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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. -
Boston Symphony Orchestra Concert Programs, Season 115, 1995-1996
BOSTON > V SYMPHONY ORCHESTRA ft SEIJIOZAWA MUSIC DIRECTOR 9 6 S E O N The security of a trust, Fidelity investment expertise. A CLumlc Composition Fidelity Just as a Beethoven score is at its best when performed by a world- Pergonal class symphony — so, too, should your trust assets be managed by Triittt a financial company recognized Serviced globally for its investment expertise. Fidelity Investments. That's why Fidelity now offers a % managed trust or personalized estment management account or your portfolio of $400,000 or more/ For more information, visit Fidelity Investor Center or call Fidelity Pergonal Trust Services at 1-800-854-2829. Visit a Fidelity Investor Center Near You: Boston - Back Bay • Boston - Financial District Braintree, MA • Burlington, MA Fidelity Investments' SERVICES OFFERED ONLY THROUGH AUTHORIZED TRUST COMPANIES. TRUST SERVICES VARY BY STATE. FIDELITY BROKERAGE SERVICES, INC., MEMBER NYSE, SIPC. Seiji Ozawa, Music Director Bernard Haitink, Principal Guest Conductor One Hundred and Fifteenth Season, 1995-96 Trustees of the Boston Symphony Orchestra, Inc. J. P. Barger, Chairman Nicholas T. Zervas, President Peter A. Brooke, Vice-Chairman Harvey Chet Krentzman, Vice-Chairman Mrs. Edith L. Dabney, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Mrs. John H. Fitzpatrick, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson Nader F. Darehshori Edna S. Kalman Mrs. Robert B. Newman James F. Cleary Deborah B. Davis Allen Z. Kluchman Robert P. O'Block John E. Cogan, Jr. Nina L. Doggett George Krupp Peter C. Read Julian Cohen Avram J. Goldberg R. Willis Leith, Jr. Carol Scheifele-Holmes Chairman-elect William F. -
Quartet Dimensions
concert program ii: Quartet Dimensions JOHANN SEBASTIAN BACH (1685–1750)! July 21 WOLFGANG AMADEUS MOZART (1756–1791) Sunday, July 21, 6:00 p.m., The Center for Performing Arts Fugue in E-flat Major, BWV 876, and Fugue in d minor, BWV 877, from at Menlo-Atherton Das wohltemperierte Klavier; arr. String Quartets nos. 7 and 8, K. 405 JOSEPH HAYDN (1732–1809) PROGRAM OVERVIEW String Quartet in d minor, op. 76, no. 2, Quinten (1796) The string quartet medium, arguably the spinal column of the Allegro chamber music literature, did not exist in Bach’s lifetime. Yet Andante o più tosto allegretto Minuetto: Allegro ma non troppo even here, Bach’s legacy is inescapable. The fugues of his semi- Finale: Vivace assai nal The Well-Tempered Clavier inspired no less a genius than Danish String Quartet: Frederik Øland, Rune Tonsgaard Sørensen, violins; Asbjørn Nørgaard, viola; Mozart, who arranged a set of them for string quartet. The influ- Fredrik Schøyen Sjölin, cello ence of Bach’s architectural mastery permeates the ingenious DMITRY SHOSTAKOVICH (1906–1975) Quinten Quartet of Joseph Haydn, the father of the modern Piano Quintet in g minor, op. 57 (1940) string quartet, and even Dmitry Shostakovich’s Piano Quintet, Prelude composed nearly two hundred years after Bach’s death. The Fugue Scherzo centerpiece of Beethoven’s Opus 132—the Heiliger Dankgesang Intermezzo CONCERT PROGRAMSCONCERT eines Genesenen an die Gottheit (“A Convalescent’s Holy Song Finale PROGRAMSCONCERT of Thanksgiving to the Divinity”)—recalls another Bachian signa- Gilbert Kalish, piano; Danish String Quartet: Frederik Øland, Rune Tonsgaard Sørensen, violins; ture: the Baroque master’s sacred chorales. -
2005 Next Wave Festival
