DOCSLIB.ORG

Andrew Litton and the Bergen Philharmonic Orchestra: Recordings

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Andrew Litton and the Bergen Philharmonic Orchestra: Recordings Sergei Rachmaninov: Symphony No. 2 in E minor, op. 27 Anatoly Liadov: The Enchanted Lake , op. 62 Andrew Litton, conductor, Bergen Philharmonic Orchestra BIS-SACD 2071 2015 Sergej Prokofiev: Symphony No. 5 in B flat minor, op. 100 Scythian Suite , op. 20 Andrew Litton, conductor, Bergen Philharmonic Orchestra BIS-SACD-2124 2015 Alexander Scriabin: Piano Concerto in F Sharp minor, op. 20 Nikolai Medtner: Piano Concerto No. 3 in E minor, op. 60 Yvgeny Sudbin, piano, Andrew Litton, conductor, Bergen Philharmonic Orchestra BIS-SACD-2088 2014 Richard Wagner: Der fliegende Holländer , Die Frist ist um. Tannhäuser : Blick ich umher, O du mein Holder Abendstern Lohengrin : Du Fürchterliches Weib! Die Meistersinger : Was duftet doch der Flieder, Vorspiel zum III. Aufzug, Wahn! Wahn! Überall Wahn! Parsifal : Ja! Wehe! Wehe! Weh'über mich! Die Walküre : Wotans Abschied und feuerzauber Andrew Litton, James Rutherford, baritone BIS-SACD-2080 Sergei Prokofiev: Symphony No. 6, op. 111, Lieutenant Kijé, op. 60, The Love for Three Oranges , op. 33b. Andrei Bondarenko, baritone, Andrew Litton, conductor, Bergen Philharmonic Orchestra BIS-SACD-1994 2013 Sergej Rachmaninov: The Isle of the Dead , op. 29, The Rock , op. 7, Symphonic Dances , op. 45 Andrew Litton, conductor, Bergen Philharmonic Orchestra BIS-SACD-1751 2012 Samuel Barber: Concerto for Cello and Orchestra, op. 22, Sonata for Cello and Piano, op. 6, Adagio for Strings, op. 11 Christian Poltéra, cello, Andrew Litton, conductor, Bergen Philharmonic Orchestra BIS-SACD-1827 2012 George Gershwin: Piano Concerto in F, Rhapsody in Blue, Second Rhapsody, variations on ‘I Got Rhythm’. Freddy Kempf, piano, Andrew Litton, conductor, Bergen Philharmonic Orchestra BIS-SACD-1940 2012 Felix Mendelssohn: The Complete Symphonies, String Symphonies and Concertos (compilation). BIS-2002 2012 Igor Stravinsky: The Firebird , Stravinsky’s orchestrations Arrangements of Tchaikovsky: Pas-de-Deux, Sibelius: Canzonetta , Chopin: Nocturne in A flat Major, Grande Valse Brilliante . Stravinsky: Greeting Prelude . Andrew Litton, conductor, Bergen Philharmonic Orchestra BIS-SACD-1874 2011 Franz Liszt: Piano Concerto No. 1 in E flat major, Piano Concerto No. 2 in A major Edvard Grieg: Piano Concerto in A major Stephen Hough, piano, Andrew Litton, conductor, Bergen Philharmonic Orchestra. Hyperion CDA67824 2011 Max Bruch: Violin Concerto No. 1, Romance in F major, String Quintet in A minor. Vadim Gluzman, violin, Andrew Litton, conductor BIS 2011 Igor Stravinsky The Rite of Spring, Petrouchka Andrew Litton, conductor BIS-SACD 2011 Sergej Prokofiev: Piano Concertos Nos. 2 and 3 Freddy Kempf, piano Andrew Litton, conductor Bergen Philharmonic Orchestra BIS-SACD 2010 Rozsa, Serly & Bartók Viola Concertos and Rhapsody for Viola and Orchestra Andrew Litton, conductor Lawrence Power, viola Hyperion 2010 Felix Mendelssohn Bartholdy: Symphony No. 3 in A-minor, op. 56 «Scottish» Symphony No. 5 in D-minor, op. 107 «Reformation» Bergen Philharmonic Orchestra Andrew Litton, conductor BIS-SACD-1604 2009 Felix Mendelssohn Bartholdy: Symphony No 1 in C minor, op. 11 Symphony No 4 in A major, op. 90 «Italian» ‘Ruy Blas’ overture, op. 95 Bergen Philharmonic Orchestra Andrew Litton, conductor BIS-SACD-1584 2009 Felix Mendelssohn Bartholdy: Symphony No 2 in B-major, op. 52 «Lobgesang» Judith Howarth, soprano Jennifer Larmore, mezzosoprano Christoph Prégardien, tenor Bergen Filharmoniske Kor KorVest Danmark Radios Vokalensemble / DR Bergen Philharmonic Orchestra Andrew Litton, conductor BIS-SACD-1704 2009 Sergei Prokofiev: Cello Concerto in E minor Sinfonia Concertante in E minor Alban Gerhardt, cello Bergen Philharmonic Orchestra Andrew Litton, conductor Hyperion CDA67705 2009 Alexander Glazunov: Violin Concerto in A minor, op. 82 Pyotr Ilyich Tchaikovsky: Souvenir d’un Lieu Cher , op. 42 Violin Concerto in D major, op. 35 Vadim Gluzman, violin Bergen Philharmonic Orchestra Andrew Litton, conductor BIS-SACD-1432 2008 Eyvind Alnæs: Piano Concerto in D major, op. 27 Christian Sinding: Piano Concerto in D flat major, op. 6 Piers Lane, piano Bergen Philharmonic Orchestra Andrew Litton, conductor Hyperion CDA67555 2007 Kalevi Aho: Concerto for Contrabasson and Orchestra Lewis Lipnick, contrabassoon Bergen Philharmonic Orchestra Andrew Litton, conductor BIS-CD-1574 2007 Sergei Prokofiev: Romeo and Juliet. The Three Suites Bergen Philharmonic Orchestra Andrew Litton, conductor BIS-SACD-1301 2007.
Recommended publications
  • Cds by Composer/Performer

