The Scottish Viola a Tribute to Watson Forbes
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George Frideric Handel Cc 9127 George Frideric Handel
GEORGE FRIDERIC HANDEL CC 9127 GEORGE FRIDERIC HANDEL male lead in The Bear for Hemsley, who played it under the composer on BBC Television in George Frideric Handel (1685-1759) 1970. His book Singing and Imagination is a lucid guide to his finely-honed art. = `çåÅÉêíç=áå=_JÑä~í=ets=OVQ=léK=Q=kçK=S=ENTPSF= NNKNN Geraint Jones (1917-98). The son of a Glamorgan minister, Jones studied at the Royal 1-3 I Andante allegro 3.53 2 II Larghetto 4.31 3 III Allegro moderato 2.53 Academy of Music before being rejected for World War II service on grounds of poor health. Osian Ellis, harp. The Boyd Neel Orchestra directed by Thurston Dart Determined to ‘do his bit’, he made his debut as a harpsichordist in 1940 at one of Myra Hess’s A BBC studio broadcast, 26 February 1957 National Gallery concerts, later touring widely with his wife, the violinist Winifred Roberts. After the war he became highly influential in the ‘authentic’ baroque movement, forming his own = ^éçääç=É=a~ÑåÉ=ets=NOO=ENTNMF= QPKMR orchestra for the acclaimed performances at London’s Mermaid Theatre in 1951 of Dido and Aeneas, with Kirsten Flagstad and Thomas Hemsley. Jones’s many recordings included Dido 4 Recitative and Aria Apollo ‘La terra è liberata … Pende il ben dell’universo’ 5.18 (The earth is set free … The good of the universe) with those singers (plus Elisabeth Schwarzkopf as Belinda and Arda Mandikian as the 5 Recitative and Aria Apollo 3.54 Sorceress) as well as music by Bach, Handel and Mozart. -
Proceedings of the 44Th International Viola Congress
Proceedings of the 44th International Viola Congress Editorial Panel Andrew Filmer, Editor-in-Chief Donald Maurice Gillian Ansell Carlos María Solare Contents Luca Altdorfer, “‘Composed to the Soul’: Viola da Gamba Music of Carl Friedrich Abel on the Viola and Violone” 1 Valerie Dart, “The Contribution of British Composers in Raising the Profile of the Viola as a Solo Instrument, 1885-1960” 5 Marcin Murawski, “Passacaglias in Viola Literature” 19 Andrew Filmer, “No Museum Pieces: A Practical Take to the Grande Sestetto Concertante” 23 A publication of the International Viola Society, all rights reserved, 2018 Proceedings of the 44th International Viola Congress, Wellington 2018 “Composed to the Soul”: Viola da Gamba Music of Carl Friedrich Abel on the Viola and Violone Luca Altdorfer “There was a time, and it is not very long past, in which Abel set the tone for the musical world; – in which everything was Abelish.”1 Since the viola became a solo instrument in the early to mid-20th century, much of the solo repertoire was written at this time. Transcriptions, arrangements were made to fill in the literature of the Baroque, Classical and Romantic styles, but the bridge to the Classical era – the late Baroque pre-Classical style – is lacking. A viola player also has to face the fact that most of the arranged mu- sic is from violin or cello. This makes us face great difficulties: We have to “compete” with the virtu- osity of the violin, and the sonority of the cello. What if we turn to an instrument and a composer that are not as famous in the modern concert halls? The viola da gamba, being the favorite string instrument of the baroque period, offers a possibility to broaden the viola music with late baroque, pre-classical repertoire. -
Verklarte Nacht ("Transfigured Night") in D Minor, Op
S:he Jl,cademy o/ St. 511a1itin in the ~efds Chamhe'l Gnsembfe_ KENNETH SILLITO, LEADER KENNETH SILLITO, VIOLIN ROBERT SMISSEN, VIOLA HARVEY DE SOUZA, VIOLIN DUNCAN FERGUSON, VIOLA MARTIN BURGESS, VIOLIN STEPHEN ORTON, CELLO JAN SCHMOLCK, VIOLIN JOHN HELEY, CELLO TUESDAY, FEBRUARY 15, 2005 -PROGRAM "Innocent Ear" The ensemble will play a work unannounced, and invite the audience to guess composer/work with CDs as a prize. Verklarte Nacht ("Transfigured Night") in D Minor, Op. 4 (1905) ARNOLD SCHOENBERG (1874-1951) - INTERMISSION- Octet for Strings in E-flat Major, Op. 20 (1825) FELIX MENDELSSOHN (1809-184 7) Allegro moderato, ma con fuoco Andante Scherzo (Allegro leggierissimo) Presto THIS PROGRAM HAS BEEN PARTIALLY UNDERWRITTEN BY THE GE NEROSITY OF AN ANONYMOUS DONOR IN HONOR OF SHIRLEY AND DAVID TOOMIM. Please turn off all cellphones, pagers