November 2005 2005 Next Wave Festival Mary Heilmann, Last Chance for Gas Study (detail), 2005 BAM 2005 Next Wave Festival is sponsored by: The PerformingNCOREArts Magazine Altria 2005 ~ext Wave FeslliLaL Brooklyn Academy of Music Alan H. Fishman William I. Campbell Chairman of the Board Vice Chairman of the Board Karen Brooks Hopkins Joseph V. Melillo President Executive Prod ucer presents Symphony No.6 (Plutonian Ode) & Symphony No.8 by Philip Glass Bruckner Orchestra Linz Approximate BAM Howard Gilman Opera House running time: Nov 2,4 & 5, 2005 at 7:30pm 1 hour, 40 minutes, one intermission Conducted by Dennis Russell Davies Soprano Lauren Flanigan Symphony No.8 - World Premiere I II III -intermission- Symphony No. 6 (Plutonian Ode) I II III BAM 2005 Next Wave Festival is sponsored by Altria Group, Inc. Major support for Symphonies 6 & 8 is provided by The Robert W Wilson Foundation, with additional support from the Austrian Cultural Forum New York. Support for BAM Music is provided by The Aaron Copland Fund for Music, Inc. Yamaha is the official piano for BAM. Dennis Russell Davies, Thomas Koslowski Horns Executive Director conductor Gerda Fritzsche Robert Schnepps Dr. Thomas Konigstorfer Aniko Biro Peter KeserU First Violins Severi n Endelweber Thomas Fischer Artistic Director Dr. Heribert Schroder Heinz Haunold, Karlheinz Ertl Concertmaster Cellos Walter Pauzenberger General Secretary Mario Seriakov, Elisabeth Bauer Christian Pottinger Mag. Catharina JUrs Concertmaster Bernhard Walchshofer Erha rd Zehetner Piotr Glad ki Stefa n Tittgen Florian Madleitner Secretary Claudia Federspieler Mitsuaki Vorraber Leopold Ramerstorfer Elisabeth Winkler Vlasta Rappl Susanne Lissy Miklos Nagy Bernadett Valik Trumpets Stage Crew Peter Beer Malva Hatibi Ernst Leitner Herbert Hoglinger Jana Mooshammer Magdalena Eichmeyer Hannes Peer Andrew Wiering Reinhard Pirstinger Thomas Wall Regina Angerer- COLUMBIA ARTISTS Yuko Kana-Buchmann Philipp Preimesberger BrUndlinger MANAGEMENT LLC Gorda na Pi rsti nger Tour Direction: Gudrun Geyer Double Basses Trombones R. -
Bruckner Orchester Linz
Bruckner Orchester Linz Dennis Russell Davies Conductor Martin Achrainer / Bass-Baritone Angélique Kidjo / Vocals Thursday Evening, February 2, 2017 at 7:30 Hill Auditorium Ann Arbor 35th Performance of the 138th Annual Season 138th Annual Choral Union Series Tonight’s presenting sponsor is Michigan Medicine. Tonight’s supporting sponsor is the H. Gardner and Bonnie Ackley Endowment Fund. Media partnership provided by WGTE 91.3 FM, WRCJ 90.9 FM, Ann Arbor’s 107one, and WDET 101.9 FM. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this evening’s performance. The Bruckner Orchester Linz is the Philharmonic Orchestra of the State of Upper Austria, represented by Governor Dr. Josef Puehringer. The Bruckner Orchester Linz is supported by presto – friends of Bruckner Orchester. Bruckner Orchester Linz appears by arrangement with Columbia Artists Management, Inc. Angélique Kidjo appears by arrangement with Red Light Management. In consideration of the artists and the audience, please refrain from the use of electronic devices during the performance. The photography, sound recording, or videotaping of this performance is prohibited. PROGRAM George Gershwin, Arr. Morton Gould Porgy and Bess Suite Alexander Zemlinsky Symphonische Gesänge, Op. 20 Song from Dixieland Song of the Cotton Packer A Brown Girl Dead Bad Man Disillusion African Dance Arabesque Mr. Achrainer Intermission Duke Ellington, Arr. Maurice Peress Suite from Black, Brown, and Beige Black Brown Beige Philip Glass Ifè: Three Yorùbá Songs Olodumare Yemandja Oshumare Ms. Kidjo 3 PORGY AND BESS SUITE (1935, ARRANGED IN 1955) George Gershwin Born September 26, 1898 in Brooklyn, New York Died July 11, 1937 in Hollywood, California Arr. -
Franz Schubert Written and Narrated by Jeremy Siepmann with Tom George As Schubert
