September 2019 Catalogue Issue 41 Prices Valid Until Friday 25 October 2019 Unless Stated Otherwise
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Brahms Reimagined by René Spencer Saller
CONCERT PROGRAM Friday, October 28, 2016 at 10:30AM Saturday, October 29, 2016 at 8:00PM Jun Märkl, conductor Jeremy Denk, piano LISZT Prometheus (1850) (1811–1886) MOZART Piano Concerto No. 23 in A major, K. 488 (1786) (1756–1791) Allegro Adagio Allegro assai Jeremy Denk, piano INTERMISSION BRAHMS/orch. Schoenberg Piano Quartet in G minor, op. 25 (1861/1937) (1833–1897)/(1874–1951) Allegro Intermezzo: Allegro, ma non troppo Andante con moto Rondo alla zingarese: Presto 23 ACKNOWLEDGMENTS These concerts are part of the Wells Fargo Advisors Orchestral Series. Jun Märkl is the Ann and Lee Liberman Guest Artist. Jeremy Denk is the Ann and Paul Lux Guest Artist. The concert of Saturday, October 29, is underwritten in part by a generous gift from Lawrence and Cheryl Katzenstein. Pre-Concert Conversations are sponsored by Washington University Physicians. Large print program notes are available through the generosity of The Delmar Gardens Family, and are located at the Customer Service table in the foyer. 24 CONCERT CALENDAR For tickets call 314-534-1700, visit stlsymphony.org, or use the free STL Symphony mobile app available for iOS and Android. TCHAIKOVSKY 5: Fri, Nov 4, 8:00pm | Sat, Nov 5, 8:00pm Han-Na Chang, conductor; Jan Mráček, violin GLINKA Ruslan und Lyudmila Overture PROKOFIEV Violin Concerto No. 1 I M E TCHAIKOVSKY Symphony No. 5 AND OCK R HEILA S Han-Na Chang SLATKIN CONDUCTS PORGY & BESS: Fri, Nov 11, 10:30am | Sat, Nov 12, 8:00pm Sun, Nov 13, 3:00pm Leonard Slatkin, conductor; Olga Kern, piano SLATKIN Kinah BARBER Piano Concerto H S ODI C COPLAND Billy the Kid Suite YBELLE GERSHWIN/arr. -
Vorwort Der Ihm Eigenen Selbstironie – Das Ma Folgenden Johannes Brahms
Vorwort der ihm eigenen Selbstironie – das Ma Folgenden Johannes Brahms. Briefwech- nuskript des ganzen Werks als „Probe“ sel, Bd. XII, hrsg. von Max Kalbeck, Ber bezeichnete und es komplett an Mandy lin 1919, Reprint Tutzing 1974, S. 47 ff.). czewski schickte. Dieser begann mit der Nach der Berliner Uraufführung über Zwar hatte Johannes Brahms (1833 – 97) Partiturabschrift des Quintetts, vermut sandte er ihm am 24. Dezember 1891 im Dezember 1890 seinem Verleger Fritz lich weil Brahms’ damaliger Hauptko zunächst die Partiturabschrift des Quin Simrock angekündigt, mit dem Kompo pist William Kupfer zu dieser Zeit noch tetts als Vorlage für ein geplantes Ar nieren aufhören zu wollen, aber schon mit der Abschrift des Klarinettentrios rangement für Klavier zu vier Händen. bald sollte er nochmals tätig werden. Ein befasst war. Nach Abschluss von Satz I Kurz nach der zweiten Aufführung des wichtiger Impuls dafür ging von dem durch Mandyczewski setzte Kupfer die Klarinettenquintetts in Wien gingen am Klarinettisten der Meininger Hofkapelle Abschrift fort und kopierte die Stim 23. Januar dann auch die abschriftlichen Richard Mühlfeld aus, den Brahms im men, vermutlich schrieb er auch die al Stimmen an Simrock zur Vorbereitung Frühjahr 1891 näher kennen und sehr ternative Solopartie für Viola aus. Wann des Stichs. Vermutlich im Februar 1892 schätzen lernte. Begeistert schwärmte die abschriftlichen Materialien fertigge las der Komponist Druckfahnen von er am 17. März in einem Brief an Clara stellt waren, kann nicht genau festge Partitur und Stimmen Korrektur, denn Schumann, man könne „nicht schöner stellt werden. Spätestens zu den ersten am 25. Februar beklagte er sich brief Klarinette blasen, als es der hiesige Herr Proben der beiden neuen Stücke mit Ri lich darüber, dass die Stimmen bereits Mühlfeld tut“. -
The Earlyl and Thè Late Mozart
