporabljene literature o podjetništvu in menedžmentu, lastnih izkušenj ter empirične raziskave proučujem poslovne vidike delovanja samozaposlenih pianistov. Namen naloge je preučitev pogojev in načina delovanja samozaposlenega pianista, da bi se lahko določili ključni dejavniki uspešnosti, ki so osnova modela za načrtovanje in spremljanje pos- lovnih strategij ter ugotavljanje uspešnosti poslovanja. Oblikovanje poslovnega načrta in pos- tavitev modela BSC za samozaposlenega pianista je bil glavni cilj naloge. V pregledani relevantni literaturi nisem zasledila vseh poslovnih vidikov delovanja samoza- poslenih glasbenikov – pianistov, zato sem se oprla na vire, ki obravnavajo principe delovanja umetniških organizacij. Narava pianistove dejavnosti je umetniška in na nek način sorodna dejavnosti umetniških organizacij, zlasti ko gre za storitev – koncert, zato se lahko nekateri principi delovanja s področja trženja, odnosov z javnostmi, financiranja in inoviranja smiselno uporabijo tudi za samozaposlenega pianista. V nalogi privzemam tudi stališče, da je v organi- zacijskem smislu samozaposleni pianist mikro-podjetnik in se opiram na ekonomske vidike delovanja podjetnikov. Glasbenike motivira v veliki meri želja po neodvisnosti, poleg tega pa tudi realizacija ideje in specifično delo. Nekateri avtorji jih opredeljujejo kot kulturne podjet- nike, ki so odkrili in ovrednotili priložnosti na umetniškem trgu ter ustanovili (mikro) podjetja, da bi te priložnosti uresničili. V disertaciji torej izhajam iz tega, da je pianist mikro-podjetnik, ki sam prevzame vse naloge vodenja svoje dejavnosti, zlasti na začetku samostojnega delova- nja.
  • A Pioneering Twentieth Century African-American Musician: the Choral Works of George T

    A Pioneering Twentieth Century African-American Musician: the Choral Works of George T

    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 A Pioneering Twentieth Century African- American Musician: The Choral Works of George T. Walker Jeffery La'Moun Ames Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A PIONEERING TWENTIETH CENTURY AFRICAN-AMERICAN MUSICIAN: THE CHORAL WORKS OF GEORGE T. WALKER By JEFFERY L. AMES A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2005 The members of the Committee approve the Dissertation of Jeffery L. Ames defended on March 31, 2005. ______________________________________ André J. Thomas Professor Directing Dissertation ______________________________________ Patrick J. Meighan Outside Committee Member ______________________________________ Judy K. Bowers Committee Member ______________________________________ Kevin A. Fenton Committee Member Approved: _______________________________ Jon R. Piersol, Dean, College of Music The Office of Graduate Studies has verified and approved the above named committee members. ii This dissertation is affectionately dedicated to: God for His awesome work in my life! Kimberly Ames, my wife - Thank you for praying with me, encouraging me, And being the one God ordained to walk by my side on this journey. I love you Princess! and My mother Mrs. Erma Ames, and the memory of my father Therman E. Ames, Sr. I have good plans for you, not plans to hurt you. I will give you hope and a good future. And when you search for me with all your heart, You will find me.
  • Bath Abbey Assembly Rooms, Bennett St, Bath BA1 2QH 5 Terrace Walk, Bath BA1 1LN Holburne Museum, Great Pulteney St, Bathwick, B

    Bath Abbey Assembly Rooms, Bennett St, Bath BA1 2QH 5 Terrace Walk, Bath BA1 1LN Holburne Museum, Great Pulteney St, Bathwick, B

