Classical Series 1 2019/2020
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Simfonies 1, 2, 3, 4 JORDI SAVALL
Simfonies 1, 2, 3, 4 JORDI SAVALL "An impressive recording" "Jordi Savall démontre une The Classic Review compréhension profonde du massif beethovénien ; il en révèle les équilibres singuliers” Classique News "L'enregistrement de l'année de Beethoven" MERKUR "It’s the organic nature of Savall’s conception that makes it stand head and shoulders above this year’s crop of Fifths" Limelight, EDITOR'S CHOICE "La perfección en estas grabaciones es difícil de comentar. La música está viva y coleando" POLITIKEN "A really first-class recording" Classical Candor 10/2/2021 Review | Gramophone BEETHOVEN Symphonies Nos 1-5 (Savall) Follow us View record and artist details Author: Peter Quantrill We know a lot about how Beethoven composed at the keyboard, and right from the clipped, slashed and rolled tutti chords of the First Symphony’s opening-movement Allegro, all weighted according to context by Le Concert des Nations, there’s a fine and rare sense of how his thinking transferred itself to an orchestral canvas. Made under studio conditions in the church of a medieval Catalonian fortress, these recordings BEETHOVEN enjoy plenty of string bass colour and timpani impact without Symphonies Nos 1-5 swamping the liveliest inner-part debates between solo winds (Savall) or divided-violin combat. Symphony No. 1 ‘Enjoy’ is the word for the set as a whole. The tempos are largely Beethoven’s own, at least according to the metronome Symphony No. 2 marks he retrospectively applied in 1809 to all the symphonies Symphony No. 3, he had composed up to that point, but almost no 'Eroica' interpretative decision feels insisted upon, no expressive horizon foreshortened by a ready-made frame. -
Network Notebook
Network Notebook Fall Quarter 2018 (October - December) 1 A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more. -
Cellist Zuill Bailey with Helen Kim and the KSU Symphony Orchestra
SCHOOL of MUSIC where PASSION is Zuill Bailey,heard Cello featuring Helen Kim, Violin Robert Henry, Piano KSU Symphony Orchestra Nathaniel F. Parker, Music Director and Conductor Wednesday, October 9, 2019 | 8:00 PM Dr. Bobbie Bailey & Family Performance Center, Morgan Hall musicKSU.com 1 heard Program LUKAS FOSS (1922-2009) CAPRICCIO MAX BRUCH (1838-1920) KOL NIDREI, OPUS 47 PYOTR ILYICH TCHAIKOVSKY (1840-1893) VARIATIONS ON A ROCOCO THEME, OPUS 33 Zuill Bailey, Cello Robert Henry, Piano –INTERMISSION– JOHANNES BRAHMS (1833-1897) CONCERTO FOR VIOLIN, CELLO, AND ORCHESTRA IN A MINOR, OPUS 102 I. ALLEGRO II. ANDANTE III. VIVACE NON TROPPO Zuill Bailey, Cello Helen Kim, Violin Kennesaw State University Symphony Orchestra Nathaniel F. Parker, Conductor We welcome all guests with special needs and offer the following services: easy access, companion seating locations, accessible restrooms, and assisted listening devices. Please contact a patron services representative at 470-578-6650 to request services. 2 Kennesaw State University School of Music KSU Symphony Orchestra Personnel Nathaniel F. Parker, Music Director & Conductor Personnel listed alphabetically to emphasize the importance of each part. Rotational seating is used in all woodwind, brass, and percussion sections. Flute Violin Cello Don Cofrancesco Melissa Ake^, Garrett Clay Lorin Green concertmaster Laci Divine Jayna Burton Colin Gregoire^, principal Oboe Abigail Carpenter Jair Griffin Emily Gunby Robert Cox^ Joseph Grunkmeyer, Robert Simon Mary Catherine Davis associate principal -
THE CLEVELAN ORCHESTRA California Masterwor S
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An Analysis of Honegger's Cello Concerto
