BEAVERT SYMPHONY Travis Hatton, Music Director
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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. -
BEAVERT SYMPHONY Travis Hatton, Music Director
BEAVERT SYMPHONY Travis Hatton, Music Director Young Artists Concert: Rising Stars SVOBODA TCHAI Aishani Saha Natalie Tan Kira Wang 7:30pm Friday, May 18, 2018 3:00pm Sunday, May 20, 2018 beavertonsymphony.org 1-855-HEARBSO (1-855-432-7276) The Composers Greg Bartholomew Frédéric Chopin Leo Delibes Benjamin Britten Luigi Arditi Antonin Dvořák Jean Sibelius Beaverton Symphony Orchestra Travis Hatton, Music Director Greg Bartholomew Sunshine Music (2011) b. 1957 Sunshine in the Dooryard: Homage to a melody by David Paul Mesler Sunshine in the City Sunshine in the Mountains Antonin Dvořák Cello Concerto in b minor, Op. 104 – 3rd movement 1840 –1904 Kira Wang, cello Léo Delibes Les Filles de Cadix (1874) 1836 –1891 Benjamin Britten Be Kind and Courteous 1913 – 1976 from A Midsummer Night’s Dream Luigi Arditi Il Bacio (The Kiss) (1860) 1822 – 1903 Aishani Saha, soprano Frédéric Chopin Piano Concerto No. 2 in f minor, Op. 21 – 3rd movement 1810 –1849 Natalie Tan, piano Intermission Jean Sibelius Symphony No. 1 in e minor, Op. 39 (1899) 1865 –1957 Andante ma non troppo – Allegro energico Andante (ma non troppo lento) Scherzo: Allegro Finale (Quasi una fantasia) Our Young Artists Aishani Saha, soprano, is a 17 year old senior at Westview High School. She has been studying voice with Angela Niederloh for 4 years. Aishani is the 2017 State Champion in the Soprano Voice division of the OSAA Solo/Ensemble Competition. She got 2nd place in the 2016 State Competition. She was also a winner of the 2017 MetroArts Van Buren Young Artists Debut Competition. Aishani won 3rd place in the 2017 Schmidt Vocal Competition NW Region. -
Student Achievements 2019 - 2020
Student Achievements 2019 - 2020 SUMMER 2020 8.20 Academy cellist Jan Vargas-Nedvetsky was named winner of the Chicago Chamber Music Festival 6th Annual Concerto Competition for pianists and string players. The winners will be invited to perform with the Northeastern Illinois University Orchestra conducted by Dr. Benjamin Firer during the ‘20 - ‘21 Academic Year. * CCMF Concerto Competition is open to pre-college students only. Perform with NEIU Orchestra during the ‘20 - ‘21 season. • Receive written feedback from a panel of three renowned orchestra conductors • ONE private lesson with CCMF’s faculty* • ONE private meeting with conductor for valuable insight into playing as a soloist with an orchestra • Access to CCMF Special Topic Seminars Pianist Clara Zhang was the winner of the 2018 Concerto Competition. 2020 Chicago International Music Competition 8.20 Congratulations to members of PRIMAVERA AND DASANI ensembles…. tying for the Grand Prize at the 2020 Chicago International Music Competition. More than 400 musicians in 22 countries applied to the virtual competition. GRAND PRIZES DIVISION II—Amateur Division 1st Prize—Trio Primavera coached by Rodolfo Vieira and Mark George. (US): Jan Vargas Nedvetsky / Esme Arias-Kim / Yerin Yang Tied with Dasani String Quartet coached by Mathias Tacke. (US): Isabella Brown/ Katya Moeller/ Zechariah Mo/ Brandon Cheng 2nd Prize—Not Awarded 3rd Prize—Brian Lin (US) In addition, the Academy had winners in the Professional Young Artist II Division. Isabella Brown was awarded first prize, and Katya Moeller second prize, in the Professional Young Artist II Division. Congratulations to everyone for high achievements in a distinguished competition. 7.1.20 - Träumerei Project: Timeless Tribute Video With no end of year orchestra concert, no last day to say goodbye, and no graduation ceremony for the seniors, the Academy Class of 2019-2020, in their homes across four states, created a Time Capsule Video to honor their year together. -
El Camino De Verdi Al Verismo: La Gioconda De Ponchielli the Road of Verdi to Verism: La Gioconda De Ponchielli
