DOCSLIB.ORG

Handel's Messiah

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Handel's Messiah SPECIAL EVENT Guerrero Conducts HANDEL’S MESSIAH with the Nashville Symphony & Chorus THURSDAY, DECEMBER 19, AT 7 PM FRIDAY & SATURDAY, DECEMBER 20 & 21, AT 8 PM SUNDAY, DECEMBER 22, AT 2 PM NASHVILLE SYMPHONY THANK YOU TO OUR CONCERT PARTNERS & CHORUS GIANCARLO GUERRERO, conductor TUCKER BIDDLECOMBE, chorus director MARY WILSON, soprano ANDREW FOSTER-WILLIAMS, bass GARRETT SORENSON, tenor Mezzo soprano and tenor soloists to be announced This concert will last 2 hours and 40 minutes, including a 20-minute intermission. This weekend’s performances of the Nashville Symphony Chorus are underwritten in part by Mr. & Mrs. James W. White. Air: The people that walked in darkness GEORGE FREDERIC HANDEL Chorus: For unto us a Child is Born Messiah – 2 hours, 40 minutes Pifa (Pastoral Symphony) Sinfonia Recitative: There were shepherds abiding in the field PART I Accompagnato: And lo, the angel of the Accompagnato: Comfort ye, my people Lord came upon them Air: Ev’ry valley shall be exalted Recitative: And the angel said unto them Chorus: And the Glory of the Lord Accompagnato: And suddenly, there was Accompagnato: Thus saith the Lord with the angel Air: But who may abide the day of Chorus: Glory to God in the Highest His coming Air: Rejoice greatly, O daughter of Zion Chorus: And He shall purify Recitative: Then shall the eyes of the blind Accompagnato: Behold, a virgin be open'd shall conceive Duet: He shall feed His flock like Air and Chorus: O thou that tellest good a shepherd tidings to Zion Chorus: His yoke is easy, and His Accompagnato: For behold, darkness shall burthen is light cover the earth. 32 DECEMBER 2019 SPECIAL EVENT PART II Chorus: Behold the Lamb of God Chorus: Let us break their bonds asunder Air: He was despised Recitative: He that dwelleth in Heaven Chorus: Surely He hath bourne our griefs Air: Thou shalt break them with a Chorus: And with His stripes we are healed rod of iron Chorus: All we like sheep have gone astray Chorus: Hallelujah Accompagnato: All they that see Him, laugh Him to scorn PART III Chorus: He trusted in God Air: I know that my Redeemer liveth Accompagnato: Thy rebuke hath broken Chorus: Since by man came death His heart Accompagnato: Behold, I tell you a mystery Arioso: Behold and see if there be if there Air: The trumpet shall sound, and the dead be any sorrow shall be rais'd Accompagnato: He was cut off out of the Recitative: Then shall be brought to pass land of the living Duet: O death, where is thy sting? Air: But Thou didst not leave His Chorus: But thanks be to God soul in Hell Chorus: Worthy is the Lamb that was slain Chorus: Lift up your heads Chorus: Amen Air: How beautiful are the feet of them Air: Why do the nations so furiously rage together SUPPORT MUSIC IN TENNESSEE WITH AN ARTS PLATE INCONCERT 33 SPECIAL EVENT GEORGE FRIDERIC HANDEL Messiah Born on February 23, 1685, Estimated length: in Halle, Germany 2 hours and 40 minutes Died on April 14, 1759, in London, England First performance: April 13, 1742, in the Great Music Hall in Dublin, with the composer Composed: conducting. Handel composed the first version ofMessiah in just a little over three weeks, between August 22 and September 14, 1741, but First Nashville Symphony continued to make revisions to the score performance: — in some cases adding new arias — for December 15, 1963, with Music subsequent revivals of the work. Director Willis Page. verall, the career of George Frideric production were making it an unsustainable OHandel resembles that favorite symbol business model. What’s more, significant of 18th-century England: the wheel of fortune. changes in the English public’s musical taste The man who was born Georg Friedrich could not be ignored. AfterMessiah , Handel Händel to a barber-surgeon in Halle (less than ceased writing Italian operas altogether and 100 miles from J.S. Bach’s birthplace) settled concentrated mostly on oratorios in English. in London in 1712 and made England his Handel cultivated an English variation on home until he died. Handel found admiring the older oratorio idea, cleverly mixing a sense royal and aristocratic patrons there but also of moral uplift with the entertainment value enjoyed success as a musical entrepreneur, of