David Finckel, Cello Wu Han, Piano
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Elegies for Cello and Piano by Bridge, Britten and Delius: a Study of Traditions and Influences
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2012 Elegies for Cello and Piano by Bridge, Britten and Delius: A Study of Traditions and Influences Sara Gardner Birnbaum University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Birnbaum, Sara Gardner, "Elegies for Cello and Piano by Bridge, Britten and Delius: A Study of Traditions and Influences" (2012). Theses and Dissertations--Music. 7. https://uknowledge.uky.edu/music_etds/7 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained and attached hereto needed written permission statements(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless a preapproved embargo applies. -
The Musical Partnership of Sergei Prokofiev And
THE MUSICAL PARTNERSHIP OF SERGEI PROKOFIEV AND MSTISLAV ROSTROPOVICH A CREATIVE PROJECT SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT FOR THE DEGREE MASTER OF MUSIC IN PERFORMANCE BY JIHYE KIM DR. PETER OPIE - ADVISOR BALL STATE UNIVERSITY MUNCIE, INDIANA DECEMBER 2011 Among twentieth-century composers, Sergei Prokofiev is widely considered to be one of the most popular and important figures. He wrote in a variety of genres, including opera, ballet, symphonies, concertos, solo piano, and chamber music. In his cello works, of which three are the most important, his partnership with the great Russian cellist Mstislav Rostropovich was crucial. To understand their partnership, it is necessary to know their background information, including biographies, and to understand the political environment in which they lived. Sergei Prokofiev was born in Sontovka, (Ukraine) on April 23, 1891, and grew up in comfortable conditions. His father organized his general education in the natural sciences, and his mother gave him his early education in the arts. When he was four years old, his mother provided his first piano lessons and he began composition study as well. He studied theory, composition, instrumentation, and piano with Reinhold Glière, who was also a composer and pianist. Glière asked Prokofiev to compose short pieces made into the structure of a series.1 According to Glière’s suggestion, Prokofiev wrote a lot of short piano pieces, including five series each of 12 pieces (1902-1906). He also composed a symphony in G major for Glière. When he was twelve years old, he met Glazunov, who was a professor at the St. -
2Majors and Minors.Qxd.KA
As printed January 2005 MUSIC Music (MUS, JAZ) Major and Minors in Music Department of Music, College of Arts and Sciences CHAIRPERSON: Judith Lochhead DIRECTOR OF UNDERGRADUATE STUDIES: Perry Goldstein UNDERGRADUATE SECRETARY: Germaine Berry OFFICE: 3304 Staller Center for the Arts PHONE: (631) 632-7330 E-MAIL: [email protected] WEB ADDRESS: www.sunysb.edu/music Minors of particular interest to students majoring in Music: Anthropology (ANT), Art History (ARH), Cinema and Cultural Studies (CCS), Dance (DAN), English (EGL), History (HIS), Philosophy (PHI), Theatre Arts (THR) Faculty Joyce Robbins, Professor Emerita, B.S., Michael Powell, Artist in Residence, B. Mus., Ray Anderson, Visiting Professor, Director of Juilliard School of Music: Violin; viola; peda- Wichita State: Trombone. Jazz Program and Stony Brook Jazz Band, gogy; chamber music. William Purvis, Artist in Residence, B.A., Empire State College: Jazz studies; jazz impro- Daria Semegen, Associate Professor and Haverford College: Horn; chamber music. visation. Director of Electronic Music Studio, M.Mus., Philip Setzer, Artist in Residence, M.M., Joseph Auner, Professor, Ph.D., University of Yale University: Composition; theory; electronic Juilliard School of Music: Violin; chamber Chicago: 19th- and 20th-century history and music. music. theory. Sheila Silver, Professor, Ph.D., Brandeis Stephen Taylor, Artist in Residence, Diploma, Colin Carr, Professor, Certificate of University: Composition; theory. Juilliard School of Music: Oboe; chamber Performance, 1974, Yehudi Menuhin School: Jane Sugarman, Associate Professor, Ph.D., music. Cello; chamber music. University of California, Los Angeles: Chris Pedro Trakas, Artist in Residence, Joseph Carver, Assistant Professor, D.M.A., Ethnomusicology; world music cultures, south- M.Mus., University of Houston: Voice. -
Guildhall School Gold Medal 2020 Programme