    15 11 No 17 The Circus, Bath BA1 2ET 1 Bath Abbey 12 9 Park Street, Landsdown, Bath BA1 2TB 2 5 Terrace Walk, Bath BA1 1LN 13 1 Lansdown Crescent, Bath BA1 5EX 14 13 14 18, 19 and 20 Lansdown Crescent, BA1 5EX 12 7 8 9 10 3 Pulteney Bridge 11 6 4 76 Great Pulteney Street, Bath BA2 4DL 16 15 Landsdown Tower known as Beckford’s Tower, Lans- down Rd, Bath BA1 9BH 5 18 Great Pulteney Street, Bath BA2 4BR 5 4 17 3 6 Holburne Museum, Great Pulteney St, Bathwick, 1 Bath BA2 4DB 7 Institution for the Blind and Deaf and Dumb, at 8-9 2 Walcot Parade Bath BA1 5NF 18 8 St Swithin Church, The Paragon, Bath BA1 5LY 16 Locksbrook Cemetery, 5 Cedric Road, Bath, BA1 3PD 9 Lady Huntingdon’s Chapel The Paragon, The Vineyards, Bath BA1 5NA 17 13 Queen Square 10 Assembly Rooms, Bennett St, Bath BA1 2QH 18 27 Green Park Buildings Bath BA1 1HZ A Walk Through Bath’s Uncomfortable Past were powerful landowners. Some of them were or- 3 10 1 dinary citizens who owned small shares in planta- Bath, a UNESCO world heritage site, is better tions, 40% of which were women. When the Slav- 4 known for its Georgian splendour than its associ- ery Abolition Act was finally passed in 1833, there 6 ation with transatlantic slavery. While Bristol and were 46,000 slave-owners in Britain to whom the other harbour cities were directly involved in the government distributed £20m to compensate trade of enslaved Africans and the products of their loss.
  • The Following Is a Composite Journal Compiled from Select Journal Entries Written by Students in the 2011-2012 Session of Russell Peck’S Theatre in England Course

    The Following Is a Composite Journal Compiled from Select Journal Entries Written by Students in the 2011-2012 Session of Russell Peck’S Theatre in England Course

    The following is a composite journal compiled from select journal entries written by students in the 2011-2012 session of Russell Peck’s Theatre in England course. The names, year of graduation, and majors of the authors follow each entry. In some cases, multiple entries for a single play are provided to allow the reader multiple perspectives to the same performance. Little Women (2005) Wednesday, December 28 Book by Peter Layton; Music and Lyrics by Lionel Siegal Based on the book by Louisa May Alcott Dir. Nicola Samer The Lost Theatre In this musical retelling of Louisa May Alcott’s loosely autobiographical narrative, Little Women, the production follows the lives of the four March sisters — Meg, Jo, Beth, and Amy — growing up in the climate of the American Civil War. Their father has left to fight for the union, leaving the women to care for themselves and manage their household independently. Together they adopt an independent spirit, which is perhaps best embodied by Jo (Charlotte Newton John), the second eldest sister. Jo’s character is a direct reflection of Alcott’s childhood, and the story is framed from her perspective. Like the authoress, Jo is a tomboy at heart — in this time period, independence was a de facto synonym with masculinity. Both Alcott and her character adopted a masculine persona in their quests to become renowned writers in a male-dominated society. The actresses convincingly portrayed the sisters’ development throughout the play, as they blossomed from young girls to women. Despite the theme of independence, growing up was strongly associated with settling down and finding a man.
  • George P. Bridgetower and the Kreutzer Sonata Author(S): F

    George P. Bridgetower and the Kreutzer Sonata Author(S): F

    George P. Bridgetower and the Kreutzer Sonata Author(s): F. G. E. Source: The Musical Times, Vol. 49, No. 783 (May 1, 1908), pp. 302-308 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/902975 Accessed: 12-12-2015 03:13 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times. http://www.jstor.org This content downloaded from 138.73.1.36 on Sat, 12 Dec 2015 03:13:09 UTC All use subject to JSTOR Terms and Conditions 302 THE MUSICAL TIMES.-MAY I, 1908. Mr. Charles Harry Moody, the presentorganist As a composer his principal contribution to and master of the choristers,was born at Dennis Church music is a festivalMagnificat in A, sung Park, Stourbridge,on March 22, 1874. A pupil at the Triennial Festival ofNorth-Eastern Cathedral first of the late Mr. G. W. Bates, organist of Choirs in York Minsteron July4, 1902. He has Stourbridge Parish Church, he was afterwardsalso written several songs, and he contributed articled to Mr. T.
  • Celebrating Beethoven at 250 Powerful Concerts • Brilliant Musicians No Radio? No Problem! Find Us on Facebook, Twitter and at Wpr.Org

