Music Resources – Library Update – March, 2014

Total Page:16

File Type:pdf, Size:1020Kb

Music Resources – Library Update – March, 2014 Music Resources – Library Update – March, 2014 This music collection’s update is dedicated to the great Canadian music personality Charles Thomas “Stompin’ Tom” Connors who died one year ago this month. “Stompin’ Tom” is widely known for his songs Bud the Spud and The Hockey Song…the latter frequently performed at games throughout the NHL. Within the music business, Tom is greatly admired for his unswerving support for Canadian musicians – including promoting their work through the record labels he founded. Tom, this one’s for you! UBC Library’s music collection receives new materials regularly. The following are highlights from recent acquisitions. A quick way to make your way through the lists below is to use the ‘Control F’ function on your keyboard and search by composer or instrument of interest. Otherwise, the materials are grouped by books, e-books and scores. Call numbers link to catalogue records for more information. “Click here” links to text or performance. Books Britten: Essays, Letters and Opera Guides Keller, Hans, Christopher Wintle, A. M. Garnham, Ines Schlenker, Kate Hopkins, Milein Cosman, and Cosman Keller Art and Music Trust. 2013. Woodbridge, Suffolk: Cosman Keller Art and Music Trust in association with Plumbago Books. Call Number: ML410 B853 K455 2013 Location: I.K. BARBER LIBRARY stacks Mapping Canada's Music: Selected Writings of Helmut Kallmann Kallmann, Helmut, John Beckwith, and Robin Elliott. 2013. Waterloo, Ont: Wilfrid Laurier University Press. Call Number: ML205 K35 2013 Location: I.K. BARBER LIBRARY stacks Fandom, Authenticity, and Opera: Mad Act n tt S n in in- -Si i Fishzon, Anna. 2013. New York: Palgrave Macmillan. Call Number: ML1737.5 F57 2013 Location: I.K. BARBER LIBRARY stacks Music in Films on the Middle Ages: Authenticity vs. Fantasy Haines, John. 2014. New York, NY: Routledge. Call Number: ML2075 H32 2014 Location: I.K. BARBER LIBRARY stacks A Double Bassist's Guide to Refining Performance Practices Grodner, Murray. 2013. Indianapolis: Indiana University Press. Call Number: MT320 G76 2013 Location: I.K. BARBER LIBRARY stacks The Encyclopedia of French Art Song: Faure, Debussy, Ravel, Poulenc Daykin, Frank. 2013. Hillsdale, NY: Pendragon Press. Call Number: ML102 S6 D39 2013 Location: I.K. BARBER LIBRARY Reference Sch nberg: Pierrot Lunaire Companion Meyer, Christian, Eike Fess, and Therese Muxeneder. 2012. Wien: Universal Edition. Call Number: ML410 S283 S376 2012 Location: I.K. BARBER LIBRARY stacks The New York Composers' Forum Concerts, 1935-1940 Graaf, Melissa J. de. 2013. Rochester, NY: University of Rochester Press ; Woodbridge, Suffolk : Boydell & Brewer Limited. Call Number: ML200.8 N5 G73 2013 Location: I.K. BARBER LIBRARY stacks The Globalization of Musics in Transit: Music Migration and Tourism r ger imone an u an ra Tran afoiu. ew ork outle ge. Call Number: ML396 G56 2014 Location: I.K. BARBER LIBRARY stacks Byrd McCarthy, Kerry Robin. 2013. New York: Oxford University Press. Call Number: ML410 B996 M32 2013 Location: I.K. BARBER LIBRARY stacks From the Score to the Stage: An Illustrated History of Continental Opera Production and Staging Baker, Evan (Opera historian). 2013. Chicago: The University of Chicago Press. Call Number: ML1720 B35 2013 Location: I.K. BARBER LIBRARY stacks Messiaen Perspectives Dingle, Christopher Philip, and Robert Fallon. 