Revista AV Notas, Nº8 ISSN: 2529-8577 Diciembre, 2019 EL CAMINO DE VERDI AL VERISMO: LA GIOCONDA DE PONCHIELLI THE ROAD OF VERDI TO VERISM: LA GIOCONDA DE PONCHIELLI Joaquín Piñeiro Blanca Universidad de Cádiz RESUMEN Con Giuseppe Verdi se amplificaron y superaron los límites del Bel Canto representado, fundamentalmente, por Rossini, Bellini y Donizetti. Se abrieron nuevos caminos para la lírica italiana y en la evolución que terminaría derivando en la eclosión del Verismo que se articuló en torno a una nutrida generación de autores como Leoncavallo, Mascagni o Puccini. Entre Verdi y la Giovane Scuola se situaron algunos compositores que constituyeron un puente entre ambos momentos creativos. Entre ellos destacó Amilcare Ponchielli (1834-1886), profesor de algunos de los músicos más destacados del Verismo y autor de una de las óperas más influyentes del momento: La Gioconda (1876-1880), estudiada en este artículo en sus singularidades formales y de contenido que, en varios aspectos, hacen que se adelante al modelo teórico verista. Por otra parte, se estudian también cuáles son los elementos que conserva de los compositores italianos precedentes y las influencias del modelo estético francés, lo que determina que la obra y su compositor sean de complicada clasificación, aunque habitualmente se le identifique incorrectamente con el Verismo. Palabras clave: Ponchielli; Verismo; Giovane Scuola; ópera; La Gioconda; Italia ABSTRACT With Giuseppe Verdi, the boundaries of Bel Canto were amplified and exceeded, mainly represented by Rossini, Bellini and Donizetti. New paths were opened for the Italian lyric and in the evolution that would end up leading to the emergence of Verismo that was articulated around a large generation of authors such as Leoncavallo, Mascagni or Puccini. -
Risorgimento: Storie Biellesi
Risorgimento: storie biellesi ... o quasi Alcuni aspetti curiosi del Risorgimento biellese, del coinvolgimento di personaggi famosi e non, raccontati attraverso un piccolo apparato documentario risalente all’epoca, con le parole di chi quei momenti li ha vissuti, amati o, anche, ironicamente contestati. Di seguito i testi sono riportati integralmente, indipendentemente dalla loro riduzione o adattamento scenico che ne modifica la forma ma non certo i contenuti. Per le musiche, vuoi liriche vuoi marziali tutte entrate di forza nella cultura popolare, ci si è rifatti agli originali, tralasciando le elaborazioni contemporanee “sofisticate” per riproporre quella semplicità interpretativa popolare che le caratterizzava. La vocalità, anche per i brani lirici, è quindi “popolare”, con voce non “impostata” ma naturale, tenuto conto che coloro che cantavano tali brani per le strade e nei salotti non erano, di norma, attori lirici ma uomini e donne che facevano un uso spontaneo del loro strumento vocale. Uomini, che cantavano Verdi piuttosto che l’ Addio del volontario , Bellini piuttosto che l’ Inno di Garibaldi , e così via. E donne che, in assenza dei loro uomini (al fronte, alla macchia o, peggio ancora, destinati al patibolo), si esprimevano con le stesse musiche e le stesse parole, senza nemmeno declinarle al femminile. Ed è quindi un coro prettamente al femminile che propone musiche tradizionalmente maschili con l’obiettivo, anche, di ricordare il contributo fondamentale delle donne italiane dato a una parte taciuta (o quantomeno sottaciuta) della storia del processo risorgimentale; contributo espressosi nei combattimenti sulle barricate ma anche, nella maggior parte dei casi, nel sostegno incondizionato dato ai propri congiunti con tutti i silenti sacrifici che questo stesso sostegno portava con sé. -
Gordon Crosse
