CONCERT QUICK GUIDE™ TUE 3/26/19 at 7:30 PM Rose Theater Performance #116: Jazz at Lincoln Center’S Season 4, Concert 22 Frederick P

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BRAHMS’ SYMPHONY NO. 2 CONCERT QUICK GUIDE™ TUE 3/26/19 at 7:30 PM Rose Theater Performance #116: Jazz at Lincoln Center’s Season 4, Concert 22 Frederick P. Rose Hall Fabio Luisi, conductor The concert will last approximately 1 hour and 50 minutes Brief remarks by Miles Salerni, percussion EDVARD GRIEG Born: 6/15/1843 in Bergen, Norway | Died: 9/4/1907 at age 64 in Bergen PIANO CONCERTO 33 min Alessandro Taverna, piano Written Movements 1868–69, at age 24–25 Allegro molto moderato Revised in 1872, 82, 90, 95, and 1906–07 (Very moderately fast) Adagio (Slow) Premiered Allegro moderato molto e marcato— 4/3/1869 in Copenhagen Quasi Presto—Andante maestoso Orchestra of the Royal Theatre (Moderately fast and very emphatic, Holger Simon Paulli, conductor then quickly, then moderately slow Edmund Neupert, piano and majestic) 20 min INTERMISSION Meet & greet Share a photo Refreshments some of the musicians @TheOrchNow available in the atrium outside the theater #TheOrchNow WiFi: JazzPublicWiFi Restrooms located on either side of the theater. Turn over for more info Brief remarks by Luke Stence, bass JOHANNES BRAHMS Born: 5/7/1833 in Hamburg, Germany | Died: 4/3/1897 at age 63 in Vienna SYMPHONY NO. 2 46 min “It’s a very enchanting piece, with beautiful, flowing melodies that remind you of farms and meadows and summertime. It has some dark undertones, though. The opening bass line of three notes is a motif that carries throughout the piece, giving you an uneasy feeling.” – Jamie Sanborn, TŌN horn player Written Movements 1877, at age 44 Allegro non troppo (Not too fast) Adagio non troppo (Not too slow) Premiered Allegretto grazioso (Quasi Andantino)— 12/30/1877 at the Musikverein in Vienna Presto ma non assai (Moderately fast Vienna Philharmonic and graceful, then quickly but not very Hans Richter, conductor quick) Allegro con spirito (Fast, with spirit) All timings are approximate. 2019 GALA The Orchestra Now and the Bard Music Festival join forces to celebrate 30 YEARS OF MUSICAL EXPLORATION Tue, Apr 23 at City Winery in NYC Cocktails 6 PM Dinner & Performances 7 PM After Party 9 PM For more info, visit theorchestranow.org, call 845.758.7414, or email [email protected] VISIT US AT FOLLOW US Text TON to 33233 THEORCHESTRANOW.ORG @TheOrchNow for email updates Artwork by Khoa Doan | Concert Quick Guide design by Nelson Yan.

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Edvard Grieg: Between Two Worlds Edvard Grieg: Between Two Worlds
EDVARD GRIEG: BETWEEN TWO WORLDS EDVARD GRIEG: BETWEEN TWO WORLDS By REBEKAH JORDAN A Thesis Submitted to the School of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Master of Arts McMaster University © Copyright by Rebekah Jordan, April, 2003 MASTER OF ARTS (2003) 1vIc1vlaster University (1vIllSic <=riticisIll) HaIllilton, Ontario Title: Edvard Grieg: Between Two Worlds Author: Rebekah Jordan, B. 1vIus (EastIllan School of 1vIllSic) Sllpervisor: Dr. Hllgh Hartwell NUIllber of pages: v, 129 11 ABSTRACT Although Edvard Grieg is recognized primarily as a nationalist composer among a plethora of other nationalist composers, he is much more than that. While the inspiration for much of his music rests in the hills and fjords, the folk tales and legends, and the pastoral settings of his native Norway and his melodic lines and unique harmonies bring to the mind of the listener pictures of that land, to restrict Grieg's music to the realm of nationalism requires one to ignore its international character. In tracing the various transitions in the development of Grieg's compositional style, one can discern the influences of his early training in Bergen, his four years at the Leipzig Conservatory, and his friendship with Norwegian nationalists - all intricately blended with his own harmonic inventiveness -- to produce music which is uniquely Griegian. Though his music and his performances were received with acclaim in the major concert venues of Europe, Grieg continued to pursue international recognition to repudiate the criticism that he was only a composer of Norwegian music. In conclusion, this thesis demonstrates that the international influence of this so-called Norwegian maestro had a profound influence on many other composers and was instrumental in the development of Impressionist harmonies.
