Autumn/Winter Season 2021 Concerts at the Bridgewater Hall Music Director Sir Mark Elder Ch Cbe a Warm Welcome to the Hallé’S New Season!

Total Page:16

File Type:pdf, Size:1020Kb

Autumn/Winter Season 2021 Concerts at the Bridgewater Hall Music Director Sir Mark Elder Ch Cbe a Warm Welcome to the Hallé’S New Season! ≥ AUTUMN/WINTER SEASON 2021 CONCERTS AT THE BRIDGEWATER HALL MUSIC DIRECTOR SIR MARK ELDER CH CBE A WARM WELCOME TO THE HALLÉ’S NEW SEASON! We are all thrilled to be able to welcome everyone back to The Bridgewater Hall once more for a full, if shortened, Hallé autumn season. As we glimpse normality again, we can, together, look forward to some magnificent music-making. We will announce our spring concerts in October, but until then there are treasures to be discovered and wonderful stories to be told. Many of you will look forward to hearing some of the repertoire’s great masterpieces, heard perhaps afresh after so long an absence. We particularly look forward to performing these works for people new to our concerts, curious and keen to experience something special. 2 THE HALLÉ’S AUTUMN/WINTER SEASON 2021 AT THE BRIDGEWATER HALL My opening trio of programmes includes Sibelius’s ever-popular Second Symphony, Elgar’s First – given its world premiere by the Hallé in 1908 – and Brahms’s glorious Third, tranquil and poignant, then dramatic and peaceful once more. Delyana Lazarova, our already acclaimed Assistant Conductor, will perform Dvoˇrák’s ‘New World’ Symphony and Gemma New will conduct Copland’s euphoric Third, with its finale inspired by the composer’s own Fanfare for the Common Man. You can look forward to Mussorgsky’s Pictures from an Exhibition, in Ravel’s famous arrangement, Nicola Benedetti playing Wynton Marsalis’s Violin Concerto, Boris Giltburg performing Rachmaninov’s Fourth Piano Concerto, Natalya Romaniw singing Richard Strauss’s Four Last Songs and Elisabeth Brauß playing Grieg’s wonderfully Romantic Piano Concerto. We always want to offer you some wonderful surprises to sit alongside these great works. Our short season offers an inspirational selection: Lera Auerbach’s fateful and evocative Icarus; Florence Price’s ground-breaking Ethiopia’s Shadow in America (and what a story that is); Dorothy Howell’s Keats- inspired Lamia and Thea Musgrave’s homage to Sibelius, Song of the Enchanter. There is a stirring and entertaining programme of Hallé Pops concerts, including a celebration of the music of Elton John and Nashville country classics. Please don’t miss our new series of chamber music concerts at Hallé St Peter’s, details of which you will find throughout this brochure. You can also look forward to celebrating Christmas, perhaps with more joy and gusto than ever. New or familiar, whatever your personal favourites are, we are delighted to share this wonderful music with you, and cannot wait to see you all again. Sir Mark Elder THE HALLÉ’S AUTUMN/WINTER SEASON 2021 AT THE BRIDGEWATER HALL 3 THE HALLÉ’S AUTUMN/WINTER SEASON 2021 YOUR SAFETY AND WELL-BEING The safety and well-being of our audiences and players is the Hallé and The Bridgewater Hall’s first concern. We will keep you fully informed of any changes or recommendations that come into effect over the next few months. We are strongly advising everyone to continue to wear masks where possible. The Hall will continue its thorough cleaning regime between performances, and we expect hand sanitizer to continue to be widely available. We urge you to consult www.bridgewater-hall.co.uk/your-visit which has full and regularly updated details. In this brochure you can find all of our concerts in The Bridgewater Hall. We have also programmed a series of chamber music events in the more intimate surroundings of Hallé St Peter’s, allowing you to get closer to the music. See page 27 for ticket prices and booking information for these chamber concerts. Our concerts include many pieces that form part of the new ‘Model Music’ Curriculum for Key Stages 1 to 3. Pieces that are included in the curriculum are marked with this