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Choose Yourfavorite Three Concerts
CHOOSE YOUR FAVORITE THREE CONCERTS. You’ll Save 33% – That’s Up to $200 in Savings with Added Benefits Call 212-875-5656 or visit nyphil.org/CYO33 and use promo code CYO33. ** U.S. Premiere–New York Philharmonic Co-Commission with the London Philharmonic Orchestra *** World Premiere–New York Philharmonic Commission † Commissions made possible by The Marie-Josée Kravis Prize for New Music †New York City Premiere–New York Philharmonic Co-Commission Tuesday Wednesday Thursday Friday Saturday 7:30pm 7:30pm 7:30pm 8:00pm 8:00pm unless otherwise noted unless otherwise noted Conductor Guest Artists Program Esa-Pekka Leila Josefowicz violin RAVEL Mother Goose Suite NOV Salonen Esa-Pekka SALONEN Violin Concerto NOV OCT OCT NOV conductor (New York Concert Premiere) 5 30 31 1 2 SIBELIUS Symphony No. 5 (11:00am) Bernard Miah Persson soprano J.S. BACH Cantata No. 51, Jauchzet Labadie Stephanie Blythe Gott in allen Landen! conductor mezzo-soprano HANDEL “Let the Bright Seraphim” Frédéric Antoun tenor from Samson Andrew Foster- MOZART Requiem NOV NOV NOV Williams bass 7 8 9 Matthew Muckey trumpet New York Choral Artists Joseph Flummerfelt director Alan Gilbert Liang Wang oboe R. STRAUSS Also sprach Zarathustra conductor Glenn Dicterow, violin NOV Christopher ROUSE Oboe Concerto NOV NOV NOV 15 (New York Premiere) 19 14 16 R. STRAUSS Don Juan (2:00pm) Glenn Dicterow, violin Alan Gilbert Paul Appleby tenor BRITTEN Serenade for Tenor, Horn, conductor Philip Myers horn and Strings Kate Royal soprano BRITTEN Spring Symphony Sasha Cooke mezzo-soprano NOV NOV NOV New York Choral Artists 21 22 23 Joseph Flummerfelt director Brooklyn Youth Chorus Dianne Berkun- Menaker director Alan Gilbert Paul Appleby tenor MOZART Symphony No. -
OTTORINO RESPIGHI — Trittico Botticelliano (Three Botticelli Pictures)
OTTORINO RESPIGHI — Trittico Botticelliano (Three Botticelli Pictures) Though he was born in Bologna, the composer Ottorino Respighi is inevitably and forever associated with Rome thanks to his so-called “Roman Trilogy” of orchestral tone poems: Fountains of Rome, Pines of Rome, and Roman Festivals. For his Trittico Botticelliano, however, we must travel north to Tuscany and the Renaissance capital of Florence. It was there at the Uffizi Gallery that Respighi encountered three paintings by Sandro Botticelli: La Primavera (“Spring”), L’Adorazione dei Magi (“The Adoration of the Magi”), and La Nascita di Venere (“The Birth of Venus”). These three pictures don’t seem to have much in common other than the artist and gallery, but Respighi’s style, especially in his tone poems, often thrives on juxtaposition and contrast and he uses their divergent subject matters to maximum effect here to create a dynamic collection of snapshots. The opening movement provides an exuberant depiction of spring with the bassoon first introducing a dance tune that is subsequently echoed and ornamented by the full ensemble. In addition to his work as a composer, Respighi was also a scholar of Italian music history, so it is no accident that his dance tune closely resembles one that might have accompanied the Renaissance festivities of Botticelli’s day. The second movement is really the centerpiece and is built around the ninth century Latin antiphon “Veni Emmanuel,” better known to us as the advent hymn “O Come, O Come, Emmanuel.” The mournful and mysterious opening gives way to more colorful musical textures as each of the three Magi arrive at the manger and present their gifts. -
Myths, Legends, Fairy Tales and Folk Tales in Music ______
