MUSC 2010.09.23 Symorchprog
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THE fESTIVll..L OPE!:'..'. RDDllCT:f;~''i STAFF .?-V{ Musical Direction-------------------------Stanley Chapple f'SO' Musical Preparation-----------------------Alexander Kuchunas Stage Direction---------------------------Ralph Rosinbum /' Scenic Design-----------------------------John Ashby Conway UNIVERSITY OF WASHINGTON Costnme Design----------------------------James Crider FESTIVAL OPERA Technical Director------------------------Don Klovstad Lighting Design---------------------------Lee Harmon Stage Manager-----------------------------Daniel Brenner and the Office of Lectures and conce~ Assistant Stage Directors-----------------Richard Krueger Randall Holden Repetiteur--------------------------------Marlene ThaI present Performance rights granted by: Mills Music, Inc. (Hello Out There); Schotts Music Publishing Co. (Wise Woman). HELLO OUT THERE 56 10 ORCHESTRA "Hello Out There" based on the play by William Saroyan String Quintet Wood Winds Music by Jack Beeson **Martin Friedmann *Felix Skowronek **David Buck *Laila Storch Carol Kapek *William McColl **Michael Matesky *Arthur Grossman AND Harold Johanson Brass Pe raussion *Christopher Leuba .. *David Shrader **Timothy Dunlop THE WISE WOMAN (DIE KLUGE) sG Ii *Faaulty Member Piano Sbl~ **Graduate Student James van Horn Music by Carl OIff "Wise Woman" Violin Bass Trumpet Cynthia Cole Glenn Stallcop Keith Baggerly \ Sherry Peterson Flute & Piaaol-o Jeffrey Cole / Loryn Davidson Leslie Hall Charles Stowell Roger Faris Grace Millay Terry Nickels Phyllis West Betsy Raleigh Trombone Mark Lutz -
ARSC Journal
A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers. -
All Strings Considered a Subjective List of Classical Works
All Strings Considered A Subjective List of Classical Works & Recordings All Recordings are available from the Lake Oswego Public Library These are my faves, your mileage may vary. Bill Baars, Director Composer / Title Performer(s) Comments Middle Ages and Renaissance Sequentia We carry a lot of plainsong and chant; HILDEGARD OF BINGEN recordings by the Anonymous 4 are also Antiphons highly recommended. Various, Renaissance vocal and King’s Consort, Folger Consort instrumental collections. or Baltimore Consort Baroque Era Biondi/Europa Galante or Vivaldi wrote several hundred concerti; try VIVALDI Loveday/Marriner. the concerti for multiple instruments, and The Four Seasons the Mandolin concerti. Also, Corelli's op. 6 and Tartini (my fave is his op.96). HANDEL Asch/Scholars Baroque For more Baroque vocal, Bach’s cantatas - Messiah Ensemble, Shaw/Atlanta start with 80 & 140, and his Bach B Minor Symphony Orch. or Mass with John Gardiner conducting. And for Jacobs/Freiberg Baroque fun, Bach's “Coffee” cantata. orch. HANDEL Lamon/Tafelmusik For an encore, Handel's “Music for the Royal Water Music Suites Fireworks.” J.S. BACH Akademie für Alte Musik Also, the Suites for Orchestra; the Violin and Brandenburg Concertos Berlin or Koopman, Pinnock, Harpsicord Concerti are delightful, too. or Tafelmusik J.S. BACH Walter Gerwig More lute - anything by Paul O'Dette, Ronn Works for Lute McFarlane & Jakob Lindberg. Also interesting, the Lute-Harpsichord. J.S. BACH Bylsma on period cellos, Cello Suites Fournier on a modern instrument; Casals' recording was the standard Classical Era DuPre/Barenboim/ECO & HAYDN Barbirolli/LSO Cello Concerti HAYDN Fischer, Davis or Kuijiken "London" Symphonies (93-101) HAYDN Mosaiques or Kodaly quartets Or start with opus 9, and take it from there. -
With a Rich History Steeped in Tradition, the Courage to Stand Apart and An
