DOCSLIB.ORG

Beethoven Coriolan Overture Symphony No

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Beethoven Coriolan Overture Symphony No BEETHOVEN CORIOLAN OVERTURE SYMPHONY NO. 5 KLAUS TENNSTEDT conductor LONDON PHILHARMONIC ORCHESTRA LUDWIG VAN BEETHOVEN CORIOLAN OVERTURE Until the late eighteenth century, overtures were usually a moment of military weakness that eventually drives him little more than musical announcements that an opera or to suicide. a play was about to begin, a way of silencing the audience. Rarely was their content affected much by the events of Beethoven’s Overture focuses on the conflict between the ensuing drama, and it was only with Gluck’s ‘reform the arrogant soldier – shown in the truculent opening operas’ of the 1770s that overtures began to attempt on chords and urgent string motif – and the pleadings of a more regular basis to encapsulate what was to follow. his mother as represented by the tender second theme, So influential was the change, however, that by the early rising step by step as her beseeching intensifies. In 1800s Beethoven’s most dynamic overtures – those to Shakespeare, Coriolanus was killed by his own followers the plays Coriolan, Egmont and The Ruins of Athens, to for his disloyalty, but that Beethoven’s concern, like Collin’s, the ballet The Creatures of Prometheus, and the several was for the effect of the hero’s failings on his own mind, is attempts at an overture to the opera Fidelio – soon shown at the end. Here, Volumnia’s theme makes its third acquired a concert life of their own. In effect, they had and last appearance, not rising this time but switching become the earliest examples of one of the nineteenth with greater urgency to the minor, with the result that century’s favourite forms, the symphonic poem. Coriolanus capitulates in a broken version of the opening. As the once-proud chords lose their way and the string The overture that Beethoven provided for Coriolan, a five- motif shrivels to nothing, the general’s fall is quiet and year-old tragedy by his friend Heinrich von Collin, was ignominious. actually performed a couple of times as a concert piece in the month that preceded its appearance at a revival of the play in April 1807. Collin’s drama had its origins in Shakespeare’s Coriolanus and, though differing from it in several respects, presented the same dilemma of the Roman general who has rebelled and is now leading an attack on Rome itself. On the point of victory he lays down his arms so that his mother, Volumnia, can be spared – SYMPHONY NO. 5 IN C MINOR Whatever the Fifth Symphony was to its earliest audiences, This last influence is undoubtedly at its most potent in the it was not comfortable. Those who took their seats in highly dramatic first movement, totally dominated as it is Vienna’s Theater an der Wien on 22 December 1808 for by its famous four-note opening motif. Not that it sounds the concert at which the work was first performed would in any way like Haydn. The music here is astonishingly terse, doubtless have had some idea what to expect. Anyone pared down to the melodic minimum, and the second who had already heard the ‘Eroica’, or indeed the ‘Pastoral’ theme, a relaxed horn-call expansion of the main motif Symphony, which was also premiered earlier in the same answered by a reassuring embrace from the violins and concert, would have known that Beethoven had greatly woodwind, is quickly upon us. Yet it is this consolatory expanded the timescale of the symphonic form, raised its theme which, after a combative central development level of seriousness and expressive weight, and brought to it section, reappears in swirling, nightmarish transformation an increasingly theatrical, even narrative strain. But few can in the movement’s long and turbulent coda. have been prepared for the brusque, almost visceral assault this unique work was to make on their senses. There is more than a hint of Haydn’s influence, too, in the slow second movement, which has the overall shape of Where did it come from? Well, Beethoven was a one of his favourite forms, the ‘double variation set’ in revolutionary of course, but he was one who worked within which two themes are varied in alternation. The second of an established tradition, and who was subject to his fair Beethoven’s themes provides occasional brief foretastes share of influences. Several of these come together in the of the exultant mood of the finale, but at the end of this Fifth Symphony. One was Mozart, with whom he shared particular movement it is the more graceful first theme that a special feeling for the expressive power of the key of wins the day. C minor; another was the large-scale, open-heartedly bombastic music composed for the public celebrations of As in the Fourth Symphony, Beethoven does not call the Revolutionary France; and a third was Haydn, his teacher, third