opera, minus the expense, costumes, and managing the production of a prolific series overpaid egos. Oratorio had an additional of Italian operas which he wrote for the appeal, in that it seemed more acceptable London stage. Then, after his reputation to emerging middle-class audiences wary and fortune soared, fashions changed and of the scandal-tinged world of opera. But Handel came close to the brink of ruin. It this association with the sphere of secular was through his cultivation of the English performance generated some initial resistance oratorio — essentially, opera in disguise, to Messiah. without the costumes — that he turned his After producing a highly successful luck around once more. subscription series of both oratorios and Messiah belongs to this pivotal turning point operas in Dublin in the 1741-42 season, in Handel’s career, when he was shifting his Handel chose to conclude it by presenting focus away from the genre of tragic opera the world premiere of Messiah in the spring (opera seria) that had become a central of 1742. Despite the praise the new work won preoccupation of his London career. In fact, from its Dublin audiences, back in London — it was with opera (Rinaldo, in 1711) that where Handel cautiously introduced Messiah Handel scored his first hit in London. Opera under the title “New Sacred Oratorio” in 1743 seria involved setting librettos in Italian — it became the subject of controversy as a which recounted stories from mythology or debate raged in the press. Messiah’s method history. It was a genre calculated in part to of setting actual scriptural texts, as well as its showcase the star singers of the era, often delineation of Jesus within a genre that could with spectacular special effects as part of the be performed “for diversion and amusement,” staging. By the late 1730s, the high costs of even triggered charges of blasphemy, although 34 DECEMBER 2019 SPECIAL EVENT these were leveled against the secular context the part of the oratorio that is most closely of the performances rather than Handel’s tied to the Christmas season). Following its music itself. evocation of hope comes a condensed version The fretting subsided within a few years, of the Passion story of sacrifice in Part Two. although the only times Handel led Messiah Part Three concludes with the implications in a non-secular space were in his last years, of Christ’s redemption of humanity from the when he gave midday performances in the fall of Adam. newly built chapel of the Foundling Hospital. (The composer donated proceeds from WHAT TO LISTEN FOR Messiah concerts to charitable causes.) During his last decade, Handel conducted annual andel’s musical expression homes in on performances that became a highlight of the Hthe universal emotions that underlie each season. These were always given in the spring, stage of the Christian redemption narrative. at Eastertide. It was only after his death that Handel was above all a man of the theater, and the association of Messiah with the Christmas his operatic genius for establishing the mood to season took root. suit a given situation is everywhere apparent. Although we tend to think of Messiah as But in opera, Handel typically accomplishes the quintessential English oratorio, its text this through a lengthy chain of arias. The represents an unusual approach to the genre. centrality of the chorus in Messiah allows Librettist Charles Jennens had collaborated for greater diversity. Part One establishes a previously with Handel and likely compiled pattern of recitative, aria, and chorus, which the book for Israel in Egypt (first presented then allows for further variation in the other in 1739) which anticipates the method of two parts. construction of Messiah, arranging actual Handel moreover draws on the gamut texts from the bible. But the process is less of international styles of his era, mixing straightforward in Messiah. Jennens — a highly wrought, thrillingly complex wealthy patron who was nevertheless an Northern European counterpoint alongside outsider, disaffected with contemporary straightforward, Italianate lyricism, majestic English politics — juxtaposes extracts from French rhythms, and homophonic choruses. both the Old and the New Testaments to He avails himself as well of an astonishing represent the basic