AN ANALYSIS OF HONEGGER’S CELLO CONCERTO (1929): A RETURN TO SIMPLICITY? Denika Lam Kleinmann, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2014 APPROVED: Eugene Osadchy, Major Professor Clay Couturiaux, Minor Professor David Schwarz, Committee Member Daniel Arthurs, Committee Member John Holt, Chair of the Division of Instrumental Studies James Scott, Dean of the School of Music Mark Wardell, Dean of the Toulouse Graduate School Kleinmann, Denika Lam. An Analysis of Honegger’s Cello Concerto (1929): A Return to Simplicity? Doctor of Musical Arts (Performance), May 2014, 58 pp., 3 tables, 28 examples, 33 references, 15 titles. Literature available on Honegger’s Cello Concerto suggests this concerto is often considered as a composition that resonates with Les Six traditions. While reflecting currents of Les Six, the Cello Concerto also features departures from Erik Satie’s and Jean Cocteau’s ideal for French composers to return to simplicity. Both characteristics of and departures from Les Six examined in this concerto include metric organization, thematic and rhythmic development, melodic wedge shapes, contrapuntal techniques, simplicity in orchestration, diatonicism, the use of humor, jazz influences, and other unique performance techniques. Copyright 2014 by Denika Lam Kleinmann ii TABLE OF CONTENTS Page LIST OF TABLES………………………………………………………………………………..iv LIST OF MUSICAL EXAMPLES………………………………………………………………..v CHAPTER I: INTRODUCTION………..………………………………………………………...1 CHAPTER II: HONEGGER’S -
DIRECTIEVERSLAG 2020 Inleiding Stichting Droom En Daad Werkt Aan
DIRECTIEVERSLAG 2020 Inleiding Stichting Droom en Daad werkt aan het verfijnen van haar visie en vervullen van haar missie: een mooier en aantrekkelijker Rotterdam door te investeren in kunst en cultuur. Hierbij kijkt de Stichting met extra aandacht naar talentontwikkeling, de publieke ruimte en het revitaliseren van cultureel erfgoed. De activiteiten van Stichting Droom en Daad hebben in het jaar 2020 grotendeels in het teken gestaan van de uitbraak van de COVID-19 pandemie. Talentontwikkeling Op gebieden variërend van klassieke muziek tot hiphop en van architectuur tot beeldende kunst is er (jong) talent in Rotterdam. Stichting Droom en Daad wil een bijdrage leveren om dit talent tot wasdom te brengen. Dat doet Stichting Droom en Daad onder andere door bij te dragen aan het Batavierhuis, Big Idea, het RIDCC, de Heerenhuyskamerconcerten en het ICCR. Al deze -en meer- activiteiten zijn door de COVID-19 pandemie in aangepaste vorm doorgegaan of afgelast en waar mogelijk verschoven naar 2021. Mede als gevolg van de COVID-19 pandemie heeft de Stichting een aantal nieuwe en eenmalige initiatieven – op het gebied van talentontwikkeling – gesteund. Publieke ruimte De publieke ruimte draagt bij tot een prettig leefklimaat en een positieve beleving van de stad voor zowel bezoekers als bewoners. Eind 2020 heeft de Stichting twee beelden aangekocht die komend jaar in de Rotterdamse buitenruimte worden geplaatst. Revitaliseren Rotterdams cultureel erfgoed Stichting Droom en Daad zet zich in om het Rotterdamse culturele erfgoed te behouden en te revitaliseren. Niet door er een stolp overheen te plaatsen, maar door er opnieuw leven in te blazen. Het Batavierhuis, de Fenix en de Doopsgezinde kerk zijn aangekocht door de Stichting en hebben reeds of krijgen in de komende jaren een nieuwe bestemming. -
Visite Par Audioguide Des Dominicains
STATION - WELCOME BY BRIGITTE KLINKERT Hello, my name is Neil Beardmore and on behalf on Brigitte Klinkert, president of the association that manages this heritage site, which is listed as a historic monument, welcome to The Dominican Convent of Haut-Alsace. The Dominican convent is no longer a place of worship. It is now a cultural centre, certified by the French Culture Ministry as a Subsidised Music Performance Centre. The Dominican Convent of Haute-Alsace belongs to the Haut-Rhin County Council, and it is one of the most important sites of the Upper Rhine Region, together with Hohlandsbourg Castle, Wesserling Park and the Ecomusée d’Alsace, all three of which are nearby. Here you are at the Dominican Convent, a place with an extraordinary history where, if time had stood still, friar preachers, fishmongers, textile workers and the great Rostropovich would meet. To begin this tour, please make your way over to the cloister, which was once a place of prayer and contemplation. We recommend that you follow the tour in the suggested direction, because you will find markers corresponding to the chapter numbers of your audio-guide. Be curious, listen carefully and enjoy your tour of the Dominican Convent. STATION - CLOISTER The sandstone of the Vosges Mountains is whispering... Listen closely and it will tell you seven hundred years of history. This cloister is part of a former Dominican convent, where friar preachers lived. The mendicant order was composed of friars who lived in cities to preach and who relied on charity to survive. It was founded in Toulouse in the early 13th century by St. -