Das Trio Eclettica, bestehend aus der Pianistin Giuseppina Coni, der Violinistin Giulia Cerra und der Cellistin Valeria Sirangelo, wurde 2012 in der Kammermusikklasse von Maestro Pierpaolo Maurizzi am Konservatorium A. Boito in Parma gegrùndet. Das Trio besuchte Meisterkurse bei Rainer Honeck (Konzertmeister der Wiener Philharmoniker), Yves Savary (Solocellist des Bayerischen Staatsorchesters) und Wolfgang Klos (Professor fùr Viola an der Universitàt fìir Musik und darstellende Kunst Wien), und wurde ausgewàhlt an der ECMA Session in Fiesole, unter der Leitung von Hatto Bayerle, Johannes Meissl, Susan Tomes und Enrico Bronzi teilzunehmen. Das Trio konzertierte u.a. im A u d i t o r i u m Principe Raimondo of D u i n o , dem Revoltella Museum von Triest, dem Auditorium del Carmine in Parma, beim ,,S. Giacomo Festival" und der «Fondazione Alma Mater" in Bologna. Im Màrz 2013 wurde dem Trio Eclettica das ,,Bruno Premuda Stipendium" zuerkannt (jury: R. Zanettovich, G. Vidusso und I. Rabaglia). 2013 hat das Trio den ersten Preis des XVI. Internationalen Wettbewerbes «Pietro Argento" und im Rahmen der ,,XIV International Chamber Music Competition" Trio di Trieste" den ,,Young Award" far junge vielversprechende Kùnstlerlnnen gewonnen. Dabei wurde das Ensemble von , der J u r y besonders far die beste Auffùhrung des Werkes ,,Rosa amara" v o n Rocco i de Già gewùrdigt. Derzeit arbeitet das Trio mit M° Renato Zanettovich und M° Pierpaolo Maurizzi am Konservatorium A. Boito in Parma und mit dem Trio Trio Eclettica di Parma im Rahmen der International Chamber Music A c a d e m y of Duino. Giuseppina Coni, Klavier Giulia Cetra, Violine Valeria Sirangelo, Violoncello Das 2003 am Konservatorium Bratislava gegrùndete Mucha Quartet zàhlt gegenwàrtig zu den erfolgversprechendsten jungen Ensembles der Slowakei. -
A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’S Clarinet Sonata
Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses 1968 A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’s Clarinet Sonata Kenneth T. Aoki Central Washington University Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Composition Commons, and the Education Commons Recommended Citation Aoki, Kenneth T., "A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’s Clarinet Sonata" (1968). All Master's Theses. 1077. https://digitalcommons.cwu.edu/etd/1077 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. A BRIEF HISTORY OF THE SONATA WITH AN ANALYSIS AND COMPARISON OF A BRAHMS' AND HINDEMITH'S CLARINET SONATA A Covering Paper Presented to the Faculty of the Department of Music Central Washington State College In Partial Fulfillment of the Requirements for the Degree Master of Music Education by Kenneth T. Aoki August, 1968 :N01!83 i iuJ :JV133dS q g re. 'H/ £"Ille; arr THE DEPARTMENT OF MUSIC CENTRAL WASHINGTON STATE COLLEGE presents in KENNETH T. AOKI, Clarinet MRS. PATRICIA SMITH, Accompanist PROGRAM Sonata for Clarinet and Piano in B flat Major, Op. 120 No. 2. J. Brahms Allegro amabile Allegro appassionato Andante con moto II Sonatina for Clarinet and Piano .............................................. 8. Heiden Con moto Andante Vivace, ma non troppo Caprice for B flat Clarinet ................................................... -
37<F Aisid M . HZ-Li CADENTIAL SYNTAX and MODE in THE