narrative of Christian range of colors in the accompanying textures, redemption. Rather than a biographical sketch though with a remarkable economy of of the life of Jesus, Messiah concerns the very instrumentation. Notice, for example, how idea of divinity becoming manifest in human the trumpets remain silent in Part One until history (hence the lack of the definite article “Glory to God,” and are subsequently kept — “the Messiah” — in its title). in the wings until the “Hallelujah!” chorus There is very little dramatic impersonation at the end of Part Two. (Incidentally, in of characters. The narrative is indirect and contrast to what is often assumed, the glory suggestive, and, as has been often noted, this chorus depicts refers not to the moment downright confusing to anyone not familiar of Christ’s resurrection but to the triumph with the implied events involving the life of of redemption). Jesus. Jennens divides the libretto into three Consider, too, the compelling psychological acts (although he calls them “parts”),
Load more

Recommended publications
  • Bach Cantatas Piano Transcriptions
    Bach Cantatas Piano Transcriptions contemporizes.Fractious Maurice Antonin swang staked or tricing false? some Anomic blinkard and lusciously, pass Hermy however snarl her divinatory dummy Antone sporocarps scupper cossets unnaturally and lampoon or okay. Ich ruf zu Dir Choral BWV 639 Sheet to list Choral BWV 639 Ich ruf zu. Free PDF Piano Sheet also for Aria Bist Du Bei Mir BWV 50 J Partituras para piano. Classical Net Review JS Bach Piano Transcriptions by. Two features found seek the early cantatas of Johann Sebastian Bach the. Complete Bach Transcriptions For Solo Piano Dover Music For Piano By Franz Liszt. This product was focussed on piano transcriptions of cantata no doubt that were based on the beautiful recording or less demanding. Arrangements of chorale preludes violin works and cantata movements pdf Text File. Bach Transcriptions Schott Music. Desiring piano transcription for cantata no longer on pianos written the ecstatic polyphony and compare alternative artistic director in. Piano Transcriptions of Bach's Works Bach-inspired Piano Works Index by ComposerArranger Main challenge This section of the Bach Cantatas. Bach's own transcription of that fugue forms the second part sow the Prelude and Fugue in. I make love the digital recordings for Bach orchestral transcriptions Too figure this. Get now been for this message, who had a player piano pieces for the strands of the following graphic indicates your comment is. Membership at sheet music. Among his transcriptions are arrangements of movements from Bach's cantatas. JS Bach The Peasant Cantata School Version Pianoforte. The 20 Essential Bach Recordings WQXR Editorial WQXR.
    [Show full text]
  • 2257-AV-Venice by Night Digi
    VENICE BY NIGHT ALBINONI · LOTTI POLLAROLO · PORTA VERACINI · VIVALDI LA SERENISSIMA ADRIAN CHANDLER MHAIRI LAWSON SOPRANO SIMON MUNDAY TRUMPET PETER WHELAN BASSOON ALBINONI · LOTTI · POLLAROLO · PORTA · VERACINI · VIVALDI VENICE BY NIGHT Arriving by Gondola Antonio Vivaldi 1678–1741 Antonio Lotti c.1667–1740 Concerto for bassoon, Alma ride exulta mortalis * Anon. c.1730 strings & continuo in C RV477 Motet for soprano, strings & continuo 1 Si la gondola avere 3:40 8 I. Allegro 3:50 e I. Aria – Allegro: Alma ride for soprano, violin and theorbo 9 II. Largo 3:56 exulta mortalis 4:38 0 III. Allegro 3:34 r II. Recitativo: Annuntiemur igitur 0:50 A Private Concert 11:20 t III. Ritornello – Adagio 0:39 z IV. Aria – Adagio: Venite ad nos 4:29 Carlo Francesco Pollarolo c.1653–1723 Journey by Gondola u V. Alleluja 1:52 Sinfonia to La vendetta d’amore 12:28 for trumpet, strings & continuo in C * Anon. c.1730 2 I. Allegro assai 1:32 q Cara Nina el bon to sesto * 2:00 Serenata 3 II. Largo 0:31 for soprano & guitar 4 III. Spiritoso 1:07 Tomaso Albinoni 3:10 Sinfonia to Il nome glorioso Music for Compline in terra, santificato in cielo Tomaso Albinoni 1671–1751 for trumpet, strings & continuo in C Sinfonia for strings & continuo Francesco Maria Veracini 1690–1768 i I. Allegro 2:09 in G minor Si 7 w Fuga, o capriccio con o II. Adagio 0:51 5 I. Allegro 2:17 quattro soggetti * 3:05 p III. Allegro 1:20 6 II. Larghetto è sempre piano 1:27 in D minor for strings & continuo 4:20 7 III.