Zu Opus Klassik
Nominierte in der Kategorie Instrumentalist/in des Jahres Hinrich Alpers Piotr Anderszewski Nicholas Angelich Iveta Apkalna Martha Argerich Martha Argerich Bach: Well-tempered Beethoven / Liszt Clavier Prokofiev Widor & Vierne Beethoven / Grieg Beethoven Avi Avital Sergio Azzolini Sergei Babayan Daniel Barenboim Thomas Bartlett Lisa Batiashvili Art of the Mandolin Kozeluch: Concertos Rachmaninoff Complete Piano Sonatas Shelter City Lights and Symphony / Diabelli Variations Nominierte in der Kategorie Instrumentalist/in des Jahres Katharina Bäuml Nicola Benedetti Kristian Bezuidenhout Eva Bindere Claudio Bohórquez Gábor Boldoczki Earth Music Elgar: Violin Concerto Beethoven: 9. Sinfonie / Tālivaldis Ķeniņš Piazzolla Versailles Chorfantasie Luiza Borac Rudolf Buchbinder Khatia Buniatishvili Gautier Capuçon Renaud Capuçon Bertrand Chamayou Constantin Silvestri Beethoven: Piano Concerto 1 Labyrinth Emotions Elgar: Violin concerto Good Night! Nominierte in der Kategorie Instrumentalist/in des Jahres Seong-Jin Cho Zlata Chochieva Florian Christl Daniel Ciobanu Carlos Cipa Xavier de Maistre The Wanderer (re)creations Episodes Daniel Ciobanu Correlations (on 11 pianos) Serenata Latina Nikola Djoric Magne H. Draagen Friedemann Eichhorn Isang Enders Christian Euler Reinhold Friedrich Echoes of Leipzig in Bach & Piazzolla Say: Complete Violin Vox Humana Viola Solo Blumine Nidaros Cathedral Works Nominierte in der Kategorie Instrumentalist/in des Jahres Reinhold Friedrich Sebastian Fritsch Martin Fröst Thibaut Garcia Brandon Patrick George Alban -
Repertoire List
APPROVED REPERTOIRE FOR 2022 COMPETITION: Please choose your repertoire from the approved selections below. Repertoire substitution requests will be considered by the Charlotte Symphony on an individual case-by-case basis. The deadline for all repertoire approvals is September 15, 2021. Please email [email protected] with any questions. VIOLIN VIOLINCELLO J.S. BACH Violin Concerto No. 1 in A Minor BOCCHERINI All cello concerti Violin Concerto No. 2 in E Major DVORAK Cello Concerto in B Minor BEETHOVEN Romance No. 1 in G Major Romance No. 2 in F Major HAYDN Cello Concerto No. 1 in C Major Cello Concerto No. 2 in D Major BRUCH Violin Concerto No. 1 in G Minor LALO Cello Concerto in D Minor HAYDN Violin Concerto in C Major Violin Concerto in G Major SAINT-SAENS Cello Concerto No. 1 in A Minor Cello Concerto No. 2 in D Minor LALO Symphonie Espagnole for Violin SCHUMANN Cello Concerto in A Minor MENDELSSOHN Violin Concerto in E Minor DOUBLE BASS MONTI Czárdás BOTTESINI Double Bass Concerto No. 2in B Minor MOZART Violin Concerti Nos. 1 – 5 DITTERSDORF Double Bass Concerto in E Major PROKOFIEV Violin Concerto No. 2 in G Minor DRAGONETTI All double bass concerti SAINT-SAENS Introduction & Rondo Capriccioso KOUSSEVITSKY Double Bass Concerto in F# Minor Violin Concerto No. 3 in B Minor HARP SCHUBERT Rondo in A Major for Violin and Strings DEBUSSY Danses Sacrée et Profane (in entirety) SIBELIUS Violin Concerto in D Minor DITTERSDORF Harp Concerto in A Major VIVALDI The Four Seasons HANDEL Harp Concerto in Bb Major, Op. -
Bach Academy Bruges
ENGLISH Wed 24 Jan — Sun 28 Jan 2018 BACH BEWERKT BACH ACADEMY BRUGES Bach rearranged — 01 — Dear music lover Festival summary Welcome to this eighth Bach than composing for religious services: WED 24 JAN 2018 15.00 Concert hall 17.00 Chamber music hall seeking the essence of music, distilling out BELGIAN PREMIERE Oxalys & Bojan Cicic Academy, with a programme that its language as far as he was able. 19.15 Stadsschouwburg Dietrich Henschel All roads lead to Bach focuses on the parody. The last ten years of his life saw the Introduction by Gloria Schemelli’s Gesangbuch p. 20 composition of the second part of the Carlier (in Dutch) p. 10 Well-Tempered Clavier, the Goldberg 19.15 