Rachmaninov (1873-1943)
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RUSSIAN, SOVIET & POST-SOVIET SYMPHONIES Composers
RUSSIAN, SOVIET & POST-SOVIET SYMPHONIES A Discography of CDs and LPs Prepared by Michael Herman Composers A-G KHAIRULLO ABDULAYEV (b. 1930, TAJIKISTAN) Born in Kulyab, Tajikistan. He studied composition at the Moscow Conservatory under Anatol Alexandrov. He has composed orchestral, choral, vocal and instrumental works. Sinfonietta in E minor (1964) Veronica Dudarova/Moscow State Symphony Orchestra ( + Poem to Lenin and Khamdamov: Day on a Collective Farm) MELODIYA S10-16331-2 (LP) (1981) LEV ABELIOVICH (1912-1985, BELARUS) Born in Vilnius, Lithuania. He studied at the Warsaw Conservatory and then at the Minsk Conservatory where he studied under Vasily Zolataryov. After graduation from the latter institution, he took further composition courses with Nikolai Miaskovsky at the Moscow Conservatory. He composed orchestral, vocal and chamber works. His other Symphonies are Nos. 1 (1962), 3 in B flat minor (1967) and 4 (1969). Symphony No. 2 in E minor (1964) Valentin Katayev/Byelorussian State Symphony Orchestra ( + Vagner: Suite for Symphony Orchestra) MELODIYA D 024909-10 (LP) (1969) VASIF ADIGEZALOV (1935-2006, AZERBAIJAN) Born in Baku, Azerbaijan. He studied under Kara Karayev at the Azerbaijan Conservatory and then joined the staff of that school. His compositional catalgue covers the entire range of genres from opera to film music and works for folk instruments. Among his orchestral works are 4 Symphonies of which the unrecorded ones are Nos. 1 (1958) and 4 "Segah" (1998). Symphony No. 2 (1968) Boris Khaikin/Moscow Radio Symphony Orchestra (rec. 1968) ( + Piano Concertos Nos. 2 and 3, Poem Exaltation for 2 Pianos and Orchestra, Africa Amidst MusicWeb International Last updated: August 2020 Russian, Soviet & Post-Soviet Symphonies A-G Struggles, Garabagh Shikastasi Oratorio and Land of Fire Oratorio) AZERBAIJAN INTERNATIONAL (3 CDs) (2007) Symphony No. -
The Cedarville University Orchestra & Concerto Concert
Cedarville University DigitalCommons@Cedarville Ensemble Concerts Concert and Recital Programs 4-15-2010 The edC arville University Orchestra & Concerto Concert Cedarville University Follow this and additional works at: http://digitalcommons.cedarville.edu/ensemble_concerts Part of the Music Performance Commons Recommended Citation Cedarville University, "The eC darville University Orchestra & Concerto Concert" (2010). Ensemble Concerts. 68. http://digitalcommons.cedarville.edu/ensemble_concerts/68 This Program is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in Ensemble Concerts by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. THE DEPARTMENT OF MUSIC, ART, & WORSHIP PRESENTS THE CEDARVILLE UNIVERSITY ORCHESTRA & CONCERTO CONCERT JUN KIM CONDUCTOR THURSDAY, APRIL 1 5, 20 1 0 7:00 P.M • .JEREMIAH CHAPEL DIXON MINISTRY CENTER Program Overtul'e, from DON GIOVANNI, K. 527 .................. W. A. Mozart (1756-1791) Andante and Rondo fol' Two Flutes and String Orchestra ....... A. F. Doppler (1821-1883) Anna Reisenweaver & Stacey Russell, Flutes Una Furtiva Lagrima, from L'ELISIR D'AMORE ............. G. Donizetti (1797-1848) Gregory Gallagher, Tenor Piano Concerto No. 5 in Eb Major, Op. 73 ................ L. v. Beethoven I. Allegro (1770-182 7) Katrina Gingerich, Piano Short Intermission Concerto No.2 in C Major/or Two Keyboards, BWV. 1061 ........ J. S. Bach (1685-1750) -
In Concert AUGUST–SEPTEMBER 2012