    Celebrating Beethoven at 250 Powerful Concerts • Brilliant Musicians No Radio? No Problem! Find Us on Facebook, Twitter and at Wpr.Org

    Season 31 June 18 - September 6, 2021 M MCelebrating Beethoven at 250 Powerful Concerts • Brilliant Musicians No radio? No problem! Find us on Facebook, Twitter and at wpr.org. 2 Midsummer’s Music Providing comprehensive piano service to Midsummer’s Music Festival No radio? No problem! Find us on Facebook, Twitter and at wpr.org. Potluck Piano Peter Nehlsen 1141 Old West Harbor Rd. Washington Island, WI 54246 920-535-0108 Season 31 3 About Midsummer’s Music Founded in 1990, Midsummer’s Music has been bringing chamber music to Door County, Wisconsin, audiences for more than three decades. Our “exciting, pulse-pounding and riveting” concerts include international premieres and feature world-class artists. Our unique and diverse cultural, historical, and scenic musical experiences touch tens of thousands of listeners each year via live performances, radio, and social media. A multi-faceted organization featuring collaborations with local organizations and institutions, we attract musicians from Chicago’s Lyric Opera, Chicago Symphony, Milwaukee Symphony, St. Paul Chamber Orchestra, Ravinia Festival, and Pro Arte Quartet, among others. Our resident string quartet, the Griffon String Quartet, enriches the lives of children and adults throughout northeast Wisconsin through concerts, workshops, and music education. Collaborations include Write On, Door County and Woodwalk Gallery involving poets and artists who create original works based on the music that inspired them, and the Celebrate Water initiative which is a major programming commitment to bring awareness to water supply protection. Midsummer’s Music attracts increasing admiration and respect from around the country, while still gaining the affection of local Door County audiences.
  • Music and Empire in Eighteenth-Century Britain

    Music and Empire in Eighteenth-Century Britain

    Music and Empire in Eighteenth-Century Britain Introduction This digital concert series connects eighteenth-century London, Europe’s greatest metropolis, as a European cultural centre to the city as a centre of empire. Britain’s empire by the early eighteenth century was not on the model of the territorial empires of her European neighbours, ranging from the Roman Empire to the Habsburg, French and Russian Empires. It was a maritime empire or an ‘empire of the sea'. By the 1760s the British Empire had come to mean Great Britain, Ireland as well as numerous British colonies and settlements across the world. Themes of global encounters, the exotic and empire formed some of the background for the reception and development of British musical culture during a period defined by Enlightenment, modernity and economic development. A culturally diverse musical society included composers and performers, audiences and benefactors connecting with Europe, the Atlantic world and Asia. The Warwick History Department currently has two interdisciplinary research centres where many of its participants are pursuing themes of empire, trade, global encounter, and enslavement. ‘Musical Culture and Empire’ brings musical culture to our histories, and this digital concert series supports today’s musical cultural sector during this period of Covid-19. London, empire and luxury London in 1794 By 1700, London was already Europe's largest city, and held 11% of Britain’s population. It grew from 500,000 inhabitants in 1700 to 675,00 in 1750 and reached 959,000 in 1800. 4,000 aristocratic and gentry families had homes in the city by 1700, stimulating the “London season”.
  • Bridgetower Sonata’ Was Prejudice