    Cds by Composer/Performer

    CPCC MUSIC LIBRARY COMPACT DISCS Updated May 2007 Abercrombie, John (Furs on Ice and 9 other selections) guitar, bass, & synthesizer 1033 Academy for Ancient Music Berlin Works of Telemann, Blavet Geminiani 1226 Adams, John Short Ride, Chairman Dances, Harmonium (Andriessen) 876, 876A Adventures of Baron Munchausen (music composed and conducted by Michael Kamen) 1244 Adderley, Cannonball Somethin’ Else (Autumn Leaves; Love For Sale; Somethin’ Else; One for Daddy-O; Dancing in the Dark; Alison’s Uncle 1538 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 1 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 2 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 1 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 2 Aebersold, Jamey: Jazz Improvisation (vol 1) 1270 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 1 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 2 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 1 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 2 Aebersold, Jamey: The II-V7-1 Progression (vol 3) 1271 Aerosmith Get a Grip 1402 Airs d’Operettes Misc. arias (Barbara Hendricks; Philharmonia Orch./Foster) 928 Airwaves: Heritage of America Band, U.S. Air Force/Captain Larry H. Lang, cond. 1698 Albeniz, Echoes of Spain: Suite Espanola, Op.47 and misc. pieces (John Williams, guitar) 962 Albinoni, Tomaso (also Pachelbel, Vivaldi, Bach, Purcell) 1212 Albinoni, Tomaso Adagio in G Minor (also Pachelbel: Canon; Zipoli: Elevazione for Cello, Oboe; Gluck: Dance of the Furies, Dance of the Blessed Spirits, Interlude; Boyce: Symphony No. 4 in F Major; Purcell: The Indian Queen- Trumpet Overture)(Consort of London; R,Clark) 1569 Albinoni, Tomaso Concerto Pour 2 Trompettes in C; Concerto in C (Lionel Andre, trumpet) (also works by Tartini; Vivaldi; Maurice André, trumpet) 1520 Alderete, Ignacio: Harpe indienne et orgue 1019 Aloft: Heritage of America Band (United States Air Force/Captain Larry H.
  • On Modulation —