______________________________________________________________________________________________________ Sounds of Enchantment: Myths, Legends, Fairy Tales and Folk Tales in Music ______________________________________________________________________________________________________ Gioacchino ROSSINI Overture from William Tell Felix MENDELSSOHN Scherzo from A Midsummer Night’s Dream Sergei PROKOFIEV Waltz Coda and Midnight from Cinderella, Op. 87 David CROWE How Birds Came Into the World John WILLIAMS Raiders March from Raiders of the Lost Ark Piotr Ilyich TCHAIKOVSKY Scene from Swan Lake Modest MUSSORGSKY / arr. Ravel Baba Yaga and The Great Gate of Kiev from Pictures at an Exhibition HOW TO USE THIS STUDY GUIDE This guide is designed as a curriculum enhancement resource primarily for music teachers, but is also available for use by classroom teachers, parents, and students. The main intent is to aid instructors in their own lesson preparation, so most of the language and information is geared towards the adult, and not the student. It is not expected that all the information given will be used or that all activities are applicable to all settings. Teachers and/or parents can choose the elements that best meet the specific needs of their individual situations. Our hope is that the information will be useful, spark ideas, and make connections. TABLE OF CONTENTS Sounds of Enchantment Overview – Page 4 Program Notes – Page 7 ROSSINI | Overture from William Tell Page 8 MENDELSSOHN | Scherzo from A Midsummer Night’s Dream Page 10 PROKOFIEV | Waltz Coda and Midnight from Cinderella, Op. 87 Page 13 CROWE | How Birds Came Into the World Page 17 WILLIAMS | Raiders March from Raiders of the Lost Ark Page 20 TCHAIKOVSKY | Scene from Swan Lake Page 22 MUSSORGSKY | Baba Yaga and The Great Gate of Kiev from Pictures at an Exhibition Page 24 Activities — Page 27 Student Section— Page 39 CREDITS This guide was originally created for the 2008-2009 Charlotte Symphony Education Concerts by Susan Miville, Chris Stonnell, Anne Stewart, and Jane Orrell. -
Program Notes Program
Program Notes Program Notes by April L. Racana 24 Jun Leonard Bernstein (1918-1990) Overture to "Candide" It has been said that Leonard Bernstein never approached any work the same way twice, and his score for Candide may very well be the epitome of the extent to which he would go to continually rework and revise his compositions. The opening for this show, which has been dubbed both 24 musical and operetta, came on December 1st, 1956 and was based on Jun Voltaire’s eighteenth-century satire, which had been adapted by author Lillian Helman. The first run of the show only lasted 73 performances, however it didn’t take long for the ‘Overture’ to become an orchestral piece on its own, making its debut performance with the New York Philharmonic in January 1957. Over the next thirty years Bernstein continually revised the entire musical numerous times, with varying success in its many transformations. The ‘Overture’ contains a mixture of tunes from the show, including The Best of All Possible Worlds, Oh Happy We, and Glitter and Be Gay. So closely associated with the New York Philharmonic was Bernstein, and so well-loved was this work, that at a memorial concert following Bernstein’s death in 1990, members of the orchestra performed the ‘Overture’ without a conductor as a tribute to the symphony’s Laureate Conductor. Work composed: 1956 World premiere: 26th January, 1957 Instrumentation: piccolo, 2 flutes, 2 oboes, 2 clarinets, E-flat clarinet, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3,trombones, tuba, timpani, percussion (snare drum, tenor drum, bass drum, triangle, cymbals, glockenspiel, xylophone）, harp, strings 26 Program Notes Program Notes George Gershwin (1898-1937) Rhapsody in Blue Originally titled American Rhapsody, George Gershwin was apparently convinced by his lyricist brother, Ira, that the title needed some re-thinking. -
Chapman Chamber Orchestra 39Th Season Chapman Chamber Orchestra