2013. Burlington, VT: Ashgate. Call Number: ML410 M595 M494 2013 V.1 & 2 Location: I.K. BARBER LIBRARY stacks The Oxford Handbook of Film Music Studies Neumeyer, David. 2014. New York, NY: Oxford University Press. Call Number: ML2075 O93 2014 Location: I.K. BARBER LIBRARY stacks The Invention of Beethoven and Rossini: Historiography, Analysis, Criticism Mathew, Nicholas, and Benjamin Walton. 2013. Cambridge: Cambridge University Press. Call Number: ML196 I58 2013 Location: I.K. BARBER LIBRARY stacks Verdi, Opera, Women Rutherford, Susan. 2013. Cambridge: Cambridge University Press. Call Number: ML410 V4 R78 2013 Location: I.K. BARBER LIBRARY stacks The Cambridge Companion to Vaughan Williams Frogley, Alain, and Aidan J. Thomson. 2013. Cambridge: Cambridge University Press. Call Number: ML410 V3 C36 2013 Location: I.K. BARBER LIBRARY stacks Monumenta Monodica Mediiaevi. V.7 rie rich- le an er- niversit t rlangen- rnberg. nstitut f r Musikwissenschaft. ew ork renreiter. Call Number: M2 M4772 V.7 no. 1 and 2 2013 Location: I.K. BARBER LIBRARY stacks The Chronicle of Jazz Cooke, Mervyn. 2013. New York: Oxford University Press. Call Number: ML3506 C69 2013 Location: I.K. BARBER LIBRARY Great Reads No image available Form, Monothematicism, Variation and Symmetry in Bela Bartok's String Quartets. yrki inen ei o. elsinki niversity of elsinki. Call Number: MT145 B25 J975 2012 Location: I.K. BARBER LIBRARY stacks Jazz and Machine-Age Imperialism: Music, "Race," and Intellectuals in France, 1918-1945. Lane, Jeremy F. 2013. Ann Arbor: The University of Michigan Press. Call Number: ML3509 F7 L36 2013 Location: I.K. BARBER LIBRARY Great Reads In Her Own Words: Conversations with Composers in the United States. Kelly, Jennifer (Musician). 2013. Urbana: University of Illinois Press. Call Number: ML390 K33 2013 Location: I.K. BARBER LIBRARY Great Reads E-books ** To view library e-books, click on the title to access the library catalogue record. Then, click on the orange “Online Access” button in the top right hand corner of the record. You will be prompted to log in with your Campus Wide Login (CWL) to view the e-book ** Composing Japanese Musical Modernity Wade, Bonnie C., and Ebooks Corporation. 2014. Chicago: University of Chicago Press. Popular Music Fandom: Identities, Roles & Practices Duffett, Mark, and Ebooks Corporation. 2014. New York: Routledge. Jascha Heifetz: Early Years in Russia Kopytova, G. V., Albina Starkova-Heifetz, Dario Sarlo, Alexandra Sarlo, and Ebooks Corporation. 2014. Indianapolis: Indiana University Press. Soviet Music and Society Under Lenin and Stalin: The Baton and Sickle Edmunds, Neil. 2013. Hoboken: Routledge. Music in Print and Beyond: Hildegard von Bingen to the Beatles Monson, Craig, Roberta Montemorra Marvin, and Ebooks Corporation. 2013. Woodbridge, Suffolk: University of Rochester Press. Music & the British Military in the Long Nineteenth Century Herbert, Trevor, and Helen Barlow. 2013. New York: Oxford University Press. A Kingdom Not Of This World: Wagner, the Arts, and Utopian Visions in Fin-de-Siècle Vienna Karnes, Kevin, and University Press Scholarship Online - Frontfile. 2013. New York: Oxford University Press. Composing Dissent: Avant-garde Music in 1960s Amsterdam Adlington, Robert, and University Press Scholarship Online - Frontfile. 