DOCSLIB.ORG

2021/2022 SEASON Making Waves in Tampa

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2021/2022 SEASON Making Waves in Tampa Making Waves in Tampa Bay Dive into a full season of live music Michael Francis, Music Director Music Director Michael Francis ANNOUNCING THE 2021/2022 SEASON MASTERWORKS CONCERTS Led by Music Director Michael Francis Our premier series of history’s greatest music, plus exciting new works from a wide range of composers. Bonus! Each ticket includes a free Pre-concert Conversation with musicians and conductors that takes a deep dive into the stories behind the music, starting one hour before the performance. Beethoven’s Fifth Tchaikovsky’s Violin Concerto With Vivaldi’s Four Seasons With Rachmaninoff’s Symphonic Dances Michael Francis, conductor Michael Francis, conductor Jeffrey Multer, violin Stefan Jackiw, violin Michael Ippolito: New commission Joseph Beverly, saxophone Michael Francis, Music Director Vivaldi: The Four Seasons John Shaw, vibraphone Beethoven: Symphony No. 5 John Williams: Escapades (From Catch Me If You Can) Fri, Sept 24, 8 pm, Straz Center, Morsani Tchaikovsky: Violin Concerto Sat, Sept 25, 8 pm, Mahaffey Theater Rachmaninoff: Symphonic Dances Sun, Sept 26, 7:30 pm, Ruth Eckerd Hall Sat, Nov 6, 8 pm, Mahaffey Theater Sun, Nov 7, 7:30 pm, Ruth Eckerd Hall Symphonie Fantastique With Joël Vaisse on Trombone Concerto Pictures at an Exhibition Andrew Sewell, conductor With Augustin Hadelich on Prokofiev Joël Vaisse, trombone Vladimir Kulenovic, conductor Dukas: The Sorcerer’s Apprentice Augustin Hadelich, violin Thierry Caens: Contrasts Trombone Concerto Lera Auerbach: Icarus Berlioz: Symphonie fantastique Prokofiev: Violin Concerto No. 2 Sat, Oct 23, 8 pm, Mahaffey Theater Mussorgsky/Ravel: Pictures at an Exhibition Sun, Oct 24, 2 pm, Mahaffey Theater — Matinee Sat, Nov 13, 8 pm, Mahaffey Theater Sun, Nov 14, 2 pm, Straz Center, Morsani — Matinee Cover photo by Alex McKnight Time for Three 2 The Florida Orchestra @FlaOrchestra @thefloridaorchestra Subscribe to our channel MASTERWORKS CONCERTS JOIN US FOR EPIC MASTERPIECES 21 22 Mahler’s Symphony No. 5 With Mozart’s Piano Concerto No. 23 Michael Francis, conductor Anne-Marie McDermott, piano Mozart: Piano Concerto No. 23 Mahler: Symphony No. 5 Sat, Dec 4, 8 pm, Mahaffey Theater Akiko Fujimoto, Conductor Milos, Guitar Sun, Dec 5, 2 pm, Straz Center, Morsani — Matinee Prokofiev’s Romeo and Juliet Time for Three With Gershwin’s Piano Concerto The Intersection of Americana, Pop and Classical Daniel Black, conductor Akiko Fujimoto, conductor Time for Three, soloists Sara Davis Buechner, piano Kevin Puts: Triple Concerto for Time for Three & Orchestra Polina Nazaykinskaya: Winter Bells Gabriela Lena Frank: Three Latin-American Dances Gershwin: Concerto in F Bernstein: Symphonic Dances from West Side Story Prokofiev: Suite from Romeo and Juliet Sat, Mar 26, 8 pm, Mahaffey Theater Sat, Jan 8, 8 pm, Mahaffey Theater Sun, Mar 27, 2 pm, Mahaffey Theater — Matinee Sun, Jan 9, 7:30 pm, Ruth Eckerd Hall Karen Gomyo Plays Brahms Milos Plays Concierto de Aranjuez Featuring Debussy’s La Mer Michael Francis, conductor Milos, guitar Larry Rachleff, conductor Karen