Mozart Requiem
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74TH SEASON of CONCERTS April 24, 2016 • National Gallery of Art PROGRAM
74TH SEASON OF CONCERTS april 24, 2016 • national gallery of art PROGRAM 3:30 • West Building, West Garden Court Inscape Richard Scerbo, conductor Toru Takemitsu (1930 – 1996) Rain Spell Asha Srinivasan (b. 1980) Svara-Lila John Harbison (b. 1938) Mirabai Songs It’s True, I Went to the Market All I Was Doing Was Breathing Why Mira Can’t Go Back to Her Old House Where Did You Go? The Clouds Don’t Go, Don’t Go Monica Soto-Gil, mezzo soprano Intermission Chen Yi (b. 1953) Wu Yu Praying for Rain Shifan Gong-and-Drum Toru Takemitsu Archipelago S. 2 • National Gallery of Art The Musicians Founded in 2004 by artistic director Richard Scerbo, Inscape Chamber Orchestra is pushing the boundaries of classical music in riveting performances that reach across genres and generations and transcend the confines of the traditional concert experience. With its flexible roster and unique brand of programming, this Grammy-nominated group of high-energy master musicians has quickly established itself as one of the premier performing ensembles in the Washington, DC, region and beyond. Inscape has worked with emerging American composers and has a commitment to presenting concerts featuring the music of our time. Since its inception, the group has commissioned and premiered over twenty new works. Its members regularly perform with the National, Baltimore, Philadel- phia, Virginia, Richmond, and Delaware symphonies and the Washington Opera Orchestra; they are members of the Washington service bands. Inscape’s roots can be traced to the University of Maryland School of Music, when Scerbo and other music students collaborated at the Clarice Smith Center as the Philharmonia Ensemble. -
Sept 2010 Pp. 20-23.Indd
A Celebration of Joe Hoppe’s Legacy at St. Patrick’s Church, New Orleans Marijim Thoene High school graduation, 1956 Notre Dame Seminary, 1967 concerts with the Saint Louis Cathedral M.T.: You have all the qualities I At St. Patrick’s Evening of Celebration, Choir under the direction of Elise Cam- think a man of the cloth should when Joe was honored for his 40 years bon and Father Stahl. have—compassion, a fi ne education, of service to the church and when he re- Joe at Evening of Celebration In August 1968 Msgr. John P. Reyn- integrity, reverence, a sense of hu- ceived the Alumnus of the Year Award from the University of New Orleans, olds hired him as the organist for St. Pat- mor. Are you glad that you chose to presented by his dear friend and de- Introduction rick’s Church, where, as Joe said, “There serve the church as a musician rath- partment chair, Dr. James Hammann Joe Hoppe has been organist and di- was no choir or cantor. I was the music er than as a priest, that you chose to rector of music for over 40 years at St. program!” Over time he recruited sing- follow “a road less traveled ?” Patrick’s Roman Catholic Church in New ers, and had a choir of over 40 voices. In J.H.: Yes. After two years in the active Orleans, Louisiana, located in the busi- September 1990 he was accepted into ministry, I came to the realization that ness district at 734 Camp Street. This the master’s program at the University for personal and spiritual reasons, I had historic church, completed in 1840, is in of New Orleans, where he studied or- to make a change in my life. -
Table of Contents