2013. New York: Oxford University Press. Whose Spain? Negotiating "Spanish Music" in Paris, 1908- 1929 Llano, Samuel, and University Press Scholarship Online - Frontfile. 2013. New York: Oxford University Press. Scoring Transcendence: Film Music as Contemporary Religious Experience Callaway, Kutter, and Inc ebrary. 2013. Waco, Tex: Baylor University Press. Japanoise: Music at the Edge of Circulation Novak, David, and Inc ebrary. 2013. Durham: Duke University Press. Masculinity in Opera: Gender, History, and New Musicology Purvis, Philip. 2013. New York: Routledge. Scores Composer Title Instrumentation Call # AV Link Changing voices: songs Voice M1992 C515 within an octave for 2013 teenage male singers Adams, John I was looking at the Vocal Score M1503 A332 I2 Click here ceiling and then I saw 2012 the sky Albinoni, Tomaso che i amar non Soprano, Violin, M1621.3 A42 S5 voglio Basso Continuo 2012 Albinoni, Tomaso Sonata in B-flat major Violin, Basso M219 A439 S66 Continuo 2012 Barber, Samuel Music for Soprano and Voice, Piano M1612 B37 S34 Click here orchestra 1968 Beethoven, Cadenzas and lead-ins Piano M1010.5 B4 L64 Ludwig van for piano concertos 2013 Bennett, Richard Three Duets (2011) 2 Violas (teacher & M287 B46 D8 Rodney pupil) 2012 Bolcom, William Le Fantome du clavecin Harpsichord M24 B69 F36 2012 Brunetti, Gaetano Cuartetos de Cuerda String Quartet M452 B88 M3 L184-L199 2012 Casals, Pablo The Manager/El Soprano, Alto, M2000 C37 P4 click here Pessebre Tenor, Baritone, 1999 Bass Chorus, Orchestra Chopin, Frederic Piano Trio, G minor, Violin, Cello, Piano M312 C59 op.8 click here opus 8 H4 2012 Elgar, Edward La Capricieuse Violin, Piano M221 E44 C37 click here 2013 Glass, Philip Orphee Suite Piano M33.5 G53 O74 click here 2006 Handel, George Giu nei Tartari regni Soprano, Bass, M1529.3 H35 Click here Frideric (Duet) Basso Continuo G58 2012 Handel, George Nine Amen and Soprano, Basso M2112 H35 Frideric Halleluja movements Continuo HWV 269-277 2012 Henze, Hans Opfergang Singers, M1528 H45 O6 Click here Werner Immolazione/Full Score Instrumentalists, 2013 Piano Henze, Hans Opfergang Singers, M1533 H517 Werner Immolazione/Vocal Instrumentalists, O74 2013 Score Piano Jommelli, Nicolo Seven Trio Sonatas 2 Flutes, Basso M317 J65 T7 Continuo 2011 v.1-7 Larson, Libby And Another Thing Saxophone M457.2 L37 A53 Quartet 2012 Larson, Libby Blue Piece Violin, Piano M221 L37 B6 2010 Larson, Libby Concert Piece Bassoon, Piano M254 L37 C6 click here 2011 Larson, Libby Engelberg Brass Trio, Organ M402 L37 E6 2006 Larson, Libby Lullaby of the Nativity High Voice, Piano M2114.5 L37 L8 2012 Monteverdi, Vespro della Beata Mixed Voices, M2014.6 M66 click here Claudio Vergine Orchestra V47 2013 Montsalvatge, Manfred : ballet Orchestra M1520 M66 M3 click here Xavier 2012 Mozart, Wolfgang Cosi fan tutte Vocal Score M1503 M6 C6 Amadeus 2006 Mozart, Wolfgang Wunderkind sonatas Piano M23 M939 S4 Amadeus 2013 V. 1, 2, 3 Pergolesi, Stabat mater Soprano, Alto, M2018 P47 S85 click here Giovanni Battista Strings, Basso 2012 Continuo Saint-Saens, Cavatine op.144 Trombone, Piano M263 S35 click here Camille op.144 2012 Saint-Saens, Romanzen Horn, Piano M1029 S25 click here Camille op.36 2013 Scarlatti, Miserere Psalm 50 Soprano or Mezzo, M2021 S23 Alessandro SATB, Strings, M57 2012 Basso Continuo Scarlatti, Tiranna, ingrata Baritone or Bass, 2 M1613.3 S293 Alessandro Violins & Basso T57 2012 Continuo Schubert, Franz Lieder edited by Medium Voice, M1620 S3 D842 Walther D rr.