Gomyo, violin Rodion Shchedrin: Carmen Suite (after Bizet) Joaquin Rodrigo: Concierto de Aranjuez Brahms: Violin Concerto Gabriela Lena Frank: APU: Tone Poem for Orchestra Fri, Apr 1, 8 pm, Straz Center, Ferguson Debussy: La Mer Sat, Apr 2, 8 pm, Mahaffey Theater Sun, Apr 3, 7:30 pm, Ruth Eckerd Hall Sat, Jan 22, 8 pm, Mahaffey Theater Sun, Jan 23, 7:30 pm, Ruth Eckerd Hall Mozart’s Requiem Beethoven’s Symphony No. 9 With The Master Chorale of Tampa Bay With The Master Chorale of Tampa Bay Michael Francis, conductor The Master Chorale of Tampa Bay Michael Francis, conductor Brett Karlin, artistic director The Master Chorale of Tampa Bay Brett Karlin, artistic director Hildegard von Bingen: O virtus sapientiae Mindaugas Urbaitis: Lacrimosa Beethoven: Symphony No. 9 Britten: Sinfonia da Requiem Fri, Jan 28, 8 pm, Straz Center, Morsani Allegri: Miserere Mei, Deus Sat, Jan 29, 8 pm, Mahaffey Theater Mozart: Requiem Sun, Jan 30, 7:30 pm, Ruth Eckerd Hall Fri, May 13, 8 pm, Straz Center, Morsani Sat, May 14, 8 pm, Mahaffey Theater Tchaikovsky’s Piano Concerto No. 1 Sun, May 15, 7:30 pm, Ruth Eckerd Hall With Stravinsky’s The Firebird Michael Francis, conductor Tchaikovsky’s Symphony No. 5 Conrad Tao, piano With Benjamin Grosvenor on Prokofiev Tchaikovsky: Piano Concerto No. 1 Michael Francis, conductor Stravinsky: The Firebird (Complete) Benjamin Grosvenor, piano Sat, Feb 19, 8 pm, Mahaffey Theater Prokofiev: Piano Concerto No. 3 Sun, Feb 20, 7:30 pm, Ruth Eckerd Hall Tchaikovsky: Symphony No. 5 Sat, May 21, 8 pm, Mahaffey Theater Classical Music is for Kids & Teens Too Sun, May 22, 7:30 pm, Ruth Eckerd Hall Ages 5-18 get in FREE to all Masterworks concerts with Classical Kids tickets. Adult ticket purchase required. Available only Call Today or Visit Us Online Time for Three through The Florida Orchestra Ticket Center. Seats will be Mon-Fri 9 am-5 pm, 727.892.3337 or 1.800.662.7286 assigned during Subscriber Appreciation Week in August. FloridaOrchestra.org 3 2021/2022 Premium Fixed Package Options Straz Center in Tampa Imperial Package - 13 Masterworks concerts Intermezzo Package - 10 Masterworks concerts Beethoven’s Fifth Fri, Sept 24, 8 pm Beethoven’s Fifth Fri, Sept 24, 8 pm Symphonie Fantastique Sat, Oct 23, 8 pm, MAH Symphonie Fantastique Sat, Oct 23, 8 pm, MAH Tchaikovsky’s Violin Concerto Sat, Nov 6, 8 pm, MAH Pictures at an Exhibition Sun, Nov 14, 2 pm Matinee (AD) Pictures at an Exhibition Sun, Nov 14, 2 pm, Matinee (AD) Mahler’s Symphony No. 5 Sun, Dec 5, 2 pm Matinee (AD) Mahler’s Symphony No. 5 Sun, Dec 5, 2 pm, Matinee (AD) Beethoven’s Symphony No. 9 Fri, Jan 28, 8 pm Prokofiev’s Romeo and JulietSat, Jan 8, 8 pm, MAH Tchaikovsky’s Piano Concerto No. 1 Sat, Feb 19, 8 pm, MAH Karen Gomyo Plays Brahms Sat, Jan 22, 8 pm, MAH Time for Three Sat, Mar 26, 8 pm, MAH Beethoven’s Symphony No. 9 Fri, Jan 28, 8 pm Milos plays Rodrigo Guitar Concerto Fri, Apr 1, 8 pm Tchaikovsky’s Piano Concerto No. 1 Sat, Feb 19, 8 pm, MAH Mozart’s Requiem Fri, May 13, 8 pm Time for Three Sat, Mar 26, 8 pm, MAH Tchaikovsky’s Symphony No. 5 Sat, May 21, 8 pm, MAH Milos plays Rodrigo Guitar Concerto Fri, Apr 1, 8 pm Mozart’s Requiem Fri, May 13, 8 pm Ovation Package - 6 