graphic followed by the relevant school year. Find out more about Hallé Connect, our education programme and our Set Works concerts on page 22. Join us before many of our concerts for additional events which range from discussions focusing on an aspect of the evening’s programme to performances by local students. These events are free to concert ticket holders. Some of our concerts will be filmed for future digital release. Details will be available at www.halle.co.uk at a later date. If you enjoyed our past digital concerts or want to experience them for the first time, we have released some extracts taken from the 20/21 digital season which are now available to view on Apple Music. To find out more visit www.halle.co.uk/stream-on-apple-music-classical-live All artists, programmes and prices are correct at the time of going to press, but may change in the event of unforeseen circumstances. Keep up to date at www.halle.co.uk 4 THE HALLÉ’S AUTUMN/WINTER SEASON 2021 AT THE BRIDGEWATER HALL THURSDAY 23 SEPTEMBER, 7.30PM SUNDAY 26 SEPTEMBER, 4PM WEDNESDAY 29 SEPTEMBER, 2.15PM SIBELIUS’S SYMPHONY NO.2 Vaughan Williams Fantasia on a Theme by Thomas Tallis 15' Ravel Piano Concerto in G major 23' Thea Musgrave Song of the Enchanter 6' Sibelius Symphony No.2 43' Sir Mark Elder CONDUCTOR • Benjamin Grosvenor PIANO Many of our concerts this season help tell the stories of composers and the music you will hear. Opening the season, Sir Mark offers the first of our ‘Stories behind the music’ concerts. What Vaughan Williams learnt from Ravel about orchestration was put to superb effect in the string sonorities of the Tallis Fantasia, his spiritual, moving first masterpiece. Benjamin Grosvenor deepens his ongoing relationship with the Hallé with Ravel’s G major concerto, which has, Sir Mark feels, ‘something of the circus never far away in the music’; it’s laced with solos that players relish and is blessed by a song-like slow movement of breath-taking beauty. Conceived in Italy, Mediterranean warmth unlocked Sibelius’s creativity in his majestic Second Symphony. Infused with late-Romantic melodies, it was the Hallé, under Richter, who gave the British premiere. It is prefaced by Thea Musgrave’s short Sibelian homage, which, replete with glowing orchestral textures and subtle quotes from the Master, is inspired by a story from the Kalevala, Finland’s national epic. At these concerts we celebrate the Halle’s family of corporate supporters who so generously continued their support throughout the last 18 months. ≥ ST PETER’S CHAMBER MUSIC SERIES SATURDAY 25 SEPTEMBER, 1PM AT HALLÉ ST PETER’S SCHUMANN’S PIANO QUARTET Mozart Adagio and Fugue K546 7' Sofia Gubaidulina Reflections on the Theme B-A-C-H 7' Schumann Fugue No.6 from 6 Fugues on the Name of B.A.C.H. 7' Schumann Piano Quartet 28' Benjamin Grosvenor PIANO Eva Þórarinsdóttir VIOLIN • Rosemary Attree VIOLIN Martin Schäfer VIOLA • Nicholas Trygstad CELLO The art of counterpoint – the way composers combine simultaneous melodic lines – is celebrated in works from different eras, each paying homage to J. S. Bach. Sofia Gubaidulina’s quartet provides an taster to her powerful Offertorium, itself growing out of a Bach quotation, which the Hallé plays on 30 September. Alongside his performances of Ravel with the Hallé, Benjamin Grosvenor joins a trio of the players for Schumann’s glorious Piano Quartet, its slow movement theme one of the sublime inspirations of early Romanticism. See page 27 for ticket prices and booking information. THE HALLÉ’S AUTUMN/WINTER SEASON 2021 AT THE BRIDGEWATER HALL 5 THURSDAY 30 SEPTEMBER, 7.30PM Digital broadcast will be available – details to be announced ELGAR’S SYMPHONY NO.1 Wagner Lohengrin: Prelude to Act I 8' Sofia Gubaidulina Offertorium 40' Elgar Symphony No.1 50' Sir Mark Elder CONDUCTOR • Baiba Skride VIOLIN Establishing the mood of the concert’s first half, Wagner’s first act prelude to Lohengrin, evokes the descent of the Holy Grail from Heaven in a rapt and gradual crescendo. Its spirituality links perfectly with Offertorium, chosen