Recommended publications
  • Msm Camerata Nova
    Saturday, March 6, 2021 | 12:15 PM Livestreamed from Neidorff-Karpati Hall MSM CAMERATA NOVA George Manahan (BM ’73, MM ’76), Conductor PROGRAM JAMES LEE III A Narrow Pathway Traveled from Night Visions of Kippur (b. 1975) CHARLES WUORINEN New York Notes (1938–2020) (Fast) (Slow) HEITOR VILLA-LOBOS Chôros No. 7 (1887–1959) MAURICE RAVEL Introduction et Allegro (1875–1937) CAMERATA NOVA VIOLIN 1 VIOLA OBOE SAXOPHONE HARP Youjin Choi Sara Dudley Aaron Zhongyang Ling Minyoung Kwon New York, New York New York, New York Haettenschwiller Beijing, China Seoul, South Korea Baltimore, Maryland VIOLIN 2 CELLO PERCUSSION PIANO Ally Cho Rei Otake CLARINET Arthur Seth Schultheis Melbourne, Australia Tokyo, Japan Ki-Deok Park Dhuique-Mayer Baltimore, Maryland Chicago, Illinois Champigny-Sur-Marne, France FLUTE Tarun Bellur Marcos Ruiz BASSOON Plano, Texas Miami, Florida Matthew Pauls Simi Valley, California ABOUT THE ARTISTS George Manahan, Conductor George Manahan is in his 11th season as Director of Orchestral Activities at Manhattan School of Music, as well as Music Director of the American Composers Orchestra and the Portland Opera. He served as Music Director of the New York City Opera for 14 seasons and was hailed for his leadership of the orchestra. He was also Music Director of the Richmond Symphony (VA) for 12 seasons. Recipient of Columbia University’s Ditson Conductor’s Award, Mr. Manahan was also honored by the American Society of Composers and Publishers (ASCAP) for his “career-long advocacy for American composers and the music of our time.” His Carnegie Hall performance of Samuel Barber’s Antony and Cleopatra was hailed by audiences and critics alike.
    [Show full text]
  • HANS WERNER HENZE: TRISTAN (1973) for Thomas Christopher Downes Hans Werner Henze: Tristan (1973)
    HANS WERNER HENZE: TRISTAN (1973) For Thomas Christopher Downes Hans Werner Henze: Tristan (1973) STEPHEN DOWNES University of Surrey, UK First published 2011 by Ashgate Publishing Published 2016 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN 711 Third Avenue, New York, NY 10017, USA Routledge is an imprint of the Taylor & Francis Group, an informa business Copyright © 2011 Stephen Downes Stephen Downes has asserted his right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage orretrieval system, without permission in writing from the publishers. Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing in Publication Data Downes, Stephen C., 1962– Hans Werner Henze – Tristan (1973). – (Landmarks in music since 1950) 1. Henze, Hans Werner, 1926– Tristan. 2. Wagner, Richard, 1813-1883–Influence. I. Title II. Series 780.9’2-dc22 Library of Congress Cataloging-in-Publication Data Downes, Stephen C., 1962– Hans Werner Henze : Tristan (1973) / Stephen Downes. p. cm. – (Landmarks in music since 1950) Includes bibliographical references and index. ISBN 978-0-7546-6655-4 (hardcover : alk. paper) 1. Henze, Hans
    [Show full text]
  • Concert Programdownload Pdf(349
    The University at Buffalo Department of Music and The Robert & Carol Morris Center for 21st Century Music present Stockhausen's Mantra For Two Pianos Eric Huebner and Steven Beck, pianos Sound and electronic interface design: Ryan MacEvoy McCullough Sound projection: Chris Jacobs and Ryan MacEvoy McCullough Saturday, October 14, 2017 7:30pm Lippes Concert Hall in Slee Hall PROGRAM Mantra (1970) Karlheinz Stockhausen (1928 – 2007) Program Note by Katherine Chi To say it as simply as possible, Mantra, as it stands, is a miniature of the way a galaxy is composed. When I was composing the work, I had no accessory feelings or thoughts; I knew only that I had to fulfill the mantra. And it demanded itself, it just started blossoming. As it was being constructed through me, I somehow felt that it must be a very true picture of the way the cosmos is constructed, I’ve never worked on a piece before in which I was so sure that every note I was putting down was right. And this was due to the integral systemization - the combination of the scalar idea with the idea of deriving everything from the One. It shines very strongly. - Karlheinz Stockhausen Mantra is a seminal piece of the twentieth century, a pivotal work both in the context of Stockhausen’s compositional development and a tour de force contribution to the canon of music for two pianos. It was written in 1970 in two stages: the formal skeleton was conceived in Osaka, Japan (May 1 – June 20, 1970) and the remaining work was completed in Kürten, Germany (July 10 – August 18, 1970).
