And Progress to St Martin's Chamber Music Competition Final
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9 September 2021
9 September 2021 12:01 AM Uuno Klami (1900-1961) Serenades joyeuses Finnish Radio Symphony Orchestra, Jussi Jalas (conductor) FIYLE 12:07 AM Johann Gottlieb Graun (c.1702-1771) Sinfonia in B flat major, GraunWV A:XII:27 Kore Orchestra, Andrea Buccarella (harpsichord) PLPR 12:17 AM Claude Debussy (1862-1918) Violin Sonata in G minor Janine Jansen (violin), David Kuijken (piano) GBBBC 12:31 AM Peter Ilyich Tchaikovsky (1840-1893) Slavonic March in B flat minor 'March Slave' BBC Philharmonic, Rumon Gamba (conductor) GBBBC 12:41 AM Maria Antonia Walpurgis (1724-1780) Sinfonia from "Talestri, Regina delle Amazzoni" - Dramma per musica Batzdorfer Hofkapelle, Tobias Schade (director) DEWDR 12:48 AM Wolfgang Amadeus Mozart (1756-1791) Sonata for piano (K.281) in B flat major Ingo Dannhorn (piano) AUABC 01:00 AM Luigi Boccherini (1743-1805) Quintet for guitar and strings in D major, G448 Zagreb Guitar Quartet, Varazdin Chamber Orchestra HRHRT 01:19 AM Carl Nielsen (1865-1931) Symphony No.3 (Op.27) "Sinfonia espansiva" Janne Berglund (soprano), Johannes Weisse (baritone), Stavanger Symphony Orchestra, Niklas Willen (conductor) NONRK 02:01 AM Claude Debussy (1862-1918) Estampes, L.100 Kira Frolu (piano) ROROR 02:14 AM Fryderyk Chopin (1810-1849) Etude in C minor Op.10'12 'Revolutionary' Kira Frolu (piano) ROROR 02:17 AM Fryderyk Chopin (1810-1849) Etude in E major, Op.10'3 Kira Frolu (piano) ROROR 02:20 AM Fryderyk Chopin (1810-1849) Etude in C minor Op.25'12 Kira Frolu (piano) ROROR 02:23 AM Constantin Silvestri (1913-1969) Chants nostalgiques, -
Violinist Lana Trotovsek Has Won Admiration for Her Expressive Playing and Unique Musicality
Violinist Lana Trotovsek has won admiration for her expressive playing and unique musicality. The Washington Post has described her as ‘Radiant’ and praised her ‘clean, refined tone with musical sense of phrasing and impeccable intonation’. The Strad Magazine has mentioned her ‘true feel of live intuitive performance’ . She has captivated audiences with her ‘warm sound and formidable technique’ La Vanguardia and her talent of bringing ‘freshness, depth and insight’ Broad Street Review to her interpretations. Since her debut with the Mariinsky Theatre Orchestra under Valery Gergiev in 2012, Lana Trotovsek appeared with some of the world’s finest orchestras. In 2014, she toured with the Moscow Soloists and Yuri Bashmet and in 2016 she performed Prokofiev’s Violin Concerto No.1 with the London Symphony Orchestra under Gianandrea Noseda. Her recent schedule included the BBC 3 live recording of a Violin Concerto “Venus Blazing” composed by Deirdre Gribbin with the Ulster Orchestra in Belfast, Tchaikovsky violin concerto with the Royal Philharmonic Orchestra under Raphael Payare, a premiere of Hugo Wolf Violin Concerto in Congress Centre Villach in Austria, Mendelssohn violin concerto with the RTS Symphony Orchestra in the Shanghai Oriental Arts Centre as well as in Klagenfurt Konzerthaus with Carinthian Symphony Orchestra, and an evening recital in Wigmore Hall, which has been described as “remarkable” by the Strad magazine. Over the past few years Lana has collaborated with Tan Dun and Orchestra Teatro Verdi, the Shanghai and Slovenian Philharmonic, as well as Uros Lajovic and the Sarajevo Philharmonic Orchestra, the RTV Slovenia under George Pehlivanian, the Kalamazoo Symphony Orchestra, and the Chamber Orchestra of Philadelphia, where she was described as “an emerging voice to watch” by Philadelphia Inquirer. -