Masterworks concerts Tchaikovsky’s Symphony No. 5 Sat, May 21, 8 pm, MAH Symphonie Fantastique Sat, Oct 23, 8 pm, MAH Tchaikovsky’s Violin Concerto Sat, Nov 6, 8 pm, MAH Fanfare Package - 7 Masterworks concerts Pictures at an Exhibition Sun, Nov 14, 2 pm, Matinee (AD) Beethoven’s Fifth Fri, Sept 24, 8 pm Karen Gomyo Plays Brahms Sat, Jan 22, 8 pm, MAH Mahler’s Symphony No. 5 Sun, Dec 5, 2 pm, Matinee (AD) Beethoven’s Symphony No. 9 Fri, Jan 28, 8 pm Prokofiev’s Romeo and JulietSat, Jan 8, 8 pm, MAH Mozart’s Requiem Fri, May 13, 8 pm Tchaikovsky’s Piano Concerto No. 1 Sat, Feb 19, 8 pm, MAH Time for Three Sat, Mar 26, 8 pm, MAH For package prices please see page 8. Milos plays Rodrigo Guitar Concerto Fri, Apr 1, 8 pm • Indicates Alternate Day (AD) - Sunday 2pm at Straz Tchaikovsky’s Symphony No. 5 Sat, May 21, 8 pm, MAH • Indicates Alternate Venue, Mahaffey Theater (MAH) The Mahaffey Theater in St. Petersburg Imperial Package – 13 Masterworks concerts Intermezzo Package - 10 Masterworks concerts Beethoven’s Fifth Sat, Sept 25, 8 pm Beethoven’s Fifth Sat, Sept 25, 8 pm Symphonie Fantastique Sat, Oct 23, 8 pm Symphonie Fantastique Sat, Oct 23, 8 pm Tchaikovsky’s Violin Concerto Sat, Nov 6, 8 pm Pictures at an Exhibition Sat, Nov 13, 8 pm Pictures at an Exhibition Sat, Nov 13, 8 pm Mahler’s Symphony No. 5 Sat, Dec 4, 8 pm Mahler’s Symphony No. 5 Sat, Dec 4, 8 pm Beethoven’s Symphony No. 9 Sat, Jan 29, 8 pm Prokofiev’s Romeo and Juliet Sat, Jan 8, 8 pm Tchaikovsky’s Piano Concerto No. 1 Sat, Feb 19, 8 pm Karen Gomyo Plays Brahms Sat, Jan 22, 8 pm Time for Three Sat, Mar 26, 8 pm Beethoven’s Symphony No. 9 Sat, Jan 29, 8 pm Milos plays Rodrigo Guitar Concerto Sat, Apr 2, 8 pm Tchaikovsky’s Piano Concerto No. 1 Sat, Feb 19, 8 pm Mozart’s Requiem Sat, May 14, 8 pm Time for Three Sat, Mar 26, 8 pm Tchaikovsky’s Symphony No. 5 Sat, May 21, 8 pm Milos plays Rodrigo Guitar Concerto Sat, Apr 2, 8 pm Mozart’s Requiem Sat, May 14, 8 pm Ovation Package - 6 Masterworks concerts Tchaikovsky’s Symphony No. 5 Sat, May 21, 8 pm Symphonie Fantastique Sat, Oct 23, 8 pm Tchaikovsky’s Violin Concerto Sat, Nov 6, 8 pm Fanfare Package - 7 Masterworks concerts Karen Gomyo Plays Brahms Sat, Jan 22, 8 pm Beethoven’s Fifth Sat, Sept 25, 8 pm Beethoven’s Symphony No. 9 Sat, Jan 29, 8 pm Pictures at an Exhibition Sat, Nov 13, 8 pm Time for Three Sat, Mar 26, 8 pm Mahler’s Symphony No. 5 Sat, Dec 4, 8 pm Mozart’s Requiem Sat, May 14, 8 pm Prokofiev’s Romeo and Juliet Sat, Jan 8, 8 pm Tchaikovsky’s Piano Concerto No. 1 Sat, Feb 19, 8 pm Milos plays Rodrigo Guitar Concerto Sat, Apr 2, 8 pm For package prices please see page 8. Tchaikovsky’s Symphony No. 5 Sat, May 21, 8 pm Ruth Eckerd Hall in Clearwater Imperial Package – 13 Masterworks concerts Intermezzo Package - 10 Masterworks concerts Beethoven’s Fifth Sun, Sept 26, 7:30 pm Beethoven’s Fifth Sun, Sept 26, 7:30 pm Symphonie Fantastique Sun, Oct 24, 2 pm, Matinee MAH Tchaikovsky’s Violin Concerto Sun, Nov 7, 7:30 pm Tchaikovsky’s Violin Concerto Sun, Nov 7, 7:30 pm Prokofiev’s Romeo and Juliet Sun, Jan 9, 7:30 pm Pictures at an Exhibition Sun, Nov 14, 2 pm, Matinee Straz Karen Gomyo Plays Brahms Sun, Jan 23, 7:30 pm Mahler’s Symphony No.