to celebrate the 90th birthday of Sofia Gubaidulina, one of the greatest Russian composers of the post-Shostakovich generation. For Sir Mark it is an ‘exciting, dramatic and powerful work’, derived from the theme of J. S. Bach’s Musical Offering. Making her Hallé debut, the Latvian violinist, Baiba Skride, has performed the work with leading orchestras including the Berlin Philharmonic and Boston Symphony. To conclude, Elgar’s First Symphony which is deeply associated with the Hallé since its premiere in 1908 conducted by Hans Richter, to whom Elgar dedicated it with the inscription ‘true artist and true friend’. 6.30PM IN THE AUDITORIUM THURSDAY SERIES SPONSORED BY David Butcher, Hallé Chief Executive, introduces the Hallé autumn season, with Head of Artistic Planning, Anna Hirst and Hallé musicians. SATURDAY 2 OCTOBER, 7.30PM RUSSIAN EXTRAVAGANZA Tchaikovsky Fantasy Overture: Romeo and Juliet 21' Rachmaninov Vocalise 6' Rimsky-Korsakov Capriccio espagnol 16' Tchaikovsky Eugene Onegin: Polonaise 5' Arya Tsytlianok New Work WORLD PREMIERE • HALLÉ COMMISSION * Glazunov The Seasons: Autumn 11' Tchaikovsky 1812 Overture 17' Y6 Stephen Bell CONDUCTOR Russia’s extraordinary musical legacy is almost impossible to match. The grandeur and drama of these wonderful Russian melodies will stir you, taking all the prizes for sheer excitement. Stephen Bell will lead you through this magnificent selection of Russia’s greatest hits including Tchaikovsky’s famous 1812 Overture – music that will, quite literally, go off with a bang! * Hallé New Commissions programme sponsored by CMS LLP CONCERT SPONSORED BY 6.30PM IN THE AUDITORIUM Students from the Royal Northern College of Music (RNCM) perform a selection of Russian repertoire. 6 THE HALLÉ’S AUTUMN/WINTER SEASON 2021 AT THE BRIDGEWATER HALL SATURDAY 9 OCTOBER, 7PM BRAHMS’S SYMPHONY NO.3 Haydn Symphony No.64, ‘Tempora mutantur’ 21' Stravinsky Symphony of Psalms 21' Brahms Symphony No.3 33' Sir Mark Elder CONDUCTOR • Hallé Choir MATTHEW HAMILTON CHORAL DIRECTOR To celebrate its first concert appearance since February 2020, the Hallé Choir takes pride of place in Stravinsky’s striking Symphony of Psalms.
Recommended publications
  • 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]
  • 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]
  • A Study of Tyzen Hsiao's Piano Concerto, Op. 53
    A Study of Tyzen Hsiao’s Piano Concerto, Op. 53: A Comparison with Rachmaninoff’s Piano Concerto No. 2 D.M.A Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Lin-Min Chang, M.M. Graduate Program in Music The Ohio State University 2018 D.M.A. Document Committee: Professor Steven Glaser, Advisor Dr. Anna Gowboy Dr. Kia-Hui Tan Copyright by Lin-Min Chang 2018 2 ABSTRACT One of the most prominent Taiwanese composers, Tyzen Hsiao, is known as the “Sergei Rachmaninoff of Taiwan.” The primary purpose of this document is to compare and discuss his Piano Concerto Op. 53, from a performer’s perspective, with the Second Piano Concerto of Sergei Rachmaninoff. Hsiao’s preferences of musical materials such as harmony, texture, and rhythmic patterns are influenced by Romantic, Impressionist, and 20th century musicians incorporating these elements together with Taiwanese folk song into a unique musical style. This document consists of four chapters. The first chapter introduces Hsiao’s biography and his musical style; the second chapter focuses on analyzing Hsiao’s Piano Concerto Op. 53 in C minor from a performer’s perspective; the third chapter is a comparison of Hsiao and Rachmaninoff’s Piano Concertos regarding the similarities of orchestration and structure, rhythm and technique, phrasing and articulation, harmony and texture. The chapter also covers the differences in the function of the cadenza, and the interaction between solo piano and orchestra; and the final chapter provides some performance suggestions to the practical issues in regard to phrasing, voicing, technique, color, pedaling, and articulation of Hsiao’s Piano Concerto from the perspective of a pianist.
