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London's Symphony Orchestra
London Symphony Orchestra Living Music Thursday 12 May 2016 7.30pm Barbican Hall LSO ARTIST PORTRAIT: LEIF OVE ANDSNES Schumann Piano Concerto INTERVAL Beethoven Symphony No 9 (‘Choral’) Michael Tilson Thomas conductor Leif Ove Andsnes piano Lucy Crowe soprano London’s Symphony Orchestra Christine Rice mezzo-soprano Toby Spence tenor Iain Paterson bass London Symphony Chorus Simon Halsey chorus director Concert finishes approx 9.50pm Supported by Baker & McKenzie 2 Welcome 12 May 2016 Welcome Living Music Kathryn McDowell In Brief A very warm welcome to tonight’s LSO performance BMW LSO OPEN AIR CLASSICS 2016 at the Barbican. This evening we are joined by Michael Tilson Thomas for his first concert since the The fifth annual BMW LSO Open Air Classics announcement of his appointment as LSO Conductor concert will take place on Sunday 22 May at 6.30pm. Laureate from September 2016, in recognition of Conducted by Valery Gergiev, the LSO will perform his wonderful music-making with the LSO and his an all-Tchaikovsky programme in London’s Trafalgar extraordinary commitment to the Orchestra. We are Square, free and open to all. delighted that his relationship with the LSO will go from strength to strength. lso.co.uk/openair This evening is the second concert in our LSO Artist Portrait series, focusing on pianist Leif Ove Andsnes. LSO AT THE BBC PROMS 2016 Following his performance of Mozart’s Piano Concerto No 20 on Sunday, he returns to play Schumann’s The LSO will be returning to this year’s BBC Proms at Piano Concerto. The Orchestra is also joined this the Royal Albert Hall for a performance of Mahler’s evening by the London Symphony Chorus, led by Symphony No 3 on 29 July. -
Beethoven Symphonies
BEETHOVEN SYMPHONIES MINNESOTA ORCHESTRA OSMO VÄNSKÄ BIS-SACD-1516 BIS-SACD-1516 LvB 3+8 4/19/06 11:10 AM Page 2 van BEETHOVEN, Ludwig (1770-1827) Symphony No. 3 in E flat major, ‘Eroica’, Op. 55 49'54 1 I. Allegro con brio 16'58 2 II. Marcia funebre. Adagio assai 15'07 3 III. Scherzo. Allegro vivace 5'56 4 IV. Finale. Allegro molto – Poco andante – Presto 11'38 Symphony No. 8 in F major, Op. 93 25'25 5 I. Allegro vivace e con brio 9'06 6 II. Allegretto scherzando 4'05 7 III. Tempo di Menuetto 4'48 8 IV. Allegro vivace 7'17 TT: 76'16 Minnesota Orchestra (leader: Jorja Fleezanis) Osmo Vänskä conductor Publisher: Bärenreiter, urtext edition by Jonathan Del Mar BIS-SACD-1516 LvB 3+8 4/19/06 11:10 AM Page 3 eethoven’s Third Symphony is one of the most momentous works in the history of music. It set new standards in size and complexity, at least in Bthe field of instrumental music, and in it the composer advanced so far ahead of his first audience that many of them were left with a feeling of be- wilderment, if not outright hostility – a situation that has since been repeated several times with works of other composers. Where did this new style spring from? Some have seen it as merely a continuation of the path set by Beetho- ven’s Second Symphony, which was also longer and more imposing than any previous symphony. There are indeed some similarities between the two works, such as the opening theme being played by the cellos rather than the violins. -
Minnesota Orchestra
MINNESOTA ORCHESTRA I Sponsoring assistance by I\!iP Wednesday, May 7, 1986 Orchestra Hall Thursday, May 8, 1986 Ordway Music Theatre Friday, May 9, 1986 Orchestra Hall *Saturday, May 10, 1986 Orchestra Hall 8:00 p.m, SIR NEVILLE MARRINER conducting SUSAN DUNN, soprano JOANNA SIMON, mezzo-soprano KEITH LEWIS, tenor STEPHEN DUPONT, bass DALE WARLAND SYMPHONIC CHORUS Dale Warland, music director Sir Neville Marriner Sigrid Johnson, assistant conductor (Biography appears on page 22.) WAGNER Prelude and Liebestod, from Tristan and Isolde Intermission BEETHOVEN Symphony No. 9 in D minor, Opus 125 (Choral) I. Allegro rna non troppo, un poco maestoso II. Molto vivace- Presto III. Adagio molto e cantabile-Andante moderato IV. Finale: Presto-Allegro; Allegro assai; Presto Susan Dunn Soprano Susan Dunn is remembered by Twin Cities audiences for a variety of per- formances with the Minnesota Orchestra, particularly last Sommerfest's concert presentation of Turandot, when her creation of the role of Uti drew thunder- ous applause. Dunn, an Arkansas native, gained the attention of the music world by winning