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Conference Program 2011
Grieg Conference in Copenhagen 11 to 13 August 2011 CONFERENCE PROGRAM 16.15: End of session Thursday 11 August: 17.00: Reception at Café Hammerich, Schæffergården, invited by the 10.30: Registration for the conference at Schæffergården Norwegian Ambassador 11.00: Opening of conference 19.30: Dinner at Schæffergården Opening speech: John Bergsagel, Copenhagen, Denmark Theme: “... an indefinable longing drove me towards Copenhagen" 21.00: “News about Grieg” . Moderator: Erling Dahl jr. , Bergen, Norway Per Dahl, Arvid Vollsnes, Siren Steen, Beryl Foster, Harald Herresthal, Erling 12.00: Lunch Dahl jr. 13.00: Afternoon session. Moderator: Øyvind Norheim, Oslo, Norway Friday 12 August: 13.00: Maria Eckhardt, Budapest, Hungary 08.00: Breakfast “Liszt and Grieg” 09.00: Morning session. Moderator: Beryl Foster, St.Albans, England 13.30: Jurjen Vis, Holland 09.00: Marianne Vahl, Oslo, Norway “Fuglsang as musical crossroad: paradise and paradise lost” - “’Solveig`s Song’ in light of Søren Kierkegaard” 14.00: Gregory Martin, Illinois, USA 09.30: Elisabeth Heil, Berlin, Germany “Lost Among Mountain and Fjord: Mythic Time in Edvard Grieg's Op. 44 “’Agnete’s Lullaby’ (N. W. Gade) and ‘Solveig’s Lullaby’ (E. Grieg) Song-cycle” – Two lullabies of the 19th century in comparison” 14.30: Coffee/tea 10.00: Camilla Hambro, Åbo, Finland “Edvard Grieg and a Mother’s Grief. Portrait with a lady in no man's land” 14.45: Constanze Leibinger, Hamburg, Germany “Edvard Grieg in Copenhagen – The influence of Niels W. Gade and 10.30: Coffee/tea J.P.E. Hartmann on his specific Norwegian folk tune.” 10.40: Jorma Lünenbürger, Berlin, Germany / Helsinki, Finland 15.15: Rune Andersen, Bjästa, Sweden "Grieg, Sibelius and the German Lied".
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Edvard Grieg Stands As the Most Essential
Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair Peer Gynt Suite No. 1, Op. 46 Piano Concerto in A minor, Op. 16 Edvard Grieg dvard Grieg stands as the most essential Ecomposer in the history of Norwegian IN SHORT music, a distinction he already clinched Born: June 15, 1843, in Bergen, Norway during his lifetime and would not relinquish in posterity. When he was growing up, his Died: September 4, 1907, in Bergen native country could offer a composer only Works composed and premiered: inciden- limited opportunities for advanced study; tal music to the play Peer Gynt, composed and so he left Norway to enroll, from 1858 to May 1874–September 1875, with additions and 1862, at the Leipzig Conservatory, a destina- revisions continuing through 1902; the four tion for many international music students movements of Peer Gynt Suite No. 1, assembled for publication in 1888; Ibsen’s of the time and a sturdy source of tradition- play Peer Gynt premiered in Christiania (later al learning when it came to musical funda- known as Oslo), Norway, on February 24, mentals and composition. Although in his 1876, with incidental music conducted by later years Grieg would speak of the Leipzig Johan Hennum; Suite No. 1, premiered Conservatory in unflattering terms, the four January 24, 1889, at Chickering Hall in New years he spent there were undeniably im- York City, with Theodore Thomas leading his portant to his development, thanks to his orchestra. Piano Concerto composed June work with such eminent teachers as Ignaz 1868 to early 1869; revised substantially in Moscheles for piano and Carl Reinecke for 1872, 1882, 1890, and 1895; premiered April 3, composition.
