Mendelssohn's Elijah
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Rncm Chamber Music Festival Songs Without Words Rncm Chamber Music Festival Songs Without Words
Friday 04 – Sunday 06 March 2016 RNCM CHAMBER MUSIC FESTIVAL SONGS WITHOUT WORDS RNCM CHAMBER MUSIC FESTIVAL SONGS WITHOUT WORDS WELCOME The RNCM Chamber Music Festival plays an enormous role in the story of the College and is a major event in our calendar. Chamber music is at the core at what we do - the RNCM has a proud tradition of chamber ensemble training and our alumni appear with high profile ensembles such as the Elias, Heath and Navarra String Quartets plus the Gould Piano Trio to name but a few. Every year, the Chamber Music Festival goes from strength to strength, presenting the opportunity to see our wonderful students, internationally renowned staff and special guests perform beautiful music across a jam-packed weekend. This year is no exception, as we explore German Romanticism in Songs Without Words. We focus particularly on the music of Mendelssohn and Schumann and our students will be involved in a major composition project, as they are asked to create responses to Mendelssohn’s Songs Without Words. So the Festival will include works from across the 19th century but will also dip into the 20th century with composers such as Richard Strauss. This year’s line-up features some of the finest musicians performing today including the Talich Quartet, Elias Quartet, Michelangelo Quartet, plus RNCM Junior Fellows the Solem Quartet and our International Artist chamber ensemble the Diverso String Quartet. We also welcome chamber groups from Chetham’s, St Mary’s, Junior RNCM, the Royal Irish Academy of Music and Sheffield Music Academy. So please join us and immerse yourself in this weekend of lush musical landscapes. -
The Authenticity of Genius Transcript
The Authenticity of Genius Transcript Date: Tuesday, 15 February 2011 - 1:00PM Location: Museum of London Gresham Lecture, 15 February 2011 The Authenticity of Genius Professor Christopher Hogwood You see that I have arrived with eight accomplices today, all named on the programme sheet. I shall just tell you how we arrived at this and the purpose. As you know, the overriding theme of these six lectures, this year has been the theme of authenticity. We have done various aspects such as whether the piece in question is what it says on the tin and that sort of thing. Last time, there were many fakes. The next lecture was going to be taking the story of music, as it were, from the manuscript, or from the library stage, into the sort of thing you can pick off the shelf and buy – i.e. the work of the musicologist, the librarian and the historian. The final lecture will carry that story on - dealing with the business of picking the printed volume off the shelf and deciding to include it in a recital, in a concert, in a recording, and for that, I will be joined by Dame Emma Kirby. We will talk about what goes on in a performer’s life and in a performer’s mind when faced with a new piece of repertoire and how you bring it to life respectably from the silent piece of music that you took from the library or bought off the shelf. That does seem to leave one stage missing - the stage before the thing hits the paper, which is what goes on to create this music, and that is why we have “Authenticity of Genius” today. -
Elijah Program 2006
Grace Church in New York The Reverend J. Donald Waring, rector The Reverend Chase Danford, associate rector The Reverend Julia Macy Offinger, assistant rector Patrick Allen, organist and master of choristers The Choral Society and Orchestra of Grace Church in New York John Maclay, music director Tony Bellomy , associate conductor Friday, December 6, 2019, at 8:00 pm Saturday, December 7, 2019, at 3:00 pm Program CANITE TUBA (1590) Giovanni Pierluigi da Palestrina (c. 152 5–1594) THE THREE KINGS (1928) Healey Willan (188 0– 1968) HARK! THE HERALD-ANGELS SING* O MAGNUM MYSTERIUM Daniel Pinkham (192 3– 2006) from Christmas Cantata (1957) TE DEUM IN C, HOB. XXIIIC:2 (1799) Joseph Haydn (173 2–1809) THE SHEPHERD’S CAROL (2001) Bob Chilcott (b. 1955) KYRIE and GLORIA Felix Mendelssohn (180 9– 1847) ANGELS WE HAVE HEARD ON HIGH* from Die Deutsche Liturgie (1846) GOD REST YOU MERRY, GENTLEMEN* RICHTE MICH, GOTT, OP.78, NO. 2 (1844) Mendelssohn SANCTUS Mendelssohn PILGRIMS’ HYMN (1997) Stephen Paulus (194 9– 2014) from Die Deutsche Liturgie (1846) DONA NOBIS PACEM J.S. Bach from Mass in B Minor , BWV 232 (completed 1749) SANCTUS Johann Sebastian Bach (168 5– 1750) from Mass in B Minor , BWV 232 (completed 1749) HODIE CHRISTUS NATUS ES Jan Pieterszoon Sweelinck (156 2– 1621) from Cantiones sacrae (1619) In consideration of the performers and fellow audience members, please turn off all ES IST EIN ROS ENTSPRUNGEN (1609) Michael Praetorius (157 1– 1621) cellular phones, pagers and electronic devices upon entering the church. Parents and caregivers, please take restless children to the Chantry chapel IN DULCI JUBILO À 8 (1620) Samuel Scheidt (158 7– 1654) (entrance in the south transept) if they need to vocalize during the performance. -
Felix Mendelssohn's Career As a Composer
10-27 Sat Mat.qxp_Layout 1 10/18/18 2:07 PM Page 29 Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair String Quintet in B-flat major, Op. 87 Felix Mendelssohn elix Mendelssohn’s career as a composer was not strictly that of the mainstream. As a Fand conductor was flourishing in 1845. result, certain of his works — such as the first He was considering competing job offers and last movements of this quintet — can from two crowned heads (the Kings of Prus - sometimes sound less like classic chamber sia and of Saxony), he was deriving satisfac - music than like little string symphonies, re - tion from his pet project of elevating the flecting a hierarchy in which the first violin Leipzig Conservatory into a world-class in - spends more time in the spotlight than the stitution, and he enjoyed great happiness on lower-lying “accompanying” instruments. In the home front, the more so when he and his fact, his interest in those first and last move - wife greeted the arrival of their fifth child, ments seems fixed less on the themes them - Lili. There is no way that the composer, who selves than on the harmonic and structural was only 36 years old, could have known processes used in developing them. Wilhelm when he wrote the B-flat-major Quintet that Altman, writing in the classic Cobbett’s Cyclo - it would be among his last works. He died two pedic Survey of Chamber Music , perspica - years later after a series of strokes. -
Francis Poulenc
CHAN 3134(2) CCHANHAN 33134134 WWideide bbookook ccover.inddover.indd 1 330/7/060/7/06 112:43:332:43:33 Francis Poulenc © Lebrecht Music & Arts Library Photo Music © Lebrecht The Carmelites Francis Poulenc © Stephen Vaughan © Stephen CCHANHAN 33134(2)134(2) BBook.inddook.indd 22-3-3 330/7/060/7/06 112:44:212:44:21 Francis Poulenc (1899 – 1963) The Carmelites Opera in three acts Libretto by the composer after Georges Bernanos’ play Dialogues des Carmélites, revised English version by Joseph Machlis Marquis de la Force ................................................................................ Ashley Holland baritone First Commissioner ......................................................................................James Edwards tenor Blanche de la Force, his daughter ....................................................... Catrin Wyn-Davies soprano Second Commissioner ...............................................................................Roland Wood baritone Chevalier de la Force, his son ............................................................................. Peter Wedd tenor First Offi cer ......................................................................................Toby Stafford-Allen baritone Thierry, a valet ........................................................................................... Gary Coward baritone Gaoler .................................................................................................David Stephenson baritone Off-stage voice ....................................................................................... -