    [Show full text]
  • Tessa Lark, Violin Andrew Armstrong, Piano
    Streaming Premiere – Thursday, October 1, 2020, 7pm Tessa Lark, violin Andrew Armstrong, piano Filmed exclusively for Cal Performances on location at Merkin Hall, Kaufman Music Center, New York City, on August 17, 2020. Major support for this program provided by The Bernard Osher Foundation. Patron Sponsors: Nadine Tang and Bruce Smith 1 PROGRAM Béla Bartók (arr. Székely) Romanian Folk Dances, Sz. 56, BB 68 Jocul cu bâtă (Dance with Sticks) Brâul (Sash Dance) Pe loc (Stamping Dance) Buciumeana (Hornpipe Dance) Poarca Românească (Romanian Polka) Mănuntelul (Fast Dance) Eugène Ysaÿe Sonata No. 5 for Solo Violin in G major, Op. 27, Mathieu Crickboom L’Aurore Danse rustique Franz Schubert Fantasy in C major, D. 934 Andante molto Allegretto Andantino (Theme and Variations on “Sei mir gegrüßt”) Allegro vivace INTERMISSION Edvard Grieg Violin Sonata No. 3 in C minor, Op. 45 Allegro molto ed appassionato Allegretto espressivo alla Romanza Allegro animato Maurice Ravel Tzigane – rapsodie de concert Tessa Lark plays a ca.1600 G.P. Maggini violin on loan from an anonymous donor through the Stradivari Society of Chicago. Tessa Lark is represented worldwide by Manhattan-based Sciolino Artist Management (www.samnyc.us). Note: following its premiere, the video recording of this concert will be available on demand through December 30, 2020. 3 PROGRAM NOTES Musical Passports Béla Bartók (1881–1945) “The only true voyage of discovery,” Marcel Romanian Folk Dances, Sz. 56, BB 68 Proust famously wrote, “would be not to visit Béla Bartók’s efforts to bring a scientific rigor to foreign lands but… to behold the universe the study of folk music helped pave the way for through the eyes of another”—through the a new way of thinking about the relationship perceptions, that is, provided by artists.
    [Show full text]
  • R Obert Schum Ann's Piano Concerto in AM Inor, Op. 54
    Order Number 0S0T795 Robert Schumann’s Piano Concerto in A Minor, op. 54: A stemmatic analysis of the sources Kang, Mahn-Hee, Ph.D. The Ohio State University, 1992 U MI 300 N. Zeeb Rd. Ann Arbor, MI 48106 ROBERT SCHUMANN S PIANO CONCERTO IN A MINOR, OP. 54: A STEMMATIC ANALYSIS OF THE SOURCES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Mahn-Hee Kang, B.M., M.M., M.M. The Ohio State University 1992 Dissertation Committee: Approved by Lois Rosow Charles Atkinson - Adviser Burdette Green School of Music Copyright by Mahn-Hee Kang 1992 In Memory of Malcolm Frager (1935-1991) 11 ACKNOWLEDGMENTS I would like to express my gratitude to the late Malcolm Frager, who not only enthusiastically encouraged me In my research but also gave me access to source materials that were otherwise unavailable or hard to find. He gave me an original exemplar of Carl Relnecke's edition of the concerto, and provided me with photocopies of Schumann's autograph manuscript, the wind parts from the first printed edition, and Clara Schumann's "Instructive edition." Mr. Frager. who was the first to publish information on the textual content of the autograph manuscript, made It possible for me to use his discoveries as a foundation for further research. I am deeply grateful to him for giving me this opportunity. I express sincere appreciation to my adviser Dr. Lois Rosow for her patience, understanding, guidance, and insight throughout the research.