“Mixed Doubles” Double Concertos by John Manduell and Gordon Crosse CD1: Music by Gordon Crosse (b. 1937) 1 Brief Encounter, for oboe d’amore, recorder and strings (2009) 10.09 Concerto for viola and strings with french horn (2009) 22.50 2 I. Prelude: Andante calmo –più mosso – vivace 8.18 3 II. Song: Lento semplice – più mosso – lento 7.08 4 III. Finale: Vivace 7.24 5 Fantasia on ‘Ca’ the Yowes’, for recorder, harp and strings (2009) 9.51 Total duration CD1 43.05 CD2: Music by John Manduell (b. 1928) Flutes Concerto, for flautist, harp, strings and percussion (2000) 26.56 1 I. Vivo – Lento 9.55 2 II. Quasi adagio 9.24 3 III. Allegro – Allegretto – Languido 7.37 Double Concerto, for oboe, cor anglais, strings and percussion (1985/2012) 28.14 4 I. Quasi adagio – allegro molto 10.43 5 II. Adagio molto 12.18 6 III. Allegro vivo 5.13 Total duration CD2 55.19 Michael Cox flute Richard Simpson oboe/oboe d’amore Alison Teale cor anglais John Turner recorder Matthew Jones viola Timothy Jackson french horn Anna Christensen harp (CD1 track 5) Deian Rowlands harp (CD2 tracks 1-3) MANCHESTER SINFONIA leader Richard Howarth conducted by Timothy Reynish The Music Gordon Crosse writes: All three pieces on CD1 were composed in the Summer and Autumn of 2009 which was the most exciting and productive year I have ever experienced. I had returned to composing after a break of some 18 years and I found I couldn't stop working. The music was simpler than it was in 1990 but I think more communicative because more concentrated and focused. -
Graduate Recital in Viola
University of Northern Iowa UNI ScholarWorks Dissertations and Theses @ UNI Student Work 2017 Graduate recital in viola Isaak Walter Sund University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©2017 Isaak Walter Sund Follow this and additional works at: https://scholarworks.uni.edu/etd Part of the Music Performance Commons Recommended Citation Sund, Isaak Walter, "Graduate recital in viola" (2017). Dissertations and Theses @ UNI. 413. https://scholarworks.uni.edu/etd/413 This Open Access Thesis is brought to you for free and open access by the Student Work at UNI ScholarWorks. It has been accepted for inclusion in Dissertations and Theses @ UNI by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. GRADUATE RECITAL IN VIOLA An Abstract of a Thesis Submitted in Partial Fulfillment of the Requirements for the Degree Master of Music in Performance Isaak Walter Sund University of Northern Iowa July 2017 This Study by: Isaak Sund Entitled: Graduate Recital in Viola has been approved as meeting the thesis requirement for the Degree of Master of Music in Performance ___________ _____________________________________________________ Date Dr. Julia Bullard, Chair, Thesis Committee ___________ _____________________________________________________ Date Dr. Rebecca Burkhardt, Thesis Committee Member ___________ _____________________________________________________ Date Dr. Alison Altstatt, Thesis Committee Member ___________ _____________________________________________________ Date Dr. Kavita R. Dhanwada, Dean, Graduate College This Recital Performance by: Isaak Sund Entitled: Graduate Recital in Viola Date of Recital: March 29, 2017 has been approved as meeting the recital requirement for the Degree of Master of Music in Performance ___________ _____________________________________________________ Date Dr. Julia Bullard, Chair, Graduate Recital Committee ___________ _____________________________________________________ Date Dr. -
Stagione 2018-2019 Aida Compositore: Giuseppe Verdi
Progetto5_v 18/12/15 18:51 Pagina 1 La Griffe Roma Hotel Papadopoli Venezia A COLLECTION OF MEMORABLE BOUTIQUE HOTELS sofitel.com - accorhotels.com Progetto5_v 18/12/15 18:51 Pagina 1 La Griffe Roma Hotel Papadopoli Venezia A COLLECTION OF MEMORABLE BOUTIQUE HOTELS sofitel.com - accorhotels.com Progetto5_v 18/12/15 18:51 Pagina 2 Eau de Parfum pour Homme et pour Femme Merging of olfactory notes with musical harmonies. themerchantofvenice.com Fondazione Teatro La Fenice di venezia Radio3 per la Fenice Opere della Stagione Lirica 2018-2019 trasmesse in diretta o in differita dal Teatro La Fenice o dal Teatro Malibran venerdì 23 novembre 2018 ore 19.00 Macbeth venerdì 8 febbraio 2019 ore 19.00 Il sogno di Scipione venerdì 15 febbraio 2019 ore 19.00 Il re pastore domenica 24 febbraio 2019 ore 15.30 L’italiana in Algeri