Saturday 26 September 7pm Gold Medal 2020 Finalists Soohong Park Ben Tarlton Ke Ma Guildhall Symphony Orchestra Richard Farnes conductor Guildhall School of Music & Drama Founded in 1880 by the City of London Corporation Chairman of the Board of Governors Vivienne Littlechild Principal Lynne Williams am Vice Principal & Director of Music Jonathan Vaughan Please visit our website at gsmd.ac.uk Guildhall School is part of Culture Mile: culturemile.london Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation Gold Medal 2020 Saturday 26 September, 7pm The Gold Medal, Guildhall School’s most prestigious award for musicians, was founded and endowed in 1915 by Sir H. Dixon Kimber Bt MA Guildhall Symphony Orchestra Finalists Richard Farnes conductor Soohong Park piano During adjudication, Junior Guildhall Rachmaninov Piano Concerto No 2 in violinist Leia Zhu performs Ravel’s C minor Op 18 Tzigane with pianist Kaoru Wada. Leia’s Ben Tarlton cello performance was recorded in January 2020. Elgar Cello Concerto in E minor Op 85 The presentation of the Gold Medal will Ke Ma piano take place after Leia’s performance. Tchaikovsky Piano Concerto No 1 in B-flat minor Op 23 The Jury Jonathan Vaughan Vice-Principal & Director of Music Richard Farnes Conductor Emma Bloxham Editor, BBC Radio 3 Nicholas Mathias Director, IMG Artists Performed live on Friday 25 September and recorded and produced live by Guildhall School’s Recording and Audio Visual department. Gold Medal winners -
Britten Connections a Guide for Performers and Programmers
Britten Connections A guide for performers and programmers by Paul Kildea Britten –Pears Foundation Telephone 01728 451 700 The Red House, Golf Lane, [email protected] Aldeburgh, Suffolk, IP15 5PZ www.brittenpears.org Britten Connections A guide for performers and programmers by Paul Kildea Contents The twentieth century’s Programming tips for 03 consummate musician 07 13 selected Britten works Britten connected 20 26 Timeline CD sampler tracks The Britten-Pears Foundation is grateful to Orchestra, Naxos, Nimbus Records, NMC the following for permission to use the Recordings, Onyx Classics. EMI recordings recordings featured on the CD sampler: BBC, are licensed courtesy of EMI Classics, Decca Classics, EMI Classics, Hyperion Records, www.emiclassics.com For full track details, 28 Lammas Records, London Philharmonic and all label websites, see pages 26-27. Index of featured works Front cover : Britten in 1938. Photo: Howard Coster © National Portrait Gallery, London. Above: Britten in his composition studio at The Red House, c1958. Photo: Kurt Hutton . 29 Further information Opposite left : Conducting a rehearsal, early 1950s. Opposite right : Demonstrating how to make 'slung mugs' sound like raindrops for Noye's Fludde , 1958. Photo: Kurt Hutton. Britten Connections A guide for performers and programmers 03 The twentieth century's consummate musician In his tweed jackets and woollen ties, and When asked as a boy what he planned to be He had, of course, a great guide and mentor. with his plummy accent, country houses and when he grew up, Britten confidently The English composer Frank Bridge began royal connections, Benjamin Britten looked replied: ‘A composer.’ ‘But what else ?’ was the teaching composition to the teenage Britten every inch the English gentleman. -
Chamber Music Society of Lincoln Center New World Spirit Sunday, October 13, 2019 3:00 Pm Photo: Tristan Cook Tristan Photo
The Chamber Music Society of Lincoln Center New World Spirit Sunday, October 13, 2019 3:00 pm Photo: Tristan Cook Tristan Photo: 2019/2020 SEASON The Chamber Music Society of Lincoln Center GLORIA CHIEN, Piano NICHOLAS CANELLAKIS, Cello CHAD HOOPES, Violin DAVID FINCKEL, Cello KRISTIN LEE, Violin ANTHONY MANZO, Double Bass ARNAUD SUSSMANN, Violin RANSOM WILSON, Flute ANGELO XIANG YU, Violin DAVID SHIFRIN, Clarinet MATTHEW LIPMAN, Viola MARC GOLDBERG, Bassoon PAUL NEUBAUER, Viola Sunday, October 13, 2019, at 3:00 pm Hancher Auditorium, The University of Iowa PROGRAM New World Spirit This concert celebrates the intrepid American spirit by featuring two pairs of composers that shaped the course of American music. Harry T. Burleigh was a star student of Dvorákˇ at the National Conservatory in New York. A talented composer and singer, he exposed the Czech composer to American spirituals and was in turn encouraged by Dvorákˇ to perform his native African American folk music. Two generations later, Copland and Bernstein conceived a clean, clear American sound that conveys the wonder and awe of open spaces and endless possibilities. Southland Sketches for violin and piano (1916) Henry T. Burleigh I. Andante (1866–1949) II. Adagio ma non troppo III. Allegretto grazioso IV. Allegro Chad Hoopes and Gloria Chien Quintet in E-flat Major for two violins, two violas, Antonín Dvorákˇ and cello, Op. 97, (“American”) (1893) (1841–1904) I. Allegro non tanto II. Allegro vivo III. Larghetto IV. Finale: Allegro giusto Arnaud Sussmann, Angelo Xiang Yu, Paul Neubauer, Matthew Lipman, and Nicholas Canellakis INTERMISSION Sonata for Clarinet and Piano (1941–42) Leonard Bernstein I. -