movement a scherzo, though in form and function it who time and time again had shown in his string quartets is one. If there is humour here, however, it is of a grim cast and symphonies how to construct whole movements from and beset by uncertainty. When a sturdier theme emerges, small but highly pregnant thematic cells. it is brief and troubled, dominated by a balefully intoned horn-call transformation of the four-note motif from the ‘about’, save for a possibly apocryphal remark to a friend first movement. The mood lightens in the scurryingly about the first movement: ‘thus Fate knocks at the door’. Yet fugal major-key ‘trio’ section (heard twice), but at its we know that he thought of many of his instrumental works second reappearance the first theme, played pizzicato and in programmatic terms; whether or not we as listeners pianissimo, takes on a stealthy, nocturnal character, before can guess them correctly, the fact that in his greatest leading us to the most celebrated passage in the whole symphonies we can sense them so strongly is proof of his Symphony. Here, over held string notes and sinister tappings success. from the timpani, wisps of the first theme are heard, leading us for the moment we know not where. Gradually © Lindsay Kemp the excitement rises, until with a last sudden rush we find ourselves propelled into the blazingly triumphant C major of the finale. It is one of the most upliftingly theatrical moments in all music, and the unequivocal joyfulness of the ensuing movement (almost unremittingly loud, by the way, and reinforced for the purpose by Beethoven with trombones, piccolo and double bassoon) is not even diverted by the brief, perhaps mocking reapparance about halfway through of the third movement’s main theme, this time gloriously overcome. Whether one feels the Fifth Symphony as a journey from darkness to light, a depiction of adversity overcome, or as an emergence from some sort of underworld, there is no doubt that it has an effect on the listener that goes beyond the appreciation of its musical and formal niceties. Beethoven himself has left little clue as to what the Symphony is KLAUS TENNSTEDT conductor Born in East Germany, Klaus Tennstedt studied at the ‘Nobody listens to Beethoven quite like Klaus Tennstedt. And, Leipzig Conservatory and conducted throughout his native because he listens so acutely, his orchestra must, and we in the land but it was not until he moved to the West in 1971 audience do as well. The dark glass of familiarity is swept aside that he started to achieve world recognition. He made his and we meet the composer face to face.’ American debut with the Boston Symphony Orchestra in Hilary Finch, The Times, February 1992. 1974 and his London debut was with the London Symphony Orchestra in 1976, his debut with the London Philharmonic Orchestra following in 1977. He had an instant rapport with the London Philharmonic Orchestra that resulted in return invitations and his appointment as the Orchestra’s Principal Conductor and Music Director in 1983. This developed into a unique and remarkable relationship until illness finally brought it to a premature end some ten years later. Klaus Tennstedt died in 1998. Tennstedt was particularly renowned for his performances of the German repertoire, which he conducted regularly with the London Philharmonic Orchestra at the Royal Festival Hall and in the recording studio to huge public acclaim. His energy, musicianship and emotional involvement combined with a rare humility endeared him to audiences and musicians alike. © Richard Holt LONDON PHILHARMONIC ORCHESTRA The London Philharmonic Orchestra is one of the world’s Hall in London, where it has been Resident Orchestra since finest orchestras, balancing a long and distinguished history 1992, giving around 30 concerts a season. Each summer with its present-day position as one of the most dynamic it takes up its annual residency at Glyndebourne Festival and forward-looking ensembles in the UK. This reputation Opera where it has been Resident Symphony Orchestra for has been secured by the Orchestra’s performances in the over 50 years. The Orchestra performs at venues around concert hall and opera house, its many award-winning the UK and has made numerous international tours, recordings, trail-blazing international tours and wide- performing to sell-out audiences in America, Europe, Asia ranging educational work. and Australasia. Founded by Sir Thomas Beecham in 1932, the Orchestra The London Philharmonic Orchestra made its first has since been headed by many of the world’s greatest recordings on 10 October 1932, just three days after its first conductors, including Sir Adrian Boult, Bernard Haitink, public performance. It has recorded and broadcast regularly Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir ever since, and in 2005 established its own record label.
