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Concert Programme Read
Available to stream online from 7:30pm, 25 June 2021 until midnight, 4 July Airs and Organists Presented by Anna Lapwood Programme Andrée Concert Overture Annamaria Kowalsky Rhizom (UK premiere) Poulenc Organ Concerto With Chloé van Soeterstède, conductor and special guest Anna Lapwood, presenter & organ soloist London Chamber Orchestra Violin 1 Viola Oboe Trombone Gina McCormack Samuel Burstin Gordon Hunt Andrew Connington Manon Derome Miriam Ruetschi Alison Alty Ruth Molins Charles Sewart May Dolan Paul Lambert Anna Harpham Lowri Thomas Clarinet Imogen East Ilona Bondar Jonathan Parkin (+ bass clarinet) Timpani & Percussion Greta Mutlu Sarah Thurlow Tristan Fry Edward Bale Cello Tim Gill Bassoon Percussion Meyrick Alexander Geoff Boynton Violin 2 Rachael Lander Graham Hobbs Chris Blundell Kathy Shave Rebecca Knight Joby Burgess Ciaran McCabe Victoria Harrild Horn Julian Poole Alexandra Caldon Double Bass Pip Eastop Jo Godden Andy Marshall Gavin Edwards Celesta Harriet Murray Martin Ludenbach Philip Moore Ed McCullagh Trumpet Joanna Watts Flute Ross Brown Karen Jones (+ alto flute) Alex Caldon Chris Hankin If you’re joining us in the virtual concert hall, we’d love to know about it! Tag us on your social media using the hashtag #LCOTogether Elfrida Andrée Concert Overture This edition of Andree Concert Overture has been kindly produced by Dr. Susan Pickett. Swedish composer and organist Elfrida Andrée (1841-1929) was a pioneer of her time. An activist in Sweden’s suffragette movement, Andrée advocated for law reform so that she would be permitted to work as a professional organist in Stockholm and Gothenburg, and became the first woman in Sweden to do so. -
Poulenc Stabat Mater and Bruckner Motets
Welcome to Etcetera’s sixth appearance in this prestigious venue. Over 300 events are put on here every year, so do look at what is on – in particular our concert is part of the second St John’s Smith Square Holy Week Festival, curated in partnership with Tenebrae, running to Easter Sunday. Having given a concert here on the Tuesday of Holy Week since 2013 we were delighted to have been welcomed for the inaugural Festival last year. It was during a meeting to discuss our plans for this year that Nigel Short, Director of Tenebrae and curator of the Festival, mentioned Poulenc’s rarely performed Stabat Mater. I shall be forever grateful. The Poulenc setting of the Stabat Mater is an extraordinary piece of music, and many choir members have said what a great privilege it has been to work towards a potentially once-in-a-lifetime performance. This is undoubtedly the most challenging and ambitious concert Etcetera has tackled, and we have had to work very hard, collectively and individually. Whether we made the right decision to do it, we shall find out today. As an un-auditioned workplace choir, meeting one lunchtime a week we have already achieved some remarkable things. We hope we achieve something extraordinary today. I remain immensely grateful to Richard Heason, Director of this venue, and his team, for all their support and for giving us the tremendous opportunity to perform here. On everyone’s behalf I should like to thank you for making it all worthwhile by coming to support us today and for your generosity at the end. -
Poulenc, Francis (1899-1963) by Mario Champagne