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Johannes BRAHMS: Symphony No
Louisville Orchestra Presents: BRAHMS’ THIRD Edvard GRIEG: Piano Concerto in A Minor Johannes BRAHMS: Symphony No. 3 Louisville Orchestra Presents: BRAHMS’ THIRD LISTENING GUIDE LISTENING GUIDE Johannes BRAHMS: Symphony No. 3 Edvard GRIEG: Piano Concerto I. Allegro con brio I. Allegro Molto Moderato II. Andante II. Adagio III. Poco allegretto III. Allegro Moderato Molto e Marcato KEY TERMS Musical Monogram: is a short and often repeated musical fgure, fragment, or succession of notes that represents a special importance to the composer. Musical monograms are often the composer’s initials or that of a close friend or love one. Absolute Music: instrumental music with meaning unrelated to the title, text, or program. Music meant to be heard, though of, and understood without signifcant context. Programmatic Music: instrumental music that intends to portray a specifc story, image, concept. Folk Tune: a popular vocal or instrumental melody of a folk song. Johannes BRAHMS: Symphony No. 3 FAST FACTS • Brahms was constantly compared to Beethoven (1770 - 1827). His fear of not living up to public expectations prevented him from sharing his frst symphony until the age of 43. He began working on his frst symphony in his TIMELINE 20s and spent the following two decades editing the composition. • Brahms’ 3rd Symphony is the shortest symphony of the four he wrote, with a playing time usually between 30 1833 – Born Hamburg, Germany to 40 minutes. 1853 - Brahms meets Clara and Robert Schumann • In the Romantic era, there was a substantial increase of programmatic music. Johannes Brahms four while on tour and receives overwhelming public symphonies are popular examples of absolute music produced during the emergence of programmatic music.
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Volume 14, Number 07 (July 1896) Theodore Presser
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 7-1-1896 Volume 14, Number 07 (July 1896) Theodore Presser Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Presser, Theodore. "Volume 14, Number 07 (July 1896)." , (1896). https://digitalcommons.gardner-webb.edu/etude/406 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. e. WITH WHICH IS INCORPORATED 'MUSICAL WORLD ik vouUme xiv. NUMBER 7. For 8ummer Reading. Musical Items ■■ i 4 4 C0LUB1 OF MUSIC. Letters to Pupils. J.S. VanCleve.,. Thoughts for the Thoughtful, III. Description of Last Island. E. B. Perry. 1§ and 2i B. Sfepeefe, (,'lara Schumann. Commendable List of Music. New Publications.. Outside Helps to Young Musicians. Mrs. Hermann MUSICAL AND OTHERWISE. NEW YORK CITY. Kolzschmar. The Letter of the Law. Harvey Lewis Wickham, L. Mus., L. C. M.. Being the Recollections of the Vacation Why Some Pupils Hate Music. E. M. Trevenen The Voice Department, headed by H. W. Greene, JDaicson.. Tours of a Musician in various Countries.