Chamber music hall As you undoubtedly know, Bach frequently Variations, the Von Himmel Hoch choral 20.00 Stadsschouwburg 17.00 Chamber music hall Introduction by Ignace drew on music by other composers or his variations, The Musical Offering, the Mass Mass B Christine Busch & Bossuyt (in Dutch) own earlier work to mould into new works of in B minor and The Art of the Fugue. None Béatrice Massin & Jörg Halubek his own. The Mass in B minor, for example, of these compositions was written on Compagnie Fêtes galantes Bach. Violin sonatas 20.00 Concert hall is a brilliant interweaving of largely commission. For these works, Bach was i.c.w. Cultuurcentrum Brugge p. 11 Collegium Vocale Gent refashioned parts of earlier cantatas with driven only by artistic inspiration. They So singen wir recht das earned him nothing, and only thirty copies 19.15 Chamber music hall Gratias newly-composed passages. -
2020 Performances
10 January 2020 Johann Strauß Overture to Die Fledermaus Maurice Ravel Alborada del gracioso Fazil Say Never give up (German première) Friedrich Gulda Cello Concerto Johann Strauß Gruß an Wien Johann Strauß Champagne Polka Johann Strauß An der schönen, blauen Donau Camille Thomas, cello Stuttgart Philharmonic Marijn Simons, conductor At the Congress Centre in Heidenheim (Germany) 11 January 2020 Johann Strauß Overture to Die Fledermaus Maurice Ravel Alborada del gracioso Fazil Say Never give up Friedrich Gulda Cello Concerto Johann Strauß Gruß an Wien Johann Strauß Champagne Polka Johann Strauß An der schönen, blauen Donau Camille Thomas, cello Stuttgart Philharmonic Marijn Simons, conductor At the Congress Centre in Heidenheim (Germany) 12 January 2020 Johann Strauß Overture to Die Fledermaus Maurice Ravel Alborada del gracioso Fazil Say Never give up Friedrich Gulda Cello Concerto Johann Strauß Gruß an Wien Johann Strauß Champagne Polka Johann Strauß An der schönen, blauen Donau Camille Thomas, cello Stuttgart Philharmonic Marijn Simons, conductor At the Gustav-Siegle-Haus in Stuttgart (Germany) 8 February 2020 Johann Sebastian Bach Double Concerto Wolfgang Amadeus Mozart Violin Sonata no. 21 Felix Mendelssohn Violin Concerto Marijn Simons, violin (Bach & Mozart) Till Stümke, violin (Bach & Mendelssohn) Karina Șabac, piano At the Liberme Castle in Eupen (Belgium) 19 March 2020 (postponed due to Corona lockdown) Dan Dediu Frenesia 2 Wolfgang Amadeus Mozart Horn Concerto no. 4 Sergei Rachmaninoff Symphony no. 2 Laurens Woudenberg, horn -
Schumann Quartett
Candlelight Concert Society Presents SCHUMANN QUARTETT ERIK SCHUMANN, violin KEN SCHUMANN, violin LIISA RANDALU, viola MARK SCHUMANN, cello Saturday, February 22, 2020, 7:30 pm Smith Theatre–Horowitz Visual & Performing Arts Center Howard Community College This performance is sponsored by Rosalie Lijinsky Chadwick in memory of William Lijinsky WOLFGANG AMADEUS MOZART (1756–1791) Quartet in D major, K. 499, “Hoffmeister” Allegretto Menuetto: Allegretto Adagio Allegro DMITRI SHOSTAKOVICH (1906–1975) Quartet no. 9 in E-flat Major, op. 117 Moderato con moto Adagio Allegretto Adagio Allegro Intermission BEDŘICH SMETANA (1824–1884) Quartet no. 1 in E minor, “From my Life” Allegro vivo appassionato Allegro moderato alla Polka Largo sostenuto Vivace Discography: BERLIN CLASSICS Management: ARTS MANAGEMENT GROUP, INC., https://www.artsmg.com/ deepening plot. Some of Mozart’s densest coun- Program Notes terpoint appears in the Menuetto, which is at the same time intense and elegant. Following traditional Wolfgang Amadeus Mozart (1756–1791) minuet and trio form, the robust initial repeated sec- QUARTET IN D MAJOR, K. 499, “HOFFMEISTER” tions give over to a trio, which in this case introduces a tentative element. The trio ends one beat too The publisher and skilled am- early, as if the composer were tripping over him- ateur violinist Franz Anton self in his eagerness to get back to the confidence Hoffmeister (1754-1812) of the minuet. A slow movement, marked Adagio, was a friend, colleague, and brings repose in the form of a homophonic texture, benefactor of Mozart. In but there is a hint of melancholy in the chromatic 1785, Hoffmeister agreed ornamentation and chord progressions.