    Bridgetower Sonata’ Was Prejudice

    LESSON George Bridgetower ONE ‘The young African Prince…the boy wonder’ There are many fascinating things about George boy. After he played in Bath in 1789, the Bath Bridgetower, and one of them is that we barely Morning Post wrote, ‘The young African Prince, remember him at all. whose musical talents have been so much cele- brated, had a more crowded and splendid concert This would be a great surprise to music lovers in on Sunday morning than has ever been known in 1800. At that time, Bridgetower was a superstar, this place. There were upwards of 550 persons selling out concert halls across Europe due to his present, and they were gratified by such skills astonishing talents on the violin. He counted on the violin as created general astonishment, Beethoven and the Prince Regent among his fans, as well as pleasure from the boy wonder. The and looked set to become a famous composer in father was in the gallery, and so affected by the his own right. Even more incredibly, Bridgetower applause bestowed on his son, that tears of achieved all of this before his 25th birthday. pleasure and gratitude flowed in profusion.’ Perhaps fame came too early for George. By the As you can see from this quote, one of the things time he was 30 his star had waned, and he lived that fascinated audiences was the fact that out the second half of his life in obscurity, forgot- George was black. White Europeans of the time ten by the public and making a living by teaching were more used to seeing black people in the role music from his home in Peckham.
  • The Black London Emonograph Series Black Britannia

    The Black London Emonograph Series Black Britannia

    The Black London eMonograph series Black Britannia By Thomas L Blair, editor and publisher Publishing information Black Britannia: From slavery to freedom in the 18th century Thomas L Blair ISBN 978-1-908480-18-7 The Black London eMonograph Series. ©Thomas L Blair All rights reserved. ©2013 No part of this publication and series may be reproduced, stored in or introduced into a retrieval system, or transmitted in any form or by any means (electronic, mechanical, photocopying, recording or otherwise), without the written permission of the author and copyright holder. The greatest care has been taken in producing this publication; however, the author will endeavour to acknowledge any errors or omissions. 1 The Black London eMonograph series Key writings on African and Caribbean peoples in the nation‟s capital by Prof Thomas L Blair. Well researched, theoretically informed and policy related. Titles range from The Shaping of Black London to the first Black settlers in the 18th century to today‟s denizens of the metropolis. My work is supported by decades of scholarly and action research on race, city planning, community development and regeneration. Major publications can be accessed at the British Library http://explore.bl.uk/primo_library/libweb/action/search.do?dscnt=1&frbg=&scp. scps=scope%3A%28BLCONTENT%29&tab=local_tab&dstmp=1385312994646&s rt=rank&ct=search&mode=Basic&vl(488279563UI0)=any&dum=true&indx=1&t b=t&vl(freeText0)=thomas%20l%20blair&vid=BLVU1&fn=search&fromLogin=tr ueia Relevant research monographs from 1968-1997 appear in Thom Blair.org.uk http://www.thomblair.org Click Thomas L Blair Collected Works/MON (or search).
  • Samuel Coleridge-Taylor and His Violin Sonata In

    Samuel Coleridge-Taylor and His Violin Sonata In

    DEPARTMENT OF MUSIC SAMUEL COLERIDGE-TAYLOR AND HIS VIOLIN SONATA IN D MINOR: A LOST ROMANTIC RECITAL RESEARCH PAPER by Katelyn McClinton Presented in partial fulfillment of the requirements for the Master of Music May 15, 2018 1 Samuel Coleridge-Taylor and His Violin Sonata in D Minor, Op. 28: A Lost Romantic Introduction There are few composers of African descent in the history of western classical music who have achieved memorable and long lasting success. The few names that are often recognized are French composer Chevalier de Saint-Georges (1745-1799), Polish violinist George Bridgetower (1778-1860), and American composer William Grant Still (1895-1978). Given the significance of his many contributions, composer Samuel Coleridge-Taylor (1875-1912) is a name that deserves to be added to this small, but significant list. Throughout his life, Coleridge-Taylor was often referred to as “African Mahler” or “Black Mahler,”1 by white musicians in New York. This nickname arises from his career as a conductor.2 He was given such a nickname because of his conducting background through his life.3 Coleridge-Taylor’s musical background and influences were certainly of the great romantics preceding him. He was a student at the Royal College of Music in England where he was a student of Sir Charles Villiers Stanford. Stanford was a devoted admirer of the works of Brahms, whose, use of musical color and texture were a model for Coleridge-Taylor. On a practical level, however, Coleridge-Taylor was more impressed with the folk music and compositional style of Antonin Dvořák.