    [Show full text]
  • The Development of the Russian Piano Concerto in the Nineteenth Century Jeremy Paul Norris Doctor of Philosophy Department of Mu
    The Development of the Russian Piano Concerto in the Nineteenth Century Jeremy Paul Norris Doctor of Philosophy Department of Music 1988 December The Development of the Russian Piano Concerto in the Nineteenth Century Jeremy Paul Norris The Russian piano concerto could not have had more inauspicious beginnings. Unlike the symphonic poem (and, indirectly, the symphony) - genres for which Glinka, the so-called 'Father of Russian Music', provided an invaluable model: 'Well? It's all in "Kamarinskaya", just as the whole oak is in the acorn' to quote Tchaikovsky - the Russian piano concerto had no such indigenous prototype. All that existed to inspire would-be concerto composers were a handful of inferior pot- pourris and variations for piano and orchestra and a negligible concerto by Villoing dating from the 1830s. Rubinstein's five con- certos certainly offered something more substantial, as Tchaikovsky acknowledged in his First Concerto, but by this time the century was approaching its final quarter. This absence of a prototype is reflected in all aspects of Russian concerto composition. Most Russian concertos lean perceptibly on the stylistic features of Western European composers and several can be justly accused of plagiarism. Furthermore, Russian composers faced formidable problems concerning the structural organization of their concertos, a factor which contributed to the inability of several, including Balakirev and Taneyev, to complete their works. Even Tchaikovsky encountered difficulties which he was not always able to overcome. The most successful Russian piano concertos of the nineteenth century, Tchaikovsky's No.1 in B flat minor, Rimsky-Korsakov's Concerto in C sharp minor and Balakirev's Concerto in E flat, returned ii to indigenous sources of inspiration: Russian folk song and Russian orthodox chant.
    [Show full text]
  • Program No / Eng Sommer / Summer 2014 Komponisthjemmene / the Composers’ Homes
    PROGRAM NO / ENG SOMMER / SUMMER 2014 KOMPONISTHJEMMENE / THE COMPOSERS’ HOMES LYSØEN OLE BULL MUSEUM TROLDHAUGEN EDVARD GRIEG MUSEUM SILJUSTØL HARALD SÆVERUD MUSEUM Innhold Velkommen 3 Velkommen / Velcome Troldhaugen, Lysøen og Siljustøl er Norges mest betydningsfulle musikkhistoriske kulturminner. De er også noen av Vestlandets 4 Lysøen Ole Bull Museum mest naturskjønne og inspirerende eiendommer. Ole Bull, Edvard 6 Troldhaugen Edvard Grieg Museum Grieg og Harald Sæverud skapte hjem der kunsten, naturen og fantasien kunne møtes. I dag representerer Lysøen, Troldhaugen 8 Siljustøl Harald Sæverud Museum og Siljustøl et unikt musikalsk landskap med til sammen nesten 10 Program Lysøen sommer /summer 2014 1000 mål norsk natur, fascinerende arkitektur og minner om musikerne som erobret verden. 14 Fødselsdagskonsert og hagefest / Birtday concert and garden party at Troldhaugen 16 Konserter på Troldhaugen 2014 / Concerts at Troldhaugen 2014 Velkommen! 18 Konsertbuss til lunsjkonsertene / Concert bus to the lunchtime concerts Sigurd Sandmo 20 Program Troldhaugen: Ukens pianist / Pianist of the week Direktør 33 Grieg in a nutshell – Talks on Grieg Welcome Troldhaugen, Lysøen and Siljustøl are the most significant cultu- ral heritage sites in the history of Norwegian music. They are also perhaps Western Norway’s most scenic and inspirational esta- tes. Ole Bull, Edvard Grieg and Harald Sæverud created homes where art, nature and fantasy came together. Today, Troldhaugen, Lysøen and Siljustøl represent a unique musical landscape with a grand total
    [Show full text]
  • Joshua Bell with Alessio Bax Felix Mendelssohn
    Joshua Bell with Alessio Bax Saturday, November 4, 2017 at 8:00pm Pre-concert Talk at 7:00pm This is the 767th concert in Koerner Hall Joshua Bell, violin Alessio Bax, piano PROGRAM Felix Mendelssohn: Violin Sonata in F Major (1838) I. Allegro vivace II. Adagio III. Assai vivace Edvard Grieg: Violin Sonata No. 2 in G Major, op. 13 I. Lento doloroso – Allegro vivace II. Allegro tranquillo III. Allegro animato INTERMISSION Johannes Brahms: Violin Sonata No. 1 in G Major, op. 78 I. Vivace ma non troppo II. Adagio III. Allegro molto moderato Additional program to be announced from the stage Felix Mendelssohn Born in Hamburg, Germany, February 3, 1809; died in Leipzig, Germany, November 4, 1847 Violin Sonata in F Major (1838) Dated Berlin, 15 June 1838, this three-movement sonata from Mendelssohn’s maturity never saw its way into print during the composer’s lifetime. Only in 1953, under the guidance of Yehudi Menuhin, did the manuscript find a publisher. Menuhin’s enthusiasm for both this sonata and, two years earlier, for the hitherto unknown D Minor Concerto for Violin and Strings (1822) is reflected in his description of the ‘ideal violin writing’ in both works in his preface to the score. In addition, Menuhin adds that the sonata, the last of three, “has the chivalrous romantic quality of the age that produced Schumann, the elegance and lightness of touch of the age inherited from Mozart, and in addition the perfect formal presentation which Mendelssohn himself drew from Bach.” Mendelssohn himself, however, declared it a ‘wretched sonata’ and began to revise its opening movement.