Boston Symphony Orchestra Concert Programs, Season 90, 1970
IftftXfiSMe BOSTON SYMPHONY ryD r^TJj? QTJ3 A FOUNDED IN 1881 BY HENRY LEE HIGGINSON FRIDAY- SATURDAY 10 TUESDAY A 5 1970-1971 NINETIETH ANNIVERSARY SEASON STRADIVARI created for all time a perfect marriage of precision and beauty for both the eye and the ear. He had the unique genius to combine a thorough knowledge of the acoustical values of wood with a fine artist's sense of the good and the beautiful. Unexcelled by anything before or after, his violins have such purity of tone, they are said to speak with the voice of a lovely soul within. In business, as in the arts, experience and ability are invaluable. We suggest you take advantage of our extensive insurance background by letting us review your needs either business or personal and counsel you to an intelligent program. We respectfully invite your inquiry. CHARLES H. WATKINS & CO., INC. Richard P. Nyquist, President Charles G. Carleton, Vice President 147 Milk Street Boston, Massachusetts 02109 542-1250 OBRION, RUSSELL & CO. Insurance of Every Description mm BOSTON SYMPHONY ORCHESTRA WILLIAM STEINBERG Music Director MICHAEL TILSON THOMAS Associate Conductor NINETIETH ANNIVERSARY SEASON 1970-1971 THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. TALCOTT M. BANKS President FRANCIS W. HATCH PHILIP K. ALLEN Vice-President HAROLD D. HODGKINSON ROBERT H. GARDINER Vice-President E. MORTON JENNINGS JR JOHN L. THORNDIKE Treasurer EDWARD M. KENNEDY ALLEN G. BARRY HENRY A. LAUGHLIN RICHARD P. CHAPMAN EDWARD G. MURRAY ABRAM T. COLLIER JOHN T. NOONAN MRS HARRIS FAHNESTOCK MRS JAMES H. PERKINS THEODORE P. FERRIS IRVING W. RABB SIDNEY STONEMAN TRUSTEES EMERITUS HENRY B. -
BRINTON AVERIL SMITH, Cello EVELYN CHEN, Piano (Guest)
' FACULTY AND ' GUEST ARTIST RECITAL KATHLEEN WINKLER, violin CHO-LIANG LIN, violin JAMES DUNHAM, viola ! BRINTON AVERIL SMITH, cello EVELYN CHEN, piano (guest) Thursday, March 13, 2008 8:00 p.m. Lillian H Duncan Recital Hall the RICE UNIVERSITY ~ ofMusIC PROGRAM I Piano Trio No.1 in D Minor, Op. 49 Felix Mendelssohn Molto allegro ed agitato (1809-1847) Andante con moto tranquillo Scherzo: Leggiero e vivace Finale: Allegro assai appassionato Evelyn Chen, piano Kathleen Winkler, violin Brinton Averil Smith, cello INTERMISSION I A Piano Quintet in F Minor, Op. 34 Johannes Brahms Allegro non troppo (1833-1897) Andante, un poco adagio Scherzo: Allegro Finale: Paco sostenuto - Allegro non troppo - Presto non troppo Evelyn Chen, piano Cho-Liang Lin, violin Kathleen Winkler, violin James Dunham, viola Brinton Averil Smith, cello The reverberative acoustics of Duncan Recital Hall magnify the slightest sound made by the audience. Your care and courtesy will be appreciated. The taking ofphotographs and use ofrecording equipment are prohibited. BIOGRAPHIES CHO-LIANG LIN is a violinist whose career has spanned the globe for twenty-five years. Since his debut at Lincoln Center's Mostly Mozart Fes tival with David Zinman at the age ofnineteen, he has appeared with vir tually every major orchestra in the world including the Boston Symphony, Cleveland Orchestra, Royal Concertgebouw Orchestra, London Symphony, Philadelphia Orchestra, and New York Philharmonic. He has over twenty recordings to his credit ranging from the concertos ofMozart, Mendels sohn, Bruch, and Sibelius to Prokofiev and Stravinsky, as well as chamber music works of Schubert, Brahms, Tchaikovsky, and Ravel on Sony Clas sical. -