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River Rouge Transfiguration
Mendelssohn’s Third Symphony is the perfect piece to hear in the springtime — this intensely exuberant music is so evocative of nature. The second movement always reminds me of the forest fairies running around in A Midsummer Night’s Dream. RACHEL NIKETOPOULOS, NCS FRENCH HORN River Rouge Transfiguration MISSY MAZZOLI BORN October 27, 1980, in Lansdale, PA PREMIERE Composed 2013; first performance May 31, 2013, Detroit Symphony Orchestra, Leonard Slatkin conducting OVERVIEW Composer Missy (Melissa) Mazzoli is, in her words,”…a delinquent tap dancer turned insomniac composer, whose influence ranges from Beethoven to Balinese gamelan.” A graduate of Boston University, the Royal Conservatory in the Hague and the Yale School of Music, she is also an educator, arts advocate, and performer on keyboards. She directs the MATA Festival of New Music, founded by Philip Glass and devoted to young composers, and has taught composition at Yale University. In 2004, she was Composer-in-Residence at STEIM, Amsterdam’s center for electronic music, where she created electro-acoustic works for the Insomnio Ensemble. Mazzoli composed River Rouge Transfiguration in 2013 on commission from the Detroit Symphony Orchestra. The “River Rouge” of the title refers to the huge Ford Motors plant in Detroit, constructed between 1917 and 1928. She fell in love with the city of Detroit, devouring both photography of and literature about the city in its heyday as the center of America’s burgeoning industrial “Golden Age.” WHAT TO LISTEN FOR Inspired by the literary metaphor comparing the city’s factories to cathedrals and altars, Mazzoli transforms the “grit and noise of Ford’s iconic River Rouge plant, (here represented by the percussion, piano, harp, and pizzicato strings) into something massive, resonant, and unexpected.” INSTRUMENTATION Piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, two trombones, tuba, timpani, percussion, harp, piano, strings Piano Concerto in A Minor, Op.
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Biography Edvard Grieg
EDVARD GRIEG A SHORT BIOGRAPHY When Edvard Grieg grew up; Bergen was a small and busy European town. With strong links to the Hanseatic cities, Bergen had established a net of connections that made it the only continental Norwegian city. The main business was the trade with fish and other products typical for the coast. There was a close contact with the rest of Europe, a fact that is easily retraceable in the origin of the Bergener. Most of the families within the city limits had ancestors in Denmark, Germany, Scotland, England, the Netherlands and other European nations. Bergen was also a melting pot for the population along the Norwegian coast. Edvard Grieg's family was a typical Bergen-family: His great grandfather Alexander Greig (later changed to Grieg) came to the city from Cairnbulg close to Aberdeen in Scotland in the 1770s. He founded the family business, which was trade with dried fish and lobster across the North Sea. The raising of a child in a bourgeois family in the 19th century Norway often included teaching of music or other forms of art. Edvard Grieg's grandparents were active in the society of music «Musikkselskabet Harmonien», one of the worlds oldest orchestras, founded in 1765. Edvard Grieg was also so lucky to have the best piano teacher in Bergen as a mother. Gesine Hagerup had studied at the music conservatory in Hamburg, Germany, an education that usually was offered only to men. She played with «Harmonien» and at chamber music concerts in Bergen. CHILDHOOD AND YOUTH Edvard Grieg was born in Bergen 15th of June 1843, in the family's house in Strandgaten 152.
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Concert: Ithaca College Symphony Orchestra Ithaca College Symphony Orchestra
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Volume 33, Number 10 (October 1915) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 10-1-1915 Volume 33, Number 10 (October 1915) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 33, Number 10 (October 1915)." , (1915). https://digitalcommons.gardner-webb.edu/etude/618 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. THE ETUDE 693 THE EMERSON AUTOMATIC PLAYER PIANO Edited by James Francis Cooke not used is returned'to u's but or are to be made at least once a or July. ON SALE ) organ07his inciua d ^i™ li W £nd use~ ^ USED WORKS IN MU SENT ON EXAMINATION TO F PIANO COLLECTIONS human of Player” Piano^ "eWeSt’ m°St a“istic and accomplished :“pla“nrth‘eV keys6 ‘ “Meehan"cal touch has disappeared. It reproduces the interpreta parricular musk! “ ‘X themselves P^ed that and S'16 °f unique deIights is the ability to regulate the illustration, XSringermisar)/«-an?‘ AS Sh°Wn in mnt. With •w SstSBf ”” “ »• “EMPTY, BY Painted by Edward V.