    [Show full text]
  • Bassoon Pedagogy: a Panel Discussion at the 2003 IDRS Conference
    Bassoon Pedagogy: A Panel Discussion at the 2003 IDRS Conference By: Michael Burns Burns, Michael. “Bassoon Pedagogy: Report on the Pedagogy Round Table.” The Double Reed, vol. 27-2, 2004. Made available courtesy of International Double Reed Society: http://www.idrs.org/publications/ ***Note: This version of the document is not the copy of record. ***Note: Figures may be missing from this format of the document The IDRS 2003 Conference in Greensboro North Carolina had a theme of "pedagogy revisited" and one of the events consisted of a Bassoon Pedagogy Round Table in which several distinguished international panellists were asked to discuss aspects of bassoon pedagogy in front of an audience. Prior to the conference. each panellist was sent a list of questions to answer by the moderator and co-host of IDRS 2003. Michael Burns, The following are the answers to those questions sent in advance and dispersed at the round-table as a handout. Burns then asked each of the panelists to illuminate their answers more in person which led to some wonderful additional inter- :haw amongst these bassoonists as well as question and answer sessions with the audience. I would like to once again thank my colleagues for their expertise and willingness to share their ideas. The panel consisted of: Meyrick Alexander, principal Philharmonia Orchestra, bassoon professor. Guildhall School of Music and Drama. London Judith Farmer, principal Santa Barbara Chamber Orchestra. bassoon professor. University of Southern California. Kiyoshi Koyama. principal Japan Philharmonic Symphony Orchestra Kim Walker, bassoon professor. Indiana University. International soloist Liu Zhaolu, principal Shanghai Symphony, bassoon professor, Shanghai Conservatory of Music MYRICK ALEXANDER'S ANSWERS How do you leach technique on the bassoon? I provide students with a quick and simple daity routine of scales and exercises which produces a retiable.
    [Show full text]
  • Prokofiev Sonatas
    PROKOFIEV SONATAS ELISE BÅTNES VIOLIN HÅVARD GIMSE PIANO MUSIKK FRA med fiolinisten Paweł Kochanski, som også åpner opp den kjente instrumentalklangen, som skjer det en utjevning i tempoforholdet mellom hadde bidratt i sluttfasen av Prokofjevs første om musikken søker utrygg grunn. satsene, ved at ingen av satsene egentlig er EN UROLIG TID fiolinkonsert. markant hurtig. I dette verket kommer Prokofjev Andre sats er en hakkete og insisterende som ballettkomponist tydeligere fram. Musikken Det finnes en pragmatisme i Sergej Prokofjevs Det vokale underlaget for melodiene kan høres i diskusjon som ligger tett opp til en klassisk er dansende, men fortsatt rapsodisk. Det lyriske musikk. Kanskje var den nødvendig for å hvordan de korte frasene rolig og trinnvis bygger sonatesatsform. Spørsmål og svar kastes fram og temaet har en hurtigere ettersetning som bygges overleve som kunstner i samfunnet som formet store, sekvenserte bueformer. Oppbygningene har tilbake mellom fiolin og klaver. Den innledende ut og blir mer dramatisk før et tema nummer to ham som musiker – i alle fall åpner den for å mange hvilepunkter og stiger langsomt i intensitet debatten munner ut i et mer syngende og transponeres rundt i flere harmoniske landskap. manøvrere mellom mange musikalske formater. og inderlighet. Ofte kulminerer de i ytterregister durpreget sidetema som panorerer ut i nye En leken midtdel minner om en barnesang. Da han ble tatt opp ved konservatoriet i St. i en dynamisk utladning som får følge av en tonale landskap hver gang melodien runder et Scherzoens tredelte takt er andpusten med Petersburg tidlig i tenårene, hadde han allerede mer tilbakeholdt avsluttende hale. I den andre hjørne.