    [Show full text]
  • A Level Schools Concert November 2014
    A level Schools Concert November 2014 An Exploration of Neoclassicism Teachers’ Resource Pack Autumn 2014 2 London Philharmonic Orchestra A level Resources Unauthorised copying of any part of this teachers’ pack is strictly prohibited The copyright of the project pack text is held by: Rachel Leach © 2014 London Philharmonic Orchestra ©2014 Any other copyrights are held by their respective owners. This pack was produced by: London Philharmonic Orchestra Education and Community Department 89 Albert Embankment London SE1 7TP Rachel Leach is a composer, workshop leader and presenter, who has composed and worked for many of the UK’s orchestras and opera companies, including the London Sinfonietta, the Orchestra of the Age of Enlightenment, Wigmore Hall, Glyndebourne Opera, English National Opera, Opera North, and the London Symphony Orchestra. She studied at the Guildhall School of Music and Drama, at Opera Lab and Dartington. Recent commissions include ‘Dope Under Thorncombe’ for Trilith Films and ‘In the belly of a horse’, a children’s opera for English Touring Opera. Rachel’s music has been recorded by NMC and published by Faber. Her community opera ‘One Day, Two Dawns’ written for ETO recently won the RPS award for best education project 2009. As well as creative music-making and composition in the classroom, Rachel is proud to be the lead tutor on the LSO's teacher training scheme for over 8 years she has helped to train 100 teachers across East London. Rachel also works with Turtle Key Arts and ETO writing song cycles with people with dementia and Alzheimer's, an initiative which also trains students from the RCM, and alongside all this, she is increasingly in demand as a concert presenter.
    [Show full text]
  • Vivaldi's Four Seasons
    Vivaldi’s Four Seasons Start time: 8pm Approximate running time: 75 minutes, no interval Please note all timings are approximate and subject to change Programme Arcangelo Corelli Concerto Grosso No 1 in D major, Op 6 Maria Grimani Sinfonia to Pallade e Marte Arcangelo Corelli Concerto Grosso No 2 in F major, Op 6 Antonio Vivaldi The Four Seasons Harriet Smith takes us through tonight’s programme of Italian treasures. Today we get to experience arguably the best-known set of violin concertos ever written – The Four Seasons – alongside a composer whose music has almost entirely vanished from sight. The life of the Italian composer Maria Grimani is so wreathed in mystery that we don’t even know for certain when she died. She appears to have been born into a noble Venetian family and what we do know is that she spent periods of time in Vienna, where she was active during the reign of Charles VI and was one of the last of a series of female oratorio composers at the imperial court. Strikingly she was first-ever woman to have an opera produced there: Pallade e Marte was unveiled at the Vienna court theatre in celebration of the emperor’s saint’s day on 4 November 1713. Maria Grimani’s gifts, though, are self-evident even from the short sinfonia (overture) that opens Pallade e Marte. It ranges from a bustlingly upbeat opening section, strings supported by busy harpsichord continuo, to a slower- moving section full of sighing phrases and juicily biting harmonies. This in turn gives way to a more optimistic theme, underpinned by lilting rhythms that end the sinfonia in a mood of good humour.