MSM PHILHARMONIA ORCHESTRA Perry So, Conductor Shaina Martinez, Soprano
MSM PHILHARMONIA ORCHESTRA Perry So, Conductor Shaina Martinez, soprano THURSDAY, OCTOBER 4, 2018 | 7:30 PM THE RIVERSIDE CHURCH THURSDAY, OCTOBER 4, 2018 | 7:30 PM THE RIVERSIDE CHURCH MSM PHILHARMONIA ORCHESTRA Perry So, Conductor Shaina Martinez, soprano PROGRAM ROBERT SIROTA A Rush of Wings (b. 1949) JOAQUÍN TURINA Poema en forma de canciones (1882–1949) (Poem in the Form of Songs), Op. 19 Dedicatoria Nunca olvida… Cantares Los dos miedos Las locas por amor Ms. Martinez, soprano INTERMISSION ANTON BRUCKNER Symphony No. 7 in E Major (Cahis 13) (1841–1904) Allegro moderato Adagio: Sehr feierlich und sehr langsam Scherzo: Sehr schnell Finale: Bewegt, doch nicht schnell The school would like to recognize Julio Martinez, Shaina’s father, for his relentless efforts to find the manuscript of the Turina concerto and resolute support for Spanish vocal literature, and Dr. Manly Romero, Performance Librarian at MSM, for preparing a new edition of the score and orchestral parts from the manuscript. Without their efforts, this performance would not have been possible. CENTENNIAL NOTE Robert Sirota was President of Manhattan School of Music from 2005 to 2012, during which time he also was a member of the Composition faculty. He wrote A Rush of Wings in 2008 especially for the MSM Chamber Sinfonia, which premiered the work on January 26, 2009 at Carnegie Hall’s Zankel Hall. The concert, conducted by Kenneth Kiesler, showcased the School’s Graduate Program in Orchestral Performance with faculty members playing side-by-side with students. MSM’s OP Program began in 1991 and Glenn Dicterow, then Concertmaster of the New York Philharmonic, was a founding faculty member. -
Little Heaven Songs Of
SongS of Little Heaven LoweLL Liebermann www.albanyrecords.com TROY1359 albany records u.s. 915 broadway, albany, ny 12207 tel: 518.436.8814 fax: 518.436.0643 albany records u.k. box 137, kendal, cumbria la8 0xd tel: 01539 824008 Six Songs on Poems of nelly Sachs Brenda Rae soprano John Hancock baritone © 2012 albany records made in the usa ddd Struwwelpeterlieder William Hobbs piano John Musto piano waRning: cOpyrighT subsisTs in all Recordings issued undeR This label. appalachian Liebeslieder Edward Klorman viola The Composer The Music Lowell Liebermann is one of America’s most frequently per- Six Songs on Poems of nelly Sachs op.14 (1985) formed and recorded composers. Orchestras worldwide have (Sechs gesänge nach gedichten von nelly Sachs) for soprano and piano played Liebermann’s works, as have distinguished artists such as The three works on this recording all have a German connection that is reflective not only of my family Sir James Galway, Steven Isserlis, Susan Graham, Charles Dutoit, heritage on my mother’s side, but also of some very formative time I spent in Germany as a student. I was James Levine, Andrew Litton and Msistislav Rostropovich. His 19 years old when my conducting teacher Laszlo Halasz did a very old-fashioned and now inconceivable compositions have been released on more than 80 compact discs thing: he sent me to Europe with three sealed letters of introduction in my pocket, instructing me to go to to date. His Piano Concerto No.2, recorded by pianist Stephen the backstage doors of opera houses in Munich, Salzburg and Bayreuth and personally hand these letters to Hough and the BBC Scottish Symphony with the Liebermann the likes of Karl Böhm, Wolfgang Sawallisch and Wolfgang Wagner. -
Vol. XII/6, Vienna 1999)
