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Choose Yourfavorite Three Concerts
CHOOSE YOUR FAVORITE THREE CONCERTS. You’ll Save 33% – That’s Up to $200 in Savings with Added Benefits Call 212-875-5656 or visit nyphil.org/CYO33 and use promo code CYO33. ** U.S. Premiere–New York Philharmonic Co-Commission with the London Philharmonic Orchestra *** World Premiere–New York Philharmonic Commission † Commissions made possible by The Marie-Josée Kravis Prize for New Music †New York City Premiere–New York Philharmonic Co-Commission Tuesday Wednesday Thursday Friday Saturday 7:30pm 7:30pm 7:30pm 8:00pm 8:00pm unless otherwise noted unless otherwise noted Conductor Guest Artists Program Esa-Pekka Leila Josefowicz violin RAVEL Mother Goose Suite NOV Salonen Esa-Pekka SALONEN Violin Concerto NOV OCT OCT NOV conductor (New York Concert Premiere) 5 30 31 1 2 SIBELIUS Symphony No. 5 (11:00am) Bernard Miah Persson soprano J.S. BACH Cantata No. 51, Jauchzet Labadie Stephanie Blythe Gott in allen Landen! conductor mezzo-soprano HANDEL “Let the Bright Seraphim” Frédéric Antoun tenor from Samson Andrew Foster- MOZART Requiem NOV NOV NOV Williams bass 7 8 9 Matthew Muckey trumpet New York Choral Artists Joseph Flummerfelt director Alan Gilbert Liang Wang oboe R. STRAUSS Also sprach Zarathustra conductor Glenn Dicterow, violin NOV Christopher ROUSE Oboe Concerto NOV NOV NOV 15 (New York Premiere) 19 14 16 R. STRAUSS Don Juan (2:00pm) Glenn Dicterow, violin Alan Gilbert Paul Appleby tenor BRITTEN Serenade for Tenor, Horn, conductor Philip Myers horn and Strings Kate Royal soprano BRITTEN Spring Symphony Sasha Cooke mezzo-soprano NOV NOV NOV New York Choral Artists 21 22 23 Joseph Flummerfelt director Brooklyn Youth Chorus Dianne Berkun- Menaker director Alan Gilbert Paul Appleby tenor MOZART Symphony No. -
MICHALA PETRI Recorder
MICHALA PETRI recorder For 50 years, Michala Petri has been one of the most universally recognized and beloved recorder players in the world. She has performed almost 5.000 concerts and has discography of more than 70 critically-acclaimed and award winning recordings. Michala Petri was born in Copenhagen, Denmark, on July 7, 1958 to musical parents. A child prodigy, she first picked up a recorder at the age of three and by the time she was ten, she made her concerto debut in Tivoli Concert Hall and began her formal studies at the at Staatliche Hochschule für Musik und Theater in Hannover, Germany, with Professor Ferdinand Conrad. By the time she was seventeen, she was already making recordings with the Academy of St. Martin-in-the-Fields. Her repertoire spans the Baroque, Classical, and Romantic eras and extends into contemporary and improvised music and multi-media. This versatility, together with a flawless technique, an insatiable curiosity, and the ability to make an emotional connection with her audiences has contributed to her special appeal as an artist. Her list of collaborators reads like a ‘Who’s Who’ of late 20th century classical music, including such legendary artists as Sir Neville Marriner, Claudio Abbado, Sir James Galway, Gidon Kremer, Heinz Holliger, Henryk Szeryng, Pinchas Zukerman, Maurice Andre, Joshua Bell, Mahan Esfahani, Hille Perl and Keith Jarrett. From her youth, Petri was fascinated with the musical potential of her chosen instrument, however, at the time of her studies the recorder was considered mainly an instrument for early music. But gradually, contemporary composers began taking interest and through Petri’s prompting – and virtuosity - started composing works for her. -