    On Modulation —

    — On Modulation — Dean W. Billmeyer University of Minnesota American Guild of Organists National Convention June 25, 2008 Some Definitions • “…modulating [is] going smoothly from one key to another….”1 • “Modulation is the process by which a change of tonality is made in a smooth and convincing way.”2 • “In tonal music, a firmly established change of key, as opposed to a passing reference to another key, known as a ‘tonicization’. The scale or pitch collection and characteristic harmonic progressions of the new key must be present, and there will usually be at least one cadence to the new tonic.”3 Some Considerations • “Smoothness” is not necessarily a requirement for a successful modulation, as much tonal literature will illustrate. A “convincing way” is a better criterion to consider. • A clear establishment of the new key is important, and usually a duration to the modulation of some length is required for this. • Understanding a modulation depends on the aural perception of the listener; hence, some ambiguity is inherent in distinguishing among a mere tonicization, a “false” modulation, and a modulation. • A modulation to a “foreign” key may be easier to accomplish than one to a diatonically related key: the ear is forced to interpret a new key quickly when there is a large change in the number of accidentals (i.e., the set of pitch classes) in the keys used. 1 Max Miller, “A First Step in Keyboard Modulation”, The American Organist, October 1982. 2 Charles S. Brown, CAGO Study Guide, 1981. 3 Janna Saslaw: “Modulation”, Grove Music Online ed. L. Macy (Accessed 5 May 2008), http://www.grovemusic.com.
  • In Concert AUGUST–SEPTEMBER 2012

    In Concert AUGUST–SEPTEMBER 2012

    ABOUT THE MUSIC GRIEG CONCERTO /IN CONCERT AUGUST–SEPTEMBER 2012 GRIEG CONCERTO 30 AUGUST–1 SEPTEMBER STEPHEN HOUGH PLAYS TCHAIKOVSKY 14, 15 AND 17 SEPTEMBER TCHAIKOVSKY’S PATHÉTIQUE 20–22 SEPTEMBER ENIGMA VARIATIONS 28 SEPTEMBER MEET YOUR MSO MUSICIANS: SYLVIA HOSKING AND MICHAEL PISANI PIERS LANE VISITS GRIEG’S BIRTHPLACE STEPHEN HOUGH ON TCHAIKOVSKY’S PIANO CONCERTO NO.2 SIR ANDREW DAVIS HAILS THE NEW HAMER HALL twitter.com/melbsymphony facebook.com/melbournesymphony IMAGE: SIR ANDREW Davis CONDUCTING THE MELBOURNE SYMPHONY ORCHESTRA Download our free app 1 from the MSO website. www.mso.com.au/msolearn THE SPONSORS PRINCIPAL PARTNER MSO AMBASSADOR Geoffrey Rush GOVERNMENT PARTNERS MAESTRO PARTNER CONCERTMASTER PARTNERS MSO POPS SERIES REGIONAL TOURING PRESENTING PARTNER PARTNER ASSOCIATE PARTNERS SUPPORTING PARTNERS MONASH SERIES PARTNER SUPPLIERS Kent Moving and Storage Quince’s Scenicruisers Melbourne Brass and Woodwind Nose to Tail WELCOME Ashton Raggatt McDougall, has (I urge you to read his reflections been reported all over the world. on Grieg’s Concerto on page 16) and Stephen Hough, and The program of music by Grieg conductors Andrew Litton and and his friend and champion HY Christopher Seaman, the last of Percy Grainger that I have the whom will be joined by two of the privilege to conduct from August finest brass soloists in the world, otograp 29 to September 1 will be a H P Radovan Vlatkovic (horn) and wonderful opportunity for you to ta S Øystein Baadsvik (tuba), for our O experience all the richness our C special Town Hall concert at the A “new” hall has to offer.
  • Jacob Druckman Windows / Dark Upon the Harp / Animus II

    Jacob Druckman Windows / Dark Upon the Harp / Animus II

    NWCR781 Jacob Druckman Windows / Dark Upon the Harp / Animus II Dark Upon The Harp for mezzo-soprano, brass quintet and percussion (1961–62) ........................ (21:58) 2. Psalm XXII 12-17, 20 .............................. (1:55) 3. Psalm LVIII 4-9 ....................................... (4:35) 4. Psalm XVIII 4-9........................................ (4:09) 5. Psalm XXX 12, 13 ................................... (3:14) 6. Psalm CXXXIII ........................................ (4:05) 7. Psalm XVI 6-8 .......................................... (4:01) Jan DeGaetani, mezzo-soprano; Gerald Carlyss, percussion; Robert Ayers, percussion; New York Brass Quintet: Robert Nagel, trumpet; Fred Mills, trumpet; Ralph Froelich, horn; David Uber, trombone; Harvey Phillips, tuba 8. Animus II for mezzo-soprano, percussion, and electric tape (1967–68) ................................. (20:07) (Electronic tape realized at the Columbia- Princeton Center for Electronic Music.) Jan DeGaetani, mezzo-soprano; Richard Fitz, percussion; Gordon Gottlieb, percussion Total playing time: 63:29 1. Windows for orchestra (1972) ............................. (21:13) Orchestra of the Twentieth Century; Arthur Ê 1981, 1998 & © 1998 Composers Recordings, Inc. Weisberg, conductor © 2007 Anthology of Recorded Music, Inc. Notes During the last twenty years of his life, Jacob Druckman often organized the interactions between tonal and atonal (1928–1996) was principal architect of the New Romanticism musical language with adulterated bits of materials quoted or in American
  • Ludwig Van Beethoven a Brilliant Pianist, but When Born: December 16, 1770 He Was Around 30 Years Old Died: March 26, 1827 Beethoven Began Going Deaf