Pittsburgh Symphony Orchestra LORIN MAAZEL, Music Director-Designate
THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN Pittsburgh Symphony Orchestra LORIN MAAZEL, Music Director-Designate MICHAEL TILSON THOMAS Conductor VLADIMIR FELTSMAN, Pianist WEDNESDAY EVENING, APRIL 27, 1988, AT 8:00 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Symphony No. 6 in F major, Op. 68 ("Pastoral") ............... BEETHOVEN Allegro ma non troppo (Awakening of Joyful Feelings Upon Arriving in the Country) Andante molto mosso (Scene by the Brook) Allegro (Merry Gathering of Country Folk) Allegro (Tempest, Storm) Allegretto (Shepherds' Hymn: Glad and Thankful Feelings After the Storm) INTERMISSION Concerto No. 3 in D minor for Piano and Orchestra, Op. 30 . RACHMANINOFF Allegro ma non tanto Intermezzo: adagio Finale: alia breve VLADIMIR FELTSMAN Bravo to May Festival Underwriters In the spirit of honoring the past and ensuring the future, these families and individuals have demonstrated their support by underwriting the artist fees and major production costs of this 95th Annual May Festival. Representing both long-time Ann Arbor arts patrons and a new generation of leadership in the cultural life of this community, these donors are committed to maintaining the Musical Society's tradition of excellence through their public-spirited generosity. We gratefully recognize the following: Dennis A. Dahlmann Mrs. Theophile Raphael Mr. and Mrs. Peter N. Heydon Eileen and Ron Weiser with Elizabeth E. Kennedy McKinley Associates, Inc. Bill and Sally Martin An anonymous family The Power Foundation Forty-second Concert of the 109th Season Ninety-fifth Annual May Festival PROGRAM NOTES by Dr. FREDERICK DORIAN in collaboration with Dr. JUDITH MEIBACH Symphony No. 6 in F major, Op. 68 ("Pastoral") . -
Carmel Music Society
Musical Excellence Since 1927 carmel music society PERFORMANCE HISTORY 1927-2013 with support from the Monterey County Board of Supervisors Carmel Music Society Post Office Box 22783 Carmel, California 93922 831-625-9938 831-625-6823 FAX www.carmelmusic.org [email protected] printed on recycled paper 2008-09 2011-12 The Romeros Guitar Quartet Nobuyuki Tsujii, Pianist Adaskin Trio & Gryphon Trio Carmel Music Society Tom Gallant, Oboist Astrid Schween, Cellist & Board of Directors Takâcs Quartet Gary Hammond, Pianist Hans Boepple, Pianist Frederica von Stade, Mezzo-Soprano & Voices of London Kristin Pankonin, Pianist Anne Thorp, President Bennewitz String Quartet Israeli Chamber Project Victoria Davis, First Vice President Triple Helix & Garrick Ohlsson, Pianist Rudolf Schroeter, Second Vice President Paul Hersh, Violist Nadja Salerno-Sonnenberg, Violinist & Yefim Bronfman, Pianist Anne-Marie McDermott, Pianist Larry Davidson, Third Vice President Dana Booher, Saxophonist* Pavel Haas Quartet Peter Thorp, Treasurer Jae-in Shin, Violinist* Greta Alexander, Secretary 2009-10 Academy of Saint Martin in the Fields Chamber Ensemble Tim Brown Kate Kluetmeier Alexander Quartet & Eli Eban, Clarinetist Doris Cobb Jim Rotter Susan Graham, Beverly Dekker-Davidson Barbara Ruzicka Mezzo-Soprano & Erik Dyar Kumi Uyeda Malcolm Martineau, Pianist Menachem Pressler, Pianist & American String Quartet Gustavo Romero, Pianist Advisors Albers String Trio David Gordon, Renée Bronson Timothy Fain, Violinist & Cory Smythe, Pianist Bert Ihlenfeld, Ginna -
Bernard Greenhouse: a Selected Discography