With a rich history steeped in tradition, the courage to stand apart and an enduring joy of discovery, the Wiener Symphoniker are the beating heart of the metropolis of classical music, Vienna. For 120 years, the orchestra has shaped the special sound of its native city, forging a link between past, present and future like no other. In Andrés Orozco-Estrada - for several years now an adopted Viennese - the orchestra has found a Chief Conductor to lead this skilful ensemble forward from the 20-21 season onward, and at the same time revisit its musical roots. That the Wiener Symphoniker were formed in 1900 of all years is no coincidence. The fresh wind of Viennese Modernism swirled around this new orchestra, which confronted the challenges of the 20th century with confidence and vision. This initially included the assured command of the city's musical past: they were the first orchestra to present all of Beethoven's symphonies in the Austrian capital as one cycle. The humanist and forward-looking legacy of Beethoven and Viennese Romanticism seems tailor-made for the Symphoniker, who are justly leaders in this repertoire to this day. That pioneering spirit, however, is also evident in the fact that within a very short time the Wiener Symphoniker rose to become one of the most important European orchestras for the premiering of new works. They have given the world premieres of many milestones of music history, such as Anton Bruckner's Ninth Symphony, Arnold Schönberg's Gurre-Lieder, Maurice Ravel's Piano Concerto for the Left Hand and Franz Schmidt's The Book of the Seven Seals - concerts that opened a door onto completely new worlds of sound and made these accessible to the greater masses. -
PROGRAM NOTES by Phillip Huscher
PROGRAM NOTES by Phillip Huscher Gustav Mahler Born July 7, 1860, Kalischt, Bohemia. Died May 18, 1911, Vienna, Austria. Symphony No. 9 in D Major Mahler began his ninth symphony in the spring of 1909 and on April 1, 1910, he told the conductor Bruno Walter that the score was complete. Walter conducted the first performance with the Vienna Philharmonic on June 26, 1912. The score calls for four flute s and piccolo, four oboes and english horn, three clarinets, E-flat clarinet and bass clarinet, four bassoons and contrabassoon, four horns, three trumpets, three trombones and tuba, timpani, cymbals, bass drum, tam -tam, triangle, glockenspiel, chimes, two harps, and strings. Performance time is approximately eighty -one minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Mahler’s Ninth Symphony were given at Orchestra Hall on April 6 and 7, 1950, with George Szell conductin g. Our most recent subscription concert performances were given on November 30, December 1, 2, and 5, 1995, with Pierre Boulez conducting. The Orchestra first performed this symphony at the Ravinia Festival on August 11, 1979, with Lawrence Foster conducti ng, and most recently on June 28, 1991, with James Levine conducting. Because this symphony is Mahler’s last completed work, and because he died tragically of heart disease at the age of fifty shortly after finishing it, leaving behind his beautiful wife Alma and young daughter Anna, it’s often considered both his farewell and his most deeply personal score. Bruno Walter, who conducted the premiere thirteen months after Mahler’s death, said that he recognized the composer’s own gait in the limping rhythm o f the march at the climax of the first movement. -
CLASSICAL DISCS A\D TAPES Reviewed by RICHARD FREED DAVID HALL GEORGE JELLINEK IGOR KIPNIS PAUL KRESH ERIC SALZMAN
