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Complete Concerts and Recording Sessions Brighton Festival Chorus 27 Apr 1968 Concert Dome Concert Hall, Brighton Brighton Festival Belshazzar's Feast Walton William Walton Royal Philharmonic Orchestra Baritone Thomas Hemsley 11 May 1968 Concert Dome Concert Hall, Brighton Brighton Festival Kyrie in D minor, K 341 Mozart Colin Davis BBC Symphony Orchestra 27 Oct 1968 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Budavari Te Deum Kodály Laszlo Heltay Brighton Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Sarah Walker Tenor Paul Taylor Bass Brian Kay 23 Feb 1969 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Symphony No. 9 in D minor, op.125 Beethoven Herbert Menges Brighton Philharmonic Orchestra Soprano Elizabeth Harwood Mezzo-Soprano Barbara Robotham Tenor Kenneth MacDonald Bass Raimund Herincx 09 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Mass in D Dvorák Václav Smetáček Czech Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Valerie Baulard Tenor Paul Taylor Bass Michael Rippon Sussex University Choir 11 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Liebeslieder-Walzer Brahms Laszlo Heltay Piano Courtney Kenny Piano Roy Langridge 25 Jan 1970 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Requiem Fauré Laszlo Heltay Brighton Philharmonic Orchestra Soprano Maureen Keetch Baritone Robert Bateman Organ Roy Langridge 09 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Mass in B Minor Bach Karl Richter English Chamber Orchestra Soprano Ann Pashley Mezzo-Soprano Meriel Dickinson Tenor Paul Taylor Bass Stafford Dean Bass Michael Rippon Sussex University Choir 1 Brighton Festival Chorus 17 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Fantasia for Piano, Chorus and Orchestra in C minor Beethoven Symphony No. -
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, -
Network Notebook
Network Notebook Fall Quarter 2017 (October - December) 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. -
Radio 3 Listings for 11 – 17 October 2008 Page 1 of 39
Radio 3 Listings for 11 – 17 October 2008 Page 1 of 39 SATURDAY 11 OCTOBER 2008 05:15AM Handel, Georg Frideric (1685-1759) SAT 01:00 Through the Night (b00dryh0) Solitudini amate & Aure, Fonti, ombre gradite – from the opera With John Shea. 'Alessandro' Sophie Boulin (soprano), La Petite Bande, Sigswald Kuijken 01:01AM (director) Handel, Georg Frideric (1685-1759) Saul - oratorio in 3 acts 05:22AM Neal Davies (Saul), Andreas Scholl (David), Mark Padmore Nielsen, Carl (1865-1931) (Jonathan), Susan Gritton (Merab), Deborah York (Michal), Paul Serenata in vano for clarinet, horn, bassoon, cello and double Agnew (High Priest), Jonathan Lemalu (Ghost of Samuel), Tom bass (FS.68) Phillips (Abner), Julian Clarkson (Doeg), Angus Smith (an Kari Krikku (clarinet), Jonathan Williams (horn), Per Hannisdahl Amalekite), Gabrieli Consort and Players, Paul McCreesh (bassoon), Øystein Sonstad (cello), Katrine Øigaard (double (director) bass) 03:44AM 05:29AM Mendelssohn, Felix (1809-1847) Kabalevsky, Dmitri (1904-1987) Sextet for piano and strings in D major (Op.110) Overture: Colas Breugnon Elise Båtnes (violin), Lars Anders Tomter & Johannes Edmonton Symphony Orchestra, Uri Mayer (conductor) Gustavsson (violas); Ernst Simon Glaser (cello), Katrine Öigaard (bass), Enrico Pace (piano) 05:35AM Rachmaninov, Sergey (1873-1943) 04:11AM Étude-tableau in D major (Op.39 No.9) Schubert, Franz (1797-1828) Matti Raekallio (piano) Impromptu No.4 in A flat – from [4] Impromptus for piano (D.899) 05:39AM Arthur Schnabel (recorded on Welte Mignon Rolls in 1905) Mozart, Wolfgang Amadeus (1759-1791) 4 Kontra Tänze (KV.267) 04:19AM English Chamber Orchestra, Mitsuko Uchida (conductor) Frescobaldi, Girolami (1583-1643), arr. -
Sir Colin Davis Discography
