Max Bruch Symphonies 1–3 Overtures Bamberger Symphoniker Robert Trevino
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Flint Orchestra
Flint SymphonyOrchestra A Program of the Flint Institute of Music ENRIQUE DIEMECKE, MUSIC DIRECTOR & CONDUCTOR MAY 8, 2021 FIM SEASON SPONSOR Whiting Foundation CONCERT SPONSORS Mr. Edward Davison, Attorney at Law & Dr. Cathy O. Blight, Dr. Brenda Fortunate & C. Edward White, Mrs. Linda LeMieux, Drs. Bobby & Nita Mukkamala, Dr. Mark & Genie Plucer Flint Symphony Orchestra THEFSO.ORG 2020 – 21 Season SEASON AT A GLANCE Flint Symphony Orchestra Flint School of Performing Arts Flint Repertory Theatre STRAVINSKY & PROKOFIEV FAMILY DAY SAT, FEB 6, 2021 @ 7:30PM Cathy Prevett, narrator SAINT-SAËNS & BRAHMS SAT, MAR 6, 2021 @ 7:30PM Noelle Naito, violin 2020 William C. Byrd Winner WELCOME TO THE 2020 – 21 SEASON WITH YOUR FLINT SYMPHONY ORCHESTRA! BEETHOVEN & DVOŘÁK SAT, APR 10, 2021 @ 7:30PM he Flint Symphony Orchestra (FSO) is one of Joonghun Cho, piano the finest orchestras of its size in the nation. BRUCH & TCHAIKOVSKY TIts rich 103-year history as a cultural icon SAT, MAY 8, 2021 @ 7:30PM in the community is testament to the dedication Julian Rhee, violin of world-class performance from the musicians AN EVENING WITH and Flint and Genesee County audiences alike. DAMIEN ESCOBAR The FSO has been performing under the baton SAT, JUNE 19, 2021 @ 7:30PM of Maestro Enrique Diemecke for over 30 years Damien Escobar, violin now – one of the longest tenures for a Music Director in the country. Under the Maestro’s unwavering musical integrity and commitment to the community, the FSO has connected with audiences throughout southeast Michigan, delivering outstanding artistry and excellence. All dates are subject to change. -
Chopin's Nocturne Op. 27, No. 2 As a Contribution to the Violist's
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2014 A tale of lovers : Chopin's Nocturne Op. 27, No. 2 as a contribution to the violist's repertory Rafal Zyskowski Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Zyskowski, Rafal, "A tale of lovers : Chopin's Nocturne Op. 27, No. 2 as a contribution to the violist's repertory" (2014). LSU Doctoral Dissertations. 3366. https://digitalcommons.lsu.edu/gradschool_dissertations/3366 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 Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A TALE OF LOVERS: CHOPIN’S NOCTURNE OP. 27, NO. 2 AS A CONTRIBUTION TO THE VIOLIST’S REPERTORY 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 Musical Arts in The School of Music by Rafal Zyskowski B.M., Louisiana State University, 2008 M.M., Indiana University, 2010 May 2014 ©2014 Rafal Zyskowski All rights reserved ii Dedicated to Ms. Dorothy Harman, my best friend ever iii ACKNOWLEDGMENTS As always in life, the final outcome of our work results from a contribution that was made in one way or another by a great number of people. Thus, I want to express my gratitude to at least some of them. -
Selections from Eight Pieces for Clarinet, Viola and Piano, Op. 83 Max Bruch
concerto for two pianos, various chamber pieces, songs, three operas and much choral music. Bruch composed his Eight Pieces for Clarinet, Viola and Piano, Op. 83 in 1909, in his seventieth year, for his son Max Felix, a talented clarinetist who also inspired a Double Concerto (Op. 88) for his instrument and viola from his father two years later. When the younger Bruch played the works in Cologne and Hamburg, Fritz Steinbach reported favorably on the event to the composer, comparing Max Felix’s ability with that of Richard Mühlfeld, the clarinetist who had inspired two sonatas, a quintet and a trio from Johannes Brahms two decades before. Clarinet and viola are here evenly matched, singing together in duet or conversing in dialogue, while the piano serves as an accompanimental partner. Bruch intended that the Eight Pieces be regarded as a set of independent miniatures of various styles rather than as an integrated cycle, and advised against playing all of them together in concert. The Pieces (they range from three to six minutes in length) are straightforward in structure — binary (A-B) or ternary (A-B-A) for the first six, compact sonata form for the last two — and are, with one exception (No. 7), all in thoughtful minor keys. Though Bruch was fond of incorporating folk music into his concert works, only the Romanian Melody (No. 5, Selections from Eight Pieces suggested to him, he said, by “the delightful young princess zu Wied” at one of his Sunday open-houses; he dedicated the work to her) shows such for Clarinet, Viola and Piano, Op. -