Load more

Recommended publications
  • January 24, 2020, 8:00 P.M
    PASADENA COMMUNITY ORCHESTRA WWW.PCOMUSIC.ORG Bethany Pflueger, Conductor Friday, January 24, 2020, 8:00 p.m. PROGRAM Coriolan Overture, Op. 62…………………………….……….Ludwig van Beethoven (1770-1827) The White Peacock ……………………………………......Charles Tomlinson Griffes (1884-1920) Stamping Grounds ……………………………………………………………..Dante Luna (b.1995) World Premiere INTERMISSION Symphony No, 1 in g minor ……………………………………….Vassili Kalinnikov (1866-1901) Allegro moderato Andante commodamente Allegro scherzando Finale: Allegro moderato CONCERT NOTES Dante Luna is a composer and performer based in Los Angeles, whose compositions are influenced by Viennese Classical to the New Simplicity movement. Luna’s original composition, Stamping Grounds, was inspired by a time when he flew as an unaccompanied seven-year-old minor to and from the east coast to the west coast, between his mother and father, who lived on opposite shores. Soon after the September 11th attack on the USA, the composer developed a fear of flying. But, over time, he overcame this fear. In Stamping Grounds, Luna’s experience is represented by several layers that come in and out of the foreground. Luna explains that “the ones that remain consistent are representative of the part of the experience at UCLA where I am grounded in reality; namely, the autopilot sense when walking in deep thought. The other layers that come in and out are the different memories of my childhood—from the good experiences with my family, to remembering the impact 9-11 had on me and this country.” The symmetrical form of the piece represents the composer’s thought process, with each end representing his home on each side of the country - his “stamping grounds.” Beethoven’s Coriolan Overture was written in 1807 for a German stage play by Heinrich von Collin.
    [Show full text]
  • PROGRAM NOTES Gustav Mahler Symphony No. 1 in D Major
    PROGRAM NOTES by Phillip Huscher Gustav Mahler Born July 7, 1860, Kalischt, Bohemia. Died May 18, 1911, Vienna, Austria. Symphony No. 1 in D Major Mahler did most of the work on his First Symphony in February and March of 1888, incorporating music that had been written much earlier. He revised the score on several occasions. The first performance was given on November 20, 1889, in Budapest, with the composer conducting. The score calls for four flutes and three piccolos, four oboes and english horn, four clarinets, two E-flat clarinets and bass clarinet, three bassoons and contrabassoon, seven horns, four trumpets, three trombones and tuba, timpani, bass drum, cymbals, triangle, tam-tam, harp, and strings. Performance time is approximately fifty-seven minutes. The Chicago Symphony Orchestra's first subscription concert performances of Mahler's First Symphony were given at Orchestra Hall on November 6 and 7, 1914, with Frederick Stock conducting. Our most recent subscription concert performances were given on April 5, 6, 7, and 10, 2007, with Gustavo Dudamel conducting. The Orchestra first performed this symphony at the Ravinia Festival on July 19, 1949, with William Steinberg conducting, and most recently on June 24, 2005, with James Conlon conducting. When Alma Schindler first met Gustav Mahler, whom she later married, she could only remember how much she had disliked his First Symphony. She wasn't alone. The history of this symphony, even into relatively recent times, is one of misunderstanding and rejection. The first performance, in Budapest in 1889, was greeted with indifference, bewilderment, and, in the words of the local critic, "a small, but, for all that, audible element of opposition." Mahler seldom understood the animosity his music aroused.
    [Show full text]
  • Coriolan Overture, Opus 62 Ludwig Van Beethoven (B. 1770, Bonn, Germany; D
    Coriolan Overture, opus 62 Ludwig van Beethoven (b. 1770, Bonn, Germany; d. 1827, Vienna Austria) One of Shakespeare's most powerful tragedies is Coriolanus, the story (drawn from Plutarch's Lives) of a patrician Roman general destroyed by his overweening pride. After a decisive victory over the Volscians, Coriolanus refuses the consulship of Rome because it requires him to humble himself before the plebians or commoners; enraged at his arrogance, the people drive him into exile. But the willful general seeks revenge: he defects to his former enemies, the Volscians, and leads them against Rome. He battles his way to the very gates of Rome, where his compatriots send delegation after delegation asking him to spare his own city. When the stiff-necked warrior remains obdurate, his wife, mother, and son go out to plead with him, and he finally relents. Furious at his betrayal, the Volscians put him to death. Although Beethoven considered himself a republican and the foe of tyrants, he must have found many points in common between himself and this haughty Roman. He, too, possessed an iron will and, convinced of his genius, would not bend his neck even to princes. And he had practical reasons for creating an overture on this subject. In 1807, the composer was currying favor with the Viennese poet-playwright Heinrich von Collin, who was influential at Vienna's Imperial Theatre and who had written his own version of the Coriolanus tragedy five years earlier. Seeking a steady source of income, Beethoven wanted to secure a contract with the Theatre to write an opera annually for production there; he also hoped Collin would collaborate as his librettist.
