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Unitel and ClassiCa present emmanuel Pahud’s TribuTe To Frederick The GreaT Trevor Pinnock Kammerakademie PoTsdam Flute concert at sanssouci COnCeRt mmanuel Pahud, principal flutist of the Berliner Philharmoniker, honors the 300th birthday of Frederick the Frederick the Great eGreat with a concert recorded in the historic Royal theater Flute Concerto no. 3 in C major of the neues Palais Potsdam, one of the architectural masterworks within the world-heritage palace ensemble of sanssouci built by Johann Joachim Quantz the Prussian king. Capriccio in G major Capriccio in B major Frederick the Great was not only a great ruler and philosopher, but Flute Concerto, in G major also a passionate flutist and patron of music. He appointed to his Preludio in D major court the most renowned musicians and composers of his day such as J. J. Quantz, who served as his teacher for several years, Johann Franz Benda sebastian Bach’s son Carl Philipp emanuel, whom he named Flute Concerto in e minor royal harpsichordist, and Franz Benda, one of the leading pre- classical composers, so that they could engage in music-making Carl Philipp Emanuel Bach with him. Pahud plays works of these composers accompanied by Flute sonata in a minor the Kammerakademie Potsdam directed by trevor Pinnock at the harpsichord. and, of course, the concert would not be complete Flute Emmanuel Pahud without a work by Frederick the Great himself, who was also a Harpsichord Trevor Pinnock talented composer. Orchestra Kammerakademie Potsdam the concert is complemented by a documentary in which length 78' emmanuel Pahud, who, as the press wrote, “is a master of his Cat. no. A055135190000 domain precisely because he does not cultivate the beautiful sound per se, but slips into a different role for each composer”, not only sheds light on this fascinating ruler and the flute music of his time, A production of Salve TV for ZDF but also performs solo works in the private chambers of Frederick in co-production with UNITEL and CLASSICA the Great. DOCUMENTARY length 43' Cat. no. A05513518 A production of Salve TV for ZDF in cooperation with Arte and UNITEL CLASSICA Video Director Beatrix Conrad Shot in HDTV 1080 Design: luebbeke.com WORLD SALES: C Major Entertainment +49-(0)3030306464 All rights reserved · credits not contractual · Different territories [email protected] www.unitelclassica.com Photos: © Thomas Ernst.

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Thursday Playlist
February 20, 2020: (Full-page version) Close Window “Lesser artists borrow, great artists steal.” — Igor Stravinsky Start Buy CD Program Composer Title Performers Record Label Stock Number Barcode Time online Sleepers, 00:01 Buy Now! Liszt Hungarian Rhapsody No. 6 in D Budapest Festival Orchestra/Fischer Philips 456 570 028945657028 Awake! Symphony in D, "The Petrification of Phineus and 00:13 Buy Now! Dittersdorf Cantilena/Shepherd Chandos 8564/5 5014682856423 his Friends" 00:31 Buy Now! Haydn Symphony No. 076 in E flat Academy of Ancient Music/Hogwood BBC MM253 n/a Vonsattel/Sussmann/Swensen/O'Neill 01:01 Buy Now! Franck Piano Quintet in F minor Music@Menlo Live n/a 653738268220 /Finckel New York Chamber Music 01:35 Buy Now! Lully Suite ~ The Forced Marriage Dorian 90189 053479018922 Ensemble/Pederson 01:45 Buy Now! Mozart Fantasia in C minor, K. 475 Lars Vogt EMI 36080 094633608023 02:00 Buy Now! Weber Overture ~ Der Freischutz Philharmonia/Klemperer EMI 13073 n/a 02:11 Buy Now! Strauss, R. 2nd mvt (Andante) ~ Cello Sonata in F, Op. 6 Coppey/le Sage Harmonia Mundi 911550 794881314324 02:20 Buy Now! Mendelssohn Symphony No. 3 in A minor, Op. 56 "Scottish" London Classical Players/Norrington EMI 54000 077775400021 Rimsky- 02:59 Buy Now! Ivan the Terrible National Philharmonic/Stokowski Sony Classical 62647 074646264720 Korsakov 03:04 Buy Now! Tchaikovsky The Seasons (orchestrated version) Moscow Chamber Orchestra/Orbelian Delos 3255 013491325521 03:48 Buy Now! Handel Concerto Grosso in G, Op. 6 No. 1 Guildhall String Ensemble/Salter RCA 7895 078635789522 04:01 Buy Now! Devienne Flute Concerto No.
