Toronto Symphony Orchestra Sir Andrew Davis, Interim Artistic Director
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Elizabeth Joy Roe, Piano
The John F. Kennedy Center for the Performing Arts STEPHEN A. SCHWARZMAN , Chairman MICHAEL M. KAISER , President TERRACE THEATER Saturday Evening, October 31, 2009, at 7:30 presents Elizabeth Joy Roe, Piano BACH/SILOTI Prelude in B minor CORIGLIANO Etude Fantasy (1976) For the Left Hand Alone Legato Fifths to Thirds Ornaments Melody CHOPIN Nocturne in C-sharp minor, Op. 27, No. 1 WAGNER/LISZT Isoldens Liebestod RAVEL La Valse Intermission MUSSORGSKY Pictures at an Exhibition Promenade The Gnome Promenade The Old Castle Promenade Tuileries The Ox-Cart Promenade Ballet of the Unhatched Chicks Samuel Goldenberg and Schmuyle Promenade The Market at Limoges (The Great News) The Catacombs With the Dead in a Dead Language Baba-Yaga’s Hut The Great Gate of Kiev Elizabeth Joy Roe is a Steinway Artist Patrons are requested to turn off pagers, cellular phones, and signal watches during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. Notes on the Program By Elizabeth Joy Roe Prelude in B minor Liszt and Debussy. Yet Corigliano’s etudes JOHANN SEBASTIAN BACH ( 1685 –1750) are distinctive in their effective synthesis of trans. ALEXANDER SILOTI (1863 –1945) stark dissonance and an expressive landscape grounded in Romanticism. Alexander Siloti, the legendary Russian pianist, The interval of a second—and its inversion composer, conductor, teacher, and impresario, and expansion to sevenths and ninths—is the was the bearer of an impressive musical lineage. connective thread between the etudes; its per - He studied with Franz Liszt and was the cousin mutations supply the foundation for the work’s and mentor of Sergei Rachmaninoff. -
5Th Annual Classical Meets Pop Concert and Fireworks Display Featuring NPR from the Top Alumni Musicians Mount Vernon Community Center Th Saturday, July 4
5th Annual Classical Meets Pop Concert and Fireworks Display featuring NPR From the Top Alumni Musicians Mount Vernon Community Center th Saturday, July 4 On Saturday, July 4th at 7:30pm, four of America's most exciting musicians will perform a free concert in the Mount Vernon Community Center. Following the concert, there will be a fireworks display over Minnehonk Lake. Seating in the hall is on a first come, first serve basis. Guests are also encouraged to bring blankets or chairs and sit outside on the lawn to listen. Donations will be accepted in support of the 30 Mile River Watershed Association and the Parker Pond Association. FMI: http://www.30mileriver.org/ or http://www.parkerpond.org/ Bassist Michael Thurber, a Julliard graduate and New York City-based composer and performer, has created scores for clients such as Vanity Fair and BBC America and most recently, the music for the Royal Shakespeare Company’s and the Public Theater of New York’s production of Antony and Cleopatra. Michael is a co-founder and music-director of CDZA. http://www.michaelt.org/ Pianist Christopher Staknys from Falmouth, Maine is currently in his first year at Julliard. He has won numerous competitions, including the Bagaduce Young Composers and Music Without Limits Concerto. His original composition, Congo, was premiered by the Portland Symphony Orchestra in 2012. Flutist Emi Ferguson, a faculty member at Julliard, has performed as concerto soloist in concerts and festivals around the world and was a featured performer alongside Yo-Yo Ma, Paul Simon, and James Taylor at the 10th Anniversary Memorial Ceremony of 9/11 at Ground Zero, where her performance of Amazing Grace was televised worldwide. -
TARLEY, Violin Biography