LIFE AND WORKS Franz Schubert Written and narrated by Jeremy Siepmann with Tom George as Schubert 8.558135–38 Life and Works: Franz Schubert Preface If music is ‘about’ anything, it’s about life. No other medium can so quickly or more comprehensively lay bare the very soul of those who make or compose it. Biographies confined to the limitations of text are therefore at a serious disadvantage when it comes to the lives of composers. Only by combining verbal language with the music itself can one hope to achieve a fully rounded portrait. In the present series, the words of composers and their contemporaries are brought to life by distinguished actors in a narrative liberally spiced with musical illustrations. Unlike the standard audio portrait, the music is not used here simply for purposes of illustration within a basically narrative context. Thus we often hear very substantial chunks, and in several cases whole movements, which may be felt by some to ‘interrupt’ the story; but as its title implies the series is not just about the lives of the great composers, it is also an exploration of their works. Dismemberment of these for ‘theatrical’ effect would thus be almost sacrilegious! Likewise, the booklet is more than a complementary appendage and may be read independently, with no loss of interest or connection. Jeremy Siepmann 8.558135–38 3 Life and Works: Franz Schubert © AKG Portrait of Franz Schubert, watercolour, by Wilhelm August Rieder 8.558135–38 Life and Works: Franz Schubert Franz Schubert(1797-1828) Contents Page Track Lists 6 Cast 11 1 Historical Background: The Nineteenth Century 16 2 Schubert in His Time 26 3 The Major Works and Their Significance 41 4 A Graded Listening Plan 68 5 Recommended Reading 76 6 Personalities 82 7 A Calendar of Schubert’s Life 98 8 Glossary 132 The full spoken text can be found on the CD-ROM part of the discs and at: www.naxos.com/lifeandworks/schubert/spokentext 8.558135–38 5 Life and Works: Franz Schubert 1 Piano Quintet in A major (‘Trout’), D. -
^T&Mtioqal Stuttgart Wind Quintet
^t&Mtioqal THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN Stuttgart Wind Quintet WILLY FREIVOGEL, Flutist RAINER SCHUMACHER, Clarinetist SIGURD MICHAEL, Oboist HERMANN HERDER, Bassoonist FRIEDHELM PUTZ, Homist with DENNIS RUSSELL DAVIES, Pianist WEDNESDAY EVENING, APRIL 5, 1989, AT 8:00 RACKHAM AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Sextet for Piano and Winds, Op. 6 ............................ LUDWIG THUILLE Allegro moderate Larghetto Andante quasi allegretto Vivace Six Bagatelles for Wind Quintet (1953) ......................... GYORGY LIGETI Allegro con spirito Rubato lamentoso Allegro grazioso Presto ruvido Adagio mesto Molto vivace (Capriccioso) INTERMISSION FiveFoldFive (1987) ........................................ WILLIAM BOLCOM Sextet for Piano and Winds ................................. FRANCIS POULENC Allegro vivace Divertissement Finale: allegro vivace The Stuttgart Wind Quintet is represented by Columbia Artists Management Inc. Halls Cough Tablets, courtesy of Warner-Lambert Company, are available in the lobby. Thirty-ninth Concert of the 110th Season Twenty-sixth Annual Chamber Arts Series PROGRAM NOTES Sextet for Piano and Winds, Op. 6 ........................ LUDWIG THUILLE (1861-1907) Ludwig Thuille's greatest distinction as a composer is his devotion to the cultivation of chamber music at a time when most composers were ignoring the medium. Although he composed several operas on whimsical subjects (Lobetanz, composed in 1896, was heard regularly in New York at the turn of the century), his instrumental and vocal chamber music remain part of the standard repertoire. As an educator, his music theory textbook Harmonielehre, written in 1907 with Rudolf Louis, remained the authoritative work on the subject long after Thuille's death. The Sextet for Piano and Winds, Op. 6, was written in 1889 and was an immediate success. -
MUSICAL and DRAMATIC FUNCTIONS of LOOPS and LOOP BREAKERS in PHILIP GLASS's OPERA the VOYAGE Chia-Ying Wu Dissertation Prepar