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Repertoire List
APPROVED REPERTOIRE FOR 2022 COMPETITION: Please choose your repertoire from the approved selections below. Repertoire substitution requests will be considered by the Charlotte Symphony on an individual case-by-case basis. The deadline for all repertoire approvals is September 15, 2021. Please email [email protected] with any questions. VIOLIN VIOLINCELLO J.S. BACH Violin Concerto No. 1 in A Minor BOCCHERINI All cello concerti Violin Concerto No. 2 in E Major DVORAK Cello Concerto in B Minor BEETHOVEN Romance No. 1 in G Major Romance No. 2 in F Major HAYDN Cello Concerto No. 1 in C Major Cello Concerto No. 2 in D Major BRUCH Violin Concerto No. 1 in G Minor LALO Cello Concerto in D Minor HAYDN Violin Concerto in C Major Violin Concerto in G Major SAINT-SAENS Cello Concerto No. 1 in A Minor Cello Concerto No. 2 in D Minor LALO Symphonie Espagnole for Violin SCHUMANN Cello Concerto in A Minor MENDELSSOHN Violin Concerto in E Minor DOUBLE BASS MONTI Czárdás BOTTESINI Double Bass Concerto No. 2in B Minor MOZART Violin Concerti Nos. 1 – 5 DITTERSDORF Double Bass Concerto in E Major PROKOFIEV Violin Concerto No. 2 in G Minor DRAGONETTI All double bass concerti SAINT-SAENS Introduction & Rondo Capriccioso KOUSSEVITSKY Double Bass Concerto in F# Minor Violin Concerto No. 3 in B Minor HARP SCHUBERT Rondo in A Major for Violin and Strings DEBUSSY Danses Sacrée et Profane (in entirety) SIBELIUS Violin Concerto in D Minor DITTERSDORF Harp Concerto in A Major VIVALDI The Four Seasons HANDEL Harp Concerto in Bb Major, Op.
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N Ew Y O R K F Lu T E F a Ir 2021
The New York Flute Club Nancy Toff, President Deirdre McArdle, Flute Fair Program Chair The New York Flute Fair 2021 A VIRTUAL TOOLBOX with guest artist Julien Beaudiment Principal flutist, Lyon (France) Opera Orchestra Saturday and Sunday, April 10 and 11, 2021 via Zoom NEW YORK FLUTE FAIR 2021 BOARD OF DIRECTORS NANCY TOFF, President PATRICIA ZUBER, First Vice President KAORU HINATA, Second Vice President DEIRDRE MCARDLE, Recording Secretary KATHERINE SAENGER, Membership Secretary MAY YU WU, Treasurer AMY APPLETON JEFF MITCHELL JENNY CLINE NICOLE SCHROEDER RAIMATO DIANE COUZENS LINDA RAPPAPORT FRED MARCUSA JAYN ROSENFELD JUDITH MENDENHALL RIE SCHMIDT MALCOLM SPECTOR ADVISORY BOARD JEANNE BAXTRESSER ROBERT LANGEVIN STEFÁN RAGNAR HÖSKULDSSON MICHAEL PARLOFF SUE ANN KAHN RENÉE SIEBERT PAST PRESIDENTS Georges Barrère, 1920-1944 Eleanor Lawrence, 1979-1982 John Wummer, 1944-1947 John Solum, 1983-1986 Milton Wittgenstein, 1947-1952 Eleanor Lawrence, 1986-1989 Mildred Hunt Wummer, 1952-1955 Sue Ann Kahn, 1989-1992 Frederick Wilkins, 1955-1957 Nancy Toff, 1992-1995 Harry H. Moskovitz, 1957-1960 Rie Schmidt, 1995-1998 Paige Brook, 1960-1963 Patricia Spencer, 1998-2001 Mildred Hunt Wummer, 1963-1964 Jan Vinci, 2001-2002 Maurice S. Rosen, 1964-1967 Jayn Rosenfeld, 2002-2005 Harry H. Moskovitz, 1967-1970 David Wechsler, 2005-2008 Paige Brook, 1970-1973 Nancy Toff, 2008-2011 Eleanor Lawrence, 1973-1976 John McMurtery, 2011-2012 Harold Jones, 1976-1979 Wendy Stern, 2012-2015 Patricia Zuber, 2015-2018 FLUTE FAIR STAFF Program Chair: Deirdre McArdle
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Sonata for Flute and Piano in D Major, Op. 94 by Sergey Prokofiev