Bruckner Journal Issued three times a year and sold by subscription Editorial and advertising: telephone 0115 928 8300 2 Rivergreen Close, Beeston, GB-Nottingham NG9 3ES Subscriptions and mailing: telephone 01384 566 383 4 Lu)worth Close, Halesowen, West Midlands B63 2UJ VOLUME FIVE, NUMBER THREE, NOVEMBER 2001 Editor: Peter Palmer Managing Editor: Raymond Cox Associate Editor: Crawford Howie In This Issue page Concerts 2 Compact Discs 7 Publications 14 Skrowaczewski Speaks 17 Bruckner1s Third: 1st Edition by Crawford Howie 22 Austerity or Charm ,. by David Aldeborgh 26 l: Poem by Adam Zagajewski 32 Feedback 33 Jottings 34 Calendar 36 Copyright in all material is retained by the author. Photograph (page 9) by Peter Kloos. Translation (pages 17-21) by Peter Palmer. Silhouette: Otto Bohler. Contributors - the next copy deadline is 15 January 2002. Material other than letters in typescript, please. BUS T BY VI KTOR TIL GN E R - see page 16 2 CON C E R T S On Sunday 3 June lorin Maazel conducted the Phil harmonia Orchestra in Bruckner's Eighth Symphony in the Royal Festival Hall, london. The division of critical opinion in the national broadsheets is largely reflected in the reactions of our own correspondents. First, JEREMY WILKINSON reports on a performance given by the same forces two nights earlier in the De Montfort Hall, Leicester. For him, this was a deeply personal occasion: We were celebrating my mother's birthday but also commemorating the anniversary of the loss of my twin brother. How fitting to come and hear Bruckner's great masterpiece, so full of bleakness, tension and emotion. -
Messe E-Moll WAB 27 Zweite Fassung/Second Version 1882
Anton BRUCKNER Messe e-Moll WAB 27 Zweite Fassung/Second version 1882 Coro (SSAATTBB) 2 Oboi, 2 Clarinetti, 2 Fagotti, 4 Corni, 2 Trombe, 3 Tromboni herausgegeben von/edited by Dagmar Glüxam Urtext Partitur/Full score C Carus 27.093 Inhalt / Contents Vorwort 4 Foreword 8 Abbildungen 12 Kyrie (Coro SSAATTBB) 14 Gloria (Coro) 20 Credo (Coro) 32 Sanctus (Coro) 49 Benedictus (Coro SSATTBB) 55 Agnus Dei (Coro SSAATTBB) 63 Kritischer Bericht 73 Zu diesem Werk liegt folgendes Aufführungsmaterial vor: Partitur (Carus 27.093), Klavierauszug (Carus 27.093/03), Klavierauszug XL Großdruck (Carus 27.093/04), Chorpartitur (Carus 27.093/05), komplettes Orchestermaterial (Carus 27.093/19). The following performance material is available: full score (Carus 27.093), vocal score (Carus 27.093/03), vocal score XL in larger print (Carus 27.093/04), choral score (Carus 27.093/05), complete orchestral material (Carus 27.093/19). Carus 27.093 3 Vorwort Als Anton Bruckner (1824–1896) zwischen August und November C-Dur (WAB 31) für vierstimmigen gemischten Chor a cappella 1866 seine Messe in e-Moll (WAB 27) komponierte, konnte er (1. Fassung 1835–1843, 2. Fassung 1891) oder der Windhaager bereits eine langjährige Erfahrung als Kirchenmusiker aufweisen und Messe in C-Dur für Alt, zwei Hörner und Orgel (WAB 25; 1842) auch auf ein überaus umfangreiches kirchenmusikalisches Œuvre können hier etwa die Messe ohne Gloria in d-Moll („Kronstorfer zurückblicken.1 Schon als Kind wurde er durch seinen musikbe- Messe“; WAB 146, 1844) für vierstimmigen gemischten Chor a geisterten Vater und Schullehrer Anton Bruckner (1791–1837) zur cappella oder das Requiem für vierstimmigen Männerchor und Mitwirkung – u. -
College and Career Ready Standards for Choral Music Proficiency
College- and Career-Ready Standards for Choral Music Proficiency South Carolina Department of Education Columbia, South Carolina 2017 Page 133 Choral Music Introduction In writing the 2017 South Carolina Choral Music Standards, our goal was to bridge the 2010 South Carolina Choral Music Standards with the 2014 National Core Arts Standards for Music to create a simplified, relevant document for teachers and students to use in the Choral Music classroom. The purpose of this document and the “I can” language is to enable the teacher to become the facilitator of goals for the student using benchmarks to set achievable goals and to self-assess to take ownership of their learning. Choral students come to us from a variety of musical backgrounds and experiences. A freshman high school choral classroom may consist of students who perform at novice levels as well as students who perform at advanced levels. Moving from a grade-level based model to a proficiency-based model allows teachers to meet students at their individual ability level to differentiate learning most effectively. Many