ABOUT THE MUSIC GRIEG CONCERTO /IN CONCERT AUGUST–SEPTEMBER 2012 GRIEG CONCERTO 30 AUGUST–1 SEPTEMBER STEPHEN HOUGH PLAYS TCHAIKOVSKY 14, 15 AND 17 SEPTEMBER TCHAIKOVSKY’S PATHÉTIQUE 20–22 SEPTEMBER ENIGMA VARIATIONS 28 SEPTEMBER MEET YOUR MSO MUSICIANS: SYLVIA HOSKING AND MICHAEL PISANI PIERS LANE VISITS GRIEG’S BIRTHPLACE STEPHEN HOUGH ON TCHAIKOVSKY’S PIANO CONCERTO NO.2 SIR ANDREW DAVIS HAILS THE NEW HAMER HALL twitter.com/melbsymphony facebook.com/melbournesymphony IMAGE: SIR ANDREW Davis CONDUCTING THE MELBOURNE SYMPHONY ORCHESTRA Download our free app 1 from the MSO website. www.mso.com.au/msolearn THE SPONSORS PRINCIPAL PARTNER MSO AMBASSADOR Geoffrey Rush GOVERNMENT PARTNERS MAESTRO PARTNER CONCERTMASTER PARTNERS MSO POPS SERIES REGIONAL TOURING PRESENTING PARTNER PARTNER ASSOCIATE PARTNERS SUPPORTING PARTNERS MONASH SERIES PARTNER SUPPLIERS Kent Moving and Storage Quince’s Scenicruisers Melbourne Brass and Woodwind Nose to Tail WELCOME Ashton Raggatt McDougall, has (I urge you to read his reflections been reported all over the world. on Grieg’s Concerto on page 16) and Stephen Hough, and The program of music by Grieg conductors Andrew Litton and and his friend and champion HY Christopher Seaman, the last of Percy Grainger that I have the whom will be joined by two of the privilege to conduct from August finest brass soloists in the world, otograp 29 to September 1 will be a H P Radovan Vlatkovic (horn) and wonderful opportunity for you to ta S Øystein Baadsvik (tuba), for our O experience all the richness our C special Town Hall concert at the A “new” hall has to offer. -
Letter Book Guide
TENDENCIES AND CONTRASTS IN MUSIC OF HENRY BARRAUD 35 it is not the music which is stretched out taut but rather the subject of the drama which is reduced to its fundamental tragic elements. Numance was originally per- formed at the Paris Opera and in view of its success has already been revived there. and final concert was a pot-pourri of twentieth- century English traditionalists, together with LETTER the Suite from Lulu by Berg. THE EDITOR, TEMPO lSthJune, 19S7- Everyone thinks that he can compile an DEAR SIR, anthology better than the next man, and it An event of great importance in the world would be churlish to criticise the L.P.O. for of modern music took place in the early having omitted works that happen to be months of this year with a series of concerts particular favourites of particular people. It entitled " Music of a Century " given in the was clearly never the intention of this series Royal Festival Hall by the London Phil- to be more avant than the avant-garde. harmonic Orchestra. Nevertheless, the total omission (barring the I attended all nine of these concerts, puerile Ballet Mecaniaue by Antheil) of works which, to quote from the handbook issued by native American composers was startling. to cover the series, were "cast in the form 1 would suggest that if concerts of con- of an anthology, with each programme temporary music are to be given to a wide pursuing some particular line of musical public in the Festival Hall, and that if the thought." idea of an anthology is to be persisted with, The first concert, entitled " Retreat from a wider range of works should be considered Wagner," was one of the most rewarding for performance. -
Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr. -
Download Booklet
PROGRAMME NOTE While America’s culture of performance VIOLIN CONCERTOS inevitably turned to Europe for its models, it ROY HARRIS • JOHN ADAMS Among the enduring transformations that gradually gathered strands of American identity coursed through the United States in the – complete with works by native musicians – to decades following the Civil War, one stands set alongside classics by Handel, Mozart and proud in the history of the nation’s musical life. Beethoven and more recent scores from It concerns what the scholar and critic Joseph the Old World. The New York-born composer Horowitz calls the “culture of performance”, Edward MacDowell, for instance, directed