    [Show full text]
  • Wuorinen Printable Program
    The University at Buffalo Department of Music and The Robert & Carol Morris Center for 21st Century Music present Celebrating Charles Wuorinen at 80 featuring Ensemble SIGNAL Brad Lubman, conductor Tuesday, April 24, 2018 7:30pm Lippes Concert Hall in Slee Hall PROGRAM Charles Wuorinen (b. 1938) iRidule Jacqueline Leclair, oboe soloist Spin 5 Olivia De Prato, violin soloist Intermission Megalith Eric Huebner, piano soloist PERSONNEL Ensemble Signal Brad Lubman, Music Director Paul Coleman, Sound Director Olivia De Prato, Violin Lauren Radnofsky, Cello Ken Thomson, Clarinet, Bass Clarinet Adrián Sandí, Clarinet, Bass Clarinet David Friend, Piano 1 Oliver Hagen, Piano 2 Karl Larson, Piano 3 Georgia Mills, Piano 4 Matt Evans, Vibraphone, Piano Carson Moody, Marimba 1 Bill Solomon, Marimba 2 Amy Garapic, Marimba 3 Brad Lubman, Marimba Sarah Brailey, Voice 1 Mellissa Hughes, Voice 2 Kirsten Sollek, Voice 4 Charles Wuorinen In 1970 Wuorinen became the youngest composer at that time to win the Pulitzer Prize (for the electronic work Time's Encomium). The Pulitzer and the MacArthur Fellowship are just two among many awards, fellowships and other honors to have come his way. Wuorinen has written more than 260 compositions to date. His most recent works include Sudden Changes for Michael Tilson Thomas and the San Francisco Symphony, Exsultet (Praeconium Paschale) for Francisco Núñez and the Young People's Chorus of New York, a String Trio for the Goeyvaerts String Trio, and a duo for viola and percussion, Xenolith, for Lois Martin and Michael Truesdell. The premiere of of his opera on Annie Proulx's Brokeback Mountain was was a major cultural event worldwide.
    [Show full text]
  • Interview with Charles Wuorinen Международный Отдел
    Международный отдел • International Division ISSN 1997-0854 (Print), 2587-6341 (Online) DOI: 10.17674/1997-0854.2019.4.046-056 Interview with Charles Wuorinen Dear readers of the journal “Problemy muzykal’noj nauki / Music Scholarship”! he editorial board of the journal with composer and performer Harvey T“Problemy muzykalnoj nauki / Music Solberger, he was one of the leaders of the Scholarship” is happy to concert series, the Group present an interview with the for Contemporary Music, famous American composer devoted to performance Charles Wuorinen. At the of works by contemporary present time Wuorinen is the composers. In the 1970s most well-known composer Wuorinen wrote an orchestral of twelve-tone music in the composition A Reliquary for USA. He was born in New Igor Stravinsky, in which he York City in 1938, studied incorporated the last musical at Columbia University in sketches of the great master. New York, and subsequently Wuorinen is the author of taught at many universities Charles Wuorinen. a book on serial music, and conservatories in the Photo by Nina Roberts titled Simple Composition, USA, including Columbia which he characterizes as a University, Manhattan School of Music (New manual for composers, meant to teach them York), Princeton University and Rutgers how to compose music, and not a music University (New Jersey), New England theory book analyzing already composed Conservatory (Massachussetts), etc. In 1970 works. Wuorinen’s music is well-known he was awarded the Pulitzer Prize for his in the USA and in the countries of Western electronic composition Time’s Encomium, Europe, where there are frequent premiere composed with the use of the RCA Synthesizer performances of his new compositions, at the Columbia-Princeton Electronic Music among which it becomes proper to name Center.