37<f AiSId M. HZ-li CADENTIAL SYNTAX AND MODE IN THE SIXTEENTH-CENTURY MOTET: A THEORY OF COMPOSITIONAL PROCESS AND STRUCTURE FROM GALLUS DRESSLER'S PRAECEPTA MUSICAE POETICAE DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By David Russell Hamrick, B.A., M.M, Denton, Texas May, 1996 37<f AiSId M. HZ-li CADENTIAL SYNTAX AND MODE IN THE SIXTEENTH-CENTURY MOTET: A THEORY OF COMPOSITIONAL PROCESS AND STRUCTURE FROM GALLUS DRESSLER'S PRAECEPTA MUSICAE POETICAE DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By David Russell Hamrick, B.A., M.M, Denton, Texas May, 1996 Hamrick, David Russell, Cadential syntax and mode in the sixteenth-century motet: a theory of compositional process and structure from Gallus Dressier's Praecepta musicae poeticae. Doctor of Philosophy (Musicology), May, 1996, 282 pp., 101 tables, references, 127 titles. Though cadences have long been recognized as an aspect of modality, Gallus Dressier's treatise Praecepta musicae poeticae (1563) offers a new understanding of their relationship to mode and structure. Dressier's comments suggest that the cadences in the exordium and at articulations of the text are "principal" to the mode, shaping the tonal structure of the work. First, it is necessary to determine which cadences indicate which modes. A survey of sixteenth-century theorists uncovered a striking difference between Pietro Aron and his followers and many lesser-known theorists, including Dressier. -
Performing Michael Haydn's Requiem in C Minor, MH155
HAYDN: The Online Journal of the Haydn Society of North America Volume 9 Number 2 Fall 2019 Article 4 November 2019 Performing Michael Haydn's Requiem in C minor, MH155 Michael E. Ruhling Rochester Institute of Technology; Music Director, Ensemble Perihipsous Follow this and additional works at: https://remix.berklee.edu/haydn-journal Recommended Citation Ruhling, Michael E. (2019) "Performing Michael Haydn's Requiem in C minor, MH155," HAYDN: The Online Journal of the Haydn Society of North America: Vol. 9 : No. 2 , Article 4. Available at: https://remix.berklee.edu/haydn-journal/vol9/iss2/4 This Article is brought to you for free and open access by Research Media and Information Exchange. It has been accepted for inclusion in HAYDN: The Online Journal of the Haydn Society of North America by an authorized editor of Research Media and Information Exchange. For more information, please contact [email protected]. 1 Ruhling, Michael E.. “Performing Michael Haydn’s Requiem in C minor, MH155.” HAYDN: Online Journal of the Haydn Society of North America 9.2 (Fall 2019), http://haydnjournal.org. © RIT Press and Haydn Society of North America, 2019. Duplication without the express permission of the author, RIT Press, and/or the Haydn Society of North America is prohibited. Performing Michael Haydn’s Requiem in C minor, MH155 by Michael E. Ruhling Rochester Institute of Technology Music Director, Ensemble Perihipsous I. Introduction: Historical Background and Acknowledgements. Sigismund Graf Schrattenbach, Prince-Archbishop of Salzburg, died 16 December 1771, at the age of 73. Johann Michael Haydn, who had been in the service of the Prince-Archbishop since 1763, serving mainly as concertmaster, received the charge to write a Requiem Mass for the Prince-Archbishop’s funeral service. -
Faure Requiem Program V2
FAURÉ REQUIEM Conceived and directed by Barbara Pickhardt, Artistic Director Produced by Barbara Scharf Schamest Premiered: June 13, 2021 Ars Choralis Barbara Pickhardt, artistic director REQUIEM, Op. 48 (1893) Gabriel Fauré (1845-1924) Introit Brussels Choral Society Eric Delson, conductor Kyrie Ars Choralis Chamber Orchestra Barbara Pickhardt, conductor Offertory Ars Choralis Chuck Snyder, baritone Eribeth Chamber Players Barbara Pickhardt, conductor Sanctus The Dessoff Choirs Malcolm J. Merriweather, conductor Pie Jesu (Remembrances) Magna Graecia Flute Choir Carlo Verio Sirignano, guest conductor Sebastiano Valentino, music director Agnus Dei Ars Choralis Magna Graecia Flute Choir Carlo Verio Sirignano, guest conductor Chamber Orchestra Barbara Pickhardt, conductor Libera Me Ars Choralis Harvey Boyer, tenor Douglas Kostner, organ Barbara Pickhardt, conductor Memorial Prayers Tatjana Myoko Evan