SONATA FOR FLUTE AND PIANO IN D MAJOR, OP. 94 BY SERGEY PROKOFIEV: A PERFORMANCE GUIDE HONORS THESIS Presented to the Honors Committee of Texas State University-San Marcos in Partial Fulfillment of the Requirements for Graduation in the Honors ColLege by Danielle Emily Stevens San Marcos, Texas May 2014 1 SONATA FOR FLUTE AND PIANO IN D MAJOR, OP. 94 BY SERGEY PROKOFIEV: A PERFORMANCE GUIDE Thesis Supervisor: ________________________________ Kay Lipton, Ph.D. School of Music Second Reader: __________________________________ Adah Toland Jones, D. A. School of Music Second Reader: __________________________________ Cynthia GonzaLes, Ph.D. School of Music Approved: ____________________________________ Heather C. GaLLoway, Ph.D. Dean, Honors ColLege 2 Abstract This thesis contains a performance guide for Sergey Prokofiev’s Sonata for Flute and Piano in D Major, Op. 94 (1943). Prokofiev is among the most important Russian composers of the twentieth century. Recognized as a leading Neoclassicist, his bold innovations in harmony and his new palette of tone colors enliven the classical structures he embraced. This is especially evident in this flute sonata, which provides a microcosm of Prokofiev’s compositional style and highlights the beauty and virtuosic breadth of the flute in new ways. In Part 1 I have constructed an historical context for the sonata, with biographical information about Prokofiev, which includes anecdotes about his personality and behavior, and a discussion of the sonata’s commission and subsequent premiere. In Part 2 I offer an anaLysis of the piece with generaL performance suggestions and specific performance practice options for flutists that will assist them as they work toward an effective performance, one that is based on both the historically informed performance context, as well as remarks that focus on particular techniques, challenges and possible performance solutions.
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4940010-9Eda5e-809730512629.Pdf
cantilena II Charles-Marie Widor (1844-1937) Suite for flute and piano, Op. 34 17:07 1 Moderato 3:33 2 Scherzo: Allegro vivace 2:52 3 Romance: Andantino 4:19 4 Final: Vivace 6:22 Cecile Chaminade (1857-1944) 5 Concertino, Op. 107 8:12 Henri Dutilleux (1916-2013) 6 Sonatine for flute and piano 10:11 Otar Taktakishvili (1924-1989) Sonata for flute and piano 18:07 7 Allegro cantabile 6:52 8 Aria: Moderato con moto 5:07 9 Allegro scherzando 6:07 Astor Piazzolla (1921-1992) Histoire du Tango 23:48 10 Bordel 1900 4:14 11 Café 1930 9:08 12 Night-club 1960 5:19 13 Concert d’aujourd’hui 5:06 Total CD duration 78:08 Odinn Baldvinsson flute Patricia Romero piano THE MUSIC Charles-Marie Widor (1844-1937) is today mainly recognised for his compositions for the organ, in particular ten large-scale works described as “Symphonies for Organ”. From 1870 to 1934 he was the organist of St. Sulpice in Paris, and was professor of organ at the Paris Conservatoire, following in the footsteps of Cesar Franck. He was, however, a prolific composer, his output including three operas, symphonies, concertos, chamber music, piano solos and songs. Of his chamber works, perhaps one of his finest pieces is this Suite for Flute and Piano, Op. 34. Widor composed the Suite in 1877 (although it was not published until 1898) for Paul Taffanel (1844-1908), a fellow professor at the Conservatoire and a fine, highly influential flautist who developed many technical aspects of flute playing to the extent that France became the acknowledged centre of the flute in Europe.