three prestigious competitions in 1983: the Richard Tucker Award, Chi- Performance time, including intermission, is approximately one hour and 55 minutes. cago's WGN-Illinois Opera Competition *A pension benefit concert. and Dallas' Dealey Competition. She has The Friday evening concert is broadcast livethroughout the region on Minnesota Public subsequently made debuts with such emi- Radio stations, including KSJN-FM (91.1) in the Twin Cities. The H. B. Fuller nent ensembles as the Chicago Lyric Company underwrites the broadcast, which is also heard throughout the country on Opera, as Leonora in La Forza del stations of the American Public Radio Network. -
BRUCKNER SYMPHONY No
OSMO VÄNSKÄ © Ann Marsden BRUCKNER SYMPHONY No. 4 ‘ROMANTIC’ MINNESOTA ORCHESTRA OSMO VÄNSKÄ BIS-SACD-1746 BIS-SACD-1746_f-b.indd 1 10-04-16 11.34.59 BRUCKNER, Anton (1824–96) Symphony No. 4 in E flat major, ‘Romantic’ 62'49 1888 version Edited by Benjamin M. Korstvedt (Int. Bruckner-Gesellschaft Wien) 1 I. Ruhig bewegt (nur nicht schnell) 18'06 2 II. Andante 16'18 3 III. Scherzo. Bewegt – Trio. Gemächlich 9'03 4 IV. Finale. Mäßig bewegt 18'55 Minnesota Orchestra (Jorja Fleezanis leader) Osmo Vänskä conductor 2 The Forgotten Face of Bruckner’s Fourth Symphony Bruckner’s Fourth Symphony, the ‘Romantic’, may be the composer’s most pop ular symphony, yet in a certain sense, it is not fully known. The symphony exists in three distinct versions, only two of which are familiar, even to Bruck - ner aficionados. The first version was composed in 1874 and revised in 1876 but withdrawn by the composer before it could be performed. It was first pub - lished a century later in 1975 and now occupies a secure if secondary place in the canon of Bruckner’s works. The second version was composed between 1878 and 1880, and premièred in February 1881. This is now by far the most often performed version of the symphony. The third version, completed in 1888 and published in 1890, is now much less well-known than its predecessors, yet this was the form in which Bruckner published the symphony and in which it established its reputation as one of the composer’s finest and most com mu nica - tive works. -
UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations
UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations Title “First of All You Need a Good Foundation:” The Ford Foundation’s Program for Symphony Orchestras Permalink https://escholarship.org/uc/item/1dx9s2r3 Author Negley, Benjamin Publication Date 2019 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA SANTA CRUZ “First of All You Need a Good Foundation:” The Ford Foundation’s Program for Symphony Orchestras A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in MUSIC by Benjamin Negley June 2019 The dissertation of Benjamin Negley is approved: __________________________________ Professor Amy C. Beal, chair __________________________________ Professor Leta Miller __________________________________ Professor Anatole Leikin __________________________________ Professor Robert Flanagan __________________________________ Lori G. Kletzer Vice Provost and Dean of Graduate Studies Copyright © by Benjamin Negley 2019 TABLE OF CONTENTS LIST OF TABLES AND FIGURES ......................................................................... iv ABSTRACT ............................................................................................................ vii INTRODUCTION ..................................................................................................... 1 CHAPTER 1. HOW ORCHESTRAS ARE FUNDED IN THE UNITED STATES. .. 5 CHAPTER 2. THE FORD FOUNDATION AND THE PROGRAM IN THE -
1485945431-BIS-9048 Booklet.Pdf
Disc 1 Playing Time: 80'00 SIBELIUS, Johan [Jean] Christian Julius (1865–1957) Kullervo, Op. 7 (1892) (Breitkopf & Härtel) 79'29 for soloists, male-voice choir and orchestra (text: Kalevala) 1 I. Introduction. Allegro moderato 12'46 2 II. Kullervo’s Youth. Grave 19'05 3 III. Kullervo and his Sister. Allegro vivace 25'55 4 IV. Kullervo Goes to War. Alla marcia [Allegro molto] – Vivace – Presto 9'41 5 V. Kullervo’s Death. Andante 11'19 2 Disc 2 Playing Time: 34'05 KORTEKANGAS, Olli (b. 1955) Migrations (2014) (Fennica Gehrman) 25'22 for mezzo-soprano, male voice choir and orchestra (text: Sheila Packa) Commissioned by the Minnesota Orchestra · Recorded in the presence of the composer 1 