    [Show full text]
  • The Element of List in Thirteenth-Century Courtly Romances, with Emphasis on Heinrich Von Dem Türlin’S Diu Crône
    “MIT GRÔZEN LISTEN WART GESTALT”: THE ELEMENT OF LIST IN THIRTEENTH-CENTURY COURTLY ROMANCES, WITH EMPHASIS ON HEINRICH VON DEM TÜRLIN’S DIU CRÔNE by Gary C. Shockey Within the greater corpus of courtly romance in the thirteenth century, the concept of list, or cunning, assumes a particularly alluring position. Poets and philosophers throughout the whole of the Middle Ages were clearly fascinated by the notion of a knight, a king, a lady of the court, a seneschal, or a scoundrel twisting others in such a manner as to achieve remarkable success in some venture. The ambiguities of the human condition most likely led men and women to exploit weaknesses in others for personal or professional gain, as well as for the benefit of the realm or sovereign. Clever cunning, guile, and the substance of the quick-thinking man or woman proved to be riveting material for both courtly audiences and the emerging bourgeoisie in the cities and towns, and we are blessed with a variety of texts which demonstrate the art of perspicacity in a myriad of forms. Cognizant of their influence, poets readily employed many of these attributes as socially acceptable vehicles of change, both in a positive and negative sense. The individual bard deliberately chose a path for his protagonists: he or she could use guile in a decidedly evil way, or perhaps in a manner designed to effect a positive outcome. Thus, arguments on the moral underpinnings of list remained the domain of the writer; the poets themselves offer a variety of views on this subject.
    [Show full text]
  • Brentano String Quartet
    “Passionate, uninhibited, and spellbinding” —London Independent Brentano String Quartet Saturday, October 17, 2015 Riverside Recital Hall Hancher University of Iowa A collaboration with the University of Iowa String Quartet Residency Program with further support from the Ida Cordelia Beam Distinguished Visiting Professor Program. THE PROGRAM BRENTANO STRING QUARTET Mark Steinberg violin Serena Canin violin Misha Amory viola Nina Lee cello Selections from The Art of the Fugue Johann Sebastian Bach Quartet No. 3, Op. 94 Benjamin Britten Duets: With moderate movement Ostinato: Very fast Solo: Very calm Burlesque: Fast - con fuoco Recitative and Passacaglia (La Serenissima): Slow Intermission Quartet in B-flat Major, Op. 67 Johannes Brahms Vivace Andante Agitato (Allegretto non troppo) Poco Allegretto con variazioni The Brentano String Quartet appears by arrangement with David Rowe Artists www.davidroweartists.com. The Brentano String Quartet record for AEON (distributed by Allegro Media Group). www.brentanoquartet.com 2 THE ARTISTS Since its inception in 1992, the Brentano String Quartet has appeared throughout the world to popular and critical acclaim. “Passionate, uninhibited and spellbinding,” raves the London Independent; the New York Times extols its “luxuriously warm sound [and] yearning lyricism.” In 2014, the Brentano Quartet succeeded the Tokyo Quartet as Artists in Residence at Yale University, departing from their fourteen-year residency at Princeton University. The quartet also currently serves as the collaborative ensemble for the Van Cliburn International Piano Competition. The quartet has performed in the world’s most prestigious venues, including Carnegie Hall and Alice Tully Hall in New York; the Library of Congress in Washington; the Concertgebouw in Amsterdam; the Konzerthaus in Vienna; Suntory Hall in Tokyo; and the Sydney Opera House.
    [Show full text]
  • View List (.Pdf)
    Symphony Society of New York Stadium Concert United States Premieres New York Philharmonic Commission as of November 30, 2020 NY PHIL Biennial Members of / musicians from the New York Philharmonic Click to jump to decade 1842-49 | 1850-59 | 1860-69 | 1870-79 | 1880-89 | 1890-99 | 1900-09 | 1910-19 | 1920-29 | 1930-39 1940-49 | 1950-59 | 1960-69 | 1970-79 | 1980-89 | 1990-99 | 2000-09 | 2010-19 | 2020 Composer Work Date Conductor 1842 – 1849 Beethoven Symphony No. 3, Sinfonia Eroica 18-Feb 1843 Hill Beethoven Symphony No. 7 18-Nov 1843 Hill Vieuxtemps Fantasia pour le Violon sur la quatrième corde 18-May 1844 Alpers Lindpaintner War Jubilee Overture 16-Nov 1844 Loder Mendelssohn The Hebrides Overture (Fingal's Cave) 16-Nov 1844 Loder Beethoven Symphony No. 8 16-Nov 1844 Loder Bennett Die Najaden (The Naiades) 1-Mar 1845 Wiegers Mendelssohn Symphony No. 3, Scottish 22-Nov 1845 Loder Mendelssohn Piano Concerto No. 1 17-Jan 1846 Hill Kalliwoda Symphony No. 1 7-Mar 1846 Boucher Furstenau Flute Concerto No. 5 7-Mar 1846 Boucher Donizetti "Tutto or Morte" from Faliero 20-May 1846 Hill Beethoven Symphony No. 9, Choral 20-May 1846 Loder Gade Grand Symphony 2-Dec 1848 Loder Mendelssohn Violin Concerto in E minor 24-Nov 1849 Eisfeld Beethoven Symphony No. 4 24-Nov 1849 Eisfeld 1850 – 1859 Schubert Symphony in C major, Great 11-Jan 1851 Eisfeld R. Schumann Introduction and Allegro appassionato for Piano and 25-Apr 1857 Eisfeld Orchestra Litolff Chant des belges 25-Apr 1857 Eisfeld R. Schumann Overture to the Incidental Music to Byron's Dramatic 21-Nov 1857 Eisfeld Poem, Manfred 1860 - 1869 Brahms Serenade No.