Load more

Recommended publications
  • Benjamin Britten: a Catalogue of the Orchestral Music
    BENJAMIN BRITTEN: A CATALOGUE OF THE ORCHESTRAL MUSIC 1928: “Quatre Chansons Francaises” for soprano and orchestra: 13 minutes 1930: Two Portraits for string orchestra: 15 minutes 1931: Two Psalms for chorus and orchestra Ballet “Plymouth Town” for small orchestra: 27 minutes 1932: Sinfonietta, op.1: 14 minutes Double Concerto in B minor for Violin, Viola and Orchestra: 21 minutes (unfinished) 1934: “Simple Symphony” for strings, op.4: 14 minutes 1936: “Our Hunting Fathers” for soprano or tenor and orchestra, op. 8: 29 minutes “Soirees musicales” for orchestra, op.9: 11 minutes 1937: Variations on a theme of Frank Bridge for string orchestra, op. 10: 27 minutes “Mont Juic” for orchestra, op.12: 11 minutes (with Sir Lennox Berkeley) “The Company of Heaven” for two speakers, soprano, tenor, chorus, timpani, organ and string orchestra: 49 minutes 1938/45: Piano Concerto in D major, op. 13: 34 minutes 1939: “Ballad of Heroes” for soprano or tenor, chorus and orchestra, op.14: 17 minutes 1939/58: Violin Concerto, op. 15: 34 minutes 1939: “Young Apollo” for Piano and strings, op. 16: 7 minutes (withdrawn) “Les Illuminations” for soprano or tenor and strings, op.18: 22 minutes 1939-40: Overture “Canadian Carnival”, op.19: 14 minutes 1940: “Sinfonia da Requiem”, op.20: 21 minutes 1940/54: Diversions for Piano(Left Hand) and orchestra, op.21: 23 minutes 1941: “Matinees musicales” for orchestra, op. 24: 13 minutes “Scottish Ballad” for Two Pianos and Orchestra, op. 26: 15 minutes “An American Overture”, op. 27: 10 minutes 1943: Prelude and Fugue for eighteen solo strings, op. 29: 8 minutes Serenade for tenor, horn and strings, op.
    [Show full text]
  • Taking Flight Beginning with a Tribute to Lindbergh, the St
    TAKING FLIGHT BEGINNING WITH A TRIBUTE TO LINDBERGH, THE ST. LOUIS SYMPHONY EXPRESSES THE SPIRIT OF ST. LOUIS. BY EDDIE SILVA DILIP VISHWANAT David Robertson Begin with a new beginning. The St. Louis Symphony’s 2016-17 season, its 137th, starts with the turn of a propeller, a steep rise into uncluttered skies, and a lonely, perilous journey that changed how people lived, thought, and dreamed. Charles Lindbergh’s silvery craft was christened The Spirit of St. Louis, and pilot and aircraft made their historic flight together across the Atlantic 90 years ago. The name “Spirit of St. Louis” also reflects upon the daring and innovation of a few St. Louisans early in the 20th century. It also speaks to St. Louis now, near the beginning of a new century amidst a whirlwind of innovation that turns more swiftly than a propeller. The St. Louis Symphony, Music Director David Robertson has remarked often, embodies that spirit: innovative, daring, risk-taking, enduring, agile, resourceful—give it an engine and a pair of wings and you’ll see Paris by morning. Kurt Weill’s The Flight of Lindbergh opens the 2016-17 season (September 16-17). Described as a “radio cantata,” it is one of the early collaborations between Weill and Bertolt Brecht, who created the classic The Threepenny Opera as well as other distinctive Brecht/Weill productions. KMOX’s Charlie Brennan provides the radio expertise as narrator of The Flight of Lindbergh. This 1929 work, written in the flush of inspiration that followed Lindbergh’s 6 Taking Flight achievement, will feel fresh, new, and innovative in 2016.