    [Show full text]
  • Composer/Performer Collaboration As Seen in the Solo Piano Part of Percy Grainger's Edition of the Edvard Grieg Piano Concerto
    COMPOSER/PERFORMER COLLABORATION AS SEEN IN THE SOLO PIANO PART OF PERCY GRAINGER’S EDITION OF THE EDVARD GRIEG PIANO CONCERTO IN A MINOR OPUS 16 Sung Yo Lee, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2017 APPROVED: Adam Wodnicki, Major Professor Steven Harlos, Committee Member Joseph Banowetz, 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 Lee, Sung Yo. Composer/Performer Collaboration as Seen in the Solo Piano Part of Percy Grainger’s Edition of the Edvard Grieg Piano Concerto in A Minor Opus 16. Doctor of Musical Arts (Performance), May 2017, 42 pp., 42 musical examples, bibliography, 23 titles. The purpose of this document is threefold. First, it demonstrates what Grieg contributes to the musical text compared with the original Peters edition, particularly, those additions that refer to expression, interpretation, and style. Second, this document focuses on presenting Grainger's changes that were approved by Grieg. Third, the document evaluates Grainger's own suggestions for pedaling, hand redistribution and fingering, addition of notes, tempo markings, and other performance guidelines. Copyright 2017 By Sung Yo Lee ii TABLE OF CONTENTS Page LIST OF MUSICAL EXAMPLES ................................................................................................ iv CHAPTER 1 INTRODUCTION ...................................................................................................
    [Show full text]
  • 17.-Nature.Pdf
    Pieces to Know (so far) ! Puccini, “Che gelida manina,” La Bohème ! Puccini, “Mi chiamano Mimì,” La Bohème ! Vivaldi, “Summer” Concerto, mvt. 3 ! Tchaikovsky, Piano Concerto in B-flat minor, mvt. 1 introduction NATURE OUT of DOORS with CLASSICAL MUSIC Nature in Classical Music ! Landscape, Seascape ! Mountains, Plains ! Gardens Edvard Grieg (1843-1907) “Morning Mood” Edvard Grieg (1843-1907) “Morning Mood” ! Norwegian composer ! One of the most famous of Romantic-era composers ! Incorporated Norwegian folk music into his compositions, many of which are on Norwegian subject matter ! “Nationalist” composer Edvard Grieg (1843-1907) “Morning Mood” ! In 1874-76, Grieg writes incidental music for Henrik Ibsen’s play Peer Gynt (1867) ! Peer Gynt loosely based on Norwegian fairy tale Per Gynt, tracing the life of the title character Peer Gynt ! Blends realistic scenes with fantasy and the supernatural ! The dramatic action—moving through many places and times—was unstageable at the time Edvard Grieg (1843-1907) “Morning Mood” ! “Morning Mood” depicts the rising sun in Act IV, scene 4 of the play ! Peer has been abandoned by his companions while he was sleeping. Norwegian fjord Edvard Grieg (1843-1907) “Morning Mood” ! Peer has been abandoned in the Moroccan desert by his companions while he was sleeping. ! Represents, “A grove of palm and acacia trees at dawn.” Moroccan desert Edvard Grieg, “Morning Mood,” Peer Gynt Suite Claude Debussy (1862-1918) “Clair de Lune” [Moonlight] Claude Debussy (1862-1918) “Clair de lune” ! Part of a piano suite,
    [Show full text]