HANNAH TARLEY, violin Biography American violinist Hannah Tarley began playing the violin at age two. A winner of the 2018 Astral National Auditions, Ms. Tarley has soloed with orchestras including the San Francisco Symphony, Detroit Symphony, Academy of Conducting at Aspen Orchestra, Kiev Soloists, Lynn Philharmonia Orchestra, and San Francisco Symphony Youth Orchestra. Ms. Tarley has performed and worked with leading musicians and composers such as Itzhak Perlman, Jake Heggie, Mark Kaplan, Hsin-Yun Huang, Nobuko Imai, Shlomo Mintz, Itamar Zorman, Ralph Kirshbaum, and Shmuel Ashkenasi. She has participated in music festivals including the Perlman Music Program, Music@Menlo, International Musicians Seminar Prussia Cove, Olympic Music Festival, Kronberg Academy Masterclasses, Heifetz International Music Institute (Artist-in Residence), Seiji Ozawa Academy, and Aspen Music Festival and School. As both a soloist and chamber musician, Ms. Tarley has debuted in some of the world’s most acclaimed concert halls, including Davies Symphony Hall, Carnegie Hall, The Kimmel Center, Wigmore Hall, Mozarteum, Royal Festival Hall, Gewandaus, and the Library of Congress. Photo: Ryan Brandenberg Ms. Tarley is the Founder and Artistic Director of Notes By The Bay Music Visit astralartists.org to download hi-res Festival, an exciting children's summer music program in California. Now in images of this artist. its 6th season, it is a one-of-a-kind classical music festival for young musicians that brings together the magic of music, poetry, and theater. Notes By The Bay focuses on cultivating individual creativity, sense of imagination, and the importance of self-expression through words and music. The festival features ensemble chamber music playing, workshops and masterclasses in music and theater, and free concerts for the San Francisco Bay Area community. -
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. -
Walton - a List of Works & Discography
SIR WILLIAM WALTON - A LIST OF WORKS & DISCOGRAPHY Compiled by Martin Rutherford, Penang 2009 See end for sources and legend. Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Catalogue No F'mat St Rel A BIRTHDAY FANFARE Description For Seven Trumpets and Percussion Completion 1981, Ischia Dedication For Karl-Friedrich Still, a neighbour on Ischia, on his 70th birthday First Performances Type Date Orchestra Conductor Performers Recklinghausen First 10-Oct-81 Westphalia SO Karl Rickenbacher Royal Albert Hall L'don 7-Jun-82 Kneller Hall G E Evans A LITANY - ORIGINAL VERSION Description For Unaccompanied Mixed Voices Completion Easter, 1916 Oxford First Performances Type Date Orchestra Conductor Performers Unknown Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Cat No F'mat St Rel Hereford Cathedral 3.03 4-Jan-02 Stephen Layton Polyphony 01a HYP CDA 67330 CD S Jun-02 A LITANY - FIRST REVISION Description First revision by the Composer Completion 1917 First Performances Type Date Orchestra Conductor Performers Unknown Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Cat No F'mat St Rel Hereford Cathedral 3.14 4-Jan-02 Stephen Layton Polyphony 01a HYP CDA 67330 CD S Jun-02 A LITANY - SECOND REVISION Description Second revision by the Composer Completion 1930 First Performances Type Date Orchestra Conductor Performers Unknown Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Cat No F'mat St Rel St Johns, Cambridge ? Jan-62 George Guest St Johns, Cambridge 01a ARG ZRG -
ECONOMIC EAR Symphonic Tigers and Chamber Kittens