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International Conference on Arts, Design and Contemporary Education (ICADCE 2016) The Concertizing Clarinet in the Music of the 20th- 21st Centuries Yu Zhao Department of Musical Upbringing and Education Institute of Music, Theatre and Choreography Herzen State Pedagogical University of Russia Saint-Petersburg, Russia E-mail: [email protected] Abstract—The article deals with stating the problem of a clarinet concert of the 20-21 centuries (one should note in research in ontology of the genre of Clarinet Concert in 20-21 this regard S. E. Artemyev‟s full-featured thesis considering centuries. The author identifies genre variants of long forms the Concerto for clarinet and orchestra of the 18th century). for solo clarinet with orchestra or instrumental ensemble and proposes further steps in making such a research, as well. II. A SHORT GUIDE IN THE HISTORY OF THE CLARINET Keywords—instrumental concert; concertizing; concerto; CONCERT GENRE concert genres; genre diversity Studies in the executive mastership are connected with a research of the evolution of the genres of instrumental music. I. INTRODUCTION The initial period of genesis and development of clarinet concert is investigated widely. Contemporary music in its various genres has become in many aspects a subject of scrupulous studies in musicology. It is known that the most early is the composition of Our research deals with professional problematics of the Antonio Paganelli indicated by the author as Concerto per instrumental concert genre, viewed more narrowly, namely, Clareto (1733). Possibly, it was written for chalumeau, the connected with clarinet performance. instrument-predecessor of the clarinet itself. But, before this time clarinet was used as one of the concertizing instruments The purpose of this article is to identify the situation in the genre of Concerto Grosso, particularly by J. -
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. -
Juilliard Orchestra Marin Alsop, Conductor Daniel Ficarri, Organ Daniel Hass, Cello
Saturday Evening, January 25, 2020, at 7:30 The Juilliard School presents Juilliard Orchestra Marin Alsop, Conductor Daniel Ficarri, Organ Daniel Hass, Cello SAMUEL BARBER (1910–81) Toccata Festiva (1960) DANIEL FICARRI, Organ DMITRI SHOSTAKOVICH (1906–75) Cello Concerto No. 2 in G major, Op. 126 (1966) Largo Allegretto Allegretto DANIEL HASS, Cello Intermission CHRISTOPHER ROUSE (1949–2019) Processional (2014) JOHANNES BRAHMS (1833–97) Symphony No. 2 in D major, Op. 73 (1877) Allegro non troppo Adagio non troppo Allegretto grazioso Allegro con spirito Performance time: approximately 1 hour and 50 minutes, including an intermission This performance is made possible with support from the Celia Ascher Fund for Juilliard. The taking of photographs and the use of recording equipment are not permitted in this auditorium. Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving). Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. Juilliard About the Program the organ’s and the orchestra’s full ranges. A fluid approach to rhythm and meter By Jay Goodwin provides momentum and bite, and intricate passagework—including a dazzling cadenza Toccata Festiva for the pedals that sets the organist’s feet SAMUEL BARBER to dancing—calls to mind the great organ Born: March 9, 1910, in West Chester, music of the Baroque era. Pennsylvania Died: January 23, 1981, in New York City Cello Concerto No. 2 in G major, Op. 126 DMITRI SHOSTAKOVICH In terms of scale, pipe organs are Born: September 25, 1906, in Saint Petersburg different from every other type of Died: August 9, 1975, in Moscow musical instrument, and designing and assembling a new one can be a challenge There are several reasons that of architecture and engineering as complex Shostakovich’s Cello Concerto No. -
Themenkatalog »Musik Verfolgter Und Exilierter Komponisten«