and chiming watches. Also, taking photographs (with cameras, phones or any media device) or making recordings is strictly prohibited. Thank you. ARNOLD SCHOENBERG (1874-1951) Verklarte Nacht (Transfigured Night) Most people associate Arnold Schoenberg with development of the "twelve-tone" sys tem of musical composition. However, one of his most popular works, Verklarte Nacht, was composed early in his career (1899) at the age of twenty-five, before his experiments in atonality were evident. Though primarily a self-taught composer, Schoenberg admits to having been greatly influenced by Brahms and Wagner during this period. Verklarte Nacht was unusual in that it was a tone poem composed for a chamber ensemble (string sextet). It was based on a poem written in 1896 by Richard Dehmel, whose work Schoenberg particularly admired. -
ENGLISH MUSIC for STRINGS Britten • Bliss • Bridge • Berkeley
SUPER AUDIO CD ENGLISH MUSIC FOR STRINGS Britten • Bliss • Bridge • Berkeley Sinfonia of London JOHN WILSON Hampstead, mid-1930s piano,athomeEastHeathLodge, Blüthner Bliss,athislatemother’s Arthur Photographer unknown / Courtesy of the Bliss Collection, with thanks to the late Trudy Bliss English Music for Strings Benjamin Britten (1913 – 1976) Variations on a Theme of Frank Bridge, Op. 10 (1937) 23:37 for String Orchestra To F.B. A tribute with affection and admiration 1 Introduction and Theme. Lento maestoso – Allegretto poco lento – 1:31 2 Adagio. Adagio – 1:52 3 March. Presto alla marcia – 1:05 4 Romance. Allegretto grazioso – 1:31 5 Aria Italiana. Allegro brillante – 1:11 6 Bourrée Classique. Allegro e pesante – 1:17 7 Wiener Walzer. Lento – Vivace – Lento – Vivace – [ ] – Vivace – Lento – Tempo I – Lento – Tempo I – Lento – Tempo vivace – 2:05 8 Moto Perpetuo. Allegro molto – 1:00 9 Funeral March. Andante ritmico – Con moto – 3:49 10 Chant. Lento – 1:39 11 Fugue and Finale. Allegro molto vivace – Molto animato – Lento e solenne – Poco comodo e tranquillo – Lento – Più presto 6:34 3 Frank Bridge (1879 – 1941) 12 Lament, H 117 (1915) 3:47 for String Orchestra Catherine, aged 9, ‘Lusitania’ 1915 Adagio, con molto espressione – Poco più adagio Sir Lennox Berkeley (1903 – 1989) Serenade for Strings, Op. 12 (1938 – 39) 13:01 in Four Movements To John and Clement Davenport 13 I Vivace 2:09 14 II Andantino 3:52 15 III Allegro moderato 3:11 16 IV Lento 3:48 4 Sir Arthur Bliss (1891 – 1975) Music for Strings, F 123 (1935) 23:56 Dedicated -
Your Donation Can Create Opportunities for Young Bassoonists!
COUNCIL OF CANADIAN BASSOONISTS HELPING DEDICATED YOUNG BASSOONISTS REALIZE THEIR GOALS! “The Council of Canadian Bassoonists has “The Council of Canadian Bassoonists’ generosity has allowed Gabby to continue necessary to be completely immersed in the -Gabby’s mom -Nico Richard (Gabby with her teacher Pat Bolduc of the New Brunswick Symphony) Join our network of bassoonists supporting young players who need assistance obtaining instruments, lessons, reeds, and tools. councilofcanadianbassoonists.ca Registered Charity 85213 4725 RR0001 3 Bassoonapalooza Schedule Start Time End Time Event Featured Artists 8:30am 8:50am REGISTRATION 8:50am 9:00am Welcome from the Gordon Foote, Nadina Mackie Directors Jackson 9:00am 10:00am Introduction to Electric Jeff Burke, Krista Wodelet, Bassoon Nadina Mackie Jackson 10:00am 10:45am Rehearsal for Sounds Das Fagott Mannschaft to the Future Showcase Concert 10:45am 11:30am Basic Bassoon Shane Wieler Maintenance 11:30am 12:00pm LUNCH 12:00pm 1:00pm Recital - Feature Guest Lecolion Washington Artist 1:00pm 2:30pm Masterclass - Featured Lecolion Washington Guest Artist 2:30pm 3:30pm Life as a Modern Eric Macarios (MC), Fraser Bassoonist - A Round Jackson, Jeff Burke, Krista Table Discussion Wodelet, Lecolion Washington, Michael Sweeney, Nadina Mackie Jackson, Shane Wieler, Susan Durnin (DFM) 3:30pm 5:00pm Sounds to the Future Bassoonapalooza Ensemble, Showcase Concert Das Fagott Mannschaft, Fraser Jackson, Krista Wodelet, Lecolion Washington, Michael Sweeney, Nadina Mackie Jackson Basic Bassoon Maintenence Lecture and the Trial Room for Légère reeds are in Boyd Neel. All other events are in Walter Hall at the University of Toronto Faculty of Music. See page 6 for detailed program and page 10 for artist biographies. -
2019-2020 SEASON of EVENTS Welcome to U of T MUSIC’S 2019-2020 SEASON!