Pritchard Rabbi Jonathan Kligler Elizabeth Lesser Pastor Sonja Tillberg Maclary In Paradisum Brussels Choral Society Eric Delson, conductor 1 Encore Performances Pie Jesu Ars Choralis Amy Martin, soprano Eribeth Chamber Playersr Barbara Pickhardt, conductor In Paradisum The Dessoff Choirs Malcolm J. Merriweather, conductor About This Virtual Concert By Barbara Pickhardt The Fauré Requiem Reimagined for a Pandemic This virtual performance of the Fauré Requiem grew out of the need to prepare a concert while maintaining social distancing. We would surely have preferred to blend our voices as we always have, in a live performance. But the pandemic opened the door to a new and different opportunity. As we saw the coronavirus wreak havoc around the world, it seemed natural to reach out to our friends in other locales and include them in this program. In our reimagined version of the Fauré Requiem, Ars Choralis is joined, from Belgium, by the Brussels Choral Society, the Magna Graecia Flute Choir of Calabria, Italy, the Dessoff Choirs from New York City, and, from New York, instrumentalists from the Albany area, New York City and the Hudson Valley. -
Brahms Clarinet Quintet & Trio 6 Songs
martin fröst brahms clarinet quintet & trio 6 songs janine jansen boris brovtsyn maxim rysanov torleif thedéen boris brovtsyn | martin fröst | janine jansen | maxim rysanov | torleif thedéen roland pöntinen BIS-2063 BIS-2063_f-b.indd 1 2014-02-24 14.39 BRAHMS, Johannes (1833–97) Clarinet Quintet in B minor, Op. 115 37'46 1 I. Allegro 12'37 2 II. Adagio – Più lento 11'08 3 III. Andantino – Presto non assai, ma con sentimento 4'34 4 IV. Con moto 9'05 Janine Jansen & Boris Brovtsyn violins Maxim Rysanov viola · Torleif Thedéen cello Six Songs, transcribed by Martin Fröst for clarinet and piano 5 Die Mainacht, Op. 43 No. 2 3'32 6 Mädchenlied, Op. 107 No. 5 1'31 7 Immer leiser wird mein Schlummer, Op. 105 No. 2 3'12 8 Wie Melodien zieht es mir, Op. 105 No. 1 2'09 9 Vergebliches Ständchen, Op. 84 No. 4 1'31 10 Feldeinsamkeit, Op. 86 No. 2 3'22 Roland Pöntinen piano 2 Trio in A minor for Clarinet, Piano and Cello 24'33 Op. 114 11 I. Allegro 7'48 12 II. Adagio 7'39 13 III. Andantino grazioso 4'24 14 IV. Allegro 4'25 Roland Pöntinen piano · Torleif Thedéen cello TT: 78'55 Martin Fröst clarinet 3 n the same way that the world owes Mozart’s Clarinet Concerto, Trio and Quintet to the virtuosity of Anton Stadler, and Weber’s clarinet works to IHeinrich Baermann, so the creation of Brahms’s last four chamber works was sparked by the artistry of Richard Mühlfeld (1856–1907), the principal clarinettist of the Meiningen Orchestra. -
History of Music
HISTORY OF MUSIC THE ROMANTIC ERA Created by J. Rogers (2015) 2 GOWER COLLEGE SWANSEA MUSIC Table of Contents Romantic Era Introduction (1830 – 1910) ............................................. 4 Programme Music ........................................................................................ 5 Concert Overture .............................................................................................. 5 Programme Symphony ....................................................................................... 6 Symphonic Poem ................................................................................................. 9 Romantic Piano Music ............................................................................... 11 Lieder and Song-cycles .............................................................................. 12 Opera and Music Dramas ......................................................................... 15 Italian Opera ..................................................................................................... 15 Music Dramas ................................................................................................... 16 Leitmotifs in The Ring ..................................................................................... 17 GOWER COLLEGE SWANSEA 3 MUSIC History of Music The History of Music can be broadly divided into separate periods of time, each with its own characteristics or musical styles. Musical style does not, of course, change overnight. It can often be a gradual process -