THEMENKATALOG »Musik verfolgter und exilierter Komponisten« 1. Alphabetisches Verzeichnis Babin, Victor Capriccio (1949) 12’30 3.3.3.3–4.3.3.1–timp–harp–strings 1908–1972 for orchestra Concerto No.2 (1956) 24’ 2(II=picc).2.2.2(II=dbn)–4.2.3.1–timp.perc(3)–strings for two pianos and orchestra Blech, Leo Das war ich 50’ 2S,A,T,Bar; 2(II=picc).2.corA.2.2–4.2.0.1–timp.perc–harp–strings 1871–1958 (That Was Me) (1902) Rural idyll in one act Libretto by Richard Batka after Johann Hutt (G) Strauß, Johann – Liebeswalzer 3’ 2(picc).1.2(bcl).1–3.2.0.0–timp.perc–harp–strings Blech, Leo / for coloratura soprano and orchestra Sandberg, Herbert Bloch, Ernest Concerto Symphonique (1947–48) 38’ 3(III=picc).2.corA.2.bcl.2.dbn–4.3.3.1–timp.perc(3):cyms/tam-t/BD/SD 1880–1959 for piano and orchestra –cel–strings String Quartet No.2 (1945) 35’ Suite Symphonique (1944) 20’ 3(III=picc).2.corA.2.bcl.2.dbn–4.3.3.1–timp.perc:cyms/BD–strings Violin Concerto (1937–38) 35’ 3(III=picc).2.corA.2.bcl.2.dbn–4.3.3.1–timp.perc(2):cyms/tgl/BD/SD– harp–cel–strings Braunfels, Walter 3 Chinesische Gesänge op.19 (1914) 16’ 3(III=picc).2(II=corA).3.2–4.2.3.1–timp.perc–harp–cel–strings; 1882–1954 for high voice and orchestra reduced orchestraion by Axel Langmann: 1(=picc).1(=corA).1.1– Text: from Hans Bethge’s »Chinese Flute« (G) 2.1.1.0–timp.perc(1)–cel(=harmonium)–strings(2.2.2.2.1) 3 Goethe-Lieder op.29 (1916/17) 10’ for voice and piano Text: (G) 2 Lieder nach Hans Carossa op.44 (1932) 4’ for voice and piano Text: (G) Cello Concerto op.49 (c1933) 25’ 2.2(II=corA).2.2–4.2.0.0–timp–strings -
LIVE from LINCOLN CENTER December 31, 2002, 8:00 P.M. on PBS New York Philharmonic All-Gershwin New Year's Eve Concert
LIVE FROM LINCOLN CENTER December 31, 2002, 8:00 p.m. on PBS New York Philharmonic All-Gershwin New Year's Eve Concert Lorin Maazel, an icon among present-day conductors, will make his long anticipated Live From Lincoln Center debut conducting the New York Philharmonic’s gala New Year’s Eve concert on Tuesday evening, December 31. Maazel began his tenure as the Philharmonic’s new Music Director in September, and already has put his stamp of authority on the playing of the orchestra. Indeed he and the Philharmonic were rapturously received wherever they performed on a recent tour of the Far East.Lorin Maazel, an icon among present-day conductors, will make his long anticipated Live From Lincoln Center debut conducting the New York Philharmonic’s gala New Year’s Eve concert on Tuesday evening, December 31. Maazel began his tenure as the Philharmonic’s new Music Director in September, and already has put his stamp of authority on the playing of the orchestra. Indeed he and the Philharmonic were rapturously received wherever they performed on a recent tour of the Far East. Celebrating the New Year with music is nothing new for Maazel: he holds the modern record for most appearances as conductor of the celebrated New Year’s Day concerts in Vienna by the Vienna Philharmonic Orchestra. There, of course, the fare is made up mostly of music by the waltzing Johann Strauss family, father and sons. For his New Year’s Eve concert with the New York Philharmonic Maazel has chosen quintessentially American music by the composer considered by many to be America’s closest equivalent to the Strausses, George Gershwin. -
Heralding a New Enlightenment
Peculiarities of Clarinet Concertos Form-Building in the Second Half of the 20th Century and the Beginning of the 21st Century Marina Chernaya and Yu Zhao* Abstract: The article deals with clarinet concertos composed in the 20th– 21st centuries. Many different works have been created, either in one or few parts; the longest concert that is mentioned has seven parts (by K. Meyer, 2000). Most of the concertos have 3 parts and the fast-slowly-fast kind of structure connected with the Italian overture; sometimes, the scheme has variants. Our question is: How does the concerto genre function during this period? To answer, we