notes2019-2020 SEASON OF EVENTS welcome TO U OF T MUSIC’S 2019-2020 SEASON! Last year marked the 100th anniversary of the establishment of the Faculty of Music at the University of Toronto. This year marks the beginning of our second century! U of T Music mounts over 600 events annually within its artistic and academic programs. We hope you will join us for many great moments as highlighted in the public events listed in Notes. We encourage you to check music.utoronto.ca for the many additional student recitals, lectures and special events posted throughout the season. Our students, faculty and distinguished visitors promise you the best of tomorrow today. I look forward to seeing you often as the season unfolds and encourage you to lend your presence and your financial support to the Faculty in its extraordinary mission to change the world through music. Don McLean, Dean and Professor CHAMBER MUSIC 3 THURSDAYS AT NOON 16 OPERA 4 NEW MUSIC FESTIVAL 18 EARLY MUSIC 6 VISITORS 20 CHOIRS IN CONCERT 8 WORLD OF MUSIC 22 VOICE 9 MUSIC RESEARCH 24 ORCHESTRA 10 MONTHLY LISTING 25 WINDS & BRASS 12 GENERAL INFORMATION 31 JAZZ 14 University of Toronto Faculty of Music General Inquiries: 416.978.3750 Edward Johnson Building 80 Queen’s Park Toronto, ON M5S 2C5 Faculty of Music (South) 90 Wellesley Street West Toronto, ON M5S 1C5 Box Office services provided by the Weston Family Box Office at the TELUS Centre, RCM 273 Bloor Street West Toronto, ON M5S 1W2 416.408.0208 music.utoronto.ca Tickets can also be purchased at the door 90 minutes prior to each performance. -
Journal of the American Viola Society Volume 13 No. 2, 1997
JOURNAL ofthe AMERICAN ViOLA SOCIETY Section of THE INTERNATIONAL VIOLA SOCIETY Association for the Promotion ofViola Performance and Research Vol. 13 No.2 1997 OFFICERS Thomas Tatton President 7511 Park Woods Stockton, CA 95207 (209) 952-9367 Pamela Goldsmith Vice-President 11640 Amanda Drive Studio City, CA 91604 Donna Lively Clark Secretary jCFA, Butler University 4600 Sunset Indianapolis, IN 46208 Mary I Arlin Treasurer School ofMusic Ithaca College Ithaca, NY14850 Alan de Veritch Past President School ofMusic Indiana University Bloomington, IN 47405 BOARD Atar Arad Victoria Chiang Ralph Fielding john Graham Lisa Hirschmugl jerzy Kosmala jeffrey Irvine Patricia McCarty Paul Neubauer Karen Ritscher Christine Rutledge Pamela Ryan I I William Schoen _J I EDITOR, ]AVS ............~/. ._----- -"~j~~~ ! ___i David Dalton Brigham }Dung University Provo, UT 84602 PASTPRESIDENTS (1971-81) Myron Rosenblum -_._--------_.- ------------ Maurice W Riley (1981-86) David Dalton (1986-91) t=====~====---============-=======--==~ HONORARYPRESIDENT William Primrose (deceased) ~wSection of the Internationale Viola-Gesellschaft The Journal ofthe American Viola Society is a peer-reviewed publication ofthat organization and is produced at Brigham Young University, ©1985, ISSN 0898-5987. JAVSwelcomes letters and articles from its readers. Editorial Office: School ofMusic Harris Fine Arts Center Brigham Young University Provo, UT 84602 (801) 378-4953 Fax: (801) 378-5973 [email protected] Editor: David Dalton Associate Editor: David Day Assistant Editor for Viola Pedagogy: Jeffrey Irvine Assistant Editorfor Interviews: Thomas Tatton Production: Bryce Knudsen Advertising: Jeanette Anderson Advertising Office: Crandall House West (CRWH) 'Brigham Young University Provo, UT 84602 (801) 378-4455 [email protected] JAVS appears three times yearly. Deadlines for copy and artwork are March 1, July 1, and November 1; submissions should be sent to the editorial office. -
English Chamber Orchestra