CLASSICAL DISCS A\D TAPES Reviewed by RICHARD FREED DAVID HALL GEORGE JELLINEK IGOR KIPNIS PAUL KRESH ERIC SALZMAN RECORDINGS OF SPECIALMERIT Emperor with Karajan is perhaps even more Rachmaninoff Second Concerto, may be as- impressive. It is big, bold, and genuinely sym- tonished by the lusty, assertive virtuosity dis- BEETHOVEN: Piano Concerto No. 5, in Elicit phonic in concept, not stormy but truly majes- played here. Walter, as in all of his finest re- Major, Op. 73 ("Emperor"). Alexis Weissen- tic in the outer movements and achieving a cordings, simply makes one feel he is allowing berg (.piano); Berlin Philharmonic Orchestra, dramatically contrasting level of intimacy in the music to speak for itself, with no gratui- Herbert von Karajan cond. ANGEL S-37062 the middle one. The mutuality between soloist tous overlay of "interpretation," and the or- $6.98. and conductor is extraordinary. A few phras- chestra itself is heartbreakingly beautiful. It Performance: One of the best es here and there are a little fussy, but never doesn't take more than the first entry of the Recording: Very good enough to get in the way of the sweeping of horns in the second subject to remind one that fect, both viscerally exciting and deeply satis- the prewar Vienna Philharmonic was glo- BEETHOVEN: Piano Concerto No. 5, in Elicit fying after repeated hearings. The sound is riously unique, whether playing the Emperor Major, Op. 73 ("Emperor"). Walter Gieseking rich and full-bodied, and in every respect this Concerto or the Emperor Waltz. This was, I (piano);ViennaPhilharmonicOrchestra, is one of the best Emperors around. -
INDIANAPOLIS OPERA COMPANY PRESENTS How to Fight Inflation
INDIANAPOLIS OPERA COMPANY PRESENTS How to fight inflation. * It looks like a piano. And it sounds like a piano. But it's more than a piano. It's a Steinway. And that means that it's not only a fine musical instrument. It's a fine investment as well. So fine, that people with 30 year old Steinways are selling them today for more than they originally paid. What makes a Steinway such a blue chip investment? Work. Experience. Work. Caring. Work. Using mortised joints where butt joints could get by. Making each individual hammer instead of buying them from someone else. Voicing each piano for 8 full hours. A thousand other details. It takes a full year of this kind of work to complete one Steinway grand. A year that pays dividends in tone, touch and power year after year after year. What this means is that although you pay more, a Steinway doesn't really cost more. Because no matter how you decide to play it, a Steinway outperforms the market. For more information visit any of the 5 Wilking Stores and let one of our keyboard counselors relate the complete story or call 293-4717 and we will be pleased to mail you complete descriptive information. The Steinway House of Indiana Downtown: 43 East Washington Street 637-1326 Ayr-Way Greenwood Mall: U.S. 31 S. and County Line Rd. 882-9195 Castleton Square 849-9402 Lafayette Square 297-4121 Washington Square 898-6451 OPEItf. \Ji FOUR ACT5 APRIL 27, 29, 30, 1977 8:00 P.M. -
And the Mahler Ninth
Eight members of the Vienna Octet play under the benign circumspection of the Mozart family there are mountain brooks that are more (or less) Ninth Symphony has not lacked outstanding record- perfect than other mountain brooks, but who would ed performances. Among the presently available think of criticizing a mountain brook in the first readings of this vast and complex masterpiece, Bruno place? Walter's 1962 version and subsequent ones by Dvoiak and his music belong to another genera- Georg Solti and Leonard Bernstein stand out in their tion, but a work such as his G Major Quintet is in own distinctive ways. fact more closely related to early Romanticism than To this select company must now be added Phil- to the Lisztian/Wagnerian nineteenth century. Its ips' new recording of the symphony by the Amster- richness is due in large part to the use of the double dam Concertgebouw Orchestra under conductor bass-here perfectly played and reproduced. Bernard Haitink. It is, for me, the disc realization Except for what seems to be a bit of inner -groove that comes closest to revealing the totality of Mahl- distortion toward the end of the Spohr, these are er's vision in this work, thanks not only to a most superbly produced discs in every dimension. Inter- probing search of the music's expressive and textur- estingly enough, there appear to be eleven "mem- al -architectural inner substance, but by virtue of su- bers" of the Vienna Octet. Eric Salzman perior recorded sound. From the foreboding opening measures, through KREUTZER: Grand Septet, in E -flat Major, Op. -