MUSICAL AND DRAMATIC FUNCTIONS OF LOOPS AND LOOP BREAKERS IN PHILIP GLASS’S OPERA THE VOYAGE Chia-Ying Wu Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS May 2016 APPROVED: David Bard-Schwarz, Major Professor Hendrik Schulze, Related Field Professor Stephen Slottow, Committee Member Frank Heidlberger, Chair of the Division of Music History, Theory, and Ethnomusicology Warren Henry, Interim Dean of the College of Music Costas Tsatsoulis, Dean of the Toulouse Graduate School Copyright 2016 by Chia-Ying Wu ii ACKNOWLEDGEMENTS Continuous support from faculty members and students of Music History, Theory and Musicology Division at the University of North Texas, and my family make the production of this dissertation possible. I wish to express my deepest appreciation to my major professor, Dr. David Schwarz, for guiding me through doctoral coursework, qualifying exams, dissertation proposal, and this dissertation; and also to my related field professor, Dr. Hendrik Schulze, who provides me insights into the field of opera. I appreciate the help from dissertation committee member Dr. Stephen Slottow for shaping this research from an idea to a dissertation; and also the help from Dr. Margaret Notley for the early development of this dissertation. I thank Jay Smith, a PhD student in music theory, for sharing his paper presented at the 2015 Texas Society for Music Theory conference. Finally, I would like to give special thanks to my father professor Chung-Yu (Peter) Wu at the National Chiao-Tung University in Taiwan, my mother Chao-Ling Wu Tseng, my younger sister Ying-Hsuen Wu, and relatives for their encouragement. -
Quartetto Di Cremona Ludwig Van Beethoven String Quartet in C Minor, Op
BEETHOVEN COMPLETE STRING QUARTETS QUARTETTO DI CREMONA LUDWIG VAN Beethoven String Quartet in C minor, Op. 18, No. 4 24:05 1. Allegro ma non tanto 8:39 II. Andante scherzoso quasi Allegretto 7:01 III. Menuetto. Allegretto – Trio 3:37 IV. Allegro – Prestissimo 4:48 ‘Great Fugue’ in B flat major, Op. 133 15:13 Overtura. Allegro – Meno mosso e moderato – Allegro – Fuga – Meno mosso e moderato – Allegro molto e con brio – Meno mosso e moderato – Allegro molto e con brio String Quartet in F major, Op. 59, No. 1 39:13 I. Allegro 10:05 II. Allegretto vivace e sempre scherzando 8:45 III. Adagio molto e mesto 12:16 IV. Thème russe. Allegro 8:07 QUARtetto DI CREMONA Cristiano Gualco, Violine Paolo Andreoli, Violine Simone Gramaglia, Viola Giovanni Scaglione, Violoncello A quartet in C minor acquired in other genres. Only once Count Lobkowitz, one of Beethoven’s aristocratic During his first years in Vienna, Beethoven patrons, commissioned six string quartets noticeably held back from composing each from Haydn and Beethoven around string quartets and instead, apparently on the end of 1798 for the fee of 400 guil- account of studying this craft, resorted to ders, was there no turning back. Whilst copying quartets by Haydn and Mozart. Of the aged Haydn did not manage to ful- course he knew exactly that the much- fil his duty entirely, Beethoven feverishly quoted Bonn farewell by Count Wald- worked, alongside large-scale works such stein – “Sustained diligence will bring you as his First Symphony, the final version of Mozart’s spirit from Haydn’s hands” – did his Piano Concerto in C and his Septet not so much refer to the piano sonatas Op. -
Season 2020|2021 2021 | Season 2020
65th Concert Season Season 2020|2021 2021 | Season 2020 . A word from the Filharmonie Brno Managing Director Dear music lovers invite you to a social gathering over a glass Paľa. Leoš Svárovský is preparing for C. M. you! I am very happy that we enter the new of wine, from 6pm before the concerts at von Weber’s celebrated Bassoon Concerto season with the support of our exceptional You are holding in your hands our brand Besední dům (Filharmonie at Home series), with the virtuoso Guilhaume Santana and volunteers for the second time now, who new catalogue for the 2020/2021 sea- where you can learn plenty of interesting Roussel’s Le festin de l’araignée – with this help us with concerts and education – son: this time, it is not just the content that is facts about the programme and meet the concert, the former chief conductor of our thank you, everyone! new – the format is, too. We’ve aimed to evening’s artists in person. orchestra will celebrate an important anni- I am writing these words at a time when make the navigation easier, and to high- The new season is the work of the Filhar- versary in his life. Gerrit Prießnitz will focus we are all paralysed by the coronavirus light the unique characteristics of our sub- monie Brno chief conductor and artistic on the emotional topic of Hamlet in the pandemic and are not yet sure what the ul- scription concerts – each of them offers a director Dennis Russell Davies and the pro- works of Tchaikovsky and Walton. -