ANALYSIS ECONOMIC EAR Symphonic tigers and chamber kittens In the fifth of our series of articles on the business of classical music, Antony Feeny reflects on the extent to which the UK music industry may be dominated by a few large organisations ans Sachs was a remarkably like to ensure free competition and level example, and the top four supermarkets and productive artist if the com- playing fields, those pesky markets persist in top four banks have over 70% of the British mon sources are to be believed. becoming more concentrated and awkward grocery store and retail banking markets, HIn addition to keeping the inhabitants of ruts will keep appearing in those playing while the top six energy suppliers account Nürnberg well-heeled, he apparently cob- fields. And so it seems with classical music. for 90% of the UK market. But these are bled together 4,000 Meisterlieder between Was Le Quattro Staggioni – well-known (relatively) free markets where commercial 1514 and his death in 1576. That’s about to every denizen of coffee shops and call cen- companies compete, so what’s the situa- one every five-and-a-half days every year tres – really so much ‘better’ than works by tion for classical music – a market which is for 62 years including Sundays, in addition the Allegris, the Caccinis, Cavalli, Fresco- subsidised and where its leading organisa- to his other 2,000 poetic works – not to baldi, the Gabrielis, Landi, Rossi, Schütz, or tions are best semi-commercial, or at least mention shoes for the 80,000 feet of those the hundreds of other 17th-century compos- non-profit-making? Nurembergers, or at least the wealthy ones. -
LET's TALK STRINGS an Insight Into the Purcell
CrescendoThe Official Magazine of The Purcell School for Young Musicians January 2019 INSIDE PURCELL: PRIDE & MUSIC THE PURCELL SCHOOL LET’S TALK STRINGS FEBRUARY 2019 OPEN MORNING An insight into The Purcell Showcasing and celebrating A massive thank you to the School’s Strings Department the contributions made by students and parents who led by Charles Sewart LGBT+ composers and artists offered their services! Also new to the department, INSIDE PURCELL: Anna-Liisa Bezrodny (Violin), was born into a distinguished family of musicians in Moscow, LET’S TALK STRINGS and currently in great demand An insight into The Purcell School’s Strings as a soloist, recitalist and Department led by Charles Sewart chamber musician, receiving praise from critics about her The Strings Department at Dvarionaite, Aiste’s aunt, was performances around the Purcell has had success over a famous pianist, especially globe. At the age of two she many years with former in Poland, and her brother began her violin studies with students playing all across Justas is a pianist and the her parents, and at the age the globe following their time current Vice President of of nine she enrolled at the at the School. The past few EMCY (a network of over fifty Sibelius Academy in Helsinki, months have been an exciting international and national Finland, in the class of her time for the department; we European music competitions parents, Prof. Igor Bezrodny have recently seen the addition for young people). Aiste’s and Prof. Mari Tampere- of three new teachers and father Jurgis Dvarionas is a Bezrodny. -
A Survey of Selected Piano Concerti for Elementary, Intermediate, and Early-Advanced Levels
Graduate Theses, Dissertations, and Problem Reports 2017 A Survey of Selected Piano Concerti for Elementary, Intermediate, and Early-Advanced Levels Achareeya Fukiat Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Fukiat, Achareeya, "A Survey of Selected Piano Concerti for Elementary, Intermediate, and Early-Advanced Levels" (2017). Graduate Theses, Dissertations, and Problem Reports. 5630. https://researchrepository.wvu.edu/etd/5630 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]. A SURVEY OF SELECTED PIANO CONCERTI FOR ELEMENTARY, INTERMEDIATE, AND EARLY-ADVANCED LEVELS Achareeya Fukiat A Doctoral Research Project submitted to College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Piano Performance James Miltenberger, -