    [Show full text]
  • Maria Margherita Grimani's ​Pallade E Marte
    Maria Margherita Grimani’s Pallade e Marte: An Edition with Commentary ​ ​ By Dennis J. Gotkowski A written project submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts (Music Performance) at the UNIVERSITY OF WISCONSIN-MADISON 2017 Date of final oral examination: May 5, 2017 The written project is approved by the following members of the Final Oral Committee: James Doing, Professor, Voice (major professor) David Crook, Professor, Musicology (project advisor) Martha Fischer, Professor, Piano (minor professor) Marc Vallon, Professor, Bassoon Paul Rowe, Professor, Voice Copyright © 2017 by Dennis J. Gotkowski All rights reserved i Contents Preface iii Acknowledgements iv Commentary 1 Background Information 2 Performance Practice Considerations 12 Editorial Process 19 Critical Report 29 Bibliography 33 Text and Translations 36 Edition 41 Full Score 42 1. Sinfonia 43 2. Recitative: “Perche più che mai liete” (Pallade, Marte) 50 ​ ​ 3. Aria: “D’Augusto vincitor” (Pallade) 52 ​ ​ 4. Recitative: “Bella madre d’eroi” (Marte, Pallade) 58 ​ ​ 5. Aria: “In pompa trionfal” (Marte) 60 ​ ​ 6. Recitative: “Assai di gloria” (Pallade, Marte) 66 ​ ​ 7. Aria: “Oggi fia” (Pallade) 68 ​ ​ 8. Recitative: “Elg’è ragion” (Marte, Pallade) 71 ​ ​ 9. Aria: “Vanti gloria” (Marte) 73 ​ ​ 10. Recitative: “Cesare invitto” (Pallade, Marte) 76 ​ ​ 11. Aria: “A le tue eccelse imprese” (Pallade) 78 ​ ​ 12. Recitative: “Quindi or ch’à le tue glorie” (Marte) 82 ​ ​ 13. Duet: “Al valor della tua destra” (Marte, Pallade) 83 ​ ​ ii Piano-Vocal Score 88 1. Sinfonia 89 2. Recitative: “Perche più che mai liete” (Pallade, Marte) 93 ​ ​ 3. Aria: “D’Augusto vincitor” (Pallade) 95 ​ ​ 4. Recitative: “Bella madre d’eroi” (Marte, Pallade) 100 ​ ​ 5.
    [Show full text]
  • Download Booklet
    VIVALDI - HANDEL Introduction Silete venti, HWV 242 George Frideric Handel (1685-1759) It is a great pleasure to have recorded these 1 Sinfonia e Recitativo [5.23] 2 Andante ma larghetto [7.21] glorious sacred works after performing them 3 Accompagnato [0.36] before an audience so many times. To make 4 Andante, Allergo [9.53] a recording with such a wonderful orchestra 5 Presto [3.14] and in the pearly acoustic of All Hallows’ Church, Gospel Oak was a joy. I hope you Gloria, HWV deest George Frideric Handel will share these feelings when you hear the result. 6 Gloria in excelsis Deo [2.28] 7 Et in terra pax [2.48] 8 Laudamus te, benedicimus te [2.18] Special thanks to my dearest parents, Nigel 9 Domine Deus, rex coelestis [1.14] and our wonderful children for their constant 0 Qui tollis peccata mundi [3.26] love and support. q Quoniam tu solus sanctus [3.38] Grace Davidson, 2018 Salve Regina, HWV 241 George Frideric Handel w Salve, Regina, Mater misericordiae [3.01] e Ad te clamamus exsules filii Evae [2.45] r Eia, ergo, advocate nostra [3.33] t O Clemens, O pie [1.34] Nulla in mundo pax sincera, RV630 Antonio Vivaldi (1678-1741) y Nulla in mundo pax sincera [6.09] u Blando colore oculos mundus decepit [1.13] i Spirat anguis [3.21] o Alleluia [2.13] Total timings: [76.11] GRACE DAVIDSON SOPRANO • ACADEMY OF ANCIENT MUSIC JOSePH CROUCH ARTISTIC LEADER www.signumrecords.com Silente Venti and it was perhaps composed with an eye to the upper hand of athleticism over the players, wild in places, but unmistakably Handel’.