Sheet TM Version 2.0 Music 1 CD Haydn, Mozart, and Beethoven Major Choral Works Table of Contents Welcome to the CD Sheet Music™ edition of Haydn, Mozart, and Beethoven, The Major Choral Works. This Table of Contents is interactive. Click on a title below or in the book- marks section on the left side of the screen to open the sheet music. Once the music is open, the bookmarks become navigation aids to find the score or parts of the work. Return to the table of contents by clicking on the bookmark or using the “back” button of Acrobat Reader™. By opening any of the files on this CD-ROM, you agree to accept the terms of the CD Sheet Music™ license (Click on the bookmark to the left for the complete license agreement). Composers on this CD-ROM HAYDN MOZART BEETHOVEN The complete Table of Contents begins on the next page © Copyright 2005 by CD Sheet Music, LLC Sheet TM Version 2.0 Music 2 CD FRANZ JOSEPH HAYDN WOLFGANG AMADEUS MOZART The Creation (Die Schöpfung) Veni Sancte Spiritus, K. 47 Part I Te Deum in C Major, K. 141/66b Part II Mass in F, K. 192 Part III Litaniae Lauretanae in D Major, K. 195/186d Mass No. 3 in C Major (Missa Cellensis) (Mariazellermesse) Mass in C Major, K. 258 (Missa Brevis) Mass No. 6 in G Major Missa Brevis in C Major, K. 259 (Organ Solo) (Mass in Honor of Saint Nicholas) Sancta Maria, Mater Dei, K. 273 Mass No. 7 in B Major b Mass in Bb Major, K. -
PROGRAM NOTES Wolfgang Mozart Clarinet Concerto in a Major, K
PROGRAM NOTES by Phillip Huscher Wolfgang Mozart Born January 27, 1756, Salzburg, Austria. Died December 5, 1791, Vienna, Austria. Clarinet Concerto in A Major, K. 622 Mozart composed this concerto between the end of September and mid-November 1791, and it apparently was performed in Vienna shortly afterwards. The orchestra consists of two flutes, two bassoons, two horns, and strings. Performance time is approximately twenty-nine minutes. The Chicago Symphony Orchestra’s first performance of Mozart’s Clarinet Concerto was given at the Ravinia Festival on July 25, 1957, with Reginald Kell as soloist and Georg Solti conducting. The Orchestra’s first subscription concert performance was given at Orchestra Hall on May 2, 1963, with Clark Brody as soloist and Walter Hendl conducting. Our most recent subscription concert performances were given on October 11 and 12, 1991, with Larry Combs as soloist and Sir Georg Solti conducting. The Orchestra most recently performed this concerto at the Ravinia Festival on July 15, 2001, with Larry Combs as soloist and Sir Andrew Davis conducting. This concerto is the last important work Mozart finished before his death. He recorded it in his personal catalog without a date, right after The Magic Flute and La clemenza di Tito. The only later entry is the little Masonic Cantata, dated November 15, 1791. The Requiem, as we know, didn’t make it into the list. For decades the history of the Requiem was full of ambiguity, while that of the Clarinet Concerto seemed quite clear. But in recent years, as we learned more about the unfinished Requiem, questions about the concerto began to emerge. -
The Timeliness of Duruflé's Requiem Book Title
University of California Press Chapter Title: The Timeliness of Duruflé’s Requiem Book Title: Musical Legacy of Wartime France Book Author(s): LESLIE A. SPROUT Published by: University of California Press. (2013) Stable URL: https://www.jstor.org/stable/10.1525/j.ctt3fh2q4.8 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms University of California Press is collaborating with JSTOR to digitize, preserve and extend access to Musical Legacy of Wartime France This content downloaded from 129.74.250.206 on Mon, 03 Sep 2018 02:20:01 UTC All use subject to https://about.jstor.org/terms 4 The Timeliness of Duruflé’s Requiem Plain-chant and polyphony, dominant ninths and the orchestra of Debussy—without the evidence of an actual performance, Duruflé’s Requiem might appear to be a hotch-potch. But it is the absolute unification in a very personal manner of these seemingly disparate elements that constitutes Duruflé’s chief claim to be taken seriously as a composer. felix aprahamian, “Maurice Duruflé and His Requiem” vichy’s symphonic commissions and the music of the catholic church In May 1941 Maurice Duruflé received a commission from Vichy’s Administration of Fine Arts to write a symphonic poem, for which he was offered ten thousand francs, payable upon completion of the work.1 Reversing the program’s steady decline each year since its inception in 1938, the administration provided ample funds—270,000 francs—to grant a total of seventeen commissions between May and August 1941, the first year of commissions granted under the new regime. -