    Ludwig Van Beethoven a Brilliant Pianist, but When Born: December 16, 1770 He Was Around 30 Years Old Died: March 26, 1827 Beethoven Began Going Deaf

    SymphonySecond No. Movement 8 in F Major Ludwig van Beethoven a brilliant pianist, but when Born: December 16, 1770 he was around 30 years old Died: March 26, 1827 Beethoven began going deaf. Even though he could no Ludwig van Beethoven was longer hear well enough to born in Bonn, Germany. His play the piano, Beethoven father, who was a singer, composed some of his best was his first teacher. After a music after he lost his while, even though he was hearing! still only a boy, Ludwig became a traveling Beethoven is considered performer, and soon he was one of the greatest musical supporting his family. geniuses who ever lived. He may be most famous for his In his early twenties nine symphonies, but he also Beethoven moved to Vienna, wrote many other kinds of where he spent the rest of music: chamber and choral his life. Beethoven was one pieces, piano works, string of the first composers to quartets, and an opera. make a living without being employed by the church or a member of the nobility. At first, he was known as Beethoven’s Music Listen to the second movement of Beethoven’s 8th Symphony, then answer the questions below. 1. How many “ticks” do you hear before the melody begins? a. 2 b. 5 c. 7 d. 8 2. What instrument plays the melody first? a. violin b. viola c. cello d. bass 3. Does the orchestra get loud suddenly? a. yes b. no 4. Does the music sound like it’s jumping around the orchestra? a.
  • Download Booklet

    Download Booklet

    PROGRAMME NOTE While America’s culture of performance VIOLIN CONCERTOS inevitably turned to Europe for its models, it ROY HARRIS • JOHN ADAMS Among the enduring transformations that gradually gathered strands of American identity coursed through the United States in the – complete with works by native musicians – to decades following the Civil War, one stands set alongside classics by Handel, Mozart and proud in the history of the nation’s musical life. Beethoven and more recent scores from It concerns what the scholar and critic Joseph the Old World. The New York-born composer Horowitz calls the “culture of performance”, Edward MacDowell, for instance, directed his Concerto for Violin and Orchestra (1949) Roy Harris (1898-1979) the creation of civic institutions devoted to thoroughly European training in France and 1 Section One [8.46] the making of music and the rise of a new Germany to the intentional cultivation of a 2 Section Two [9.53] generation of American musicians determined distinct brand of musical nationalism, “a 3 Section Three [6.05] to build their own traditions of ‘classical music which should be American”, as he 4 Section Four [3.24] music’. The process was already in train put it. The nature of what ‘American’ meant, before the war in many east coast cities, as so often with debates about cultural Concerto for Violin & Orchestra (1993) John Adams (b. 1947) where orchestral and choral societies arose identity, varied according to perspective. Many 5 I – [15.51] to meet the needs of a growing middle-class Americans at
  • Léon Goossens and the Oboe Quintets Of