his Concerto for Violin and Orchestra (1949) Roy Harris (1898-1979) the creation of civic institutions devoted to thoroughly European training in France and 1 Section One [8.46] the making of music and the rise of a new Germany to the intentional cultivation of a 2 Section Two [9.53] generation of American musicians determined distinct brand of musical nationalism, “a 3 Section Three [6.05] to build their own traditions of ‘classical music which should be American”, as he 4 Section Four [3.24] music’. The process was already in train put it. The nature of what ‘American’ meant, before the war in many east coast cities, as so often with debates about cultural Concerto for Violin & Orchestra (1993) John Adams (b. 1947) where orchestral and choral societies arose identity, varied according to perspective. Many 5 I – [15.51] to meet the needs of a growing middle-class Americans at -
Shostakovich (1906-1975)
RUSSIAN, SOVIET & POST-SOVIET SYMPHONIES A Discography of CDs and LPs Prepared by Michael Herman Dmitri Shostakovich (1906-1975) Born in St. Petersburg. He entered the Petrograd Conservatory at age 13 and studied piano with Leonid Nikolayev and composition with Maximilian Steinberg. His graduation piece, the Symphony No. 1, gave him immediate fame and from there he went on to become the greatest composer during the Soviet Era of Russian history despite serious problems with the political and cultural authorities. He also concertized as a pianist and taught at the Moscow Conservatory. He was a prolific composer whose compositions covered almost all genres from operas, ballets and film scores to works for solo instruments and voice. Symphony No. 1 in F minor, Op. 10 (1923-5) Yuri Ahronovich/Moscow Radio Symphony Orchestra ( + Overture on Russian and Kirghiz Folk Themes) MELODIYA SM 02581-2/MELODIYA ANGEL SR-40192 (1972) (LP) Karel Ancerl/Czech Philharmonic Orchestra ( + Symphony No. 5) SUPRAPHON ANCERL EDITION SU 36992 (2005) (original LP release: SUPRAPHON SUAST 50576) (1964) Vladimir Ashkenazy/Royal Philharmonic Orchestra ( + Symphonies Nos. 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14 and 15, Festive Overture, October, The Song of the Forest, 5 Fragments, Funeral-Triumphal Prelude, Novorossiisk Chimes: Excerpts and Chamber Symphony, Op. 110a) DECCA 4758748-2 (12 CDs) (2007) (original CD release: DECCA 425609-2) (1990) Rudolf Barshai/Cologne West German Radio Symphony Orchestra (rec. 1994) ( + Symphonies Nos. 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14 and 15) BRILLIANT CLASSICS 6324 (11 CDs) (2003) Rudolf Barshai/Vancouver Symphony Orchestra ( + Symphony No. -
Xamsecly942339z3 CD BRIL 94233 Ç|Xamsecly923987z3 CD
Catalogo 2015 Durata: 72:56 Durata: 46:30 Confezione: Jewel Box 1 CD BRIL 94304 Confezione: Jewel Box 1 CD BRIL 9294 Economico Economico Distribuzione Italiana 13/03/2012 Distribuzione Italiana 27/11/2012 Genere: Classica Orchestrale Genere: Classica da camera Ç|xAMSECLy943046z Ç|xAMTDGPy929424z KARL FRIEDRICH ABEL GIOVANNI ALBINI Musica per flauto e archi (integrale) Musica ciclica Corale n.4, Una teoria della prossimità, Corali n.27 e n.41, Estatica, Quartetto GEORGIA BROWNE fl per archi n.5, Quartetto per archi n.6 'Solo per grado congiunto'; Quartetto per Nordic Affect archi n.7 'Corale' Durata: 66:45 FABIO MUREDDU vc Confezione: Jewel Box 1 CD BRIL 94354 Economico Davide Alogna, violino; Giorgio Mirto, chitarra; Duo Bonfanti; Quartetto Indaco; Distribuzione Italiana 23/08/2012 Le Cameriste Ambrosiane, Dario Garegnani Genere: Classica Balletto Durata: 36:52 Confezione: Jewel Box 1 CD BRIL 95072 Economico Ç|xAMSECLy943541z Distribuzione Italiana 09/10/2014 ADOLPHE ADAM Genere: Musica Sacra Giselle (estratti) Ç|xAMSECLy950723z GIOVANNI ALBINI Registrazioni: Londra, 