Poulenc, Francis (1899-1963) by Mario Champagne Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com Francis Poulenc with harpsichordist Wanda Landowska. One of the first openly gay composers, Francis Poulenc wrote concerti, chamber music, choral and vocal works, and operas. His diverse compositions are characterized by bright colors, strong rhythms, and novel harmonies. Although his early music is light, he ultimately became one of the most thoughtful composers of serious music in the twentieth century. Poulenc was born on January 7, 1899 into a well-off Parisian family. His father, a devout Roman Catholic, directed the pharmaceutical company that became Rhône-Poulenc; his mother, a free-thinker, was a talented amateur pianist. He began studying the piano at five and was following a promising path leading to admission to the Conservatoire that was cut short by the untimely death of his parents. Although he did not attend the Conservatoire he did study music and composition privately. At the death of his parents, Poulenc inherited Noizay, a country estate near his grandparents' home, which would be an important retreat for him as he gained fame. It was also the source of several men in his life, including his second lover, the bisexual Raymond Destouches, a chauffeur who was the dedicatee of the surrealistic opera Les mamelles de Tirésias (1944) and the World War II Resistance cantata La figure humaine (1943). From 1914 to 1917, Poulenc studied with the Spanish pianist Ricardo Viñes, through whom he met other musicians, especially Georges Auric, Erik Satie, and Manuel de Falla. -
Enharmonic Paradoxes in Classical, Neoclassical, and Popular Music By
Enharmonic Paradoxes in Classical, Neoclassical, and Popular Music by Haley Britt Beverburg Reale A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Theory) in The University of Michigan 2011 Doctoral Committee: Associate Professor Ramon Satyendra, Chair Professor Walter T. Everett Professor Kevin E. Korsyn Professor Herbert Graves Winful Associate Professor Wayne C. Petty © Haley Britt Beverburg Reale 2011 Dedication36B To my husband ii Acknowledgements37B I could not have completed this dissertation without the support of numerous people. I would especially like to thank my adviser, Ramon Satyendra, for his encouragement and boundless optimism through the whole process. He never failed to receive my ideas with enthusiasm and give me the confidence to pursue them, and his wide-ranging knowledge and helpful suggestions sparked many bursts of creativity over the past several years. I would also like to thank the other members of my dissertation committee— Kevin Korsyn, Wayne Petty, Walter Everett, and Herbert Winful—for their advice and support. Their expertise in diverse subjects was invaluable to me, and they were always willing and able to answer my many questions. I also had the privilege of working with and being inspired by many other faculty members at the University of Michigan. Special thanks to Karen Fournier for being a sounding board for many of my research ideas and for being a great listener. Additionally, I would like to acknowledge the Rackham School of Graduate Studies, especially Dean Steven M. Whiting, for financial support throughout my time at the University of Michigan. The teaching assistantships, fellowships, and travel grants for presenting at conferences gave me the means to pursue my research. -
September 2016 – July 2017
SEPTEMBER 2016 –JULY 2017 Director’s Introduction Frances Marshall Photography One of Britain’s foremost singers, Sarah Connolly, opens the Hall’s new season with regular duo partner Malcolm Martineau, leading listeners through a programme rich in emotional contrasts, poetic reflections and glorious melodies. The recital includes Mahler’s sublime Rückert Lieder, the impassioned lyricism of Berlioz’s Les nuits d’été, the exotic subtle narrative impressions of Debussy’s three Chansons de Bilitis, and a selection of Schumann songs. Mark Padmore’s vocal artistry and ability to extract every drop of emotion from poetic texts have secured his place among today’s finest recitalists. Morgan Szymanski, described by Classical Guitar magazine as ‘a player destined for future glories’ joins him on 12 September. Critical acclaim for Angela Hewitt’s Bach interpretations bears witness to the pianist’s extraordinary