The Inaugural Season 27 Season 2012-2013
YANNICK October 2012 The Inaugural Season 27 Season 2012-2013 Friday, October 19, at 8:00 Saturday, October 20, at The Philadelphia Orchestra 8:00 Sunday, October 21, at 2:00 Yannick Nézet-Séguin Conductor Marina Poplavskaya Soprano Christine Rice Mezzo-soprano Rolando Villazón Tenor Mikhail Petrenko Bass Westminster Symphonic Choir Joe Miller Director Verdi Requiem I. Requiem (Solo Quartet and Chorus) II. Dies irae: Dies irae (Chorus) Tuba mirum (Bass and Chorus) Liber scriptus (Mezzo-soprano and Chorus) Quid sum miser (Soprano, Mezzo-soprano, and Tenor) Rex tremendae (Solo Quartet and Chorus) Recordare (Soprano and Mezzo-soprano) Ingemisco (Tenor) Confutatis (Bass and Chorus) Lacrymosa (Solo Quartet and Chorus) III. Offertorio (Solo Quartet) IV. Sanctus (Chorus I and II) V. Agnus Dei (Soprano, Mezzo-soprano, and Chorus) VI. Lux aeterna (Mezzo-soprano, Tenor, and Bass) VII. Libera me (Soprano and Chorus) This program runs approximately 1 hour, 30 minutes, and will be performed without an intermission. 228 Story Title The Philadelphia Orchestra Jessica Griffin Renowned for its distinctive vivid world of opera and Orchestra boasts a new sound, beloved for its choral music. partnership with the keen ability to capture the National Centre for the Philadelphia is home and hearts and imaginations Performing Arts in Beijing. the Orchestra nurtures of audiences, and admired The Orchestra annually an important relationship for an unrivaled legacy of performs at Carnegie Hall not only with patrons who “firsts” in music-making, and the Kennedy Center support the main season The Philadelphia Orchestra while also enjoying a at the Kimmel Center for is one of the preeminent three-week residency in the Performing Arts but orchestras in the world. -
Haydn's the Creation
Program Notes In the fall of 1790, a man appeared at Haydn’s rooms in Vienna with the abrupt introduction, “I am Salomon of London and have come to fetch you. Tomorrow we will arrange an accord.” Johann Peter Salomon’s meeting with the 58-year old Haydn was a turning point in Haydn’s long career. Under the impresario’s canny direction, Haydn’s two extended visits to London were not only extremely lucrative, but also musically invigorating, and he wrote some of his greatest works including his last twelve symphonies and his last six concert masses after 1791. And his sojourn in London directly led to what is perhaps his most popular work, the extraordinary and daringly original oratorio The Creation. Salomon’s proposal came at a particularly appropri- ate time for Haydn. Haydn was arguably the most renowned composer in Europe, despite having spent the last 30 years in the service of the House of Es- terházy. Prince Nikolaus entertained lavishly and took every opportunity to showcase his increasingly famous Kapellmeister, arranging elaborate musical evenings and even building an amphitheater where Haydn could present operas. The prince gave Haydn the opportunity to accept outside commissions and to publish, and there arose such an insatiable de- mand for Haydn’s music that pirated editions flourished and unscrupulous publishers actually affixed Haydn’s name to music written by his brother Michael, his pupils, and even random composers. But Prince Nikolaus sud- denly died in 1790, and his successor Prince Anton disbanded most of the Esterházy musical establishment. Haydn retained his nominal position as Kapellmeister, but had no official duties and was no longer required to be in residence. -
What Handel Taught the Viennese About the Trombone