    [Show full text]
  • Beethoven's Fourth Symphony: Comparative Analysis of Recorded Performances, Pp
    BEETHOVEN’S FOURTH SYMPHONY: RECEPTION, AESTHETICS, PERFORMANCE HISTORY A Dissertation Presented to the Faculty of the Graduate School Of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Mark Christopher Ferraguto August 2012 © 2012 Mark Christopher Ferraguto BEETHOVEN’S FOURTH SYMPHONY: RECEPTION, AESTHETICS, PERFORMANCE HISTORY Mark Christopher Ferraguto, PhD Cornell University 2012 Despite its established place in the orchestral repertory, Beethoven’s Symphony No. 4 in B-flat, op. 60, has long challenged critics. Lacking titles and other extramusical signifiers, it posed a problem for nineteenth-century critics espousing programmatic modes of analysis; more recently, its aesthetic has been viewed as incongruent with that of the “heroic style,” the paradigm most strongly associated with Beethoven’s voice as a composer. Applying various methodologies, this study argues for a more complex view of the symphony’s aesthetic and cultural significance. Chapter I surveys the reception of the Fourth from its premiere to the present day, arguing that the symphony’s modern reputation emerged as a result of later nineteenth-century readings and misreadings. While the Fourth had a profound impact on Schumann, Berlioz, and Mendelssohn, it elicited more conflicted responses—including aporia and disavowal—from critics ranging from A. B. Marx to J. W. N. Sullivan and beyond. Recent scholarship on previously neglected works and genres has opened up new perspectives on Beethoven’s music, allowing for a fresh appreciation of the Fourth. Haydn’s legacy in 1805–6 provides the background for Chapter II, a study of Beethoven’s engagement with the Haydn–Mozart tradition.
    [Show full text]
  • Piano Concerto No.23 Wolfgang Amadeus Mozart I
    Program Coriolan Overture Op.62 Ludwig van Beethoven (1770-1827) Kamarinskaya Mikhail Glinka (1804-1857) Piano Concerto No.23 Wolfgang Amadeus Mozart I. Allegro (1756-1791) Wanli Wang, Piano Piano Concerto No.3 in C Minor, Op. 37 Ludwig van Beethoven I. Allegro con brio (1770-1827) Victoria Wong, Piano Millersville Orchestra Personnel Violin I Bassoon Annelise Lorentzen, Bass Robin Plant* Concertmaster Jonathan Sands Michael McCall Julia Povlow Harley Ludy Nina Vieru* Robert Murphy Horn Julia Aitken Violin II Cheryl Staherski* Gabby Crawl Flute Haley Richard Sarah Cahoe Trumpet David Houck* Katelyn Schmidt Logan Benoist Bobby Lugiano Viola Oboe Alex Gay Nick Jensen Brooke Van Veen* Elvis Zurita Kathy Horein* Trombone Rhiannon Fleming Benjamin Nase Taylor Schaub Clarinet Robert Ferry Katie Gorman Cello Alexis Bowen Timpani Evan Kazanjian Hudson Smith William Phillips* *Guest Musician Wanli Wang Miss Wanli Wang was born and raised in Dalian, China. She started her piano lessons when she was five, and went to the Central Conservatory of Music Gulangyu Piano School in Xiamen when she was in sixth grade, studied with Dr. Yang Yu and Prof. Yuanxizi Li. Miss Wanli Wang came to the United States in 2012 and studied at Lancaster Mennonite High School and Millersville University Pre-College Music Division Program. She is currently a senior piano performance major student at the Tell School of Music of Millersville University of Pennsylvania, studying with Dr. Xun Pan. Miss Wang won many prizes and awards include Young Intermediate Group in 12th Jong Kong Piano Competition in 2010; United States Music Open Competition in San Francisco in 2010; the 3rd Kawai Cup Piano Competition in Xiamen in 2009; the 15th Hong Kong Asian Piano Open Competition in 2009; and Young Group of National Furama Koeman Cup Piano Competition in 2005.