ability to connect physically and emotionally as well as intellectually with the dance rhythms and expressive gestures of the composer’s keyboard works. The Bach Odyssey will highlight all of this over the next four years. Canadian soprano Barbara Hannigan performs like a force of nature, captivating audiences with her artistry’s presence and expressive vitality. She joins the Calder Quartet, winner of the 2014 Avery Fisher Career Grant, for the world première of The sirens cycle by Peter Eötvös. Beethoven’s piano sonatas occupied forty years of his life. They offer insights into his development as artist and individual, and stand among the greatest of all his works. Igor Levit, now in his late 20s, drew critical superlatives to his debut recording of Beethoven’s late sonatas and has since established his reputation as a visionary interpreter of the composer’s music. -
Stylistic Trends in Contemporary Organ Music. (Volumes I and II). Robert Michael Rudd Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1967 Stylistic Trends in Contemporary Organ Music. (Volumes I and II). Robert Michael Rudd Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Rudd, Robert Michael, "Stylistic Trends in Contemporary Organ Music. (Volumes I and II)." (1967). LSU Historical Dissertations and Theses. 1360. https://digitalcommons.lsu.edu/gradschool_disstheses/1360 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. This dissertation has been microfihned exactly as received 67-17,343 RUDD, Robert Michael, 1939- STYLISTIC TRENDS IN CONTEMPORARY ORGAN MUSIC. (VOLUMES I AN D n). Louisiana State University and Agricultural and Mechanical College, Ph.D., 1967 Music University Microfilms, Inc., Ann Arbor. Michigan Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. (Ç^ Copyright by ROBERT MICHAEL RUDD 1968 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. STYLISTIC TRENDS IN CONTEMPORARY ORGAN MUSIC Volume I A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by Robert Michael Rudd B.M., Louisiana State University, 1962 M.M., Louisiana State University, 1963 August, 1967 Reproduced with permission of the copyright owner. -
Cohesion of Composer and Singer: the Female Singers of Poulenc
COHESION OF COMPOSER AND SINGER: THE FEMALE SINGERS OF POULENC 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 Susan Joanne Musselman, B.M., M.M. ***** The Ohio State University 2007 Document Committee: J. Robin Rice, Adviser Approved by: Hilary Apfelstadt Wayne Redenbarger ________________________ Adviser Graduate Program in Music Copyright by Susan Joanne Musselman 2007 ABSTRACT Every artist’s works spring from an aspiring catalyst. One’s muses can range from a beloved city to a spectacular piece of music, or even a favorite time of year. Francis Poulenc’s inspiration for song-writing came from the high level of intimacy he had with his close friends. They provided the stimulation and encouragement needed for a lifetime of composition. There is a substantial amount of information about Francis Poulenc’s life and works available. We are fortunate to have access to his own writings, including a diary of his songs, an in-depth interview with a close friend, and a large collection of his correspondence with friends, fellow composers, and his singers. It is through these documents that we not only glean knowledge of this great composer, but also catch a glimpse of the musical accuracy Poulenc so desired in the performance of his songs. A certain amount of scandal surrounded Poulenc during his lifetime and even well after his passing. Many rumors existed involving his homosexuality and his relationships with other male musicians, as well as the possible fathering of a daughter. The primary goal of this document is not to unearth any hidden innuendos regarding his personal life, however, but to humanize the relationships that Poulenc had with so many of his singers. -