    [Show full text]
  • 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.
    [Show full text]
  • 95.3 Fm 95.3 Fm
    October/NovemberMarch/April 2013 2017 VolumeVolume 41, 46, No. No. 3 1 !"#$%&'95.3 FM Brahms: String Sextet No. 2 in G, Op. 36; Marlboro Ensemble Saeverud: Symphony No. 9, Op. 45; Dreier, Royal Philharmonic WHRB Orchestra (Norwegian Composers) Mozart: Clarinet Quintet in A, K. 581; Klöcker, Leopold Quartet 95.3 FM Gombert: Missa Tempore paschali; Brown, Henry’s Eight Nielsen: Serenata in vano for Clarinet,Bassoon,Horn, Cello, and October-November, 2017 Double Bass; Brynildsen, Hannevold, Olsen, Guenther, Eide Pokorny: Concerto for Two Horns, Strings, and Two Flutes in F; Baumann, Kohler, Schröder, Concerto Amsterdam (Acanta) Barrios-Mangoré: Cueca, Aire de Zamba, Aconquija, Maxixa, Sunday, October 1 for Guitar; Williams (Columbia LP) 7:00 am BLUES HANGOVER Liszt: Grande Fantaisie symphonique on Themes from 11:00 am MEMORIAL CHURCH SERVICE Berlioz’s Lélio, for Piano and Orchestra, S. 120; Howard, Preacher: Professor Jonathan L. Walton, Plummer Professor Rickenbacher, Budapest Symphony Orchestra (Hyperion) of Christian Morals and Pusey Minister in The Memorial 6:00 pm MUSIC OF THE SOVIET UNION Church,. Music includes Kodály’s Missa brevis and Mozart’s The Eve of the Revolution. Ave verum corpus, K. 618. Scriabin: Sonata No. 7, Op. 64, “White Mass” and Sonata No. 9, 12:30 pm AS WE KNOW IT Op. 68, “Black Mass”; Hamelin (Hyperion) 1:00 pm CRIMSON SPORTSTALK Glazounov: Piano Concerto No. 2 in B, Op. 100; Ponti, Landau, 2:00 pm SUNDAY SERENADE Westphalian Orchestra of Recklinghausen (Turnabout LP) 6:00 pm HISTORIC PERFORMANCES Rachmaninoff: Vespers, Op. 37; Roudenko, Russian Chamber Prokofiev: Violin Concerto No. 2 in g, Op.
    [Show full text]
  • Form in the Music of John Adams
    Graduate Theses, Dissertations, and Problem Reports 2018 Form in the Music of John Adams Michael Ridderbusch Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Ridderbusch, Michael, "Form in the Music of John Adams" (2018). Graduate Theses, Dissertations, and Problem Reports. 6503. https://researchrepository.wvu.edu/etd/6503 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Form in the Music of John Adams Michael Ridderbusch DMA Research Paper submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music Theory and Composition Andrew Kohn, Ph.D., Chair Travis D. Stimeling, Ph.D. Melissa Bingmann, Ph.D. Cynthia Anderson, MM Matthew Heap, Ph.D. School of Music Morgantown, West Virginia 2017 Keywords: John Adams, Minimalism, Phrygian Gates, Century Rolls, Son of Chamber Symphony, Formalism, Disunity, Moment Form, Block Form Copyright ©2017 by Michael Ridderbusch ABSTRACT Form in the Music of John Adams Michael Ridderbusch The American composer John Adams, born in 1947, has composed a large body of work that has attracted the attention of many performers and legions of listeners.