    Léon Goossens and the Oboe Quintets Of

    Léon Goossens and the Oboe Quintets of Arnold Bax (1922) and Arthur Bliss (1927) By © 2017 Matthew Butterfield DMA, University of Kansas, 2017 M.M., University of Wisconsin-Madison, 2011 B.S., The Pennsylvania State University, 2009 Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. Chair: Dr. Margaret Marco Dr. Colin Roust Dr. Sarah Frisof Dr. Eric Stomberg Dr. Michelle Hayes Date Defended: 2 May 2017 The dissertation committee for Matthew Butterfield certifies that this is the approved version of the following dissertation: Léon Goossens and the Oboe Quintets of Arnold Bax (1922) and Arthur Bliss (1927) Chair: Dr. Margaret Marco Date Approved: 10 May 2017 ii Abstract Léon Goossens’s virtuosity, musicality, and developments in playing the oboe expressively earned him a reputation as one of history’s finest oboists. His artistry and tone inspired British composers in the early twentieth century to consider the oboe a viable solo instrument once again. Goossens became a very popular and influential figure among composers, and many works are dedicated to him. His interest in having new music written for oboe and strings led to several prominent pieces, the earliest among them being the oboe quintets of Arnold Bax (1922) and Arthur Bliss (1927). Bax’s music is strongly influenced by German romanticism and the music of Edward Elgar. This led critics to describe his music as old-fashioned and out of touch, as it was not intellectual enough for critics, nor was it aesthetically pleasing to the masses.
  • Grade: Third Grade Title: American Composer: George Gershwin Week: May 11-15 Source: Classics for Kids Materials: Google Classroom, Internet

    Grade: Third Grade Title: American Composer: George Gershwin Week: May 11-15 Source: Classics for Kids Materials: Google Classroom, Internet

    Grade: Third Grade Title: American Composer: George Gershwin Week: May 11-15 Source: Classics for Kids Materials: Google Classroom, Internet MPG/Big Idea: State Standard: MPG3: Listen to music with 9.2 understanding 9.4 MPG4: Make value judgments about music Enduring Understandings: 3. Music from various styles, cultures and historical eras globally affects all individuals 4. Music is a lifelong avocation that requires personal choices and critical response Essential Questions: 3. How does music impact all of us? 4. What makes good music good? Knowledge: 1. Musical works and composers from varied historical periods are an important component of musical literature 3. Significant musical works and composers continue to impact music 3. Audience etiquette is a necessary part of being a responsible music consumer Skills: Procedure: Historical Context 1. Click on the RED link below and listen to the “Classics 2. Recognize significant composers and/or for Kids” episode about famous American composer, musicians from various genres and periods George Gershwin Aesthetic Response https://www.classicsforkids.com/shows/shows.php?id=70 3. Demonstrate attentiveness and be actively engaged when listening to a Music heard in this episode: variety of music of appropriate length and complexity Gershwin: Prelude #1 Gershwin: Sweet and Lowdown Gershwin: Rhapsody in Blue Gershwin: Let’s Call the Whole Thing Off Gershwin: I Got Rhythm Gershwin: I Got Rhythm Variations Gershwin: An American in Paris Gershwin: Piano Concerto in F Gershwin: Porgy and Bess: Summertime 2. When finished complete the assignment on the Google Form below Assessment: Answer the multiple-choice questions by using the BLUE link below to open the Google form: https://forms.gle/VMryZf38P3rTPYL8A George Gershwin was born in a.
  • Saken Bergaliyev Matr.Nr. 61800203 Benjamin Britten Lachrymae

    Saken Bergaliyev Matr.Nr. 61800203 Benjamin Britten Lachrymae

    Saken Bergaliyev Matr.Nr. 61800203 Benjamin Britten Lachrymae: Reflections on a Song of Dowland for viola and piano- reflections or variations? Master thesis For obtaining the academic degree Master of Arts of course Solo Performance Viola in Anton Bruckner Privatuniversität Linz Supervised by: Univ.Doz, Dr. M.A. Hans Georg Nicklaus and Mag. Predrag Katanic Linz, April 2019 CONTENT Foreword………………………………………………………………………………..2 CHAPTER 1………………………………...………………………………….……....6 1.1 Benjamin Britten - life, creativity, and the role of the viola in his life……..…..…..6 1.2 Alderburgh Festival……………………………......................................................14 CHAPTER 2…………………………………………………………………………...19 John Dowland and his Lachrymae……………………………….…………………….19 CHAPTER 3. The Lachrymae of Benjamin Britten.……..……………………………25 3.1 Lachrymae and Nocturnal……………………………………………………….....25 3.2 Structure of Lachrymae…………………………………………………………....28 Conclusion……………………………………………………………………………..39 Bibliography……………………………………….......................................................43 Affidavit………………………………………………………………………………..45 Appendix ……………………………………………………………………………....46 1 FOREWORD The oeuvre of the great English composer Benjamin Britten belongs to one of the most sig- nificant pages of the history of 20th-century music. In Europe, performers and the general public alike continue to exhibit a steady interest in the composer decades after his death. Even now, the heritage of the master has great repertoire potential given that the number of his written works is on par with composers such as S. Prokofiev, F. Poulenc, D. Shostako- vich, etc. The significance of this figure for researchers including D. Mitchell, C. Palmer, F. Rupprecht, A. Whittall, F. Reed, L. Walker, N. Abels and others, who continue to turn to various areas of his work, is not exhausted. Britten nature as a composer was determined by two main constants: poetry and music. In- deed, his art is inextricably linked with the word.
  • EMR 30514 Concerto in F Minor Händel Trombone & Piano