martedì 23 aprile 2019 ore 19.00 Dorilla in Tempe venerdì 10 maggio 2019 ore 19.00 Turandot sabato 18 maggio 2019 ore 15.30 Aida Concerti della Stagione Sinfonica 2018-2019 trasmessi in differita dal Teatro La Fenice o dal Teatro Malibran Myung-Whun Chung (sabato 3 novembre 2018) Kerem Hasan (sabato 10 novembre 2018) Jérémie Rhorer (venerdì 11 gennaio 2019) Juraj Valčuha (venerdì 12 aprile 2019) Diego Fasolis (venerdì 19 aprile 2019) Jonathan Webb (venerdì 7 giugno 2019) www.radio3.rai.it – per le frequenze: numero verde 800 111 555 FONDAZIONE AMICI DELLA FENICE STAGIONE 2018-2019 Incontri con l’opera giovedì 15 novembre 2018 GIORGIO PESTELLI Macbeth martedì 11 dicembre 2018 SILVIA POLETTI Romeo e Giulietta lunedì 21 gennaio -
2019 CCPA Solo Competition: Approved Repertoire List FLUTE
2019 CCPA Solo Competition: Approved Repertoire List Please submit additional repertoire, including concertante pieces, to both Dr. Andrizzi and to your respective Department Head for consideration before the application deadline. FLUTE Arnold, Malcolm: Concerto for flute and strings, Op. 45 strings Arnold, Malcolm: Concerto No 2, Op. 111 orchestra Bach, Johann Sebastian: Suite in B Minor BWV1067, Orchestra Suite No. 2, strings Bach, Carl Philipp Emanuel: Concerto in D Minor Wq. 22, strings Berio, Luciano: Serenata for flute and 14 instruments Bozza, Eugene: Agrestide Op. 44 (1942) orchestra Bernstein, Leonard: Halil, nocturne (1981) strings, percussion Bloch, Ernest: Suite Modale (1957) strings Bloch, Ernest: "TWo Last Poems... maybe" (1958) orchestra Borne, Francois: Fantaisie Brillante on Bizet’s Carmen orchestra Casella, Alfredo: Sicilienne et Burlesque (1914-17) orchestra Chaminade, Cecile: Concertino, Op. 107 (1902) orchestra Chen-Yi: The Golden Flute (1997) orchestra Corigliano, John: Voyage (1971, arr. 1988) strings Corigliano, John: Pied Piper Fantasy (1981) orchestra Devienne, Francois: Concerto No. 7 in E Minor, orchestra Devienne, Francois: Concerto No. 10 in D Major, orchestra Devienne, Francois: Concerto in D Major, orchestra Doppler, Franz: Hungarian Pastoral Fantasy, Op. 26, orchestra Feld, Heinrich: Fantaisie Concertante (1980) strings, percussion Foss, Lucas: Renaissance Concerto (1985) orchestra Godard, Benjamin: Suite Op. 116; Allegretto, Idylle, Valse (1889) orchestra Haydn, Joseph: Concerto in D Major, H. VII f, D1 Hindemith, Paul: Piece for flute and strings (1932) Hoover, Katherine: Medieval Suite (1983) orchestra Hovhaness, Alan: Elibris (name of the DaWn God of Urardu) Op. 50, (1944) Hue, Georges: Fantaisie (1913) orchestra Ibert, Jaques: Concerto (1933) orchestra Jacob, Gordon: Concerto No. -
Clarinet Concertos Clarinet
Clarinet 14CD Concertos 95787 ClaRINet Concertos 14CD CD1 Molter Concertos Nos. 1–5 CD9 Mercadante Concertino Concertos Nos. 1 & 2 CD2 Spohr Concertos Nos. 1 & 4 Sinfonia concertante No.3 CD3 Spohr Concertos Nos. 2 & 3 CD10 Hoffmeister Concerto CD4 Mozart Concerto in A K622 Sinfonie concertanti Nos. 1 & 2 Bruch Clarinet & Viola Concerto CD11 Baermann Concertstück in G minor CD5 Weber Concertino Clarinet Concertinos Opp. 27 & 29 Concertos Nos. 1 & 2 Sonata No.3 in D minor/F Busoni Concertino CD12 Finzi Concerto CD6 Crusell Concertos Nos. 1–3 Stanford Concerto Copland Concerto (1948 version) CD7 Krommer Concerto Op.36 Double Concertos Opp. 35 & 91 CD13 Nielsen Concerto Tansman Concerto Stamitz CD8 Concerto No.1 Hindemith Concerto Double Concerto Clarinet & Bassoon Concerto CD14 Rietz Concerto Rossini Introduction, theme & variations Mendelssohn Concert Pieces Opp. 113 & 114 Performers include: Davide Bandieri · Kevin Banks · Kálmán Berkes · Per Billman Jean-Marc Fessard · Henk de Graaf · Sharon Kam · Dieter Klöcker · Sebastian Manz Oskar Michallik · Robert Plane · Giuseppe Porgo · Giovanni Punzi · David Singer Tomoko Takashima · Maria du Toit · Kaori Tsutsui · Eddy Vanoosthuyse C 2018 Brilliant Classics DDD/ADD STEMRA Manufactured and printed in the EU 95787 www.brilliantclassics.com Clarinet 14CD Concertos 95787 Clarinet Concertos historical interest. The solo writing – composed for a high clarinet in D – suggests the virtuosity of Most musical instruments in use today derive from very ancient ancestors. The oboe, for example, a coloratura soprano. may be traced back to the shawm, an instrument with a double-reed and wooden mouthpiece, Louis Spohr (1784–1859), born in Brunswick, established a reputation as a violinist and conductor, used from the 12th century onwards. -