    [Show full text]
  • A Formal Analytical Approach Was Utilized to Develop Chart Analyses Of
    ^ DOCUMENT RESUME ED 026 970 24 HE 000 764 .By-Hanson, John R. Form in Selected Twentieth-Century Piano Concertos. Final Report. Carroll Coll., Waukesha, Wis. Spons Agency-Office of Education (DHEW), Washington, D.C. Bureauof Research. Bureau No-BR-7-E-157 Pub Date Nov 68 Crant OEC -0 -8 -000157-1803(010) Note-60p. EDRS Price tvw-s,ctso HC-$3.10 Descriptors-Charts, Educational Facilities, *Higher Education, *Music,*Music Techniques, Research A formal analytical approach was utilized to developchart analyses of all movements within 33 selected piano concertoscomposed in the twentieth century. The macroform, or overall structure, of each movement wasdetermined by the initial statement, frequency of use, andorder of each main thematic elementidentified. Theme groupings were then classified underformal classical prototypes of the eighteenth and nineteenth centuries (ternary,sonata-allegro, 5-part or 7-part rondo, theme and variations, and others), modified versionsof these forms (three-part design), or a variety of free sectionalforms. The chart and thematic illustrations are followed by a commentary discussing each movement aswell as the entire concerto. No correlation exists between styles andforms of the 33 concertos--the 26 composers usetraditional,individualistic,classical,and dissonant formsina combination of ways. Almost all works contain commonunifying thematic elements, and cyclicism (identical theme occurring in more than1 movement) is used to a great degree. None of the movements in sonata-allegroform contain double expositions, but 22 concertos have 3 movements, and21 have cadenzas, suggesting that the composers havelargely respected standards established in theClassical-Romantic period. Appendix A is the complete form diagramof Samuel Barber's Piano Concerto, Appendix B has concentrated analyses of all the concertos,and Appendix C lists each movement accordog to its design.(WM) DE:802 FINAL REPORT Project No.
    [Show full text]
  • Repertoire List
    APPROVED REPERTOIRE FOR 2022 COMPETITION: Please choose your repertoire from the approved selections below. Repertoire substitution requests will be considered by the Charlotte Symphony on an individual case-by-case basis. The deadline for all repertoire approvals is September 15, 2021. Please email [email protected] with any questions. VIOLIN VIOLINCELLO J.S. BACH Violin Concerto No. 1 in A Minor BOCCHERINI All cello concerti Violin Concerto No. 2 in E Major DVORAK Cello Concerto in B Minor BEETHOVEN Romance No. 1 in G Major Romance No. 2 in F Major HAYDN Cello Concerto No. 1 in C Major Cello Concerto No. 2 in D Major BRUCH Violin Concerto No. 1 in G Minor LALO Cello Concerto in D Minor HAYDN Violin Concerto in C Major Violin Concerto in G Major SAINT-SAENS Cello Concerto No. 1 in A Minor Cello Concerto No. 2 in D Minor LALO Symphonie Espagnole for Violin SCHUMANN Cello Concerto in A Minor MENDELSSOHN Violin Concerto in E Minor DOUBLE BASS MONTI Czárdás BOTTESINI Double Bass Concerto No. 2in B Minor MOZART Violin Concerti Nos. 1 – 5 DITTERSDORF Double Bass Concerto in E Major PROKOFIEV Violin Concerto No. 2 in G Minor DRAGONETTI All double bass concerti SAINT-SAENS Introduction & Rondo Capriccioso KOUSSEVITSKY Double Bass Concerto in F# Minor Violin Concerto No. 3 in B Minor HARP SCHUBERT Rondo in A Major for Violin and Strings DEBUSSY Danses Sacrée et Profane (in entirety) SIBELIUS Violin Concerto in D Minor DITTERSDORF Harp Concerto in A Major VIVALDI The Four Seasons HANDEL Harp Concerto in Bb Major, Op.