Bernard Greenhouse: A Selected Discography Compiled by: Sonia Archer-Capuzzo and Mac Nelson “Bernard Greenhouse: A Selected Discography,” compiled with William “Mac” Nelson, 2011. Available at http://reuningprivatesales.com/stainlein/bernard-greenhouse-discography. Made available courtesy of Elena Delbanco/Reuning & Son Violins: http://reuningprivatesales.com/stainlein/bernard-greenhouse-discography. ***© Elena Delbanco/Reuning & Son Violins. Reprinted with permission. No further reproduction is authorized without written permission from Elena Delbanco/Reuning & Son Violins. This version of the document is not the version of record. Figures and/or pictures may be missing from this format of the document. *** Abstract: Most numerous among the recordings of Bernard Greenhouse are those he made with the Beaux Arts Trio, the legendary ensemble of which he was the founding cellist in 1955 with pianist Menahem Pressler and violinist Daniel Guilet (later followed by violinist Isidore Cohen). With the Beaux Arts Trio, Greenhouse performed and recorded the entire standard piano trio repertoire before retiring from the group in 1987. However, Greenhouse’s career on the international chamber music stage represents only one dimension of his richly varied musical life. He was also a virtuoso cello soloist, a tireless musical collaborator, and the long-time cellist of New York’s Bach Aria Group. In order to demonstrate the breadth and depth of his recorded legacy, we have organized this discography in three sections: (1) Greenhouse As Soloist and Collaborator; -
825646078691.Pdf
LUDWIG VAN BEETHOVEN 1770–1827 Concerto for piano, violin, cello and orchestra in C major, Op.56 * 1 I Allegro 17.02 2 II Largo 5.36 3 III Rondo alla polacca 12.39 † Fantasy for piano, chorus and orchestra in C major, Op.80 4 I Adagio 3.56 5 II Finale: Allegro — Meno allegro — 5.00 6 Allegro molto — 1.35 7 Adagio, ma non troppo — 2.54 8 Marcia, assai vivace — Allegro — 2.10 9 Allegretto, ma non troppo (quasi Andante con moto) — Presto 4.07 Carola Höhn soprano I · Katharina Kammerloher soprano II Andrea Bönig mezzo-soprano · Endrik Wottrich tenor I Pär Lindskog tenor II · René Pape baritone Chor der Deutschen Staatsoper (Chorus master: Ernst Stoy) 55.14 ITZHAK PERLMAN violin* · YO-YO MA cello * DANIEL BARENBOIM piano* † Berliner Philharmoniker/Daniel Barenboim 2 Itzhak Perlman Photo: © Clive Barda 3 Beethoven: triple ConCerto and Choral Fantasy Though concertos with more than one solo instrument were common in the Baroque era, their popularity waned throughout the Classical and Romantic periods. Mozart’s Sinfonia concertante for violin and viola, Beethoven’s Triple Concerto for piano, violin and cello, and then Brahms’s Double Concerto for violin and cello would be the most impressive exceptions to that rule. Itzhak Perlman, who has recorded all three of these works, laid down early versions of the Brahms (1979, see volume 22) and the Mozart (DG, 1982), but waited far longer to commit his own interpretation of the Beethoven to disc. The score, which provided aristocratic ensembles in imperial Vienna with a model illustrating the possibilities offered by the piano trio, has often suffered because of its formal ambiguities — is it a triple concerto or a concerto for piano trio with orchestra? This no doubt explains why it has been performed both by established chamber formations (such as the Beaux Arts, Stern–Istomin–Rose and Oistrakh trios), and by ad hoc groupings of individual soloists (for example, Schneiderhan, Anda and Fournier; Szeryng, Arrau and Starker; and even Oistrakh, Richter and Rostropovich). -
Tetzlaff, Violin Tanja Tetzlaff, Cello Lars Vogt, Piano Tetzlaff- Tetzlaff-Vogt Trio Denver April 30, 2019