CHAPTER 4 the Second Violin Concerto
i ABSTRACT The Violin Concerti of Béla Bartók By So Jin Kim There are two violin concertos in Béla Bartók’s body of compositions. The first concerto written in 1907 is obscure and rarely heard, while the second, completed in 1939, is widely performed and generally regarded as a twentieth-century masterwork. Bartók had contrasting relationships with the violinists for whom the works were written: the first, for Stefi Geyer; and the second, for Zoltán Székely. My thesis will compare the two concerti, illustrating how the second refines, expands and more fully develops the compositional approach of the first. It will also examine the working relationship and influence the performers had on the ultimate outcome of the concerti. This comparison of two works with very different outcomes offers insights into Bartók’s compositional methods and development. ii ACKNOWLEDGMENTS Dr. Anthony Brandt, for your guidance, patience, expertise, and insights. Dr. Bailey, for your detailed and thoughtful advice. Cho-Liang Lin, for your encouragement and being the source of my artistic inspiration throughout my time at Rice University. And to my family, for their love and support. CONTENTS ABSTRACT i ACKNOWLEDGMENTS ii INTRODUCTION 1 CHAPTER ONE. BRIEF BIOGRAPHICAL INFORMATION ON BÉLA BARTÓK AND BACKGROUND INFORMATION ON THE FIRST AND SECOND VIOLIN CONCERTOS Béla Viktor János Bartók (1881-1945) 3 The First Violin Concerto 11 The Second Violin Concerto 14 CHAPTER TWO. THE FIRST VIOLIN CONCERTO Unconventional Concept 18 The discovery of folk music and early compositions (1904-1907) 19 Bartók’s First Violin Concerto 25 Bartók and Geyer: Their Relationship 36 CHAPTER THREE. -
LA ÓPERA EN LOS TEATROS DE GRANADA Para Que Una Ciudad
LA ÓPERA EN LOS TEATROS DE GRANADA Para que una ciudad pueda tener temporada de ópera es necesario contar con un teatro que reúna ciertas condiciones: amplitud escénica, foso para la orquesta, camerinos y espacios varios para la confección de vestuario, maquillaje, etc. Granada desde 1810 hasta 1966 contó con dos teatros que poseían estas características, el primero llamado Napoleón, después Nacional, Principal y en sus últimos sesenta años Cervantes, aunque siempre la gente lo conoció como teatro del Campillo por ubicarse en la céntrica plaza de la ciudad. Desde 1864 hasta 1936 también se disfrutó de otro coliseo de aún mayor capacidad: el antiguo Isabel la Católica, que ocupó parte del espacio en donde hoy se encuentra la plaza de los Campos y el Cuarto Real de Santo Domingo. A partir de la década de 1820, a pesar de los tortuosos caminos y medios de locomoción que conducían hacia Granada, el Teatro del Campillo comenzó a figurar como uno de los puntos de destino en las giras de las compañías de ópera que generalmente solían actuar en Madrid, de donde procedían. Ya desde muchos años antes, en el antiguo Teatro de Puerta Real, la ciudad contó con compañías cómicas propias dedicadas a la declamación y al canto que solían confeccionar espectáculos a base de comedias ligeras, patrióticas, bailes de diverso género y tonadillas escénicas. Estos espectáculos siguieron siendo lo común en el Teatro Napoleón terminado, tras varios años con las obras paralizadas, durante la ocupación francesa. Cuando los franceses abandonaron Granada, el teatro pasó a denominarse Nacional, y aunque no existe mucha documentación al respecto, por la forzosa ausencia de prensa e imprenta establecida por el absolutismo, se puede aventurar que algunas óperas de Rossini ya fueron representadas en dicho teatro.