1 The Hector Berlioz Website SIR COLIN DAVIS, CH, CBE (25 September 1927 – 14 April 2013) A DISCOGRAPHY Compiled by Malcolm Walker and Brian Godfrey With special thanks to Philip Stuart © Malcolm Walker and Brian Godfrey All rights of reproduction reserved [Issue 10, 9 July 2014] 2 DDDISCOGRAPHY FORMAT Year, month and day / Recording location / Recording company (label) Soloist(s), chorus and orchestra RP: = recording producer; BE: = balance engineer Composer / Work LP: vinyl long-playing 33 rpm disc 45: vinyl 7-inch 45 rpm disc [T] = pre-recorded 7½ ips tape MC = pre-recorded stereo music cassette CD= compact disc SACD = Super Audio Compact Disc VHS = Video Cassette LD = Laser Disc DVD = Digital Versatile Disc IIINTRODUCTION This discography began as a draft for the Classical Division, Philips Records in 1980. At that time the late James Burnett was especially helpful in providing dates for the L’Oiseau-Lyre recordings that he produced. More information was obtained from additional paperwork in association with Richard Alston for his book published to celebrate the conductor’s 70 th birthday in 1997. John Hunt’s most valuable discography devoted to the Staatskapelle Dresden was again helpful. Further updating has been undertaken in addition to the generous assistance of Philip Stuart via his LSO discography which he compiled for the Orchestra’s centenary in 2004 and has kept updated. Inevitably there are a number of missing credits for producers and engineers in the earliest years as these facts no longer survive. Additionally some exact dates have not been tracked down. Contents CHRONOLOGICAL LIST OF RECORDING ACTIVITY Page 3 INDEX OF COMPOSERS / WORKS Page 125 INDEX OF SOLOISTS Page 137 Notes 1. -
Cello Suites Steven Isserlis Cello from CDA67541/2 Johann Sebastian Bach
COMPACT DISC 1 [75'10] Johann Sebastian Bach (168 5–1750) 1 Cello Suite No 1 in G major BWV1007 [16'11] 7 Cello Suites Cello Suite No 2 in D minor BWV1008 [17'27] bo Cello Suite No 3 in C major BWV1009 [19'46] Steven Isserlis cello bu Cello Suite No 4 in E flat major BWV1010 [21'35] from CDA67541/2 COMPACT DISC 2 [61'58] 1 Cello Suite No 5 in C minor BWV1011 [24'06] 7 Cello Suite No 6 in D major BWV1012 [27'26] bo CDA30001/2 (2 CDs) The Song of the Birds Catalan folksong, arranged by Sally Beamish (b1956) [2'44] October 2010 plus three alternative Preludes from Cello Suite No 1 137'08 GRAMOPHONE AWARD WINNER Goldberg Variations Johann Sebastian Bach (168 5–1750) ‘Aria mit verschiedenen Veränderungen’, BWV988 Goldberg Variations Outstanding … Hewitt’s disc, exquisite artistry commingling with Angela Hewitt piano infectious exhilaration gives me the most pleasure BBC MUSIC MAGAZINE from CDA67305 Beautifully co-ordinated Bach playing, with all voices colourfully defined and spontaneity as a constant virtue. In my view, she has never made a better CD. Strongly recommended GRAMOPHONE CDA30002 The most recent in a series of wonderfully compelling Bach recordings October 2010 … 78'25 by pianist Angela Hewitt. She seems to do everything right simply one of the best piano versions available FANFARE, USA Johann Sebastian Bach (168 5–1750) 1 Keyboard Concerto No 1 in D minor BWV1052 [22'46] Keyboard Concertos 4 Keyboard Concerto No 7 in G minor BWV1058 [14'04] Angela Hewitt piano 7 Brandenburg Concerto No 5 in D major BWV1050 [19'59] Australian Chamber Orchestra bl Triple Concerto in A minor BWV1044 [20'07] Richard Tognetti conductor Her playing is absolutely captivating: she decorates the solo part with from CDA67307 playful, come-hither ornamentatio n— twirls, flutters, arabesque s— and yet it never disturbs the clear, logical path she forges through the course CDA30003 of each work. -
Bruckner Studies
ISSN 1759-1201 Issued three times a year and sold by subscription www.brucknerjournal.co.uk Editorial : [email protected] 23 Mornington Grove, Bow, London E3 4NS Subscriptions and Mailing: [email protected] 4 Lulworth Close, Halesowen, B63 2UJ 01384 566383 VOLUME FIFTEEN, NUMBER ONE, MARCH 2011 Editor: Ken Ward Managing Editor: Raymond Cox. Associate Editors: Peter Palmer, Crawford Howie, Nicholas Attfield In this issue Bruckner Studies: Concert reviews Page 4 CD reviews Page 7 The Bad News and the Good News Governments throughout Europe are seeing the economic crisis as Anton Bruckner - Music of the grounds to justify withdrawing funding from cultural institutions, and it Saint Florian Period - LP sleeve-notes would be surprising indeed if institutions of importance to lovers of by David Aldeborgh Page 17 classical music and Brucknerians in particular survived unscathed. It Bruckner’s Will – Clause 4 and its nevertheless comes as a shock to learn that the Austrian government has implications by Ken Ward Page 20 seen fit to withdraw funding from the Anton Bruckner Institute Linz. One had dared to hope that the pre-eminence of classical music in Anton Bruckner and the Legacy of the Austrian cultural life, and the importance of Bruckner as one of that National Socialists’ Propaganda country’s greatest composers, might have been reasons enough to by John Berky Page 22 ensure that the Institute retained government support. But it is not so, “The Senso Symphony” - Visconti and and already the Institute has had to announce that its facilities will no Bruckner by Ken Ward Page 24 longer be open at regular times, but only by special appointment, and one fears that this is merely an outward sign of a much deeper Timed Structure Tables for Bruckner retrenchment. -