Charles Mackerras & English Chamber Orchestra Concerts and broadcasts with the Goldsbrough Orchestra, which became the English Chamber Orchestra at the end of 1960. I am extremely grateful to Pauline Gilbertson, General Manager of the ECO, for allowing me to consult the orchestra’s archives, in particular the typed schedules (covering the years 1962–1991) which include information that would otherwise have been impossible to find. Venues are in London unless otherwise stated. A. Goldsbrough Orchestra 1953, April 10, broadcast Stravinsky: Renard (Richard Lewis, John Kentish, John Cameron, George James) [other works unspecified; The Times ‘Broadcasting’ lists the composers as Kodály, Ibert and Stravinsky] 1953, July 7, broadcast Ernst Eichner: Symphony [Op. 5 No. 1] Sullivan: Cello Concerto (William Pleeth) Radio Times: ‘The cadenzas Wiliiam Pleeth is to play tonight were written specially by Charles Mackerras’. This was the last known performance of Sullivan’s Cello Concerto before all the material was destroyed in Chappell’s fire (1964). 1953, August 16, broadcast Strauss: Le Bourgeois gentilhomme 1954, March 1, broadcast [unspecified works] Victoria Elliott (soprano), Marjorie Shires (contralto), John Kentish (tenor), Frederick Sharp (baritone), BBC Singers 1954, April 22, broadcast Piccini: La buona figliola Joan Sutherland (Lucinda), Hugues Cuénod (Armidoro), Alexander Young (Marquis of Conchiglia) Elsie Morison (Cecchina), Margaret Ritchie (Sandrina), Marion Lowe (Paoluccia), Dennis Noble (Tagliferro), John Cameron (Mengotto) 1955, -
Conference Program
10th Annual National Meeting of the American Synesthesia Association, Inc. OCAD University Toronto, Ontario, Canada May 31 –June 2, 2013 Organized and Made Possible by: Colour Research Society of Canada Board Members, and OCAD University Faculty: Doreen Balabanoff, Robin Kingsburgh and David Griffin; Helmut Reichenbächer, Associate Vice-President, Research, OCAD University; a SSHRC Connection Grant (Social Sciences and Humanities Research Council of Canada); and the Board Members of the ASA: Sean Day, Edward M. Hubbard, Lawrence E. Marks, Daphne Maurer, and Carol Steen OCAD University Toronto, Ontario, Canada May 31 – June 2, 2013 Friday May 31, 2013 Evening Events University of Toronto Edward Johnson Building Boyd Neel Room and Walter Hall, Faculty of Music 80 Queen's Park Crescent Toronto, Ontario, Canada 5:45 PM – 7:15 PM At the Door ASA Conference Registration until 7:15 PM RECEPTION University of Toronto Boyd Neel Room 7:30 PM –10:00 PM When Sound Meets Colour Free public event University of Toronto Walter Hall 7:30 PM – 8:15 PM Samantha Moore Filmmaker; University of Wolverhampton, UK Some Sort of Coloured Quilt: Collaborative Animated Responses to Synaesthesia 8:15 PM – 8:45 PM Edward Hubbard Department of Educational Psychology, University of Wisconsin-Madison, USA Overview of Music Visualization Workshop 8:45 PM – 9:00 PM BREAK 9:00 PM – 10:00 PM The Gryphon Trio Roman Borys, cellist; Artistic Director, Ottawa Chamber Music Society Annalee Patipatanakoon, violinist; Associate Professor, University of Toronto Jamie Parker, pianist; -
The Sonata for Piano and Violin Perfected
The University of Southern Mississippi The Aquila Digital Community Honors Theses Honors College Summer 8-2013 Beethoven's Opus 96: The Sonata for Piano and Violin Perfected Paul S. Roberts University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/honors_theses Part of the Composition Commons Recommended Citation Roberts, Paul S., "Beethoven's Opus 96: The Sonata for Piano and Violin Perfected" (2013). Honors Theses. 187. https://aquila.usm.edu/honors_theses/187 This Honors College Thesis is brought to you for free and open access by the Honors College at The Aquila Digital Community. It has been accepted for inclusion in Honors Theses by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi Beethoven's Opus 96: The Sonata for Piano and Violin Perfected by Paul Stanton Roberts A Thesis Submitted to the Honors College of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Bachelor of Music Performance in the Department of Music August, 2013 ii Approved by ______________________________ Stephen Redfield, Professor of Violin ______________________________ Michael Miles, Chair Department of Music ______________________________ David R. Davies, Dean Honors College iii Abstract This thesis attempts to shed light on Beethoven's final sonata for Piano and Violin, the Sonata for Piano and Violin op. 96 in G major. Presented first is a survey of music for violin and piano throughout previous centuries (in itself a valuable resource for those who want to approach this ambiguous and disorganized subject) followed by a discussion of Beethoven's sonatas leading up to the composition of Opus 96. -