    [Show full text]
  • GUEST ARTIST RECITAL KEYBOARD CONVERSATIONS? With
    GUEST ARTIST RECITAL KEYBOARD CONVERSATIONS® with JEFFREY SIEGEL Franz Schubert in the Age of the Sound Bite Tuesday, October 29, 2013 8:00 p.m. Lillian H. Duncan Recital Hall PROGRAM Three Waltzes Franz Schubert (1797-1828) Impromptu in E-flat Major, Op. 90, No. 2 (D. 899) Impromptu in F Minor, Op. 142, No. 4 (D. 935) INTERMISSION Sonata in B-flat, Op. Posthumous (D. 960) Molto moderato Andante sostenuto Scherzo: Allegro vivace con delicatezza Allegro, ma non troppo Questions and Answers Please join us for a reception in the Grand Foyer immediately following the concert. BIOGRAPHY American pianist JEFFREY SIEGEL returns to the Shepherd School for the third consecutive season to present Keyboard Conversations®. Jeffrey Siegel has been soloist with the world’s great orchestras. Abroad, these include the Berlin Philharmonic, London Symphony, Philharmonic and Philharmonia, Moscow State Symphony, Munich’s Bayerischer Rund- funk, the Amsterdam, Oslo and Stockholm Philharmonic, Orchestra of La Scala and NHK Symphony of Japan. In the United States, engagements include the New York Philharmonic, Los Angeles Philharmonic, The Phila- delphia Orchestra, The Cleveland Orchestra, Boston Symphony Orches- tra and Chicago Symphony Orchestra. Mr. Siegel has collaborated with many of the pre-eminent conductors of our time: Claudio Abbado, Pierre Boulez, Charles Dutoit, Neeme Järvi, James Levine, Lorin Maazel, Zubin Mehta, Leonard Slatkin, Michael Tilson Thomas, and David Zinman, as well as legendary maestros of the past, including Eugene Ormandy, Sir George Solti, William Steinberg, Klaus Tennstedt and Yevgeny Svetlanov. In addition to his solo appearances, Jeffrey Siegel presents Keyboard Conversations®, a brilliantly polished concert-with-commentary format in which captivating remarks precede virtuoso performances of piano masterpieces.
    [Show full text]
  • A CONCERT with COMMENTARY, JEFFREY SIEGEL to PRESENT MOZART and HAYDN “The Leonard Bernstein of the Piano” Returns for His Ninth Season
    Contact: Dave Webb Phone: 530-400-1253 E-mail: [email protected] Web: harriscenter.net/about/press-room A CONCERT WITH COMMENTARY, JEFFREY SIEGEL TO PRESENT MOZART AND HAYDN “The Leonard Bernstein of the piano” returns for his ninth season (August 2, 2019, Folsom, CA) Hailed as “an artist who means every note he plays” (New York Times), internationally acclaimed pianist Jeffrey Siegel brings power and passion to his celebrated Keyboard Conversations — returning to Folsom for his ninth season. He has been called “the Leonard Bernstein of the piano” (Chicago Tribune); "Jeffrey Siegel has everything: massive technique, musical sensitivity and character, wide tonal resources, immense reserves of power, and the ability to communicate" (Los Angeles Times). In presenting these “concerts with lively commentary” Mr. Siegel offers comments on the work, the composer, even the times in which the work was composed and then gives a virtuosic performance of a piano masterpiece. A lively Q&A concludes the concert. His presentations enrich the listening experience for the avid music lover as well as provide an inviting, instantly accessible introduction to great music for those new to classical music. "Siegel's programs strengthen the fragile bonds of communication between composer and listener and are as welcome as they are rare." (Chicago Tribune). For his concert on Saturday, August 24, Mr. Siegel will perform MOZART AND HAYDN – HUMOR AND HEARTACHE, an evening of irresistible charm and wit – and deep anguish and sadness. Haydn’s exuberant “Gypsy Rondo” and melancholy “F Minor Variations,” Mozart’s passionate “A Minor Sonata.” The inaugural Keyboard Conversations® With Jeffrey Siegel commences on Saturday, August 24 at 7:30 pm.