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PICCOLO/FLUTE AUDITION REPERTOIRE LIST Preliminary and Semifinal Rounds: October 27 - 29, 2014 Final Round: November 24, 2014 Onstage, Jones Hall
PICCOLO/FLUTE AUDITION REPERTOIRE LIST Preliminary and Semifinal Rounds: October 27 - 29, 2014 Final Round: November 24, 2014 Onstage, Jones Hall Solo Pieces: Piccolo: Liebermann Concerto, Mvt. I m. 145 – m. 208 Taffanel Andante Pastoral et Scherzettino* m. 1- m.28 Flute: Mozart Flute Concerto in G major Mvt II: m. 10 – m.27 Bizet Entr’acte (w/piano accompaniment m.1 – m. 23 from Theodore Presser Orchestral Excerpts) Semi-Final Round may begin with piano accompaniment for solo pieces listed above. There will be no opportunity to rehearse with a pianist beforehand. Candidates may tune before reading through each selection. One restart per piece is allowed if needed. Houston Symphony tunes to A=442. Piccolo Excerpts Bartok Concerto for Orchestra Mvt. III: m. 29 – m. 33; m. 123 – end Bartok Concerto for Orchestra Mvt. V: m. 418 – m.429 Beethoven Symphony No. 9 Mvt. IV: m. 343- m.432 or 16 before H to K Berlioz Symphonie Fantastique Mvt. V: 7 after #63 – 5 before #65 Brahms Haydn Variations Variation VIII (complete) Mahler Symphony No. 2 Mvt. V ‘Der Grosse Appell’: 5 after #30 - #31 Ravel Daphnis and Chloe 3 after #156 – 2 after #159 Ravel Mother Goose Mvt. II: #7 – #8 Ravel Mother Goose Mvt. III: beginning – 5 after #3; #7 – #8 Ravel Piano Concerto in G Major Beginning to #1 Rossini La Gazza Ladra m.1- m. 11; 18 after D - 25 after D; 32 after G - 39 after G Shostakovich Symphony No. 8 Mvt. II: m. 65 – m.113 Shostakovich Symphony No. 8 Mvt. IV: m.
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An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru
Flute Repertoire from Japan: An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru Hayashi, and Akira Tamba D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Daniel Ryan Gallagher, M.M. Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee: Professor Katherine Borst Jones, Advisor Dr. Arved Ashby Dr. Caroline Hartig Professor Karen Pierson 1 Copyrighted by Daniel Ryan Gallagher 2019 2 Abstract Despite the significant number of compositions by influential Japanese composers, Japanese flute repertoire remains largely unknown outside of Japan. Apart from standard unaccompanied works by Tōru Takemitsu and Kazuo Fukushima, other Japanese flute compositions have yet to establish a permanent place in the standard flute repertoire. The purpose of this document is to broaden awareness of Japanese flute compositions through the discussion, analysis, and evaluation of substantial flute sonatas by three important Japanese composers: Ikuma Dan (1924-2001), Hikaru Hayashi (1931- 2012), and Akira Tamba (b. 1932). A brief history of traditional Japanese flute music, a summary of Western influences in Japan’s musical development, and an overview of major Japanese flute compositions are included to provide historical and musical context for the composers and works in this document. Discussions on each composer’s background, flute works, and compositional style inform the following flute sonata analyses, which reveal the unique musical language and characteristics that qualify each work for inclusion in the standard flute repertoire. These analyses intend to increase awareness and performance of other Japanese flute compositions specifically and lesser- known repertoire generally.