    [Show full text]
  • Flute Concerto (Symphonic Tale), Op
    Clarinet Concerto No. 1 in F minor, Op. 73 Carl Maria von Weber I. Allegro (1786-1826) Taylor Heap, clarinet Lara Urrutia, piano Cello Concerto in B minor, Op. 104, B. 191 Antonin Dvorák SOLO CONCERTO COMPETITION I. Allegro (1841-1904) Finals Xue Chen, cello Monday, November 3, 2014 - 2 p.m. Stephanie Lovell, piano MEMORIAL CHAPEL The Bell Song Léo Delibes SET I (1836-1891) Flute Concerto (Symphonic Tale), Op. 43a Peter Benoit Caro Nome Guiseppe Verdi Movements I & II (excerpt) (1834-1901) Mayu Uchiyama, soprano Victoria Jones, flute Edward Yarnelle, piano Lara Urrutia, piano - BREAK - Di Provenza il mar, il suol Giuseppe Verdi from La Traviata (1813-1901) SET II Ein Madehen oder Weibchen Wolfgang Amadeus Mozart Piano Concerto No. 2 in F minor, Op. 21 Frédéric Chopin from Die Zauberflöte (1756-1791) I. Maestoso (1810-1849) Justin Brunette, baritone Michael Malakouti, piano Richard Bentley, piano Lara Urrutia, piano Piano Concerto in A minor, Op. 16 Edvard Grieg I. Allegro molto moderato (1843-1907) Amy Rooney, piano Stephanie Lovell, piano Que fais-tu, blanche tourterelle Charles Gounod ABOUT THE CONCERTO COMPETITION from Roméo et Juliette (1818-1893) Beginning in 1976, the Concerto Competition has become an annual event Cruda Sorte Gioacchino Rossini for the University of Redlands School of Music and its students. Music from L’Ataliana in Algeri (1792-1868) students compete for the coveted prize of performing as soloist with the Redlands Symphony Orchestra, the University Orchestra or the Wind Jordan Otis, soprano Ensemble. Twyla Meyer, piano This year the Preliminary Rounds of the Competition took place on Friday, October 31st and Saturday, November 1st.
    [Show full text]
  • View List (.Pdf)
    Symphony Society of New York Stadium Concert United States Premieres New York Philharmonic Commission as of November 30, 2020 NY PHIL Biennial Members of / musicians from the New York Philharmonic Click to jump to decade 1842-49 | 1850-59 | 1860-69 | 1870-79 | 1880-89 | 1890-99 | 1900-09 | 1910-19 | 1920-29 | 1930-39 1940-49 | 1950-59 | 1960-69 | 1970-79 | 1980-89 | 1990-99 | 2000-09 | 2010-19 | 2020 Composer Work Date Conductor 1842 – 1849 Beethoven Symphony No. 3, Sinfonia Eroica 18-Feb 1843 Hill Beethoven Symphony No. 7 18-Nov 1843 Hill Vieuxtemps Fantasia pour le Violon sur la quatrième corde 18-May 1844 Alpers Lindpaintner War Jubilee Overture 16-Nov 1844 Loder Mendelssohn The Hebrides Overture (Fingal's Cave) 16-Nov 1844 Loder Beethoven Symphony No. 8 16-Nov 1844 Loder Bennett Die Najaden (The Naiades) 1-Mar 1845 Wiegers Mendelssohn Symphony No. 3, Scottish 22-Nov 1845 Loder Mendelssohn Piano Concerto No. 1 17-Jan 1846 Hill Kalliwoda Symphony No. 1 7-Mar 1846 Boucher Furstenau Flute Concerto No. 5 7-Mar 1846 Boucher Donizetti "Tutto or Morte" from Faliero 20-May 1846 Hill Beethoven Symphony No. 9, Choral 20-May 1846 Loder Gade Grand Symphony 2-Dec 1848 Loder Mendelssohn Violin Concerto in E minor 24-Nov 1849 Eisfeld Beethoven Symphony No. 4 24-Nov 1849 Eisfeld 1850 – 1859 Schubert Symphony in C major, Great 11-Jan 1851 Eisfeld R. Schumann Introduction and Allegro appassionato for Piano and 25-Apr 1857 Eisfeld Orchestra Litolff Chant des belges 25-Apr 1857 Eisfeld R. Schumann Overture to the Incidental Music to Byron's Dramatic 21-Nov 1857 Eisfeld Poem, Manfred 1860 - 1869 Brahms Serenade No.