CHRISTIAN TETZLAFF, VIOLIN TANJA TETZLAFF, CELLO LARS VOGT, PIANO TETZLAFF- TETZLAFF-VOGT TRIO DENVER APRIL 30, 2019 ROBERT SCHUMANN Trio No. 1 in D Minor, Op. 63 (1810-1855) Mit Energie und Leidenschaft Lebhaft, doch nicht zu rasch - Trio Langsam, mit inniger Empfindung - Bewegter Mit Feuer INTERMISSION ANTONIN DVORˇÁK Trio No. 3 in F Minor, Op. 65 (1841-1904) Allegro ma non troppo Allegretto grazioso – Meno mosso Poco adagio Finale. Allegro con brio CHRISTIAN TETZLAFF An artist known for his musical integrity, technical assurance and intelligent, compelling interpretations, Christian Tetzlaff has been internationally recognized as one of the most sought after violinists and exciting musicians on the classical music scene. From the outset of his career, Christian Tetzlaff has performed and recorded a broad spectrum of the repertoire, ranging from Bach’s unaccompanied sonatas to world premieres of contemporary works such as the CHRISTIAN Jorg Widmann Violin Concerto. A dedicated chamber TETZLAFF musician, he frequently collaborates with distinguished violin artists including Leif Ove Andsnes and Lars Vogt. In 1994, Christian and his sister, Tanja, founded the Tetzlaff Quartet with Elisabeth Kufferath and Hanna Weinmeister. During the 2018-19 season, Christian Tetzlaff returns to Tanglewood to work with the Boston Symphony under Thomas Adès, as well as to the Cleveland and National Arts Centre Orchestras and the Detroit, New World, and Toronto symphonies. Tetzlaff is the featured soloist on a U.S. tour with the San Francisco Symphony and Michael Tilson Thomas and tours with his trio partners, Tanja Tet- zlaff and Lars Vogt, to Los Angeles, San Francisco, Van- couver, New York, Washington D.C., and Denver. -
LOC Series 2009
Concerts from the Library of Congress 2009 Hosted by Bill McGlaughlin Program 1 - L09-01 Bernstein Program with guest co-host Mark Horowitz Ravel Piano Concerto - Excerpts Bernstein - The Girl with Two Left Feet The Reviewers Bernstein - Sonata for Clarinet and Piano David Oppenheim, clarinet Leonard Bernstein, piano Bernstein - Conch Town (Excerpt] John Kalbfleisch, piano Schumann - Quintet Juilliard Quartet Leonard Bernstein, piano Program 2 - L09-02 Baroque Program with guest co-host Denise Gallo Vivaldi - Sinfonia from La Senna festeggiante, RV 693 Europa Galante Vivaldi - Concerto in D minor for Viola d’amore and Lute Fabio Biondi/Europa Galante LOC 2009 Page 1 Vivaldi - “Oh infiusti numi! Andero, chiamero” from Orlando furioso Handel - “Dall’ondoso periglio ...Are, deh, per ieta” from Giulio Cesare Jennifer Larmore, soprano Ensembel Matheus Telemann - Concerto in E minor for Flute and Recorder Ensemble Matheus Program 3 - L09-03 Focus on Revueltas - Post Classical Ensemble Magueyes - Eugenia León, vocalist Batik (1926) Post Classical Ensemble Quartet No. 4 (“Música de Feria”) [1932] Cuarteto Latinoamericano Talk with Saúl Bitrán of Cuarteto Latinoamericano Canción de cuna (1938/39) - Eugenia León, vocalist Homenaje a Federica Garcia Lorca (1936) Canto a una muchacha negra (1938) - Eugenia León, vocalist Carminando - Eugenia León, vocalist Sensemayá Post Classical Ensemble Program 4 - L09-04 Inspired by Italy Stravinsky - Suite Italienne Lynn Harrell, cello/Victor Santiago-Asuncion, piano Tchaikovsky - Souvenir de Florence Borromeo String Quartet and two members of the Parker String Quartet LOC 2009 Page 2 Program 5 - L09-05 Beaux Arts Trio in their final concert at the Library with guest Menachem Pressler Beethoven - Trio Op. -