21-23 novembre 1994 Musica Sacra NEVILLE MARRINER Dir. Academy of St. Martin in the Fields Durata: 222:21 Pange lingua per coro (2014); Missa Prima per coro (2012); Testamento Confezione: Jewel Box 3 CD BRIL 94233 Economico Spirituale per quartetto di fiati (2013); Preghiera per trio di flauti dolci (2014) Distribuzione Italiana 01/01/2005 INGRID PUSTIJANAC Dir. Genere: Classica Orchestrale Coro della Facoltà di Musicologia di Cremona, 15.19 ensemble; Il Giardino delle Muse Ç|xAMSECLy942339z Durata: 165:23 Confezione: Jewel Box 3 CD BRIL 92791 JEHAN ALAIN Economico Integrale delle opere per organo Distribuzione Italiana 01/01/2005 Genere: Classica da camera Ç|xAMSECLy927916z JEAN-BAPTISTE ROBIN org TOMASO GIOVANNI ALBINONI Jehan Alain, organo; Choeur et Orchestre de la Synagogue rue Integrale dei Concerti per oboe Notre-Dame-de-Nazareth Durata: 219:56 Confezione: Jewel Box 3 CD BRIL 92398 Economico Registrazioni: 2005 Distribuzione Italiana 01/01/2005 NICOL MATT Dir. -
Current Review
Current Review Christian Ferras plays Beethoven and Berg Violin Concertos aud 95.590 EAN: 4022143955906 4022143955906 Fanfare (Robert Maxham - 2012.05.01) Audite’s program of violin concertos by Ludwig van Beethoven and Alban Berg captures two moments in the life of Christian Ferras, the first a studio recording from November 19, 1951, made in the Jesus-Christus-Kirche after the 18-year-old violinist had given a live performance of the work at the Titania Palast and more than a decade before he would record the work with Herbert von Karajan and the same orchestra. The young Ferras sounds both flexible and sprightly in the first movement’s passagework, producing a suave tone that might be described as almost gustatory in its effect as he soars above the orchestra. That tone lacks the sharp edge of Zino Francescatti’s and even the slightly reedy quality of Arthur Grumiaux’s, and he never seems to be deploying it simply for the sheer beauty of it: As sumptuous as it might sound, it always serves his high-minded concept of the work itself. And his playing of Fritz Kreisler’s famous cadenza similarly subordinates virtuosity to musical effect. Karl Böhm sets the mood for a probing exploration of the slow movement, in which Ferras sounds similarly committed; he never allows himself to be diverted into mannerism or eccentricity, as Anne-Sophie Mutter does in her performance with Kurt Masur and the New York Philharmonic (Deutsche Grammophon 289 471 349, Fanfare 26:5 and 26:6). What the young Michael Rabin achieved in the showpieces of Wieniawski and Paganini, Ferras arguably exceeded in the music of Beethoven. -
Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-7-2018 12:30 PM Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse Renee MacKenzie The University of Western Ontario Supervisor Nolan, Catherine The University of Western Ontario Sylvestre, Stéphan The University of Western Ontario Kinton, Leslie The University of Western Ontario Graduate Program in Music A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Musical Arts © Renee MacKenzie 2018 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Music Performance Commons Recommended Citation MacKenzie, Renee, "Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse" (2018). Electronic Thesis and Dissertation Repository. 5572. https://ir.lib.uwo.ca/etd/5572 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This monograph examines the post-exile, multi-version works of Sergei Rachmaninoff with a view to unravelling the sophisticated web of meanings and values attached to them. Compositional revision is an important and complex aspect of creating musical meaning. Considering revision offers an important perspective on the construction and circulation of meanings and discourses attending Rachmaninoff’s music. While Rachmaninoff achieved international recognition during the 1890s as a distinctively Russian musician, I argue that Rachmaninoff’s return to certain compositions through revision played a crucial role in the creation of a narrative and set of tropes representing “Russian diaspora” following the 1917 Bolshevik Revolution. -