THE KOSCIUSZKO FOUNDATION CHOPIN PIANO COMPETITION HISTORICAL OVERVIEW in 1949, to Mark the Centennial of the Death of Fryderyk
THE KOSCIUSZKO FOUNDATION CHOPIN PIANO COMPETITION HISTORICAL OVERVIEW In 1949, to mark the centennial of the death of Fryderyk Chopin, the Kosciuszko Foundation’s Board of Trustees authorized a National Committee to encourage observance of the anniversary through concerts and programs throughout the United States. Howard Hansen, then Director of the Eastman School of Music, headed this Committee, which included, among others, Claudio Arrau, Vladimir Horowitz, Serge Koussevitzky, Claire Booth Luce, Eugene Ormandy, Artur Rodzinski, George Szell, and Bruno Walter. The Chopin Centennial was inaugurated by Witold Malcuzynski at Carnegie Hall on February 14, 1949. A repeat performance was presented by Malcuzynski eight days later, on Chopin’s birthday, in the Kosciuszko Foundation Gallery. Abram Chasins, composer, pianist, and music director of the New York Times radio stations WQXR and WQWQ, presided at the evening and opened it with the following remarks: In seeking to do justice to the memory of a musical genius, nothing is so eloquent as a presentation of the works through which he enriched our musical heritage. … In his greatest work, Chopin stands alone … Throughout the chaos, the dissonance of the world, Chopin’s music has been for many of us a sanctuary … It is entirely fitting that this event should take place at the Kosciuszko Foundation House. This Foundation is the only institution which we have in America which promotes cultural relations between Poland and America on a non-political basis. It has helped to understand the debt which mankind owes to Poland’s men of genius. At the Chopin evening at the Foundation, two contributions were made. -
Leonard Bernstein American Composer, Conductor, Teacher and Pianist (1918-1990)
Hey Kids, Meet Leonard Bernstein American Composer, Conductor, Teacher and Pianist (1918-1990) Leonard Bernstein was born in Lawrence, Massachusetts in 1918. His father, Sam Bernstein, did not support young Leonard's interest in music at first. Despite this, his father took him to many orchestra concerts. At one of these concerts he heard a piano performance that captivated him. It was then that he began to learn to play the piano. In 1934, Bernstein enrolled at Harvard University where he studied music with Walter Piston. After finishing his music studies at Har- vard, he attended the Curtis Institute of Music in Philadelphia where he studied piano, conducting and composition. While at the Curtis Institute, Bernstein was awarded the only "A" grade in conducting that his teacher Fritz Reiner ever gave. In 1943, when Bernstein was still very young, he was appointed to his first permanent conducting post as assistant conductor of the New York Philharmonic. On November 14, 1943 he was asked to substitute for principal conductor Bruno Walter who was not feeling well. With just a few hours notice, Bernstein accepted. The Carnegie Hall concert which was broadcast nationally on radio received critical acclaim. Soon orchestras worldwide were asking him to be a guest conductor. From 1958-1969 Bernstein served as the principal conductor of the New York Philharmonic. During his time with the New York Philharmonic, Bernstein conducted the orchestra for the CBS television series, Young People's Concerts. Throughout Bernstein's musical career he believed teaching young students was a very important thing to do. Years later, Bernstein referred to these concerts as being "among my favorite" and his most highly prized activities of his life. -