Decca Discography
DECCA DISCOGRAPHY >>H HOLLAND Decca first recorded the Amsterdam Concertgebouw Orchestra during a visit to London in March 1946 (AR10127-33) and the same matrix series was used for the first recordings made in the orchestra’s own hall. From 1947 a distinctive matrix series was used and Decca allotted many of its most important symphonic sessions to the orchestra, either under van Beinum or distinguished guests, until 1953 when it switched to the Philips label. It stayed there under Haitink until 1980, reappearing on Decca with Ashkenazy and recovering its former importance to the label whilst Chailly was in charge (1988-2004). Since then under Jansons the Concertgebouw has followed the LSO in creating its own record label. There were also a few sessions with the radio orchestra in Hilversum in 1970-74. >RVH VENUES Twelve different venues were used, but only one reached double figures, whilst five were only visited once. BEURS VAN BERLAGE, AMSTERDAM (1988) was originally a stock exchange (1903). The 600 seat concert hall, initially known as the WANG ZAAL and chosen for a piano recording in 1991, had been re-named the YAKULT ZAAL by the time of its next chamber ensemble recording in 2004. CONCERTGEBOUW, AMSTERDAM (1888) contains both the 2000 seat GROTEZAAL, where the resident orchestra was recorded from 1946-2004, and the 400 seat KLEINEZAAL, used occasionally from 1983-98. [107+6 entries] HET MUZIEKTHEATER, AMSTERDAM (1986), a 1600 seat house, staged a production by the resident Netherlands Opera that was televised in 1998. WAALSEKERK, AMSTERDAM (1409) is noted for its acoustics and was favoured from 1988-93 for three Concertgebouw Chamber Orchestra recordings. -
Johann Georg Albrechtsberger Organ Concerto in B-‐Flat Major -‐ 2011 Johann
KNOX MUSIC PROGRAM - MAJOR WORKS REPERTOIRE LIST (UPDATED APRIL 2018) Johann Georg Albrechtsberger Organ Concerto in B-flat Major - 2011 Johann Sebastian Bach Cantata BWV 4, Christ lag in Todesbanden - 1985, 2011 Cantata BWV 63, Christen, ätzet diesen Tag - 2010 Cantata BWV 106, Gottes Zeit ist die allerbeste Zeit - 1985, 1987 Cantata BWV 140, Wachet auf, ruft uns die Stimme – 1983 Cantata BWV 191 Gloria in Excelsis - 2016 Johannes-Passion (St. John Passion), BWV 245 - 1984, 1990, 1995, 2001, 2010 Magnificat, BWV 243 - 1993, 2006, 2017 Mass in B Minor, BWV 232 - 1992, 1996 Matthäus-Passion (St. Matthew Passion), BWV 244 - 1987, 1994, 2002 Missa brevis in F Major, BWV 233 - 1997, 2000, 2004, 2017 Missa brevis in A Major, BWV 234 - 1997, 2000, 2008, 2015 Missa brevis in G Minor, BWV 235 - 1998, 2009, 2014, 2018 Missa brevis in G Major, BWV 236 - 1998, 2013, 2016 Oster-Oratorium (Easter Oratorio), BWV 249 - 2005 Weihnachts-Oratorium (Christmas Oratorio), BWV 248 (complete) - 1985, 1988, 1992, 2011 Weihnachts-Oratorium, BWV 248 (excerpts) - 1997, 2005, 2007, 2016 Ludwig van Beethoven Mass in C Major, Op. 86 - 1989, 2003 Hector Berlioz L’enfance du Christ (The Infant Christ), Op. 25 - 1998, 2012 Te Deum, Op. 22 - 1983 JuDith Bingham Jacob’s Ladder: Parable for Organ and Strings - 2009 Johannes Brahms Ein deutsches Requiem (A German Requiem), Op. 45 - 2000 Benjamin Britten Saint Nicolas Cantata, Op. 42 - 1990, 2008 Marc-Antoine Charpentier Messe de Minuit pour Noël (Midnight Mass for Christmas) (excerpts) – 2009, 2016 Michel Corrette Organ Concerto No. 6 in D Minor - 2010 1 Maurice Duruflé Requiem, Op. -
FRENCH CONCERTOS from the 19Th Century to the Present