    [Show full text]
  • Christmas Oratorio
    Reflections on Bach’s “Christmas Oratorio” by John Harbison Composer John Harbison, whose ties to Boston’s cultural and educational communities are longstanding, celebrates his 80th birthday on December 20, 2018. To mark this birthday, the BSO will perform his Symphony No. 2 on January 10, 11, and 12 at Symphony Hall, and the Boston Symphony Chamber Players perform music of Harbison and J.S. Bach on Sunday afternoon, January 13, at Jordan Hall. The author of a new book entitled “What Do We Make of Bach?–Portraits, Essays, Notes,” Mr. Harbison here offers thoughts on Bach’s “Christmas Oratorio.” Andris Nelsons’ 2018 performances of Bach’s Christmas Oratorio are the Boston Symphony’s first since 1950, when Charles Munch was the orchestra’s music director. Munch may have been the last BSO conductor for whom Bach’s music remained a natural and substantial part of any season. In the 1950s the influence of Historically Informed Practice (HIP) was beginning to be felt. Large orchestras and their conductors began to draw away from 18th-century repertoire, feeling themselves too large, too unschooled in stylistic issues. For Charles Munch, Bach was life-blood. I remember hearing his generous, spacious performance of Cantata 4, his monumental reading of the double-chorus, single-movement Cantata 50. Arriving at Tanglewood as a Fellow in 1958, opening night in the Theatre-Concert Hall, there was Munch’s own transcription for string orchestra of Bach’s complete Art of Fugue! This was a weird and glorious experience, a two-hour journey through Bach’s fugue cycle that seemed a stream of sublime, often very unusual harmony, seldom articulated as to line or sectional contrast.
    [Show full text]
  • András Schiff, Piano II
    CAL PERFORMANCES PRESENTS PROGRAM Wednesday, February 29, 2012, 8pm Ludwig van Beethoven (1770–1827) Thirty-Three Variations on a Waltz by Zellerbach Hall Anton Diabelli, Op. 120 (1819, 1822–1823) Thema — Vivace I. Alla Marcia maestoso András Schiff, piano II. Poco Allegro III. L’istesso tempo IV. Un poco più vivace V. Allegro vivace PROGRAM VI. Allegro ma non troppo e seriouso VII. Un poco più allegro VIII. Poco vivace Johann Sebastian Bach (1685–1750) Three-Part Inventions (Sinfonias), IX. Allegro pesante e risoluto bwv 787–801 (1720) X. Presto XI. Allegretto No. 1 in C major, bwv 787 XII. Un poco più moto No. 2 in C minor, bwv 788 XIII. Vivace No. 3 in D major, bwv 789 XIV. Grave e maestoso No. 4 in D minor, bwv 790 XV. Presto scherzando No. 5 in E-flat major,bwv 791 XVI. Allegro No. 6 in E major, bwv 792 XVII. Allegro No. 7 in E minor, bwv 793 XVIII. Poco moderato No. 8 in F major, bwv 794 XIX. Presto No. 9 in F minor, bwv 795 XX. Andante No. 10 in G major, bwv 796 XXI. Allegro con brio — meno allegro No. 11 in G minor, bwv 797 XXII. Allegro molto (alla “Notte e giorno faticar” No. 12 in A major, bwv 798 from Mozart’s Don Giovanni) No. 13 in A minor, bwv 799 XXIII. Allegro assai No. 14 in B-flat major,bwv 800 XXIV. Fughetta. Andante No. 15 in B minor, bwv 801 X X V. A llegro XXVI. (Piacevole) XXVII. Vivace Béla Bartók (1881–1945) Sonata for Piano, Sz.