Great Sacred Music Sunday, July 18, 2021
Great Sacred Music Sunday, July 18, 2021 Charles Villiers Stanford: Psalm 150, Laudate Dominum Choir of Clare College, Cambridge, Graham Ross Eleanor Carter, organ Richard Webster: O God, our help in ages past Advent Press Choir, brass and percussion, Richard Webster Thomas G. Whittemore, organ Giovanni Gabrieli: Exaudi me Domine Huelgas Ensemble, Paul van Nevel The chant for Psalm 150 composed by Sir Charles Villiers Stanford (1852-1924) is a classic. It captures the exuberance of that great shout of praise. Richard Webster's arrangement of "O God, our help in ages past" is one of 45 hymn arrangements Webster has written. "Exaudi me, Domine" is a Responsory from the Mass for the Dead. William Cornysh: Ave Maria, mater dei Binchois Consort, Andrew Kirkman Ralph Vaughan Williams: Antiphon from Five Mystical Songs Corydon Singers, English Chamber Orchestra, Matthew Best Orlando Gibbons: If ye be risen again with Christ The Choir of Saint Thomas Church, New York City, John Scott Christian Lane, organ Not much is known about English composer William Cornysh (1465-1523). Several of his choral compositions appear in the Eton Choirbook. “Antiphon” is one of Five Mystical Songs which Vaughan Williams wrote for the Three Choirs Festival in 1911. English composer Orlando Gibbons (1583-1625) was a chorister in the Choir of King’s College, Cambridge. He was Organist of Westminster Abbey when he died at age 41. Commentary: David Chalmers Leo Sowerby: Great is the Lord Gloriae Dei Cantores, Elizabeth Patterson Jean Mouton: Adjutorium nostrum Capilla Flamenca; La Caccia Dr. Leo Sowerby (1895-1968) was considered by most Episcopal church musicians to be the unofficial Dean of American Church Music. -
Alaris Capture Pro Software
I The Elgar Society Journal 107 MONKHAMS AVENUE, WOODFORD GREEN, ESSEX IG8 OER 0181 - 506 0912 CONTENTS Vol.lO, No.3 November 1997 Articles New Light on Elgar’s Enigma 106 A Source for Elgar’s Enigma 124 Elgar and Empire 128 Obituary : Sir Georg SolU 143 Book Reviews 144 Record Reviews 145 Letters 152 Birthplace Appeal News 154 100 ycctfs ago... 155 The Editor does not necessarily agree with the views expressed by contributors nor does the Elgar Society accept responsibility for such views. ELGAR SOCIETY JOURNAL ISSN 0143- 1269 NEW LIGHT ON ELGAR'S ENIGMA . J M Rollett On 19 June 1899, the first performance took place of what has become one of Edward Elgar's best-loyed orchestral works, the Variations on an Original Theme. Op 36, known ;as the 'Enigma Variations'. And for over 90 years the 'Enigma' has puzzled and Intrigued generations of music lovers. Many solutions have been proposed, butinone has won general acceptance, and speculation is as Intense today as at any time in the past. The name 'Enigma' derives from the word written at the top of the first page of the manuscript score, not by Elgar himself, but in pencil by A J Jaeger, acting on Elgar's instructions, after the score had already reached the publishers, Novello & Co.' This tardy decision might be regarded as the first of a whole series of minor mysteries surrounding the main 'Enigma', if not perhaps a matter of particular significance. Nevertheless, one is left wondering why it was only at a very late stage that Elgar decided to draw attention to the fact that there was some kind of puzzle associated with the piece. -
Bruckner Abroad