Chapman University Chapman University Digital Commons Printed Performance Programs (PDF Format) Music Performances 3-5-2010 Chapman Chamber Orchestra 39th Season Chapman Chamber Orchestra Brett prS ague Chapman University Follow this and additional works at: http://digitalcommons.chapman.edu/music_programs Recommended Citation Chapman Chamber Orchestra and Sprague, Brett, "Chapman Chamber Orchestra 39th Season" (2010). Printed Performance Programs (PDF Format). Paper 1405. http://digitalcommons.chapman.edu/music_programs/1405 This Other Concert or Performance is brought to you for free and open access by the Music Performances at Chapman University Digital Commons. It has been accepted for inclusion in Printed Performance Programs (PDF Format) by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. CHAPMAN UNIVERSITY COLLEGE OF Conservatory of Music PERFORMING ARTS presents the Spring 2010 Event Highlights ART: The Page .......................................................................................... Feb 1 - Mar 12 Chapman THEATRE: Bus Stop by William Inge, in repertory with Chamber Orchestra Hedda Gabler by Henrik Ibsen ..................................... Mar 12 - 14, 16 - 20 39th Season Student Directed One-Acts .................................. Apr 23 - 25, 29 - 30, May 1 MUSIC: DANIEL ALFRED WACHS University Choirs Post-Tour Concert........................................................ Feb 5 Music Director & Conductor Chapman Chamber Orchestra and -
Rehearing Beethoven Festival Program, Complete, November-December 2020
CONCERTS FROM THE LIBRARY OF CONGRESS 2020-2021 Friends of Music The Da Capo Fund in the Library of Congress The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress (RE)HEARING BEETHOVEN FESTIVAL November 20 - December 17, 2020 The Library of Congress Virtual Events We are grateful to the thoughtful FRIENDS OF MUSIC donors who have made the (Re)Hearing Beethoven festival possible. Our warm thanks go to Allan Reiter and to two anonymous benefactors for their generous gifts supporting this project. The DA CAPO FUND, established by an anonymous donor in 1978, supports concerts, lectures, publications, seminars and other activities which enrich scholarly research in music using items from the collections of the Music Division. The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress was created in 1992 by William Remsen Strickland, noted American conductor, for the promotion and advancement of American music through lectures, publications, commissions, concerts of chamber music, radio broadcasts, and recordings, Mr. Strickland taught at the Juilliard School of Music and served as music director of the Oratorio Society of New York, which he conducted at the inaugural concert to raise funds for saving Carnegie Hall. A friend of Mr. Strickland and a piano teacher, Ms. Hull studied at the Peabody Conservatory and was best known for her duets with Mary Howe. Interviews, Curator Talks, Lectures and More Resources Dig deeper into Beethoven's music by exploring our series of interviews, lectures, curator talks, finding guides and extra resources by visiting https://loc.gov/concerts/beethoven.html How to Watch Concerts from the Library of Congress Virtual Events 1) See each individual event page at loc.gov/concerts 2) Watch on the Library's YouTube channel: youtube.com/loc Some videos will only be accessible for a limited period of time. -
The Glorious Violin David Finckel and Wu Han, Artistic Directors July 14–August 5, 2017
Music@Menlo CHAMBER MUSIC FESTIVAL AND INSTITUTE The Fifteenth Season: The Glorious Violin David Finckel and Wu Han, Artistic Directors July 14–August 5, 2017 REPERTOIRE LIST (* = Carte Blanche Concert) Joseph Achron (1886–1943) Hebrew Dance, op. 35, no. 1 (1913) Johann Sebastian Bach (1685–1750) Chaconne from Partita no. 2 in d minor for Solo Violin, BWV 1004 (1720)* Prelude from Partita no. 3 in E Major, BWV 1006 (arr. Kreisler) (1720)* Double Violin Concerto in d minor, BWV 1043 (1730–1731) Ludwig van Beethoven (1770–1827) String Quintet in C Major, op. 29 (1801) Violin Sonata no. 10 in G Major, op. 96 (1812) Heinrich Franz von Biber (1644–1704) Passacaglia in g minor for Solo Violin, The Guardian Angel, from The Mystery Sonatas (ca. 1674–1676)* Ernest Bloch (1880–1959) Violin Sonata no. 2, Poème mystique (1924)* Avodah (1929)* Bluegrass Fiddling (To be announced from the stage)* Alexander Borodin (1833–1887) String Quartet no. 2 in D Major (1881) Johannes Brahms (1833–1897) Horn Trio in E-flat Major, op. 40 (1865) String Quartet no. 3 in B-flat Major, op. 67 (1875)* Arcangelo Corelli (1653–1713) Concerto Grosso in g minor, op. 6, no. 8, Christmas Concerto (1714) Violin Sonata in d minor, op. 5, no. 12, La folia (arr. Kreisler) (1700)* John Corigliano (Born 1938) Red Violin Caprices (1999) Ferdinand David (1810–1873) Caprice in c minor from Six Caprices for Solo Violin, op. 9, no. 3 (1839) Claude Debussy (1862–1918) Petite suite for Piano, Four Hands (1886–1889) Ernő Dohnányi (1877–1960) Andante rubato, alla zingaresca (Gypsy Andante) from Ruralia hungarica, op. -