Psaudio Copper
Issue 77 JANUARY 28TH, 2019 Welcome to Copper #77! I hope you had a better view of the much-hyped lunar-eclipse than I did---the combination of clouds and sleep made it a non-event for me. Full moon or no, we're all Bozos on this bus---in the front seat is Larry Schenbeck, who brings us music to counterbalance the blah weather; Dan Schwartz brings us Burritos for lunch; Richard Murison brings us a non-Python Life of Brian; Jay Jay French chats with Giles Martin about the remastered White Album; Roy Hall tells us about an interesting day; Anne E. Johnson looks at lesser-known cuts from Steely Dan's long career; Christian James Hand deconstructs the timeless "Piano Man"; Woody Woodward is back with a piece on seminal blues guitarist Blind Blake; and I consider comfort music, and continue with a Vintage Whine look at Fairchild. Our reviewer friend Vade Forrester brings us his list of guidelines for reviewers. Industry News will return when there's something to write about other than Sears. Copper#77 wraps up with a look at the unthinkable from Charles Rodrigues, and an extraordinary Parting Shot taken in London by new contributor Rich Isaacs. Enjoy, and we’ll see you soon! Cheers, Leebs. Stay Warm TOO MUCH TCHAIKOVSKY Written by Lawrence Schenbeck It’s cold, it’s gray, it’s wet. Time for comfort food: Dvořák and German lieder and tuneful chamber music. No atonal scratching and heaving for a while! No earnest searches after our deepest, darkest emotions. What we need—musically, mind you—is something akin to a Canadian sitcom. -
SYDNEY SYMPHONY UNDER the STARS BENJAMIN NORTHEY DIANA DOHERTY CONDUCTOR OBOE Principal Oboe, John C Conde AO Chair
SYDNEY SYMPHONY Photo: Photo: Jamie Williams UNDER THE STARS SYDNEY SYMPHONY ORCHESTRA I AUSTRALIA PROGRAM Dmitri Shostakovich (Russian, 1906–1975) SYDNEY Festive Overture SYMPHONY John Williams (American, born 1932) Hedwig’s Theme from Harry Potter UNDER THE Wolfgang Amadeus Mozart (Austrian, 1756–1791) Finale from the Horn Concerto No.4, K.495 STARS Ben Jacks, horn SYDNEY SYMPHONY ORCHESTRA I AUSTRALIA THE CRESCENT Hua Yanjun (Chinese, 1893–1950) PARRAMATTA PARK Reflection of the Moon on the Lake at Erquan 8PM, 19 JANUARY 120 MINS John Williams Highlights from Star Wars: Imperial March Benjamin Northey conductor Cantina Music Diana Doherty oboe Main Title Ben Jacks horn INTERVAL Sydney Symphony Orchestra Gioachino Rossini (Italian, 1792–1868) Galop (aka the Lone Ranger Theme) from the overture to the opera William Tell Percy Grainger (Australian, 1882–1961) The Nightingale and the Two Sisters from the Danish Folk-Song Suite Edvard Grieg (Norwegian, 1843–1907) Highlights from music for Ibsen’s play Peer Gynt: Morning Mood Anitra’s Dance In the Hall of the Mountain King Ennio Morricone (Italian, born 1928) Theme from The Mission Diana Doherty, oboe Josef Strauss (Austrian, 1827–1870) Music of the Spheres – Waltz Pyotr Ilyich Tchaikovsky (Russian, 1840–1893) 1812 – Festival Overture SYDNEYSYDNEY SYMPHONY SYMPHONY UNDER UNDER THE STARS THE STARS SYDNEY SYMPHONY UNDER THE STARS BENJAMIN NORTHEY DIANA DOHERTY CONDUCTOR OBOE Principal Oboe, John C Conde AO Chair Benjamin Northey is Chief Conductor of the Christchurch Diana Doherty joined the Sydney Symphony Orchestra as Symphony Orchestra and Associate Conductor of the Principal Oboe in 1997, having held the same position with Melbourne Symphony Orchestra.