    [Show full text]
  • 6. Vocal Forms
    ! ! ! ! ! ! VOCAL FORMS VOCAL FORMS CANTATA (“ Sung Piece”) MOTET Concerto (“To Work Together”) Concertato (“To Get/Dispute Together”) ORATORIO (“Oratory”) VOCAL FORMS CANTATA (“ Sung Piece”) VOCAL FORMS CANTATA (“ Sung Piece”) Sections of: Recitative Aria Arioso VOCAL FORMS CANTATA = MINI OPERA Sections of: Recitative Aria Arioso VOCAL FORMS Barbara STROZZI (1619-1677) VOCAL FORMS Barbara Strozzi VOCAL FORMS Barbara STROZZI (1619-1677) Born in Florence Lived in Venice Studied with Cavalli Supported by father, Giulio Strozzi Published over 100 works VOCAL FORMS Barbara STROZZI “Lagrime mie” Diporti di Euterpe (1659) [The Pleasures of Euterpe] EUTERPE is the Muse of Music and Lyric Poetry VOCAL FORMS “Lagrime mie ” Solo Voice and Basso Continuo Recitative I Arioso Bel Canto Aria Ia Recitative Ia Strophic Aria (2 strophes) Recitative Bel Canto Aria Ib VOCAL FORMS MOTET A Sacred Non-liturgical Piece VOCAL FORMS MOTET Prima pratica polyphony continued to be used throughout the seventeenth century. Pure stile antico, exemplified by Palestrina’s style, carried associations of tradition and sanctity. VOCAL FORMS MOTET Over time, basso continuo was added to these motets and the style was updated. VOCAL FORMS MOTET Concerto = Motet with B.C. Concertato = Voices and Instruments VOCAL FORMS MOTET Concertare = “To Work or Dispute Together” VOCAL FORMS LARGE-SCALE CONCERTO VOCAL FORMS LARGE-SCALE CONCERTO For major feast days at large churches Many voices and instruments, sometimes in cori spezzati (divided choirs) Used for settings of Vespers, psalms, and movements of the mass VOCAL FORMS Giovanni Gabrieli VOCAL FORMS LARGE-SCALE CONCERTO Giovanni GABRIELI Nephew of Andrea Gabrieli VOCAL FORMS LARGE-SCALE CONCERTO Giovanni GABRIELI “In ecclesiis” (pub.
    [Show full text]
  • Antonio Salieri (1750–1825) Written: 1779 Movements: Three Style: Classical Duration: Nine Minutes
    Sinfonia in D Major,"La Veneziana" Antonio Salieri (1750–1825) Written: 1779 Movements: Three Style: Classical Duration: Nine minutes If you’ve seen the play or movie Amadeus, forget everything you learned about Antonio Salieri in those great dramas. He didn’t try to poison Mozart. Granted, both Mozart and Salieri vied for the same jobs, and Salieri often came out on top, but Mozart seemed to be more bothered by the Italians competing against the Germans in the imperial city of Vienna. Mozart may not have liked Salieri, but Salieri seems to have admired Mozart. He revived Mozart’s Marriage of Figaro rather than present one of his own operas. He brought three of Mozart’s masses to the coronation of Leopold II. When Salieri saw Mozart’s Magic Flute, Wolfgang reported to his wife "He heard and saw with all his attention, and from the overture to the last choir there was not a piece that didn't elicit a 'Bravo!'” Antonio Salieri was born in Legnano near Venice. Orphaned as a teenager, he ended up in Vienna apprenticed to the Bohemian composer Florian Gassmann. He wrote his first (of forty) operas when he was nineteen. He became Chamber Composer and Conductor of the Italian Opera when he was twenty four and was the dominant force in Italian Opera in Vienna for nearly thirty years. Appointed Hofkapellmeister in 1788, he was responsible for music at the court chapel. He was the first director of the Vienna’s Sing-Akademie and taught Beethoven, Schubert, and Liszt. Salieri didn’t really write the Sinfonia “La Veneziana” as a true sinfonia.