•••I Lil , .1, Llle! E
1114 IEIT liVE FESTIVIL 1994 NEXT WAVE COVEll AND POSTER AR11ST ROBERT MOS1tOwrrz •••I_lil , .1, lllE! II I E 1.lnII ImlEI 14. IS BAMBILL BROOKLYN ACADEMY OF MUSIC Harvey Lichtenstein, President & Executive Producer THE BROOKLYN PHILHARMONIC ORCHESTRA Dennis Russell Davies, Principal Conductor Lukas Foss, Conductor Laureate 41st Season, 1994/95 MIRROR IMAGES in the BAM Opera House October 14, 15, 1994 PRE-CONCERT RECITAL at 7pm PHILIP GLASS Six Etudes Dennis Russell Davies, Piano (American premiere) BROOKLYN PHILHARMONIC ORCHESTRA DENNIS RUSSELL DAVIES, Conductor MARGARET LENG TAN, Piano 8pm JOHN ZORN For Your Eyes Only (BPO Commission) CHEN YI Piano Concerto Margaret Leng Tan, Piano (BPO commission; premiere performance) - Intermission - PHILIP GLASS Symphony No.2 (BPO commission; premiere performance) Allegro Andante Allegro POST-CONCERT DIALOGUE with Chen Yi, Philip Glass, Dennis Russell Davies, and Joseph Horowitz Philip Glass' Symphony No.2 is commissioned by BPO with partial funding provided by the Mary Flagler Cary Charitable Trust. Symphony No.2 composed by Philip Glass. Copyright 1994 Dunvagen Music Publishers, Inc. THE STANLEY H. KAPLAN EDUCATIONAL CENTER ACOUSTICAL SHELL The Brooklyn Philharmonic and the Brooklyn Academy of Music gratefully acknowledge the generosity of Mr. and Mrs. Stanley H. Kaplan, whose assistance made possible the Stanley H. Kaplan Educational Center Acoustic Shell. THE BROOKLYN PHILHARMONIC ORCHESTRA IS THE RESIDENT ORCHESTRA OF BAM. _ MIRROR IMAGES _ mainly associate£! with opera; ballet. film. and experimentaltheatet~ the opportuni f,r to "think a\Jour tne tradition of &Ythphonic musk;/' Glass haSstateu. openeu "a new world ofmusic--and I am very much looking forward to what I will discover." Glass's Symphony No. -
2016 LOTTE LENYA COMPETITION FINALS Daytime Round Kilbourn Hall, Eastman School of Music Saturday, 16 April 2016, 11:00 Am About the Lotte Lenya Competition
1st Prize Winners, 2013-2015. Clockwise from top left: Ben Edquist, 2014; Lauren Michelle, 2015; Doug Carpenter, 2013. 2016 LOTTE LENYA COMPETITION FINALS Daytime Round Kilbourn Hall, Eastman School of Music Saturday, 16 April 2016, 11:00 am About the Lotte Lenya Competition In 1998, to celebrate the centenary of the birth of Lotte Lenya (1898-1981), an extraordinary singer/actress and one of the foremost interpreters of the music of her husband, Kurt Weill, the Board of Trustees of the Kurt Weill Foundation for Music approved President Kim Kowalke’s proposal to establish an annual Lotte Lenya Competition. The Lotte Lenya Competition recognizes talented young singer/actors ages 19-32 who are dramatically and musically convincing in wide-ranging modes of theater repertoire, from opera/operetta to contemporary Broadway musicals, with a focus on the works of Kurt Weill. More than a vocal competition, the Lenya Competition emphasizes idiomatic performance and the acting of songs within a dramatic context. Competition guidelines for 2016 require each contestant to prepare four selections: one theatrical selection by Kurt Weill; two songs from the American musical theater repertoire (one from the pre-1968 “Golden Age” and one from 1968 or later); and one aria from the operatic or operetta repertoire. The Weill selections and the opera/ operetta aria must be sung in their original theatrical versions and languages (with the exception of authorized English translations of The Threepenny Opera and Happy End). For the preliminary round, 224 contestants from eleven countries auditioned by submitting a video of their four repertoire selections. In mid-March, thirty-one semi- finalists then auditioned live in New York for adjudicator/coaches Jeanine Tesori and Victoria Clark.