    [Show full text]
  • Han Chen / Piano
    HAN CHEN / PIANO Hailed by the New York Times as a pianist with "a graceful touch... rhythmic precision... hypnotic charm” and "sure, subtle touch," Han Chen is a distinctive artist whose credentials at a young age already include important prizes in competitions of traditional music as well as increasing respect in the avant- garde. Mr. Chen’s debut CD with Naxos Records, which consists of all-Liszt operatic transcriptions, was released in January 2016 as the first prize winner of the 6th China International Piano Competition. Gramophone complimented Mr. Chen’s “brilliant performance” in the CD as “impressively commanding and authoritative.” The website Classics Today also praised for his “assured, elegant and totally effortless technique” by scoring 10 out of 10 in both artistic quality and sound quality. International Piano magazine (UK) described Mr. Chen’s performance in the competition as “[Chen] displayed extraordinary strength, talent and flair.” His performances in the 15th Van Cliburn International Piano Competition, the 15th Arthur Rubinstein Piano Competition and the 2018 Honens International Piano Competition were also highly acclaimed. As a soloist, Mr. Chen has appeared with many orchestras, including the Hong Kong Philharmonic Orchestra (under Maestro Vladimir Ashkenazy), Calgary Philharmonic Orchestra, Fort Worth Symphony Orchestra, China Symphony Orchestra, Macao Orchestra, Juilliard Orchestra, National Taiwan Symphony Orchestra, Xiamen National Orchestra, Lexington Philharmonic Orchestra, Sendai Philharmonic Orchestra, Aspen Music Festival Brass Ensemble and Shanghai Conservatory Middle School Orchestra. Being an advocate for modern music, Mr. Chen actively performs music from the 20th and the 21st century. As a member of the New York-based contemporary music group Ensemble Échappé, he worked with composers such as Tonia Ko, Kevin Puts, Sean Shepherd and Nina Young.
    [Show full text]
  • Charles Wuorinen's Reliquary for Stravinsky
    From Contemporary Music Review, 2001, Vol 20, Part 4, pp 9-27 ©2001 OPA (Overseas Publishers Association) N.V. —————————————————————————————————- Charles Wuorinen's Reliquary for Stravinsky Louis Karchin New York University Wuorinen's Reliquary for Igor Stravinsky is based on the Russian composer's final sketches; Wuorinen used these as the basis for a symphonic work of great depth and intensity. In the work's opening section, the younger composer fashioned a musical continuity by forging together some of the sketches and elaborating others. In certain cases, notes were added to complete the underlying tone-rows; usually fragments had to be orchestrated. This article describes some of Wuorinen's far-reaching transformations of Stravinsky's serial procedures, and his exploration of some new 12- tone operations. There is a consideration of the work's formal dimensions, and its subtle use of pitch centricity. KEYWORDS: Reliquary, Igor Stravinsky, sketches, serialism, rotational technique, pitch centricity ______________________________________________ A little less than a third way through Wuorinen's Reliquary for Igor Stravinsky, there is an extraordinary series of events; the music seems to veer off into uncharted realms conjuring up startling shapes and colors, seeming to push the limits of what might be imagined. A trumpet motive - Db—A—C—F# — ushers in a sustained brass chord, a high piccolo trill pierces through xylophone and flute attacks, timpani accentuate a brief march-like passage for basses, cellos and tuba, and a tam-tam begins to amplify yet a new series of bold harmonies and tantalizing contours. How was such a passage inspired and how was it composed? It occurs between measures 132 and 142 of the Reliquary; it may likewise be found about midway through program number 22 on the magnificent recording of this work by Oliver Knussen and the London Sinfonietta (Deutsche Grammophon 447-068-2).