Download Booklet
REAM.1117 MONO ADD THE BOYD NEEL ORCHESTRA conducted by Boyd Neel ARTHUR BENJAMIN (1893-1960) BALLADE 1 (1947) (16’11”) BENJAMIN BERNARD STEVENS (1916-1983) (1948) (15‘08”) STEVENS SINFONIETTA 2 1st movement: Allegro volubilmente (5’34”) 3 2nd movement: Adagio affettuoso (6’01”) 4 3rd movement: Allegro deciso (3’33”) PANUFNIK LULLABY ANDRZEJ PANUFNIK (1914-1991) 5 (1947) (6’11”) BAX VARIATIONS ON ‘GABRIEL FAURÉ’ ARNOLD BAX (1883-1953) (1945) (18’20”) SINFONIETTA 6 Theme - Idyll (3’08”) 7 Barcarolle - Polka - Storm (9’09”) 8 Quodlibet (6’03) BERKELEY BBC Broadcast 31 January 1961 LONDON CHAMBER ORCHESTRA conducted by Anthony Bernard The Boyd Neel Orchestra LENNOX BERKELEY (1903-1989) (1950) (13’41”) London Chamber Orchestra 9 Allegro (4’33”) 10 Lento – Allegro non troppo (9’08”) BBC Broadcast 20 March 1961 The BBC wordmark and the BBC logo are trade marks of the British Broadcasting Corporation and are used under licence. BBC logo © BBC 1996 c © ‘Let us composers, too, remember what Boyd Neel has done for us. Not professional chamber orchestra in the UK. Berkeley’s requires two each of flutes, only has he asked for and used new music but – here’s the difference – he oboes, clarinets, bassoon, and horns, with timpani and strings. With these modest resources, has used it many times. If Boyd Neel and his orchestra like and believe in the composer creates a perfect vehicle for his distinctive melodic flair. There are two main new music, they play it over and over again until the audience get used to sections, the first of which is made up of an incisive theme introduced by first violins and a it and begin to like it too; not for it a first performance and then the dusty more exotic idea for solo flute and bassoons. -
Friday 29 May 2.30Pm Federation Concert Hall
A Fine MATINEE 2 MATINEE FRIDAY 29 MAY 2.30PM FEDERATION CONCERT HALL Anthony Marwood director & violin INTERVAL BEETHOVEN Duration 20 mins Romance in F for Violin and Orchestra DVORˇ ÁK Duration 10 mins Romance for Violin and Orchestra MOZART Duration 12 mins Symphony No 31, Paris Allegro assai VASKS Andante Distant Light Allegro Duration 32 mins Duration 23 mins This concert will end at approximately 4.30pm. Tasmanian Symphony Orchestra concerts are broadcast and streamed throughout Australia and around the world by ABC Classic FM. We would appreciate your cooperation in keeping coughing to a minimum. Please ensure that your mobile phone is switched off. 27 LUDWIG VAN BEETHOVEN (1770-1827) Romance in F for Violin and Orchestra, in these pieces, of rondo form, where Op 50 repeated statements of material are contrasted with episodes of new material, Long after Beethoven was well established balancing lyricism and virtuosity. Just what in Vienna, he had two violin Romances the story might be is a mystery, of course. published. The G-major piece appeared ANTHONY MARWOOD Anthony Marwood regularly collaborates in Leipzig in 1803 and the F-major work The F-major piece is perhaps more forward- with contemporary composers. Violin in Vienna two years after that. But despite looking than its stable-mate. It begins concertos that have been composed for that, the non-contiguous opus numbers and without preamble, with the soloist spinning Anthony Marwood is internationally him include Sally Beamish’s Violin Concerto, the fact that their first public performances out the long and songlike melody, which is then taken up by the orchestra.