The Pedagogical Legacy of Johann Nepomuk Hummel
ABSTRACT Title of Document: THE PEDAGOGICAL LEGACY OF JOHANN NEPOMUK HUMMEL. Jarl Olaf Hulbert, Doctor of Philosophy, 2006 Directed By: Professor Shelley G. Davis School of Music, Division of Musicology & Ethnomusicology Johann Nepomuk Hummel (1778-1837), a student of Mozart and Haydn, and colleague of Beethoven, made a spectacular ascent from child-prodigy to pianist- superstar. A composer with considerable output, he garnered enormous recognition as piano virtuoso and teacher. Acclaimed for his dazzling, beautifully clean, and elegant legato playing, his superb pedagogical skills made him a much sought after and highly paid teacher. This dissertation examines Hummel’s eminent role as piano pedagogue reassessing his legacy. Furthering previous research (e.g. Karl Benyovszky, Marion Barnum, Joel Sachs) with newly consulted archival material, this study focuses on the impact of Hummel on his students. Part One deals with Hummel’s biography and his seminal piano treatise, Ausführliche theoretisch-practische Anweisung zum Piano- Forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung, 1828 (published in German, English, French, and Italian). Part Two discusses Hummel, the pedagogue; the impact on his star-students, notably Adolph Henselt, Ferdinand Hiller, and Sigismond Thalberg; his influence on musicians such as Chopin and Mendelssohn; and the spreading of his method throughout Europe and the US. Part Three deals with the precipitous decline of Hummel’s reputation, particularly after severe attacks by Robert Schumann. His recent resurgence as a musician of note is exemplified in a case study of the changes in the appreciation of the Septet in D Minor, one of Hummel’s most celebrated compositions. -
Program Listings” Christopher C
WXXI-TV/HD | WORLD | CREATE | AM1370 | CLASSICAL 91.5 | WRUR 88.5 | THE LITTLE PROGRAMPUBLIC TELEVISION & PUBLIC RADIO FOR ROCHESTER LISTINGSSEPTEMBER 2014 Ken Burns’s seven-part documentary weaves the stories of Theodore, Franklin, and Eleanor Roosevelt, three members of one of the most prominent and influential families in American politics. The series follows the family’s story for more than a century, from Theodore’s birth in 1858 to Eleanor’s death in 1962. Over the course of those years, Theodore would become the 26th president of the United States, and his beloved niece, Eleanor, would marry his fifth cousin, Franklin, who became the 32nd president. Together, they redefined the relationship Americans had with their government and with each other, and redefined, as well, the role of the United States within the wider world. THE ROOSEVELTS: AN INTIMatE HISTORY AIRS SUNDAY, SEPTEMBER 14 THROUGH SatURDAY, SEPTEMBER 20 at 8 P.M. ON WXXI-TV TUESDAY, SEPTEMBER 23 at 7 P.M. LITTLE THEatrE DEtaiLS INSIDE >> SATURDAY, SEPTEMBER 13, 10AM-2PM SEE INSIDE FRONT COVER FOR DEtaiLS! DEAR FRIENDS, EXECUTIVE StaFF SEPTEMBER 2014 No rm Silverstein, President VOLUME 5, ISSUE 9 Susan Rogers, Executive Vice President and General Manager This month marks the premiere of WXXI is a public non-commercial Je anne E. Fisher, Vice President, Radio broadcasting station owned the much-anticipated documentary Kent Hatfield, Vice President, Technology and Operations and operated by WXXI Public series on the Roosevelts by Ken Broadcasting Council, a not-for- El issa Orlando, Senior Vice President of TV and News Burns, America’s most acclaimed profit corporation chartered by the Board of Regents of New BOARD OF TRUSTEES OFFICERS filmmaker. -