Clarinetfest® 2015 — Madrid
Antonio Romero and his time ClarinetFest® 2015 — madrid Volume 42, Number 2 March 2015 ABOUT THE COVER… FEATURES CLARINETFEST® 2015 – MADRID, SPAIN / JULY 22–26, 2015 by Héctor Abella . 30 Antonio Romero (engraving from his Method, 2nd ed . Library of the Royal Superior MÁXIMO MUÑOZ PAVÓN: Conservatory in Madrid, signature 1/190); A BENCHMARK OF THE CLARINET IN SPAIN by Carlos Javier Fernández Cobo . 34 Romero System clarinet by Lefêvre, Paris, DON’T GIVE ME DAPHNIS: ca. 1867. Gift of William J. Maynard, AN INJURY RECOVERY GUIDE FOR CLARINETISTS Massapequa Park, New York, 1996. by Mary Alice Druhan, with Kristin Keesey, and Debbie Gillespie . 36 (Photo by Bill Willroth, Sr., courtesy of National Music HYSTERICALLY SPEAKING by Eric Hoeprich . 39 Museum, University of South Dakota, NMM 5924) A PERSPECTIVE ON ENRIQUE CALVIST (1851–1897) INDEX OF ADVERTISERS by Àngel Lluís Ferrando Morales . 40 SPANISH CLARINET MUSIC: AMB Clarinet . 46 THE PATH FROM ROMERO TO TODAY by Gregory Barrett . 44 Ann Arbor Clarinet Connection . 46 KLEZMER DANCES FOR CLARINET, Aria International Summer Academy . 96 STRINGS, PERCUSSION AND TUBA by Eugene Kavadlo . 53 AW-Reeds GbR . 45 THE ROMERO-SYSTEM CLARINET: Belgian Clarinet Academy . 93 HISTORICAL NOTES AND OTHER INQUIRIES by Pedro Rubio . 54 Brannen Woodwinds . 25 AN INTERVIEW WITH JOSÉ ANTONIO TOMÁS PÉREZ by Carlos J. Casadó . 60 Brevard Music Center . 14 Brixton Publications . 84 MIGUEL YUSTE (1870–1947): THE SEARCH FOR HIS WORKS by Malena McLaren . 64 Buffet Group USA . IFC RESTORING ALEC WILDER’S ORIGINALS by Glenn Bowen . 67 California Clarinet Clinic . 50 PATRICE SCIORTINO AND HIS WORKS WITH CLARINET by Jean-Marie Paul . -
Download City Events, February 2016
_____________________________________________________________________________________________________________ February 2016 Published by FCC in conjunction with the Archdeaconry of London www.cityevents.website _____________________________________________________________________________________________________________ Sword Rests of the City The historic churches of the City of London contain many unusual and interesting furnishings and fittings. Among the most intriguing are the sword rests which are present in so many of the churches in the “square mile”, but in very few other locations in the country. Sword rests, or sword stands as they are sometimes called, were originally installed in City churches to hold the Lord Mayor's sword of state when he visited a different church every Sunday, a practice which ceased in 1883. The Lord mayor would be accompanied by various officers of the City, including the swordbearer, who would place the ceremonial sword upright in a sword rest, most commonly attached to the front pews. The oldest surviving rest dates from 1664 and the majority were installed in the 18th and 19th centuries. There are 58 surviving sword rests originating from City churches or livery halls. Two thirds of these can be seen in City churches, four are in livery halls, while the remainder are either in storage in churches or in museums . Two can be seen in All Hallows Twickenham, a Wren church rebuilt in the suburbs in 1939. All the sword rests, with the exception of that in St Michael Cornhill, are surmounted by a royal crown and almost all have the City’s coat of arms prominently displayed. Many also show the royal arms, the coat of arms of at least one Lord Mayor and, in a number of cases, the arms of the livery company of which dthe Lor Mayor was a member.