Beethoven Room - 706 | August 30, 2020
Beethoven Room - 706 | August 30, 2020 Welcome to the listing for Honors 2020. This is just a supplemental reference. All participating students have received their log on information via email. 2PM Recital Tyrus Chuang Aram Khachaturian - Sonatina 1 Piano Ryan Cheng Bach - Allemande from Violin Partita in D minor BWV 1004 Violin Shreya Nabar Mozart- Allegro Flute Vienna Parnell Mozart - Sonata in c minor, K. 457 Piano Petr Tupitsyn Rachmaninov - Vocalise Flute Jessica Li Frederic Chopin - Nocturne in B major, Op. 32, No. 1 Piano Fanya Xu Enrique Granados, Playera Piano Emily Harn Serge Prokofiev - Prelude in C Major Piano Lazypotato Ying Edvard Grieg - Bells Ringing Piano Kayla Tan Zez Confrey - Coaxing the Piano Piano Amber Kuo Gabriel Fauré - Sicilienne, Op. 78 Flute James Tsaggaris Frédéric Chopin - Fantaisie-Impromptu in C♯ minor Op. 66 Piano 3PM Recital Max Tan Haydn - Sonata in E Flat Major Hob XVI:52 No. 62, 3. Presto Piano Sean Daly G. Lange - Blumenlied Piano Satina Guo Fazil Say - Jazz Fantasy on Mozart Piano Claire Law Gershwin - Prelude No. 1 Piano Calvin Park Bach - Invention No. 13 Piano Phuong-Nghi Nguyen Albert Ginastera-Trieste from Twelve American Preludes, Op.12 Piano Rithika Ramesh Gretchaninoff - Chant d'Automne Piano Maggie Cong Ludwig van Beethoven - Sonata Op. 79 Piano Eric Lee Max Bruch - Violin Concerto No. 1 in G minor, I. Vorspiel Violin Jocelyn Gou Friedrich Kuhlau - Sonatina in C, Op. 55, No.1, Rondo: Vivace Piano Abigail Yuan Beethoven - Sonata in C Minor Op. 10 No. 1 Piano Alex Liu Fritz Kreisler - Miniature Viennese Waltz Violin Cady Chen Chen Peixun – Autumn Moon Over the Calm Lake Piano 4PM Recital Jaylyn Chong Chopin-Nocturne No.20 in C sharp Minor Piano Allison Prakalapakorn Kabalevsky - Toccata, Op.60, No.4 from Four Rondos Piano Lahari Yallapragada Fritz Kreisler - Rondino on a Theme of Beethoven Violin Ethan Lee Debussy - La Plus Que Lente Piano Gareth Lee Franz Liszt - Liebestraum Nocturne No. -
Monday, November 27 | 7:30 Pm
MONDAY, NOVEMBER 27 | 7:30 PM ALSO INSIDE This month, artists-in-residence Kontras Quartet explore the folk roots of classical music; on Live from WFMT, Kerry Frumkin welcomes the young string artists of the Dover Quartet and the acclaimed new-music ensemble eighth blackbird. Air Check Dear Member, The Guide Geoffrey Baer’s distinguished on-camera career at WTTW began in 1995 with the very first Chicago The Member Magazine for River Tour. A decade later, he took audiences back to that familiar territory to highlight big changes WTTW and WFMT Renée Crown Public Media Center that had taken place along its banks. Now, 12 years later, Geoffrey returns with an all-new tour that 5400 North Saint Louis Avenue covers more ground – all three branches of the river, in six different vessels, and the development Chicago, Illinois 60625 along the Chicago Riverwalk! Join him on WTTW11 and at wttw.com/river as Geoffrey shows us the incredible transformation that has taken place Main Switchboard (773) 583-5000 over the past decade – not just in the architecture but in how Chicagoans Member and Viewer Services enjoy it. Along the way, he shares fascinating stories about the River’s history, (773) 509-1111 x 6 and introduces some memorable characters who live, work, and play there. WFMT Radio Networks (773) 279-2000 Also this month on WTTW11 and wttw.com/watch, join us for the Chicago Production Center premiere of another exciting new local film and its companion website, (773) 583-5000 Making a New American NUTCRACKER, a collaboration with The Joffrey Websites Ballet that goes behind the scenes of a new interpretation of Tchaikovsky’s wttw.com classic holiday favorite. -
Form, Style, and Influence in the Chamber Music of Antonin