Proquest Dissertations
Benjamin Britten's Nocturnal, Op. 70 for guitar: A novel approach to program music and variation structure Item Type text; Dissertation-Reproduction (electronic) Authors Alcaraz, Roberto Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 02/10/2021 13:06:08 Link to Item http://hdl.handle.net/10150/279989 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be f^ any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitlsd. Brolcen or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author dkl not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectk)ning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6' x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additkxial charge. -
The Later Han Empire (25-220CE) & Its Northwestern Frontier
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2012 Dynamics of Disintegration: The Later Han Empire (25-220CE) & Its Northwestern Frontier Wai Kit Wicky Tse University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Asian History Commons, Asian Studies Commons, and the Military History Commons Recommended Citation Tse, Wai Kit Wicky, "Dynamics of Disintegration: The Later Han Empire (25-220CE) & Its Northwestern Frontier" (2012). Publicly Accessible Penn Dissertations. 589. https://repository.upenn.edu/edissertations/589 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/589 For more information, please contact [email protected]. Dynamics of Disintegration: The Later Han Empire (25-220CE) & Its Northwestern Frontier Abstract As a frontier region of the Qin-Han (221BCE-220CE) empire, the northwest was a new territory to the Chinese realm. Until the Later Han (25-220CE) times, some portions of the northwestern region had only been part of imperial soil for one hundred years. Its coalescence into the Chinese empire was a product of long-term expansion and conquest, which arguably defined the egionr 's military nature. Furthermore, in the harsh natural environment of the region, only tough people could survive, and unsurprisingly, the region fostered vigorous warriors. Mixed culture and multi-ethnicity featured prominently in this highly militarized frontier society, which contrasted sharply with the imperial center that promoted unified cultural values and stood in the way of a greater degree of transregional integration. As this project shows, it was the northwesterners who went through a process of political peripheralization during the Later Han times played a harbinger role of the disintegration of the empire and eventually led to the breakdown of the early imperial system in Chinese history. -
Spring Congregation 2018 May 23–25 May 28–31 the Chan Centre for the Performing Arts Dear Graduand
spring congregation 2018 may 23–25 may 28–31 the chan centre for the performing arts Dear Graduand, Your graduation began long before this day. It began when you made the choice to study that extra hour, dedicate yourself more deeply, and strive to reach for the degree you had chosen to fully commit your life to pursuing. Many of the people that helped you arrive here today are seated beside you—friends, family, classmates— while others are thinking of you from afar. We are honoured to have given you a place to discover, inspire others and be challenged beyond what you thought was possible. We hope you know, we will always be that place for you. Yours, UBC TABLE OF CONTENTS The Graduation Journey 2 Lists of Spring 2018 Graduating Students Graduation Traditions 4 Wednesday, May 23, 2018 8:30am 32 Chancellor’s Welcome 6 11:00am 36 President’s Welcome 8 1:30pm 39 Musqueam Welcome 10 4:00pm 43 Honorary Degree Recipients 12 Thursday, May 24, 2018 8:30am 47 The Board of Governors & Senate 16 11:00am 52 1:30pm 55 Honoring Significant 18 4:00pm 59 Accomplishments & Contributions Friday, May 25, 2018 8:30am 63 Scholarships, Medals & Prizes 19 11:00am 66 1:30pm 69 Schedule of Ceremonies 24 4:00pm 72 Monday, May 28, 2018 8:30am 75 11:00am 78 1:30pm 81 4:00pm 85 Tuesday, May 29, 2018 8:30am 89 11:00am 92 1:30pm 95 4:00pm 98 Wednesday, May 30, 2018 8:30am 101 11:00am 104 1:30pm 107 4:00pm 110 Thursday, May 31, 2018 8:30am 113 11:00am 116 1:30pm 120 4:00pm 123 Acknowledgements 125 O Canada 125 Alumni Welcome 129 A General Reception will follow each Ceremony at the Flag Pole Plaza. -
Download the Concert Programme (PDF)