291 What Handel Taught the Viennese about the Trombone David M. Guion Vienna became the musical capital of the world in the late eighteenth century, largely because its composers so successfully adapted and blended the best of the various national styles: German, Italian, French, and, yes, English. Handel’s oratorios were well known to the Viennese and very influential.1 His influence extended even to the way most of the greatest of them wrote trombone parts. It is well known that Viennese composers used the trombone extensively at a time when it was little used elsewhere in the world. While Fux, Caldara, and their contemporaries were using the trombone not only routinely to double the chorus in their liturgical music and sacred dramas, but also frequently as a solo instrument, composers elsewhere used it sparingly if at all. The trombone was virtually unknown in France. It had disappeared from German courts and was no longer automatically used by composers working in German towns. J.S. Bach used the trombone in only fifteen of his more than 200 extant cantatas. Trombonists were on the payroll of San Petronio in Bologna as late as 1729, apparently longer than in most major Italian churches, and in the town band (Concerto Palatino) until 1779. But they were available in England only between about 1738 and 1741. Handel called for them in Saul and Israel in Egypt. It is my contention that the influence of these two oratorios on Gluck and Haydn changed the way Viennese composers wrote trombone parts. Fux, Caldara, and the generations that followed used trombones only in church music and oratorios. -
Johannes Brahms's Ein Deutsches Requiem, Opus 45." Doctoral Dissertation
JOHANNES BRAHMS’S EIN DEUTSCHES REQUIEM: A COMPARISON OF THE REDUCED ORCHESTRATION TECHNIQUES IN JOACHIM LINCKELMANN’S CHAMBER ENSEMBLE VERSION TO BRAHMS’S FOUR HAND PIANO VERSION Michael Aaron Hawley, B.M.E., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2016 APPROVED: Richard Sparks, Major Professor and Chair of the Division of Conducting and Ensembles Stephen F. Austin, Minor Professor Gregory Hobbs, Committee Member Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Vice Provost of the Toulouse Graduate School Hawley, Michael Aaron. Johannes Brahms’s Ein deutsches Requiem: A Comparison of the Reduced Orchestration Techniques in Joachim Linckelmann’s Chamber Ensemble Version to Brahms’s Four-Hand Piano Version. Doctor of Musical Arts (Performance), December 2016, 265 pp., 29 musical examples, bibliography, 30 titles. Recognizing the challenges small groups have to program a major work, in 2010, Joachim Linckelmann created a chamber ensemble arrangement of Johannes Brahms’s Ein deutsches Requiem. In 1869, J.M. Reiter-Biedermann published Brahms’s four-hand piano arrangement of Ein deutsches Requiem. Brahms’s arrangement serves as an excellent comparison to the chamber ensemble version by Linckelmann, since it can be assumed that Brahms chose to highlight and focus on the parts he deemed the most important. This study was a comparative analysis of the two arrangements and was completed in three stages. The first stage documented every significant change in Joachim Linckelmann’s recent chamber arrangement. The second stage classified each change as either a reduction, reorganization, or elimination. -
Pentecost IV
X Week from Sunday 17 th to Sunday 24th June 2018 X Music at English Martyrs’ PILGRIMAGE TO HOLYWELL Low Mass today - organist away Sunday 1st July Music at St. Walburge’s A coach will leave from SW at 11am. Price £15. Gregorian Chant sung by the Sisters Adorers For those not going to Holywell Mass Setting: Kyriale XI & Credo III there will be a Low Mass at SW at the usual time of 10.30 am. Offertory: Da Pacem Domine (M. Franck) Communion: Panis Angelicus (C. Franck) 2.30pm in Holywell (CH8 7PN): Last Gospel: Salve Regina (simple tone) Solemn High Mass, Recessional: All people that on earth do dwell (20) followed by Rosary Procession to St Winefride’s We l l . TEA & COFFEE AFTER MASS TODAY PLEASE PRAY Please join us for conversation for the sick members of our shrines: and refreshments after Mass today. Anita Richards, Jean O’Connor, Nathan and many others. WEEKLY SCHEDULE SAINT WALBURGE’S WEEKLY SCHEDULE SAINT THOMAS OF Sunday CANTERBURY & ENGLISH MARTYRS 10 am Confessions Sunday 10.30 am High Mass 9am Low Mass with organ 5.30 pm Vespers, Rosary & Benediction Monday - Friday Monday – Thursday 7.30 am Lauds (except Thurs) (morning