LOS ANGELES PHILHARMONIC and ESA-PEKKA SALONEN Discography
LOS ANGELES PHILHARMONIC and ESA-PEKKA SALONEN Discography DEUTSCHE GRAMMOPHON SALONEN: Piano Concerto; Helix; Dichotomie (Yefim Bronfman, piano) STRAVINSKY: The Rite of Spring; MUSSORGSKY: Night on Bald Mountain (original version); BARTÓK: The Miraculous Mandarin Suite NONESUCH ADAMS: Naive and Sentimental Music ONDINE SAARIAHO: Du cristal ... à la fumée (Petri Alanko, alto flute; Anssi Karttunen, cello) PHILIPS CLASSICS BARTÓK: Violin Concerto No. 2; STRAVINSKY: Violin Concerto (Viktoria Mullova, violin) SONY CLASSICAL BACH: Transcriptions for Orchestra (by Elgar, Mahler, Schoenberg, Stokowski, Webern) BARTÓK: Concerto for Orchestra; Music for Strings, Percussion, and Celesta BARTÓK: Piano Concertos Nos. 1, 2, and 3 (Yefim Bronfman, piano) BRUCKNER: Symphony No. 4, “Romantic” DEBUSSY: Prélude à l’après-midi d’un faune; La mer; Images pour orchestre DEBUSSY: Trois nocturnes (Women of the Los Angeles Master Chorale); Le martyre de St. Sébastien (Fragments symphoniques); La damoiselle élue (Dawn Upshaw, soprano; Paula Rasmussen, mezzo-soprano; Women of the Los Angeles Master Chorale) HERRMANN: Suites from Psycho, Marnie, Vertigo, Fahrenheit 451, and Taxi Driver; Prelude to The Man Who Knew Too Much; Overture to North by Northwest; excerpts from Torn Curtain HINDEMITH: Mathis der Maler Symphony; Symphonic Metamorphosis on Themes by Carl Maria von Weber; Four Temperaments (Emanuel Ax, piano) LUTOSLAWSKI: Symphony No. 2; Piano Concerto (Paul Crossley, piano); Chantefleurs et Chantefables (Dawn Upshaw, soprano); Fanfare for Los Angeles Philharmonic LUTOSLAWSKI: Symphony No. 3; Les espaces du sommeil (John Shirley-Quirk, baritone); Symphony No. 4 MAHLER: Symphony No. 3 (Anna Larsson, contralto; Paulist Boy Choristers of California) MAHLER: Symphony No. 4 (Barbara Hendricks, soprano) MAHLER: Das Lied von der Erde (Plácido Domingo, tenor; Bo Skovhus, baritone) MARSALIS: All Rise (Wynton Marsalis, trumpet; Lincoln Center Jazz Orchestra; singers) PROKOFIEV: Violin Concertos Nos. -
2017–18 ARTISTIC PARTNERSHIPS BEGIN in Program Conducted by PAAVO JÄRVI
FOR IMMEDIATE RELEASE August 30, 2017 Contact: Katherine E. Johnson (212) 875-5700; [email protected] 2017–18 ARTISTIC PARTNERSHIPS BEGIN In Program Conducted by PAAVO JÄRVI NEW YORK PREMIERE of The Marie-Josée Kravis Composer-in-Residence ESA-PEKKA SALONEN’s Gambit RACHMANINOFF’s Piano Concerto No. 4 with The Mary and James G. Wallach Artist-in-Residence LEIF OVE ANDSNES SIBELIUS’s Symphony No. 5 Saturday Matinee Concert To Feature LEIF OVE ANDSNES, Concertmaster FRANK HUANG, and Principal Cello CARTER BREY Performing Grieg’s Andante con moto, for piano trio, and Shostakovich’s Piano Trio in E minor October 12–14 and 17, 2017 The New York Philharmonic’s Marie-Josée Kravis Composer-in-Residence Esa-Pekka Salonen and Mary and James G. Wallach Artist-in-Residence Leif Ove Andsnes will both launch their 2017–18 Philharmonic residencies in a Scandinavian-themed program led by Paavo Järvi. The Orchestra will perform the New York Premiere of Gambit by the Finnish Esa-Pekka Salonen, Norwegian pianist Leif Ove Andsnes will perform Rachmaninoff’s Piano Concerto No. 4, and the program will conclude with Finnish composer Sibelius’s Symphony No. 5. The concerts take place Thursday, October 12, 2017, at 7:30 p.m.; Friday, October 13 at 11:00 a.m.; Saturday, October 14 at 8:00 p.m.; and Tuesday, October 17 at 7:30 p.m. In the Saturday Matinee Concert on October 14 at 2:00 p.m., Leif Ove Andsnes collaborates with two key figures from the New York Philharmonic: Concertmaster Frank Huang and Principal Cello Carter Brey. -
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. -
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.