London Symphony Orchestra Living Music Thursday 18 May 2017 7.30pm Barbican Hall Vaughan Williams Five Variants of Dives and Lazarus Brahms Double Concerto INTERVAL Holst The Planets – Suite Sir Mark Elder conductor Roman Simovic violin Tim Hugh cello Ladies of the London Symphony Chorus London’s Symphony Orchestra Simon Halsey chorus director Concert finishes approx 9.45pm Supported by Baker McKenzie 2 Welcome 18 May 2017 Welcome Living Music Kathryn McDowell In Brief Welcome to tonight’s LSO concert at the Barbican. BMW LSO OPEN AIR CLASSICS 2017 This evening we are joined by Sir Mark Elder for the second of two concerts this season, as he conducts The London Symphony Orchestra, in partnership with a programme of Vaughan Williams, Brahms and Holst. BMW and conducted by Valery Gergiev, performs an all-Rachmaninov programme in London’s Trafalgar It is always a great pleasure to see the musicians Square this Sunday 21 May, the sixth concert in of the LSO appear as soloists with the Orchestra. the Orchestra’s annual BMW LSO Open Air Classics Tonight, after Vaughan Williams’ Five Variants of series, free and open to all. Dives and Lazarus, the LSO’s Leader Roman Simovic and Principal Cello Tim Hugh take centre stage for lso.co.uk/openair Brahms’ Double Concerto. We conclude the concert with Holst’s much-loved LSO WIND ENSEMBLE ON LSO LIVE The Planets, for which we welcome the London Symphony Chorus and Choral Director Simon Halsey. The new recording of Mozart’s Serenade No 10 The LSO premiered the complete suite of The Planets for Wind Instruments (‘Gran Partita’) by the LSO Wind in 1920, and we are thrilled that the 2002 recording Ensemble is now available on LSO Live. -
Outpouring of Chamber Music in Seoul
Outpouring of chamber music in Seoul (The Emerson String Quartet, with pianist Wu Han, center, give an impassioned performance of a piano quintet by Dvorak at the IBK Chamber Hall, the latest addition to the Seoul Arts Center, Monday.) World’s top ensembles perform at new IBK Chamber Hall By Do Je-Hae A three-day chamber music festival featuring some of the world’s top musicians in the field wrapped up Tuesday, concluding the “IBK Chamber Hall Opening Festival” that started in October. The new IBK Chamber Hall at Seoul Arts Center is generating excitement for fans and artists who have longed for the ultimate live chamber music experience in the nation’s capital. It is also playing a vital role in Korea’s burgeoning chamber music scene. The 600-seat IBK Chamber Hall had a full house during the rare opportunity to hear the Emerson String Quartet and the Chamber Music Society of Lincoln Center(CMS) live consecutively in one week. The two groups as part of “Chamber Music Today” presented an extraordinary broad repertoire, ranging from Schubert’s gorgeous B-flat major piano trio to the evocative string quartet by French composer Maurice Ravel. The inaugural concert of “Chamber Music Today,” founded by cellist David Finckel and pianist Wu Han, began Sunday with a program of quartets by Mozart, Beethoven and Dvorak. “Chamber music is unlike any artistic medium - both powerful and personal, it has inspired countless composers to create some of their finest work,” Finckel said in a statement. “‘Chamber Music Today’ brings the greatest chamber music repertoire and performers to Korea. -
Artist Series: David Shifrin Program Notes on the Program
ARTIST SERIES: DAVID SHIFRIN PROGRAM WOLFGANG AMADEUS MOZART (1756-1791) Quintet in A major for Clarinet, Two Violins, Viola, and Cello, K. 581 (1789) Allegro Larghetto Menuetto Allegretto con variazioni David Shifrin, clarinet • Danbi Um, violin • Bella Hristova, violin • Mark Holloway, viola • Dmitri Atapine, cello LUIGI BASSI (1833-1871) Concert Fantasia on Themes from Verdi’s Rigoletto for Clarinet and Piano David Shifrin, clarinet • Gloria Chien, piano DUKE ELLINGTON (1899-1974) Clarinet Lament for Clarinet and Piano (1936) (arr. David Schiff) David Shifrin, clarinet • Gloria Chien, piano NOTES ON THE PROGRAM Quintet in A major for Clarinet, Two Violins, Viola, and Cello, K. 581 (1789) Wolfgang Amadeus Mozart (Salzburg, 1756 – Vienna, 1791) Mozart wrote this quintet for Vienna’s Society of Musicians (Tonkünstler-Societät) in 1789. The society raised money to provide pensions to widows and orphans of Viennese musicians. Its concerts were regular occurrences on the Viennese social calendar and Mozart composed and performed for them, even though he was not a member, something he would regret right before his death at the age of 35. This quintet premiered at a society concert on December 22, 1789, in between two halves of a cantata by Vincenzo Righini. The clarinetist was Anton Stadler, one of the first virtuosos on the instrument and Mozart’s close personal friend. Mozart wrote all of his major clarinet works— this one, the Kegelstatt Trio, and the Clarinet Concerto—with Stadler’s playing in mind. Chamber Music Society of Lincoln Center The clarinet was a relatively new instrument in Mozart’s day yet he expertly tapped into the instrument’s unique singing quality.