prayer) 11.30am Rosary 8.30 am Angelus, followed by Low Mass 12 noon Angelus followed by Low Mass 5 pm Confessions 5.30 pm Vespers (evening prayer) Friday 6 pm Adoration 11.30am Rosary 7 pm Compline (night prayer) 12 noon Angelus followed by Sung Mass 12.45pm Devotions to the English Martyrs Saturday Saturday 7.30 am Lauds (morning prayer) 10am Low Mass 10 am Rosary (Confessions during) 10.45am Adoration of the Blessed 10.30 am Low Mass & Devotions Sacrament with Confessions available 5 pm Rosary & Benediction 5.30pm Mass (Ordinary Form – Parish 6pm Mass (Ordinary Form – Parish Priest) Priest) NEW 24 H VOTIVE CANDLES for your personal devotion towards CONFIRMATIONS The Sacred Heart, the Immaculate If would like to receive this sacrament and its FOR YOUR DIARY preparation, please contact us asap. -
Amadeus by Peter Shaffer Directed by Paul Mason Barnes CONTENTS 2 the 411 Major Sponsor: 3 A/S/L & Vocab the Mary Ranken Jordan & Ettie A
2009—2010 SEASON AMADEUS by Peter Shaffer Directed by Paul Mason Barnes CONTENTS 2 The 411 Major Sponsor: 3 A/S/L & Vocab The Mary Ranken Jordan & Ettie A. Jordan 4 FYI Charitable Foundation 5 HTH 6 F2F 9 B4U 12 IRL 13 RBTL 14 SWDYT? At The Rep, we know MIHYAP: Top Ten Ways to that life moves Stay Connected at The Rep fast—okay, really 10. TBA Ushers will seat your school or class as a group, fast. But we also so even if you are dying to mingle with the group from the know that some all girls school that just walked in the door, stick with your things are worth friends until you have been shown your section in the theatre. slowing down for. We believe that live theatre is one of those pit stops worth making and are excited that you 9. SITD The house lights will dim immediately before the performance begins and then go dark. Fight off that oh-so- are going to stop by for a show. To help you get the most immature urge to whisper, giggle like a grade schooler or yell bang for your buck, we have put together WU? @ THE at this time and during any other blackouts in the show. REP—an IM guide that will give you everything you need to know to get at the top of your theatergoing game—fast. 8. SED Before the performance begins, turn off all cell You’ll find character descriptions (A/S/L), a plot summary phones, pagers, beepers and watch alarms. -
Messe E-Moll WAB 27 Zweite Fassung/Second Version 1882
Anton BRUCKNER Messe e-Moll WAB 27 Zweite Fassung/Second version 1882 Coro (SSAATTBB) 2 Oboi, 2 Clarinetti, 2 Fagotti, 4 Corni, 2 Trombe, 3 Tromboni herausgegeben von/edited by Dagmar Glüxam Urtext Partitur/Full score C Carus 27.093 Inhalt / Contents Vorwort 4 Foreword 8 Abbildungen 12 Kyrie (Coro SSAATTBB) 14 Gloria (Coro) 20 Credo (Coro) 32 Sanctus (Coro) 49 Benedictus (Coro SSATTBB) 55 Agnus Dei (Coro SSAATTBB) 63 Kritischer Bericht 73 Zu diesem Werk liegt folgendes Aufführungsmaterial vor: Partitur (Carus 27.093), Klavierauszug (Carus 27.093/03), Klavierauszug XL Großdruck (Carus 27.093/04), Chorpartitur (Carus 27.093/05), komplettes Orchestermaterial (Carus 27.093/19). The following performance material is available: full score (Carus 27.093), vocal score (Carus 27.093/03), vocal score XL in larger print (Carus 27.093/04), choral score (Carus 27.093/05), complete orchestral material (Carus 27.093/19). Carus 27.093 3 Vorwort Als Anton Bruckner (1824–1896) zwischen August und November C-Dur (WAB 31) für vierstimmigen gemischten Chor a cappella 1866 seine Messe in e-Moll (WAB 27) komponierte, konnte er (1. Fassung 1835–1843, 2. Fassung 1891) oder der Windhaager bereits eine langjährige Erfahrung als Kirchenmusiker aufweisen und Messe in C-Dur für Alt, zwei Hörner und Orgel (WAB 25; 1842) auch auf ein überaus umfangreiches kirchenmusikalisches Œuvre können hier etwa die Messe ohne Gloria in d-Moll („Kronstorfer zurückblicken.1 Schon als Kind wurde er durch seinen musikbe- Messe“; WAB 146, 1844) für vierstimmigen gemischten Chor a geisterten Vater und Schullehrer Anton Bruckner (1791–1837) zur cappella oder das Requiem für vierstimmigen Männerchor und Mitwirkung – u.