An Annotated Catalogue of the Major Piano Works of Sergei Rachmaninoff Angela Glover
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2003 An Annotated Catalogue of the Major Piano Works of Sergei Rachmaninoff Angela Glover Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC AN ANNOTATED CATALOGUE OF THE MAJOR PIANO WORKS OF SERGEI RACHMANINOFF By ANGELA GLOVER A Treatise submitted to the School of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2003 The members of the Committee approve the treatise of Angela Glover defended on April 8, 2003. ___________________________________ Professor James Streem Professor Directing Treatise ___________________________________ Professor Janice Harsanyi Outside Committee Member ___________________________________ Professor Carolyn Bridger Committee Member ___________________________________ Professor Thomas Wright Committee Member The Office of Graduate Studies has verified and approved the above named committee members. TABLE OF CONTENTS Abstract………………………………………………….............................................. iv INTRODUCTION……………………………………………………………………. 1 1. MORCEAUX DE FANTAISIE, OP.3…………………………………………….. 3 2. MOMENTS MUSICAUX, OP.16……………………………………………….... 10 3. PRELUDES……………………………………………………………………….. 17 4. ETUDES-TABLEAUX…………………………………………………………… 36 5. SONATAS………………………………………………………………………… 51 6. VARIATIONS…………………………………………………………………….. 58 BIBLIOGRAPHY…………………………………………………………………. -
Boston Symphony Orchestra Concert Programs, Season 86, 1966
. .~v«M m t"£m w*) r BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY <$ HENRY LEE HIGGINSON 23 "^2^ " L^S^-*. ^f J SSs 1\ ^ V, EIGHTY-SIXTH SEASON 1966-1967 EXCELLAIT SURTOUT POUR LES FANFARES!" Although it is difficult to trace the origin of the French horn, it is generally accepted that it was developed in France during the 17th century • An outgrowth of the early primitive and the later sophisticated hunting horn, its value in the use of Fanfares was acclaimed during the reign of Louis XIII • It was also discovered that strange and wonderful musical effects could be had by inserting the hand in the bell • One of the first orchestral uses came in 1717 when Handel included the French horn in his score of the ''Water Music" • The modern instrument embodies a main tube measuring approximately 7 feet 4 inches in length, coiled in circles and finally expanding into a widely flared bell • As the French horn lends its importance to the value of the modern symphony orchestra, so too does the trained and reliable insurance office develop a modern and sensible insurance program for business and personal accounts • We would welcome an opportunity to analyze your need for complete protection. We respectfully invite your inquiry CHARLES H. WATKINS & CO. Richard P. Nyquist — Charles G. Carleton 0BRI0N, RUSSELL & CO. 147 MILK STREET BOSTON. MASSACHUSETTS Insurance of Every Description Telephone 542-1250 EIGHTY-SIXTH SEASON, 1966-1967 CONCERT BULLETIN OF THE Boston Symphony Orchestra ERICH LEINSDORF, Music Director Charles Wilson, Assistant Conductor Copyright, 1967, by Boston Symphony Orchestra, Inc. -
Metamorphosis a Pedagocial Phenomenology of Music, Ethics and Philosophy
METAMORPHOSIS A PEDAGOCIAL PHENOMENOLOGY OF MUSIC, ETHICS AND PHILOSOPHY by Catalin Ursu Masters in Music Composition, Conducting and Music Education, Bucharest Conservatory of Music, Romania, 1983 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY In the Faculty of Education © Catalin Ursu 2009 SIMON FRASER UNIVERSITY Fall, 2009 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for Fair Dealing. Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Declaration of Partial Copyright Licence The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection (currently available to the public at the “Institutional Repository” link of the SFU Library website <www.lib.sfu.ca> at: <http://ir.lib.sfu.ca/handle/1892/112>) and, without changing the content, to translate the thesis/project or extended essays, if technically possible, to any medium or format for the purpose of preservation of the digital work.