FORM, STYLE, AND INFLUENCE IN THE CHAMBER MUSIC OF ANTONIN DVOŘÁK by MARK F. ROCKWOOD A DISSERTATION Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy June 2017 DISSERTATION APPROVAL PAGE Student: Mark F. Rockwood Title: Form, Style, and Influence in the Chamber Music of Antonin Dvořák This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the School of Music and Dance by: Stephen Rodgers Chairperson Drew Nobile Core Member David Riley Core Member Forest Pyle Institutional Representative and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2017 ii © 2017 Mark F. Rockwood This work is licensed under a Creative Commons Attribution-Noncommercial – Noderivs (United States) License. iii DISSERTATION ABSTRACT Mark F. Rockwood Doctor of Philosophy School of Music and Dance June 2017 Title: Form, Style, and Influence in the Chamber Music of Antonin Dvořák The last thirty years have seen a resurgence in the research of sonata form. One groundbreaking treatise in this renaissance is James Hepokoski and Warren Darcy’s 2006 monograph Elements of Sonata Theory : Norms, Types, and Deformations in the Late-Eighteenth- Century Sonata. Hepokoski and Darcy devise a set of norms in order to characterize typical happenings in a late 18 th -century sonata. Subsequently, many theorists have taken these norms (and their deformations) and extrapolate them to 19 th -century sonata forms. -
Catalogue of New, Original & Cheap Editions of Imported and Domestic
OF f • • • • 1J5W, ORIGINAL, AND CHEAP EDITIONS 01\ - --............. --- MERCHANDISE OF EVERY DESCHIPTION. Imported Strings, Etc., of all IHnds. 0-- ___• ~ ........ _~__ Ntw York: . JOB & ENKE, 15 BIBLE HOUSE (ASTOR PLACE), OPPOSITE COOPER INSTITUTE, BET. 3D AND 4TH A YEs. 1S74. --~~----- - L .JOHN Ross 01; eoMPANY, PRINTERS, 27 ROSE ST., NEW YORK.. ~- I~DEX:_ -.- llIUSIO. PA.GE Songs for One Voice, with accompaniment of Piano, . 3 Songs for more than One Voice, with accompaniment of Piano, . 9 Choruses, 1., II., . 10 Songs for ORe Voice, with accompaniment of Piano and Cello' (or Violin), 10 Songs with accompaniment of Orchestra, 11 Vocal Methods and Exercises, 11 ~-- I. PIANO SOLOS. a) Symphonies, Concertos, Sonatas,' Fantasi:1s, Varia tions, Transcriptions, etc., . 11 b) Overtures, . 3() c) Dances and Marches, 37 d) Potpourris, 41 e) Etudes,. .. ... 43 f) OpeNS, Oratorios, Cantatas, etc., in complete Piano Score, without words, 44 g) Do., with words, . .. 4.~ h) I.-}'lethods. n.-Studies and Exercises, 47 II. PIANO, 4 HANDS. a) Symphonies, Sonatas, etc., 48 b) Overtures, . 53 c) Dances and Marches, 54 d) Potpourris, . 55 e) Operas, Oratorios, Cantatas, etc., in complete Piano Score,. .'58 f) Studies and Exercises, 58 III. 2 Pianos, 4 Hands, . 58 IV. 2 Pianos, 6 Hands, . 59 V. 2 Pianos, 8 Hands,. 60 VI. Duos for Piano and Violin, 60 VII. Duos for Piano and Oello, 64 VIII. Duos for Piano and Flute, . 67 IX. Trios for Piano, Violin, and Cello, 69 X. Trios for Piano and 2 Violins, . .. 70 XI. Quartets for Piano, 4 Hands, Violin and Cello, 70 XII. -
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. -
Boston Symphony Orchestra Concert Programs, Season
0-U^/i^4ls A NOTABLE TRIBUTE TO THE ^EOLIAN From: Boston's Distinguished Musicians, Mr. and Mrs. Emil Paur iimiiiiiiiiiiiiiiiiiiiiiimmii "I shall be glad to have you add my name to the notable list of musicians and critics who have commended your admirable instrument. " I believe that the ^Eolian is destined to become a most potent factor in the cultivation of the musical taste of the people of the world. " Please accept my hearty wishes for its well-merited success. "EMIL PAUR." "It is really admirable how a person can in a short time, by the aid of the ^Eolian, familiarize himself with the works of the great masters, and execute them with perfection in all their details. • " The ^Eolian is of great help to those studying composition ; for, not being able to have an orchestra at their disposal to execute the great classical works, with the ^Eolian they can study the orchestral effects with a precision impossible to be obtained on any other musical instrument. "Mrs. MARIE PAUR." The i*EOLIAN appeals to every music lover for both pleasure and education. We exhibit the iEolian daily, and cordially invite all patrons of the Symphony con certs to investigate it. Jtefltt&lamliit Opp. Common. 146 Boylston Street, BOSTON OOStOn Music Hall, Boston Symphony 0m> HH FOURTEENTH SEASON, 1 894-95. Orchestra EMIL PAUR, Conductor. PROGRAMME OF THE Twenty-second Rehearsal and Concert WITH HISTORICAL AND DESCRIPTIVE NOTES BY WILLIAM F. APTHORP. Thursday Afternoon, April 1 1, At 2.30 o'clock. Saturday Evening, April 13, At 8 o'clock. -