had to search many musical compositions. Sometimes the clarinet is accompanied by orchestra, other times it is surrounded by an ensemble of instruments. More than 100 concertos were found and analyzed. Examples of such concertos were written by C. Nielsen, P. Boulez, J. Adams, C. Debussy, M. Arnold, A. Copland, P. Hindemith, I. Stravinsky, S. Vassilenko, and the attention in the article is focused on them. A special complete analysis is made as regards “Domaines” for clarinet and 21 instruments divided in 6 groups, by Pierre Boulez that had a great role for the concert routine, based on the “aleatoric” principle. The conclusions underline the significant development of the clarinet concerto genre in the 20th -21st centuries, the high diversity of the compositions’ structures, the considerable expressiveness and technicality together with the soloist’s part in the expressive concertizing (as a rule). Further studies suggest the analysis of stylistic and structural peculiarities of the found compositions that are apparently to win their popularity with performers and listeners. -
Myths, Legends, Fairy Tales and Folk Tales in Music ______
______________________________________________________________________________________________________ Sounds of Enchantment: Myths, Legends, Fairy Tales and Folk Tales in Music ______________________________________________________________________________________________________ Gioacchino ROSSINI Overture from William Tell Felix MENDELSSOHN Scherzo from A Midsummer Night’s Dream Sergei PROKOFIEV Waltz Coda and Midnight from Cinderella, Op. 87 David CROWE How Birds Came Into the World John WILLIAMS Raiders March from Raiders of the Lost Ark Piotr Ilyich TCHAIKOVSKY Scene from Swan Lake Modest MUSSORGSKY / arr. Ravel Baba Yaga and The Great Gate of Kiev from Pictures at an Exhibition HOW TO USE THIS STUDY GUIDE This guide is designed as a curriculum enhancement resource primarily for music teachers, but is also available for use by classroom teachers, parents, and students. The main intent is to aid instructors in their own lesson preparation, so most of the language and information is geared towards the adult, and not the student. It is not expected that all the information given will be used or that all activities are applicable to all settings. Teachers and/or parents can choose the elements that best meet the specific needs of their individual situations. Our hope is that the information will be useful, spark ideas, and make connections. TABLE OF CONTENTS Sounds of Enchantment Overview – Page 4 Program Notes – Page 7 ROSSINI | Overture from William Tell Page 8 MENDELSSOHN | Scherzo from A Midsummer Night’s Dream Page 10 PROKOFIEV | Waltz Coda and Midnight from Cinderella, Op. 87 Page 13 CROWE | How Birds Came Into the World Page 17 WILLIAMS | Raiders March from Raiders of the Lost Ark Page 20 TCHAIKOVSKY | Scene from Swan Lake Page 22 MUSSORGSKY | Baba Yaga and The Great Gate of Kiev from Pictures at an Exhibition Page 24 Activities — Page 27 Student Section— Page 39 CREDITS This guide was originally created for the 2008-2009 Charlotte Symphony Education Concerts by Susan Miville, Chris Stonnell, Anne Stewart, and Jane Orrell. -
December 1940) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 12-1940 Volume 58, Number 12 (December 1940) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology 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 58, Number 12 (December 1940)." , (1940). https://digitalcommons.gardner-webb.edu/etude/59 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 Price 25 Cents mueie magazine i — ' — ; — i——— : ^ as&s&2i&&i£'!%i£''££. £&. IIEHBI^H JDiauo albums fcj m Christmas flarpms for JfluStc Jfolk IS Cljiistmas iSnraaiitS— UNTIL DECEMBER 31, 1940 ONLY) (POSTPAID PRICES GOOD CONSOLE A Collection Ixecttalist# STANDARD HISTORY OF AT THE — for £111 from Pegtnner# to CHILD’S OWN BOOK OF of Transcriptions from the Masters Revised Edition PlAVUMfl MUSIC—Latest, GREAT MUSICIANS for the Pipe Organ or Electronic DECEMBER 31, 1940 By James Francis Cooke Type of Organ Compiled and MYllfisSiiQS'K PRICES ARE IN EFFECT ONLY UP TO By Thomas -