    [Show full text]
  • LONDON PHILHARMONIC ORCHESTRA 56238 LPO 27 October 10 56238 LPO 27 October 10 20/10/2010 12:15 Page 2
    56238 LPO 27 October 10_56238 LPO 27 October 10 20/10/2010 12:15 Page 1 Principal Conductor VLADIMIR JUROWSKI Principal Guest Conductor YANNICK NÉZET-SÉGUIN Leader PIETER SCHOEMAN Composer in Residence JULIAN ANDERSON Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM† MAHLER ANNIVERSARY PROGRAMME £3 CONTENTS SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL Wednesday 27 October 2010 | 7.30pm 2 List of Players 3 Orchestra History 4 Leader 5 Vladimir Jurowski VLADIMIR JUROWSKI 6 Sarah Connolly conductor 7 Programme Notes 12 Southbank Centre SARAH CONNOLLY 13 Supporters 14 Recordings mezzo soprano 15 Administration 16 Future Concerts The timings shown are not MENDELSSOHN precise and are given only as a guide. Symphony No. 5 in D (Reformation) (33’) MAHLER Kindertotenlieder (23’) INTERVAL BRAHMS Symphony No. 3 in F (33’) † supported by Macquarie Group CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA 56238 LPO 27 October 10_56238 LPO 27 October 10 20/10/2010 12:15 Page 2 LONDON PHILHARMONIC ORCHESTRA FIRST VIOLINS CELLOS BASS CLARINET * Holds a professorial Pieter Schoeman* Leader Kristina Blaumane Principal Paul Richards Principal appointment in London Vesselin Gellev Sub-Leader Chair supported by Chair supported by Simon Yates and Kevin Roon BASSOONS + Chevalier of the Brazilian John and Angela Kessler Francis Bucknall Gareth Newman* Principal Order of Rio Branco Julia Rumley Laura Donoghue Stuart Russell Katalin Varnagy Santiago Sabino Carvalh o+ Simon Estell Catherine Craig Jonathan Ayling ASSISTANT CONDUCTOR
    [Show full text]
  • Concerts with the London Philharmonic Orchestra for Seasons 1946-47 to 2006-07 Last Updated April 2007
    Artistic Director NEVILLE CREED President SIR ROGER NORRINGTON Patron HRH PRINCESS ALEXANDRA Concerts with the London Philharmonic Orchestra For Seasons 1946-47 To 2006-07 Last updated April 2007 From 1946-47 until April 1951, unless stated otherwise, all concerts were given in the Royal Albert Hall. From May 1951 onwards, unless stated otherwise, all concerts were given in The Royal Festival Hall. 1946-47 May 15 Victor De Sabata, The London Philharmonic Orchestra (First Appearance), Isobel Baillie, Eugenia Zareska, Parry Jones, Harold Williams, Beethoven: Symphony 8 ; Symphony 9 (Choral) May 29 Karl Rankl, Members Of The London Philharmonic Orchestra, Kirsten Flagstad, Joan Cross, Norman Walker Wagner: The Valkyrie Act 3 - Complete; Funeral March And Closing Scene - Gotterdammerung 1947-48 October 12 (Royal Opera House) Ernest Ansermet, The London Philharmonic Orchestra, Clara Haskil Haydn: Symphony 92 (Oxford); Mozart: Piano Concerto 9; Vaughan Williams: Fantasia On A Theme Of Thomas Tallis; Stravinsky: Symphony Of Psalms November 13 Bruno Walter, The London Philharmonic Orchestra, Isobel Baillie, Kathleen Ferrier, Heddle Nash, William Parsons Bruckner: Te Deum; Beethoven: Symphony 9 (Choral) December 11 Frederic Jackson, The London Philharmonic Orchestra, Ceinwen Rowlands, Mary Jarred, Henry Wendon, William Parsons, Handel: Messiah Jackson Conducted Messiah Annually From 1947 To 1964. His Other Performances Have Been Omitted. February 5 Sir Adrian Boult, The London Philharmonic Orchestra, Joan Hammond, Mary Chafer, Eugenia Zareska,
    [Show full text]
  • Temple University Symphony Orchestra Kensho Watanabe & José Luis Domínguez, Conductors
    Temple University Symphony Orchestra Kensho Watanabe & José Luis Domínguez, conductors March 26, 2021 Friday Presented Virtually 7:30 pm Program The Hebrides Overture, Op. 26 Felix Mendelssohn (1809–1847) Wood Notes William Grant Still (1895–1978) II. Autumn Night Kensho Watanabe, conductor |Intermission| Serenade for Strings, Op. 22 Antonín Dvorák (1841–1904) I. Moderato II. Tempo di Valse Serenade for String Orchestra, Op. 20 Edward Elgar (1857–1934) I. Allegro piacevole II. Larghetto III. Allegretto Starburst Jessie Montgomery (b. 1981) José Luis Domínguez, conductor |Intermission| One hundred ninety-second performance of the 2020-2021 season. En Chasse, Mazurka Élégante Eugène Dédé (1867–1919) orchestrated by Edmond Dédé ed. Richard Rosenberg Coriolan Overture, Op. 62 Ludwig van Beethoven (1770–1827) Le Tombeau de Couperin Maurice Ravel (1875–1937) I. Prelude II. Forlane III. Menuet IV. Rigaudon Kensho Watanabe, conductor Temple University Symphony Orchestra Kensho Watanabe & José Luis Domínguez, conductors Mendelssohn & Grant Still Orchestra VIOLIN I BASS BASSOON TROMBONE Shirley Xuan Yao, Jonathan Haikes, Rick Barrantes, Jeffrey Dever, Concertmaster Principal Principal (Mendelssohn) Principal Zhanara Makhmutova Coby Lindenmuth Collin Odom, Samuel Johnson Yuan Tian Jiayu Liu Principal (Grant Still) Phillip Watts HARP Zi Wang FLUTE/PICCOLO HORN Katherine Ventura Ashley Oros, Lucy Smith, VIOLIN II Principal Principal CELESTE Dakota Kievman, Jill Krikorian Isaac Duquette Madalina Danila Principal Jane Pelgon OBOE TRUMPET TIMPANI/ Esmeralda
    [Show full text]
  • A Collection of Stan Ruttenberg's Reviews of Mahler Recordings From
    A collection of Stan Ruttenberg’s Reviews of Mahler Recordings from the Archives Of the Colorado MahlerFest (Symphonies 3 through 7 and Kindertotenlieder) Colorado MahlerFest XIII Recordings of the Mahler Third Symphony Of the fifty recordings listed in Peter Fülöp’s monumental discography (up to 1955, and many more have been added since then), I review here fifteen at my disposal, leaving out two by Boulez and one by Scherchen as not as worthy as the others. All of these fifteen are recommendable, all with fine points, all with some or more weaknesses. I cannot rank them in any numerical order, but I can say that there are four which I would rather hear more than the others — my desert island choices. I am glad to have the others for their own particular merits. Getting ready for MFest XIII we discovered that the matter of score versions and parts is complex. I use the Dover score, no date but attributed to Universal Edition; my guess this is an early version. The Kalmus edition is copied from who knows which published version. Then there is the “Critical Edition,” prepared by the Mahler Gesellschaft, Vienna. I can find two major discrepancies between the Dover/Universal and the Critical (I) the lack of horns at RN25-5, doubling the string riff and (ii) only two harp glissandi at the middle of RN28, whereas the Critical has three. Our first horn found another. Both the Dover and Critical have the horn doublings, written ff at RN 67, but only a few conductors observe them.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 126, 2006
    2006-2007 SEASON BOSTON SYM PH ORCHESTRA JAMES LEVINE MUSIC DIRECTOR BERNARD HAITINK SEIJI OZAWA MUSIC DIRECTOR LAUREATE Leaa o richer (Ue. ) i * II mmturn tin \ flftffwir " W > f John Hancock is proud to support the Boston Symphony Orchestra, the future is yours S;A« 3nl v 1 IH Hoi View from The McLean Center, Princeton, MA y . i • - j < E McLEAN CENTER AT FERNSIDE JMB^^m A comprehensive residential treatment program. So • Expertise in treating co-occurring psychiatric disorders. Highly discreet and individualized care for adults. Exceptional accommodations in a peaceful, rural setting. 'i»S -'V McLean Hospital: A Legacy of Compassionate Care Uji and Superb Clinical Treatment www.mclean.harvard.edu • 1-800-906-9531 McLean Hospital is a psychiatric teachingfacility Partners. ofHarvard Medical School, an affiliate of Healthcare Massachusetts General Hospital and a member of Partners HealthCare. REASON #75 transplan exper s It takes more than just a steady hand to perform a successful organ transplant. The highly complicated nature of these procedures demands the utmost in experience and expertise. At Beth Israel Deaconess Medical Center, we offer one of the most comprehensive liver, kidney and pancreas transplant programs available today. Our doctors' exceptional knowledge and skill translate to enhanced safety and care in transplant surgery - and everything that goes into it. For more information on the Transplant Center, visit www.bidmc.harvard.edu or call 1-800-667-5356. A teaching hospital of Beth Israel Deaconess Harvard Medical School Medical Center Affiliated with Joslin Clinic | A Research Partner of Dana-Farber/Harvard Cancer Center | Official Hospital of the Boston Red Sox James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 126th Season, 2006-2007 Trustees of the Boston Symphony Orchestra, Inc.
    [Show full text]