London's Symphony Orchestra
London Symphony Orchestra Living Music Thursday 24 November 2016 7.30pm Barbican Hall A SWISS JOURNEY Rossini Overture: William Tell London’s Symphony Orchestra Bruch Violin Concerto No 1 INTERVAL Strauss An Alpine Symphony Sir Antonio Pappano conductor Roman Simovic violin Concert finishes approx 9.40pm 2 Welcome 24 November 2016 Welcome Living Music Kathryn McDowell In Brief Welcome to this evening’s LSO concert at the Barbican. BRITISH COMPOSER AWARDS Tonight Sir Antonio Pappano conducts two works with a Swiss connection – the famous overture to Rossini’s The LSO is delighted that eight alumni of its William Tell, which tells the story of Switzerland’s composer schemes have been nominated for folk hero, and An Alpine Symphony, Richard Strauss’ British Composer Awards. Luke Bedford, Leo orchestral tone poem inspired by the Alps. Chadburn, Joe Cutler, Tansy Davies, Emily Howard, Oliver Leith, Anna Meredith and Richard Walley In the Alpine Symphony, Strauss quotes a theme from are all up for awards, along with Jonathan Dove for Bruch’s popular Violin Concerto No 1, which will be The Monster in the Maze, an LSO co-commission. played between the two Swiss-inspired works by the The winners will be announced on 6 December. LSO’s Leader Roman Simovic. It is always a special occasion when a member of the Orchestra steps britishcomposerawards.com out as the soloist for a concerto, and tonight Roman Simovic plays a Stradivarius generously loaned to the LSO for the use of its Leader by Jonathan Moulds. A WARM WELCOME TO TONIGHT’S GROUPS Thank you to our media partner Classic FM, which The LSO offers great benefits for groups of 10+, has supported and recommended tonight’s concert including 20% discount on standard tickets, a and the LSO Principals series to its listeners. -
Orchestra Catalog 2017-2018.Pdf
European Critical & Urtext Editions available at URTEXT Editions provide you with the assurance that the compositions have been well researched and the musical text is as faithful as possible to the composer's intentions. All parts are engraved and printed on quality paper. The nominal increase in cost is far outweighed by the benefits you receive! D Barenreiter Breitkopf & Hartel Carus-Verlag Doblinger Henle Universal Large Sc Set Set of Extra Rental /Mini Sc Type Parts Strs Price ABACO, E. dall’ - 01001 Four Concerti da Chiesa for Strings Op. 2, Nos. 4,5,8 & 9 (piano in sc) ................ 30.00 D 65.00 5.00 09843 Concerto All’unisono in b flat, Op. 2, No. 8 (R. Luck) (str, cem) .....RENTAL ONLY 65.00 09844 Concerto All’unisono in A, Op. 2, No. 10 (R. Luck) (str, cem) .........RENTAL ONLY 65.00 09845 Conc. a Piu Instrumenti in E, Op. 6/2 (R. Luck) (1-1-1/1/1/1, cem) .. RENTAL ONLY 85.00 09846 Conc. a Piu Instrumenti in F, Op. 6/3 (R. Luck) (1-1-1/1/1/1, cem) .. RENTAL ONLY 75.00 09847 Conc. a Piu Instrumenti in F, Op. 6/6 (R. Luck) (1-1-1/1/1/1, cem) .. RENTAL ONLY 90.00 07725 Concerto Da Chiesa, Op. 2, No. 4 (Bonelli) (str, pf) ................................................ 10.00 D 33.75 2.25 11575 Concerto for Two Violins, Viola & BC, Op. 2, No. 5 (Kehr) (cem in sc) (5/5/3/3/2) .. 22.00 M 50.00 ABEL, KARL F. - 00661 Cello Concerto in B flat (Lomnitzer) (solo in set, cem in sc) .................................. -
Max Bruch's Dramatic Cantata on Friedrich Schiller's Poem
INFORMATION TO USERS This manuscript _has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely. event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note wiD indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and contimdng from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript ha~·e been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell tntormat1on Company 300 North Zeeb Road. Ann Arbor. Mt 48106-1346 USA 3131761-4700 800:521-0600 MAX BRUCH'S DRAMATIC CANTATA ON FRIEDRICH SCHILLER'S POEM, DAS LIED VON DER GLOCKE: A CONDUCTOR'S ANALYSIS FOR PERFORMANCE by Daniel A. Steinert A Dissertation Submitted to the Faculty of the Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 1995 Approved by g~W>~ lo" Dissertation Adviser UMI Number: 9544128 UMI Microform 9544128 Copyright 1995, by UMI Company.