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Czech Music Culture in London and Post-1989 Developments in Czechoslovakia at the Time
International Journal of Arts and Commerce ISSN 1929-7106 www.ijac.org.uk CZECH MUSIC CULTURE IN LONDON AND POST-1989 DEVELOPMENTS IN CZECHOSLOVAKIA AT THE TIME Markéta Koutná Univerzita Palackého v Olomouci, Filozofická Fakulta, Katedra muzikologie Czech Republic E-mail: [email protected] Abstract: The study deals with Czech-London musical relations, particularly Czech music culture in London within the context of cultural, social and political change in 1989. An analysis of the opera, chamber music, and symphonic production of Czech music in London between 1984 and 1994 identifies how and whether the Czechoslovak Velvet Revolution affected the firm position that Czech music culture had held in the capital of the United Kingdom. Key words: Czech musical culture, London, emigration, composers, the Velvet Revolution, 1989 The musical relations between the Czechs and London represent an important current issue. As the capital of the United Kingdom, London naturally takes the lead within the British cultural scene. With its population, budget, and institutional capacities, it is one of the world’s major social and cultural centres, and thanks to the high interest of London-based institutions in Czech music, it is also one of the world's top producers of Czech music. The current research examines how, if at all, the events of November 1989 influenced the position of Czech musical culture in London and the relationship between Czech and London musicians. I became interested in this issue while researching data for my dissertation on Czech musical culture in London.1 Using the specific example of interpretations of Czech opera, chamber music and 1 The study is a part of the student grant project IGA_FF_2015_024 Influence of the Velvet Revolution on Czech Musical Culture in London and all the data used in the study draw on the author’s research for her dissertation Czech Musical Culture in London Between 1984 and 1994.
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Rachael Dobosz Senior Recital
Thursday, May 11, 2017 • 9:00 p.m Rachael Dobosz Senior Recital DePaul Recital Hall 804 West Belden Avenue • Chicago Thursday, May 11, 2017 • 9:00 p.m. DePaul Recital Hall Rachael Dobosz, flute Senior Recital Beilin Han, piano Sofie Yang, violin Caleb Henry, viola Philip Lee, cello PROGRAM César Franck (1822-1890) Sonata for Flute and Piano Allegretto ben Moderato Allegro Ben Moderato: Recitativo- Fantasia Allegretto poco mosso Beilin Han, piano Lowell Liebermann (B. 1961) Sonata for Flute and Piano Op.23 Lento Presto Beilin Han, piano Intermission John La Montaine (1920-2013) Sonata for Piccolo and Piano Op.61 With driving force, not fast Sorrowing Searching Playful Beilin Han, piano Rachael Dobosz • May 11, 2017 Program Wolfgang Amadeus Mozart (1756-1791) Quartet in C Major, KV 285b Allegro Andantino, Theme and Variations Sofie Yang, violin Caleb Henry, viola Philip Lee, cello Rachael Dobosz is from the studio of Alyce Johnson. This recital is presented in partial fulfillment of the degree Bachelor of Music. As a courtesy to those around you, please silence all cell phones and other electronic devices. Flash photography is not permitted. Thank you. Rachael Dobosz • May 11, 2017 Program notes PROGRAM NOTES César Franck (1822-1890) Sonata for Flute and Piano Duration: 30 minutes César Franck was a well known organist in Paris who taught at the Paris Conservatory and was appointed to the organist position at the Basilica of Sainte-Clotilde. From a young age, Franck showed promise as a great composer and was enrolled in the Paris Conservatory by his father where he studied with Anton Reicha.