FRENCH CONCERTOS From the 19th Century to the Present A Discography Of CDs And LPs Prepared by Michael Herman Edited by Stephen Ellis Composers L-Z ÉDOUARD LALO - see separate page SERGE LANCEN (1922-2005) Born in Paris. After some initial training, he studied the piano with Marguerite Long and Lazare Lévy as well as composition with Noël Gallon and Tony Aubin at the Paris Conservatory. In 1950 he was awarded the "Prix de Rome." He composed various genres of music including chamber music, works for piano, ballet music, a chamber opera and symphonic compositions. He excelled in music for band. Among his unrecorded concertante works are his Piano Concerto (1947-51), Piano Concertino (1949), Harmonica Concerto (1954), Violin Concerto (1966), Concerto Rhapsodie for Piano and Orchestra (1974), Concerto for Violin, Double Bass and Orchestra (1985) and Harp Concerto (1988). Concerto for Double Bass and String Orchestra (1962) Yoan Goilav (double bass)/Clemens Dahinden/Winterthur String Ensemble ( + Cooqui, Montag: Extrême, Bloch: Prayer, Mortari: Duettini Concertati, Schubert: Arpeggione Sonata and Sperger: Sonata à Due) TUXEDO MUSIC TUXCD 1205 (2001) (original LP release: CLASSIC PIC (70-121) (1976) Concerto Champêtre for Harp and Wind Orchestra (1968) Joke Brethouwer (harp)/Jan Cober/Brabant Conservatory Wind Orchestra ( + Trombone Concerto and Parade Concerto) MBCD 31.1016.72 (1990) Hélène Silvie (harp)/Désiré Dondeyne/Orchestra ( + Damase: Harp Concerto, Grandjany: Aria in Classic Style and Dondeyne Quintet for Harp ad String Quartet) QUANTUM QM 7030 (2004) Concerto da Camera for Flute and Orchestra (1962) Pedro Eustache (flute)/Daniel Chabrun/Orchestre de Chambre de l'ORTF ( + Printanieres, Leclair: Violin Concerto, and Boismortier: Flute Sonata) FRENCH BROADCASTING SYSTEM IN NORTH AMERICA, Programs 619-20 (2 non-commercial LPs) (c. -
Jorai.Music O/Francis Poulenc: a Contextualand Analytical Study
Durham E-Theses The sacred choral music of Francis Poulenc: a contextual and analytical study Moschard, Toby Patrick How to cite: Moschard, Toby Patrick (2004) The sacred choral music of Francis Poulenc: a contextual and analytical study, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2988/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Toby Patrick Moschard T!Je Sacred C!Jora!Httsic o/Francts Pottlenc.·a contextttaland analyticalstttdy Submitted for the degree of Master of Arts in the Department of Music, Faculty of Arts, University of Durham September 2004 A copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged. 1 3 JUN 2005 G>ntents Abstract page ill Preface page 1v Introduction page -
Modern Music a Collection of Manuscripts and First & Early Editions
J & J LUBRANO MUSIC ANTIQUARIANS Catalogue 90 | November 2020 modern music a collection of manuscripts and first & early editions 20TH CENTURY PART I MODERN MUSIC a collection of manuscripts and first & early editions 20TH CENTURY PART 1 TABLE OF CONTENTS in order by composer’s surname 1 Auric - Burleigh 11 Castelnuovo-Tedesco - Honegger 21 Jacob - Milhaud 30 Orff - Satie 43 Schoenberg 62 Schoop - Trillat 70 Vaughan WIlliams - Wolfsohn 81 References 82 Conditions of Sale All items in the catalogue include a link to the item’s listing on our website with further details and purchasing options. Please see our Conditions of Sale notice at the back of the catalogue for further information. J & J Lubrano Music Antiquarians LLC 6 Waterford Way Syosset, NY 11791 U.S.A. (516) 922-2192 | [email protected] www.lubranomusic.com Front cover illustration detail from item #5 AURIC - BARTО`K AURIC, Georges 1899-1983 2. 1. Petite Suite [Solo piano] Paris: Heugel [PNs H. 29,832-29,836], 1928. Original publisher’s ivory printed wrappers. Unbound as issued. 15 pp. I. Prélude – II. Danse – III. Vilanelle et Entrée – IV. Sarabande – V. Voltes “Les nos. 2 et 3 sont écrits d’après des pièces de luth polonaises du XVIe siècle.” Wrappers slightly browned and soiled; publisher’s handstamps to upper, “Hommage de l’Editeur” to title. Small hole to pp. 3-4 just touching text. First Edition. Schmidt GA56, I, pp. 282-283. $100 (33799) 2. Printemps [Solo piano] inspired fashion designers including Christian Paris: Durand & Cie [PN D. & F. 12,621], Dior and Elsa Schiaparelli; he also designed 1935.