    [Show full text]
  • EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES from The
    EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES From the 19th Century To the Present A Discography Of CDs And LPs Prepared by Michael Herman Composers K-P MILOSLAV KABELÁČ (1908-1979, CZECH) Born in Prague. He studied composition at the Prague Conservatory under Karel Boleslav Jirák and conducting under Pavel Dedeček and at its Master School he studied the piano under Vilem Kurz. He then worked for Radio Prague as a conductor and one of its first music directors before becoming a professor of the Prague Conservatoy where he served for many years. He produced an extensive catalogue of orchestral, chamber, instrumental, vocal and choral works. Symphony No. 1 in D for Strings and Percussion, Op. 11 (1941–2) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 2, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 2 in C for Large Orchestra, Op. 15 (1942–6) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 3 in F major for Organ, Brass and Timpani, Op. 33 (1948-57) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 2, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Libor Pešek/Alena Veselá(organ)/Brass Harmonia ( + Kopelent: Il Canto Deli Augei and Fišer: 2 Piano Concerto) SUPRAPHON 1110 4144 (LP) (1988) Symphony No. 4 in A major, Op. 36 "Chamber" (1954-8) Marko Ivanovic/Czech Chamber Philharmonic Orchestra, Pardubice ( + Martin·: Oboe Concerto and Beethoven: Symphony No. 1) ARCO DIVA UP 0123 - 2 131 (2009) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos.
    [Show full text]
  • Percy Grainger, Frederick Delius and the 1914–1934 American ‘Delius Campaign’
    ‘The Art-Twins of Our Timestretch’: Percy Grainger, Frederick Delius and the 1914–1934 American ‘Delius Campaign’ Catherine Sarah Kirby Submitted in total fulfilment of the requirements of the degree of Master of Music (Musicology) April 2015 Melbourne Conservatorium of Music The University of Melbourne Produced on archival quality paper Abstract This thesis explores Percy Grainger’s promotion of the music of Frederick Delius in the United States of America between his arrival in New York in 1914 and Delius’s death in 1934. Grainger’s ‘Delius campaign’—the title he gave to his work on behalf of Delius— involved lectures, articles, interviews and performances as both a pianist and conductor. Through this, Grainger was responsible for a number of noteworthy American Delius premieres. He also helped to disseminate Delius’s music by his work as a teacher, and through contact with publishers, conductors and the press. In this thesis I will examine this campaign and the critical reception of its resulting performances, and question the extent to which Grainger’s tireless promotion affected the reception of Delius’s music in the USA. To give context to this campaign, Chapter One outlines the relationship, both personal and compositional, between Delius and Grainger. This is done through analysis of their correspondence, as well as much of Grainger’s broader and autobiographical writings. This chapter also considers the relationship between Grainger, Delius and others musicians within their circle, and explores the extent of their influence upon each other. Chapter Two examines in detail the many elements that made up the ‘Delius campaign’.
    [Show full text]
  • PROGRAM NOTES by Phillip Huscher
    PROGRAM NOTES by Phillip Huscher Wolfgang Mozart – Piano Concerto No. 20 in D Minor, K. 464 Born January 27, 1756, Salzburg, Austria. Died December 5, 1791, Vienna, Austria. Piano Concerto No. 20 in D Minor, K. 464 Mozart entered this concerto in his catalog on February 10, 1785, and performed the solo in the premiere the next day in Vienna. The orchestra consists of one flute, two oboes, two bassoons, two horns, two trumpets, timpani, and strings. At these concerts, Shai Wosner plays Beethoven’s cadenza in the first movement and his own cadenza in the finale. Performance time is approximately thirty-four minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Mozart’s Piano Concerto no. 20 were given at Orchestra Hall on January 14 and 15, 1916, with Ossip Gabrilowitsch as soloist and Frederick Stock conducting. Our most recent subscription concert performances were given on March 15, 16, and 17, 2007, with Mitsuko Uchida conducting from the keyboard. The Orchestra first performed this concerto at the Ravinia Festival on July 6, 1961, with John Browning as soloist and Josef Krips conducting, and most recently on July 8, 2007, with Jonathan Biss as soloist and James Conlon conducting. This is the Mozart piano concerto that Beethoven admired above all others. It’s the only one he played in public (and the only one for which he wrote cadenzas). Throughout the nineteenth century, it was the sole concerto by Mozart that was regularly performed—its demonic power and dark beauty spoke to musicians who had been raised on Beethoven, Chopin, and Liszt.
    [Show full text]