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Introduction
INTRODUCTION The three concertos for violoncello of Carl Philipp plates 2 and 4).4 As the letter states, the same ripieno parts Emanuel Bach represent his only surviving works for the were to be used for all three versions of the Concerto in A instrument.1 Composed over a four-year period, the con- Minor, while the same ripieno parts were to be used for the certos make a distinctive contribution to the violoncello violoncello and keyboard versions of the Concerto in B-flat literature. Each is listed in the “Nachlaß-Verzeichnis” Major; only the Concerto in A Major had to be copied out (NV 1790, p. 31): the Concerto in A Minor (no. 27) was in full three times.5 In the present edition these concertos composed in Berlin in 1750, the Concerto in B-flat Major are presented as nine separate works. (no. 29) in Berlin in 1751, and the Concerto in A Major (no. 30) in Potsdam in 1753. NV 1790, however, lists the Genesis works as concertos for keyboard, describing each in the same words: “Clavier, 2 Violinen, Bratsche und Baß; ist A manuscript of cadenzas for Bach’s concertos, B-Bc, 5871 auch für das Violoncell und die Flöte gesezt” (Keyboard, MSM, presents further evidence concerning the genesis 2 violins, viola and bass; it is also set for violoncello and of the three concertos. Cadenza no. 18 is labeled “Cadenz flute). zum ersten all.o des Violonc. conc. aus dem A. moll. N.o 27,” Only one autograph manuscript survives, D-B, Mus. while the following cadenza, no.
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JS Bach's Flute Sonata in a Major, BWV 1032
J. S. Bach’s Flute Sonata in A Major, BWV 1032: Reconstructing the Fragmentary First Movement Bach’s A-major flute sonata has long been the object of reconstructors seeking to fill the lacuna left when a portion of the first movement was cut away from its sole primary source. A flurry of writings on the subject appeared in the 1980s, probably spurred by the new edition of the work published within the Neue Bach-Ausgabe; among these were two articles by Michael Marissen that made it appear that an “authentic reconstruction” of the first movement is within our grasp.1 By an “authentic” reconstruction Marissen meant one that takes into account all surviving clues as to the nature of the missing music while reducing to a minimum the amount of freshly composed music that must be supplied. As Marissen showed, practically no new music is necessary. The present score, although slightly emended in 2015, is essentially identical to one that I prepared in 1994 and published online about ten years later. That score incorporated suggestions from Marissen’s articles, although it had originated in an earlier reconstruction first drafted while I was still in college. The present notes offer addenda to Marissen’s discussion and explain how the accompanying score differs from the reconstruction described in his articles. First, as Marissen established, the sonata must have been a keyboard-obbligato arrangement of an earlier work in trio-sonata scoring. But, as in the case of other arrangements that Bach prepared from now-lost earlier works—including most or all of the harpsichord concertos, and perhaps all of the other obbligato-keyboard sonatas—the extent of Bach’s active revision while making the arrangement is by no means clear, and thus the original version of the work cannot be reconstructed.
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Classics 1 Program Notes
Classics 1: Program Notes The Sights and Sounds of Stockton: Cityscape John Wineglass and San Joaquin Delta College media students In accordance with its mission to inspire joy and build community through music—and with the aim of generating community pride and awareness through art—the Stockton Symphony teamed up with award-winning composer John Wineglass and San Joaquin Delta College media students under the direction of Adriana Brogger and Kirstyn Russell to create a project titled The Sights and Sounds of Stockton. The Delta College media students, all of whom are from the area and live in the various quadrants of our city, fanned out into the community to gather pictures and videos of their daily environment. They brought the raw footage to class and collaborated to edit the “sights” of Stockton into a feature approximately ten to twelve minutes long. Wineglass visited Stockton several times to get a feel for the area, and he worked with the students on the overall scope of the project as well as details of compilation to achieve a compelling outcome. He then composed the accompanying symphonic score for tonight’s live performance with the Stockton Symphony. This week he has also been meeting with composition students to discuss the composition process and how a composer works with visual components, and he engaged in a public forum with students and members of our community to discuss his work on this project. Winner of three Daytime Emmy Awards and recipient of four additional Emmy nominations, John Wineglass has performed on five continents, before five U.S.
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