Kodály and Orff: a Comparison of Two Approaches in Early Music Education
ZKÜ Sosyal Bilimler Dergisi, Cilt 8, Sayı 15, 2012 ZKU Journal of Social Sciences, Volume 8, Number 15, 2012 KODÁLY AND ORFF: A COMPARISON OF TWO APPROACHES IN EARLY MUSIC EDUCATION Yrd.Doç.Dr. Dilek GÖKTÜRK CARY Karabük Üniversitesi Safranbolu Fethi Toker Güzel Sanatlar ve Tasarım Fakültesi Müzik Bölümü [email protected] ABSTRACT The Hungarian composer and ethnomusicologist Zoltán Kodály (1882-1967) and the German composer Carl Orff (1895-1982) are considered two of the most influential personalities in the arena of music education during the twentieth-century due to two distinct teaching methods that they developed under their own names. Kodály developed a hand-sign method (movable Do) for children to sing and sight-read while Orff’s goal was to help creativity of children through the use of percussive instruments. Although both composers focused on young children’s musical training the main difference between them is that Kodály focused on vocal/choral training with the use of hand signs while Orff’s main approach was mainly on movement, speech and making music through playing (particularly percussive) instruments. Finally, musical creativity via improvisation is the main goal in the Orff Method; yet, Kodály’s focal point was to dictate written music. Key Words: Zoltán Kodály, Carl Orff, The Kodály Method, The Orff Method. KODÁLY VE ORFF: ERKEN MÜZİK EĞİTİMİNDE KULLANILAN İKİ METODUN BİR KARŞILAŞTIRMASI ÖZET Macar besteci ve etnomüzikolog Zoltán Kodály (1882-1967) ve Alman besteci Carl Orff (1895-1982) geliştirmiş oldukları farklı 2 öğretim metodundan dolayı 20. yüzyılda müzik eğitimi alanında en etkili 2 kişi olarak anılmaktadırlar. Kodály çocukların şarkı söyleyebilmeleri ve deşifre yapabilmeleri için el işaretleri metodu (gezici Do) geliştirmiş, Orff ise vurmalı çalgıların kullanımı ile çocukların yaratıcılıklarını geliştirmeyi hedef edinmiştir. -
Carl Orff Die Kluge Mp3, Flac, Wma
Carl Orff Die Kluge mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical / Stage & Screen Album: Die Kluge Country: Germany Style: Modern, Opera MP3 version RAR size: 1909 mb FLAC version RAR size: 1356 mb WMA version RAR size: 1620 mb Rating: 4.3 Votes: 411 Other Formats: AC3 XM WAV DXD DMF VQF MOD Tracklist Die Geschichte Von Dem König Und Der Klugen Frau A Carl Orff Spricht Den Prolog, 1.-3. Szene B 4.-6. Szene C 7.-8. Szene, 9. Szene (1. Teil) D 9. Szene (Schluß), 10.-12. Szene, Carl Orff spricht den Epilog Credits Baritone Vocals [Der König] – Marcel Cordes Baritone Vocals [Zweiter Strolch] – Hermann Prey Bass Vocals [Der Bauer] – Gottlob Frick Bass Vocals [Der Kerkermeister] – Georg Wieter Bass Vocals [Der Mann Mit Dem Maulesel] – Benno Kusche Bass Vocals [Dritter Strolch] – Gustav Neidlinger Composed By, Narrator [Speaker], Other [Recording Supervisor] – Carl Orff Conductor – Wolfgang Sawallisch Liner Notes – K. H. Ruppel Orchestra – Philharmonia Orchester London* Soprano Vocals [Die Kluge] – Elisabeth Schwarzkopf Tenor Vocals [Der Mann Mit Dem Esel] – Rudolf Christ Tenor Vocals [Erster Strolch] – Paul Kuen Notes Recorded under the personal supervision of Carl Orff Recorded in London · May 1956 Other versions Category Artist Title (Format) Label Category Country Year Angel ANGEL 3551 Records, ANGEL 3551 B/L, ANG. Die Kluge (2xLP, Angel B/L, ANG. Carl Orff US 1956 35389, ANG. Mono + Box) Records, 35389, ANG. 35390 Angel 35390 Records Elisabeth Schwarzkopf / Elisabeth Marcel Cordes / Schwarzkopf / Gottlob Frick / Marcel Cordes / Rudolf Christ / The Record Gottlob Frick / Benno Kusche / Society, Rudolf Christ / Paul Kuen / World 40-6040, No.