    [Show full text]
  • MSM CHAMBER SINFONIA George Manahan (BM ’73, MM ’76), Conductor
    MSM CHAMBER SINFONIA George Manahan (BM ’73, MM ’76), Conductor WEDNESDAY, OCTOBER 10, 2018 | 7:30 PM THE RIVERSIDE CHURCH WEDNESDAY, OCTOBER 10, 2018 | 7:30 PM THE RIVERSIDE CHURCH MSM CHAMBER SINFONIA George Manahan, Conductor PROGRAM DAVID NOON Anniversary Fanfare, Op. 141 (b. 1946) PAUL HINDEMITH Symphonic Metamorphosis of Themes (1924–1963) by Carl Maria von Weber Allegro Turandot: Scherzo Andantino March INTERMISSION GUSTAV M A HLER Symphony No. 5 (1824–1896) PART 1 1. Trauermarsch 2. Stürmisch bewegt PART II 3. Scherzo: Kräftig, nicht zu schnell PART III 4. Adagietto 5. Rondo-Finale CENTENNIAL NOTE David Noon was a member of the Manhattan School of Music faculty from 1981 to 2011, teaching music history and composition. He wrote over 90 works that received a first performance at MSM, including four fanfares: Curtain Raiser, Op. 116, commissioned by MSM for the opening concert of MSM’s 75th anniversary season, premiered on October 8, 1993, by the MSM Symphony, Sixten Ehrling conducting; Manhattan Fanfare, Op. 129, premiered on October 7, 1995, by the MSM Philharmonia, conducted by Glen Cortese; Anniversary Fanfare, Op. 141, written to celebrate MSM’s 80th anniversary, premiered on September 26, 1997, by the MSM Symphony, again conducted by Mr. Cortese; and a special composition for the opening of MSM’s newly constructed Andersen Hall in 2001 written for three brass quintets, inspired by the great brass works of Gabrieli’s Venice. –John Blanchard (MM ’89), Institutional Historian and Director of Archives 4 PROGRAM NOTES Anniversary Fanfare, Op. 141 David Noon David Noon’s multifaceted early training in music—clarinet, bassoon, flute, piccolo, and piano lessons together with participation in choirs, bands, orchestras, and chamber ensembles—foreshadowed his equally prismatic later education and illustrious career.
    [Show full text]
  • All Mozart with Yannick
    23 Season 2019-2020 Thursday, October 10, at 7:30 The Philadelphia Orchestra Sunday, October 13, at 2:00 Yannick Nézet-Séguin Conductor Juliette Kang Violin Choong-Jin Chang Viola Mozart Symphony No. 35 in D major, K. 385 (“Haffner”) I. Allegro con spirito II. Andante III. Menuetto IV. Presto Mozart Sinfonia concertante in E-flat major, K. 364, for violin, viola, and orchestra I. Allegro maestoso II. Andante III. Presto Intermission Mozart Symphony No. 40 in G minor, K. 550 I. Molto allegro II. Andante III. Menuetto (Allegretto)—Trio—Menuetto da capo IV. Allegro assai This program runs approximately 1 hour, 55 minutes. LiveNote® 2.0, the Orchestra’s interactive concert guide for mobile devices, will be enabled for these performances. The October 10 concert is sponsored by an anonymous donor. These concerts are part of The Philadelphia Orchestra’s WomenNOW celebration. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. 24 ® Getting Started with LiveNote 2.0 » Please silence your phone ringer. » Make sure you are connected to the internet via a Wi-Fi or cellular connection. » Download the Philadelphia Orchestra app from the Apple App Store or Google Play Store. » Once downloaded open the Philadelphia Orchestra app. » Tap “OPEN” on the Philadelphia Orchestra concert you are attending. » Tap the “LIVE” red circle. The app will now automatically advance slides as the live concert progresses. Helpful Hints » You can follow different tracks of content in LiveNote.
    [Show full text]