MAY, 2010 New York Avenue Presbyterian Church Washington
THE DIAPASON MAY, 2010 New York Avenue Presbyterian Church Washington, D.C. Cover feature on pages 30–31 May 2010 Cover.indd 1 4/12/10 12:15:10 PM May 2010 pp. 2-19.indd 2 4/12/10 12:16:29 PM THE DIAPASON Letters to the Editor A Scranton Gillette Publication One Hundred First Year: No. 5, Whole No. 1206 MAY, 2010 Kudos played for the inauguration program. He Established in 1909 ISSN 0012-2378 It is always a happy day when The also played the November 1942 dedica- An International Monthly Devoted to the Organ, Diapason arrives. Your magazine re- tion of the Aeolian-Skinner here in Aus- the Harpsichord, Carillon, and Church Music kindles my love for the pipe organ. tin, for he was Dean Doty’s teacher at Thanks for the tremendous contribu- the University of Michigan. tion you make with the publication of My father was an architect, therefore this marvelous journal. I was intrigued when they had a display CONTENTS Editor & Publisher JEROME BUTERA [email protected] Dan Stokes that showed how the planners for St. 847/391-1045 Louisville, Kentucky John’s determined what style of architec- FEATURES ture they wanted. They had two formats Two Organs by Bossi Vegezzi Associate Editor JOYCE ROBINSON Organ stoplists to choose from: they chose the one now in Altamura (Bari), Italy [email protected] I devour each issue with keen an- in Denver, and the other choice turned by Bill Halsey 20 847/391-1044 ticipation. My comment/suggestion re- out to be the building for the chapel that University of Michigan 49th Conference Contributing Editors LARRY PALMER lates to the cover story on pages 30–31. -
For Release: Tk, 2013
FOR RELEASE: January 23, 2013 SUPPLEMENT CHRISTOPHER ROUSE, The Marie-Josée Kravis COMPOSER-IN-RESIDENCE WORLD PREMIERE of SYMPHONY NO. 4 at the NY PHIL BIENNIAL New York Premiere of REQUIEM To Open Spring For Music Festival at Carnegie Hall New York Premiere of OBOE CONCERTO with Principal Oboe Liang Wang RAPTURE at Home and on ASIA / WINTER 2014 Tour Rouse To Advise on CONTACT!, the New-Music Series, Including New Partnership with 92nd Street Y ____________________________________ “What I’ve always loved most about the Philharmonic is that they play as though it’s a matter of life or death. The energy, excitement, commitment, and intensity are so exciting and wonderful for a composer. Some of the very best performances I’ve ever had have been by the Philharmonic.” — Christopher Rouse _______________________________________ American composer Christopher Rouse will return in the 2013–14 season to continue his two- year tenure as the Philharmonic’s Marie-Josée Kravis Composer-in-Residence. The second person to hold the Composer-in-Residence title since Alan Gilbert’s inaugural season, following Magnus Lindberg, Mr. Rouse’s compositions and musical insights will be highlighted on subscription programs; in the Philharmonic’s appearance at the Spring For Music festival; in the NY PHIL BIENNIAL; on CONTACT! events; and in the ASIA / WINTER 2014 tour. Mr. Rouse said: “Part of the experience of music should be an exposure to the pulsation of life as we know it, rather than as people in the 18th or 19th century might have known it. It is wonderful that Alan is so supportive of contemporary music and so involved in performing and programming it.” 2 Alan Gilbert said: “I’ve always said and long felt that Chris Rouse is one of the really important composers working today.