A Structural Analysis of the Relationship Between Programme, Harmony and Form in the Symphonic Poems of Franz Liszt Keith Thomas Johns University of Wollongong
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1986 A structural analysis of the relationship between programme, harmony and form in the symphonic poems of Franz Liszt Keith Thomas Johns University of Wollongong Recommended Citation Johns, Keith Thomas, A structural analysis of the relationship between programme, harmony and form in the symphonic poems of Franz Liszt, Doctor of Philosophy thesis, School of Creative Arts, University of Wollongong, 1986. http://ro.uow.edu.au/theses/1927 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] A STRUCTURAL ANALYSIS OF THE RELATIONSHIP BETWEEN PROGRAMME, HARMONY AND FORM IN THE SYMPHONIC POEMS OF FRANZ LISZT. A thesis submitted in fulfilment of the requirements for the award of the degree of DOCTOR OF PHILOSOPHY from THE UNIVERSITY OF WOLLONGONG by KEITH THOMAS JOHNS (M.Litt.,B.A.Hons.,Grad.Dip.Ed., F.L.C.M., F.T.C.L., L.T.C.L. ) SCHOOL OF CREATIVE ARTS 1986 i ABSTRACT This thesis examines the central concern in an analysis of the symphonic poems of Franz Liszt, that is, the relationship between programme,harmony and form. In order to make a thorough and clear analysis of this relationship a structural/semiotic analysis has been developed as the analysis of best fit. Historically it has been fashionable to see Liszt's symphonic poems in terms of sonata form or a form only making sense in terms of the attached programme. Both of these ideas are critically examined in this analysis. -
Pergolesi Giovanni Battista
PERGOLESI GIOVANNI BATTISTA Compositore italiano (Iesi, Ancona, 4 I 1710 - Pozzuoli, Napoli, 17 III 1736) 1 Il bisnonno, F. Draghi, si era trasferito, intorno al 1635, da Pergola a Iesi. Il suo primogenito, Cruciano, sposò una donna di Iesi. Dall'ora la famiglia si chiamò Pergolesi e con questo nome anche Giovanni Battista Pergolesi firma, per esempio, il frontespizio dello Stabat Mater ed il Laudate pueri; perciò la grafia Pergolesi deve considerarsi autentica. Fin da fanciullo fu di gracile costituzione e soffrì ad una gamba. I suoi fratelli morirono giovani. Il ragazzo godette la protezione della piccola nobiltà di Iesi, ricevette il primo insegnamento di violino da F. Mondini, proveniente da Bologna e direttore della cappella comunale di Iesi, mentre il direttore della cappella del duomo, F. Santi, gli insegnò il contrappunto. A Iesi, come hanno accertato gli storici musicali locali, erano frequenti le esecuzioni pubbliche di drammi e di intermezzi, nel palazzo municipale, e probabilmente il giovane Pergolesi vi poté ascoltare musiche di A. Scarlatti e di A. Caldara. Secondo G. Santini, sarebbe stato il marchese Cardolo Maria Pianetti a mandare a Napoli il ragazzo per completarne l'istruzione. Studiò comunque nel conservatorio dei Poveri di Gesù Cristo (lo si ritrova sotto il nome di "Iesi" nelle liste, del resto lacunose, a partire dal 1725) ed entrò nella classe di violino diretta da D. De Matteis. Ma il suo talento si rivelò più rapidamente nella classe di composizione di G. Greco (fino al 1728) e poi di F. Durante, mentre la sua più vasta cerchia d'interessi si estendeva a F. -
Late Fall 2020 Classics & Jazz
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