    EMR 30514 Concerto in F Minor Händel Trombone & Piano

    Concerto in F Minor + Trombone ( ) & Piano / Organ Arr.:> Ted Barclay Georg Friedrich Händel EMR 30514 Print & Listen Drucken & Anhören Imprimer & Ecouter ≤ www.reift.ch Route du Golf 150 CH-3963 Crans-Montana (Switzerland) Tel. +41 (0) 27 483 12 00 Fax +41 (0) 27 483 42 43 E-Mail : [email protected] www.reift.ch Concerto in F Minor | Photocopying Georg Friedrich Händel is illegal! (1685 - 1759) original - Concerto for Oboe Arr.: Ted Barclay Grave e = 80 Trombone Organ / Piano f 3 6 mf a piacere mp fp colla parte mp mp 9 cresc. p cresc. p EMR 30514 © COPYRIGHT BY EDITIONS MARC REIFT CH-3963 CRANS-MONTANA (SWITZERLAND) www.reift.ch ALL RIGHTS RESERVED - INTERNATIONAL COPYRIGHT SECURED 4 12 f 15 A tempo p a piacere ten. p fp colla parte p ten. 18 p p
  • N E W S R E L E A

    N E W S R E L E A

    N E W S R E L E A S E Contacts: Michael Hogue 215.545.5451 x26 [email protected] FOR IMMEDIATE RELEASE DATE: November 14, 2016 The Chamber Orchestra of Philadelphia (COP) announces the appointment of Stephen Tavani as Concertmaster and Matthew Cohen as Section Violist. COP will feature the music of Rossini, Gounod, and new works by NJ native Raphael Fusco and star French-Lebanese pianist and composer Rami Khalifé. intersect series opens with a polystylistic exploration of exoticism in music - a collaboration between COP Music Director Dirk Brossé, Singer/Songwriter Andrew Lipke, and Rami Khalifé. A founding resident company of The Kimmel Center for the Performing Arts, The Chamber Orchestra of Philadelphia (COP) will perform music by Rossini and Gounod, premiere a new arrangement by New Jersey composer, Raphael Fusco and present the U.S. premiere of Stories for piano and orchestra by French-Lebanese pianist and rising-star composer Rami Khalifé. Raphael Fusco is no stranger to COP, having premiered Alternate Routes with saxophonist BranfordMarsalis and the Chamber Orchestra on Marsalis’ “Well-Tempered” tour during COP’s 2014/2015 season. “All the instruments share the original solo saxophone line,” Fusco explains about the newly arranged work, “resulting in a concerto for chamber orchestra.” Star Lebanese pianist, Rami Khalifé, described as “positively brand new” and “musician of extreme caliber” by the Daily Star (Lebanon), is making his Chamber Orchestra debut with the American Premiere of his work Stories for piano and orchestra. Khalifé describes Stories as “a series of soundscapes that stand alone just as resolutely as they bind together.
  • Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse

    Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse

    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-7-2018 12:30 PM Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse Renee MacKenzie The University of Western Ontario Supervisor Nolan, Catherine The University of Western Ontario Sylvestre, Stéphan The University of Western Ontario Kinton, Leslie The University of Western Ontario Graduate Program in Music A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Musical Arts © Renee MacKenzie 2018 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Music Performance Commons Recommended Citation MacKenzie, Renee, "Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse" (2018). Electronic Thesis and Dissertation Repository. 5572. https://ir.lib.uwo.ca/etd/5572 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This monograph examines the post-exile, multi-version works of Sergei Rachmaninoff with a view to unravelling the sophisticated web of meanings and values attached to them. Compositional revision is an important and complex aspect of creating musical meaning. Considering revision offers an important perspective on the construction and circulation of meanings and discourses attending Rachmaninoff’s music. While Rachmaninoff achieved international recognition during the 1890s as a distinctively Russian musician, I argue that Rachmaninoff’s return to certain compositions through revision played a crucial role in the creation of a narrative and set of tropes representing “Russian diaspora” following the 1917 Bolshevik Revolution.