choral teachers are also teachers of general or instrumental music. For simplified planning, we have chosen to streamline the wording of several standards, benchmarks, and indicators with the other music areas. The sample learning targets are specific to Choral Music. Our hope is that the 2017 South Carolina Choral Music Standards will not only be a valuable resource for the teacher as a facilitator, but also for the learner to be actively engaged in his or her educational goals. Page 134 Choral Music Standards Artistic Processes: Creating- I can use the elements of music to communicate new musical ideas. -
The Seventh Season Being Mendelssohn CHAMBER MUSIC FESTIVAL and INSTITUTE July 17–August 8, 2009 David Finckel and Wu Han, Artistic Directors
The Seventh Season Being Mendelssohn CHAMBER MUSIC FESTIVAL AND INSTITUTE July 17–August 8, 2009 David Finckel and Wu Han, Artistic Directors Music@Menlo Being Mendelssohn the seventh season july 17–august 8, 2009 david finckel and wu han, artistic directors Contents 3 A Message from the Artistic Directors 5 Welcome from the Executive Director 7 Being Mendelssohn: Program Information 8 Essay: “Mendelssohn and Us” by R. Larry Todd 10 Encounters I–IV 12 Concert Programs I–V 29 Mendelssohn String Quartet Cycle I–III 35 Carte Blanche Concerts I–III 46 Chamber Music Institute 48 Prelude Performances 54 Koret Young Performers Concerts 57 Open House 58 Café Conversations 59 Master Classes 60 Visual Arts and the Festival 61 Artist and Faculty Biographies 74 Glossary 76 Join Music@Menlo 80 Acknowledgments 81 Ticket and Performance Information 83 Music@Menlo LIVE 84 Festival Calendar Cover artwork: untitled, 2009, oil on card stock, 40 x 40 cm by Theo Noll. Inside (p. 60): paintings by Theo Noll. Images on pp. 1, 7, 9 (Mendelssohn portrait), 10 (Mendelssohn portrait), 12, 16, 19, 23, and 26 courtesy of Bildarchiv Preussischer Kulturbesitz/Art Resource, NY. Images on pp. 10–11 (landscape) courtesy of Lebrecht Music and Arts; (insects, Mendelssohn on deathbed) courtesy of the Bridgeman Art Library. Photographs on pp. 30–31, Pacifica Quartet, courtesy of the Chamber Music Society of Lincoln Center. Theo Noll (p. 60): Simone Geissler. Bruce Adolphe (p. 61), Orli Shaham (p. 66), Da-Hong Seetoo (p. 83): Christian Steiner. William Bennett (p. 62): Ralph Granich. Hasse Borup (p. 62): Mary Noble Ours. -
75Thary 1935 - 2010
ANNIVERS75thARY 1935 - 2010 The Music & the Artists of the Bach Festival Society The Mission of the Bach Festival Society of Winter Park, Inc. is to enrich the Central Florida community through presentation of exceptionally high-quality performances of the finest classical music in the repertoire, with special emphasis on oratorio and large choral works, world-class visiting artists, and the sacred and secular music of Johann Sebastian Bach and his contemporaries in the High Baroque and Early Classical periods. This Mission shall be achieved through presentation of: • the Annual Bach Festival, • the Visiting Artists Series, and • the Choral Masterworks Series. In addition, the Bach Festival Society of Winter Park, Inc. shall present a variety of educational and community outreach programs to encourage youth participation in music at all levels, to provide access to constituencies with special needs, and to participate with the community in celebrations or memorials at times of significant special occasions. Adopted by a Resolution of the Bach Festival Society Board of Trustees The Bach Festival Society of Winter Park, Inc. is a private non-profit foundation as defined under Section 509(a)(2) of the Internal Revenue Code and is exempt from federal income taxes under IRC Section 501(c)(3). Gifts and contributions are deductible for federal income tax purposes as provided by law. A copy of the Bach Festival Society official registration (CH 1655) and financial information may be obtained from the Florida Division of Consumer Services by calling toll-free 1-800-435-7352 within the State. Registration does not imply endorsement, approval, or recommendation by the State.