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Grieg's Piano Concerto
NOTES ON THE PROGRAM BY LAURIE SHULMAN, ©2019 Grieg’s Piano Concerto ONE-MINUTE NOTES Rebel: Chaos from Les Élémens This early French master had an uncanny gift for translating the theatrical into sound. His aptly named Chaos depicts the creation of the world in bold dissonances that convey the disorder that preceded creation. Grieg: Piano Concerto Though strongly influenced by Schumann’s piano concerto, Grieg’s ravishing piece is rich with Norwegian melodies and rhythms. The quintessential romantic concerto, it features rhapsodic Chopinesque figuration in the slow movement and a vigorous Norwegian dance in the finale. Brahms: Symphony No. 2 Often called Brahms’ “Pastoral,” this symphony exudes the dappled sunshine and glorious vistas of the Alpine summer. Unexpected motives like the opening cello gesture play an important role. The joyous and bubbly finale is also a virtuoso study in counterpoint. REBEL: “Chaos” from Les Élémens JEAN-FÉRY REBEL Baptized: April 18, 1666, in Paris, France Died: January 2, 1747, in Paris Composed: 1737 World Premiere: Undocumented, but probably in Paris, 1737. NJSO Premiere: These are the NJSO premiere performances. Duration: 7 minutes 2 The Rebels (pronounced Ruh-BELL) were one of Baroque France’s great musical dynasties. Beginning with Jean-Féry’s father, Jean (1636–92), members of the family served among the king’s musicians and in the royal opera for more than a century. This was France’s golden age. Music flourished under Louis XIV and Louis XV, who between them reigned from 1643 to 1774. Jean-Féry’s sister Anne-Renée was a singer in Jean- Baptiste Lully’s operas and married the composer Michel Richard de Lalande.
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""A Suitable Soloist for My Piano Concerto": Teresa Carreño As A
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Edward Gardner Imagno / Mary Evans Picture Library Picture Mary Evans
SUPER AUDIO CD Grieg Piano Concerto • Incidental Music to ‘Peer Gynt’ Lise Davidsen soprano Ann-Helen Moen soprano Victoria Nava soprano Johannes Weisser baritone Håkon Høgemo Hardanger fiddle Jean-Efflam Bavouzet piano Bergen Philharmonic Orchestra and Choirs Edward Gardner Edvard Grieg,Edvard c.1875 Mary Evans Picture Library / Imagno Edvard Grieg (1843 – 1907) Incidental Music to ‘Peer Gynt’, Op. 23 (1874 – 75, revised 1885, 1991 – 92, and 1902)* 54:39 for Solo Voices, Chorus, and Orchestra Act I 1 1 I bryllupsgården (At the Wedding). Prelude to Act I. Allegro con brio – Poco andante – Un poco allegro. Tempo di Halling – Poco andante – Vivace. Tempo di Springar – Poco andante – Allegro con brio 4:56 Håkon Høgemo Hardanger fiddle 2 2 Halling. Scenes 2 and 3. Allegretto 0:42 Håkon Høgemo Hardanger fiddle 3 3 Springar. Scene 3. Allegro vivace 1:08 Håkon Høgemo Hardanger fiddle 3 Act II 4 4 Bruderovet. Ingrids klage (The Abduction of the Bride. Ingrid’s Lament). Prelude to Act II. Allegro furioso – Andante – Allegro furioso – Andante doloroso – Allegro furioso – Andante – Allegro furioso – Andante 4:17 5 5 Peer Gynt og seterjentene (Peer Gynt and the Herd Girls). Scene 3. Allegro marcato – Molto meno allegro – Poco più allegro – Allegro vivace – Tempo I – Quasi presto 3:34 6 8 I Dovregubbens hall (In the Hall of the Mountain King). Scene 6. Alla marcia e molto marcato – Più vivo 2:33 Bergen Pikekor Bergen Guttekor Edvard Grieg Ungdomskor Edvard Grieg Kor Bergen Philharmonic Choir Håkon Matti Skrede chorus master 7 9 Dans av Dovregubbens datter (Dance of the Mountain King’s Daughter).
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