ISSN 1759-1201 www.brucknerjournal.co.uk Issued three times a year and sold by subscription FOUNDING EDITOR: Peter Palmer (1997-2004) Editor : Ken Ward [email protected] 23 Mornington Grove, London E3 4NS Subscriptions and Mailing: Raymond Cox [email protected] 4 Lulworth Close, Halesowen, B63 2UJ 01384 566383 VOLUME SIXTEEN, NUMBER ONE, MARCH 2012 Associate Editor: Crawford Howie In this issue: Bruckner Abroad With this issue and henceforward the sequence of contents has been altered, with articles The world-wide concert listing, published at the back of The to the fore, reviews to the back Bruckner Journal for the coming 4 months, shows a heavy preponderance of performances in Germany, with over 90 concerts Letters Page 2 over the period. The bachtrack.com listing for the year 2011 shows that much more Bruckner was performed in Germany than The First Forty Years: the early elsewhere , and there is no reason to think that this concentration Music of Anton Bruckner will alter much in the near future . Particularly active this season by David Singerman Page 3 has been the Staatskapelle Berlin, under the direction of Daniel Listen Without Prejudice Barenboim, venturing out of Germany and touring Europe with by Tom Service Page 7 clusters of Bruckner symphonies, visiting London in April with ‘The Bruckner Project’ and reaching an extraordinary climax in Bruckner and Elgar: A Comparative Sketch Vienna in June 2012, in which over a mere 11 days they will be by Martin Pulbrook Page 8 performing symphonies 1-9 (mostly programmed with a Mozart piano concerto, Barenboim as soloist/conductor and all no doubt Toward a Theory of Coherence: performed from memory). -
Other Sixteen Edition Recordings on CORO
CORO The Sixteen Edition Other Sixteen Edition recordings on CORO Heinrich Schütz Victoria - Requiem 1605 Musikalische Exequien, Deutsches Magnificat, Priest, scholar and singer, this remarkable Herr nun lässest du, Spaniard epitomised Vater unser the emotion and fervour of "The sombre colours of Renaissance Europe. Schütz's moving funeral Victoria's lavish music are finely brought Requiem became out in this collection." his most famous and the guardian revered work. cor16036 corsacd16033 Music from the Chapel Royal à la Gloire de Dieu 'The King's Musick' Stravinsky: Symphony of Psalms 17th century anthems Poulenc: Sept Répons written for the Chapel des Ténèbres Royal by Cooke, Blow Tippett: Five Negro and Humfrey, including Spirituals several first recordings of pieces probably not "...deeply committed heard since the time of and technically brilliant" their writing. gramophone cor16041 cor160013 To find out more about The Sixteen, concert tours, and to buy CDs, visit www.thesixteen.com cor16050 This performance of Brahms' German Requiem is a direct result Ein Deutsches Requiem - of our association with the Southbank Centre in London; it Johannes Brahms opened our first season there in October 2006. Many of you will see it as quite a departure from our customary Renaissance and 1 Selig sind, die da Leid tragen (chorus) 9.46 Baroque repertoire but, since Brahms had been so influenced by 2 Denn alles Fleisch ist wie Gras (chorus) 14.50 the Protestant church music of the great German master of the 3 early Baroque, Heinrich Schütz, the Requiem seemed to be perfect Herr, lehre doch mich (bass/chorus) 10.22 material for The Sixteen. -
TBJ 14.Iii A4
ISSN 1759-1201 Issued three times a year and sold by subscription www.brucknerjournal.co.uk Editorial : [email protected] 23 Mornington Grove, Bow, London E3 4NS Subscriptions and Mailing: [email protected] 4 Lulworth Close, Halesowen, B63 2UJ 01384 566383 VOLUME FOURTEEN, NUMBER THREE, NOVEMBER 2010 Editor: Ken Ward Managing Editor: Raymond Cox. Associate Editors: Peter Palmer, Crawford Howie, Nicholas Attfield COLLABORATION THE FOURTH Symphony of Anton Bruckner, as published in In this issue 1888, and indeed, the Third as published in 1890, represent to varying degrees a collaborative effort between Bruckner, the The 7th Bruckner Journal Readers Conference Schalk brothers and Ferdinand Löwe. Collaboration always announcement Page 2 attracts curiosity, even suspicion, about the relative levels of participation of the parties to the exercise, and indeed their Concert reviews Page 3 inc. Ebracher Musiksommer motivation and estimation of the quality of the final product. & Barenboim Berlin Cycle There is no real evidence that Bruckner was a completely unwilling participant: he was closely involved in the preparation CD reviews Page 15 and publication of these scores and was happy to promote On the Harmonic Idiom of performances of them during his lifetime. In modern parlance, Bruckner’s Eighth Symphony ‘he took ownership of them.’ Nevertheless, they remain by Prof. Julian Horton Page 20 collaborative efforts: a hypothetical ‘pure’ Bruckner edition from A Historical Overview of the that time would have been something different, and our attitude to Recordings of Mass No. 2 the collaborative entity is necessarily different than that which we by Hans Roelofs (part 2) Page 35 retain for the lone composer.