    [Show full text]
  • Charles Wuorinen
    NWCR744 Charles Wuorinen 3. I ........................................................... (7:42) 4. II ........................................................... (6:36) 5. III ........................................................... (4:42) David Braynard, tuba solo; The Group for Contemporary Music: Patricia Spencer, Harvey Sollberger, Sophie Sollberger, Karl Kraber, flutes; Josef Marx, Susan Barrett, oboes; Donald MacCourt, Leonard Hindell, bassoons; David Jolley, Edward Birdwell, Ronald Sell, Barry Benjamin, horns; Raymond DesRoches, percussion; Charles Wuorinen, conductor 6. Piano Concerto (1966) ......................................... (19:47) Charles Wuorinen, piano; Royal Philharmonic Orchestra; James Dixon, conductor 7. Chamber Concerto for Flute and Ten Players (1964) ........................................ (14:48) Harvey Sollberger, flute; The Group for Contemporary Music: Stanley Silverman, guitar; Susan Jolles, harp; Cheryl Seltzer, harpsichord; Joan Tower, celeste; Robert Miller, piano; Raymond DesRoches, John Bergamo, Richard Fitz, George Boberg, percussion; Two Part Symphony (1977-78) ................................ (23:30) Kenneth Fricker, contrabass; Charles Wuorinen, 1. I ...........................................................(12:27) conductor 2. II ...........................................................(11:03) Total playing time: 77:27 American Composers Orchestra; Dennis Russell Davies, conductor; Chamber Concerto for Tuba Ê 1979, 1983, 1997 © 1997 Composers Recordings, Inc. with 12 Winds and 12 Drums
    [Show full text]
  • Biographies Creative Team George Manahan Eve Summer Conductor Stage Director
    Biographies Creative Team George Manahan Eve Summer Conductor Stage Director George Manahan has had an esteemed career Eve Summer is a director, producer, and embracing opera and the concert stage, from the choreographer whose recent directing credits traditional to the contemporary. He is the music include Trouble in Tahiti at the Glimmerglass director of the American Composers Orchestra Festival, The Pearl Fishers at Opera Tampa, The and Portland Opera, and previously served as Little Prince at Tulsa Opera, The Tales of Hoffmann music director of New York City Opera for at Opera Orlando, Xerxes for Connecticut Early fourteen seasons. He has appeared as guest Music Festival, Aïda and Lucia di Lammermoor conductor with the opera companies of Seattle, at Boheme Opera New Jersey, Suor Angelica in Santa Fe, San Francisco, Chicago, Opera Theatre concert with the Boston Symphony Orchestra, of St. Louis, Opera National du Paris and Teatro Così fan tutte for Connecticut Lyric Opera, de Communale de Bologna; as well as the Lucia di Lammermoor for Commonwealth National, New Jersey, Atlanta, San Francisco, Opera, Carmen for MassOpera, and the world Milwaukee, and Indianapolis symphonies and premiere of Larry Bell’s Holy Ghosts at the the Hollywood Bowl Orchestra. Berklee Performance Center. Dedicated to the music of our time, This season Ms. Summer also directs Mr. Manahan has led premieres of Tobias The Pirates of Penzance at Opera Saratoga, Picker’s Dolores Claiborne, Charles Wuorinen’s John Musto’s Later The Same Evening at Boston Haroun and the Sea of Stories, David Lang’s University, The Mikado at Opera Grand Rapids, Modern Painters, Hans Werner Henze’s The The Pearl Fishers at Opera in Williamsburg, English Cat, Terence Blanchard’s Champion, Bluebeard’s Castle at Mid-Ohio Opera, and the New York premiere of Richard Danielpour’s Il Tabarro and Gianni Schicchi at Yale Opera.
    [Show full text]