I. Two Worlds 3'40 2 II. First Interlude 2'57 3 III. Resurrection 5'10 4 IV. Second Interlude 3'27 5 V. The Man Who Lived in a Tree 2'19 6 VI. Third Interlude 3'29 7 VII. Music That We Breathe 4'20 SIBELIUS, Jean 8 Finlandia, Op. 26 (1899, rev.1900) (Breitkopf & Härtel) 8'19 with choir participation (text: V.A. Koskenniemi) TT: 114'05 YL Male Voice Choir Pasi Hyökki chorus-master Minnesota Orchestra Erin Keefe leader Osmo Vänskä conductor Lilli Paasikivi mezzo-soprano · Tommi Hakala baritone 3 Jean Sibelius: Kullervo · Finlandia The Kalevala, Finland’s national epic in fifty ‘runos’ (‘poems’), was assembled by Elias Lönnrot, a doctor, from Karelian folk originals and published in 1835; a revised edition followed in 1849. It would be difficult to overestimate the impact of this remark able work on Finnish culture at all levels, especially during the years when Finland, a Grand Duchy of the Russian Empire, found its autonomy under increasing threat – a period that broadly coincided with the early part of Sibelius’s active career as a composer. -
ICTURES at an XHIBITION E Mussorgsky Schumann
EII OUE MINNESOTA J ORCHESTRA ravel orchestrations PICTURES at an XHIBITION E mussorgsky schumann chabrier debussy ravel A PROF. JOHNSON 24-BIT RECORDING the orchestrator ravelNothing fascinated Maurice Ravel more than translating piano music into the language of the virtuoso orchestra. The time was ripe, for by 1900 Rimsky- Korsakov and Richard Strauss had brought a new opulence to symphonic scoring. Son of a Swiss engineer and automotive pioneer, Ravel was a born transcriber who prided himself on the precision of his orchestral craft as he stretched the instruments to the limits of what they could do. Like Debussy, Ravel was trained primarily as a pianist, and most of what he wrote originated at the keyboard. But everything was fair game for his brilliant metamorphoses, not only his own piano works which were given dual lives, but also the music of others, some of which remains unpublished. Paradoxically, though he was a master of the orchestra, only three of Ravel’s own symphonic works were originally scored for orchestra, beginning with the Rapsodie espagnol of 1907, when he was already 32 and quite famous in France. His transformations are so compelling that it is hard to remember that the orchestral sonorities are not the originals. Ravel: Alborada del gracioso Bizet’s Carmen, produced in the year Ravel was born, marked the beginning of the Gallic intrigue with the Iberian peninsula. But of all the Frenchmen susceptible to the smoldering rhythms that seemed to waft from across the Pyrénées, none carried on a more addictive flirtation with the idiom than Ravel, who created music bearing the imprint of his heritage. -
Boston Symphony Orchestra Concert Programs, Summer, 1994
Boston Symphony Orchestr S E I J I O Z A W A MUSIC DIRECTOR Tangtewrod THE INTERIOR § ALTERNATIVE The Home Furnishing Center Come Visit The Berkshires Newest Attraction We've QUADRUPLED Our Selling Space BROADENED Our Product Line INCREASED Our Stock Levels But We've Kept The Same LOW PRICES We're Famous For! Fabric, Bedding, Wallpaper, Oriental Carpets, Area Rugs On site sewing for small projects We Feature FAMOUS BRAND Seconds At Tremendous Savings! Mon - Sat 10 - 5 5 Hoosac St. Adams, Ma. (413) 743 - 1986 * 2MI V I j? Seiji Ozawa, Music Director One Hundred and Thirteenth Season, 1993-94 Trustees of the Boston Symphony Orchestra, Inc. J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Nicholas T Zervas, Vice-Chairman and President-elect Treasurer Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and David B.Arnold, Jr. Deborah B. Davis Mrs. BelaT. Kalman Mrs. August R. Meyer Peter A. Brooke Nina L. Doggett Allen Z. Kluchman Molly Beals Millman James F. Cleary Dean Freed Harvey Chet Mrs. Robert B. Newman - John F. Cogan,Jr. Avram J. Goldberg Krentzman Peter C. Read Julian Cohen Thelma E. Goldberg George Krupp Richard A. Smith William F Connell Julian T Houston R. Willis Leith, Jr. Ray Stata . William M. Crozier, Jr. Trustees Emeriti Veron R. Alden Nelson J. Darling, Jr. Mrs. George I. Mrs. George Lee Philip K.Allen Archie C. Epps Kaplan Sargent Allen G. Barry Mrs. Harris Albert L. Nickerson Sidney Stoneman Leo L. Beranek Fahnestock Thomas D. Perry, Jr. -
9.608Mb Application/Pdf
BOOK SEVEN M\\\\\\\\II\\\\\\\\II\\I\\IIU1\\UI\\II\\UI\\II\\\IIII\\\IIU\\UlIIIIIIUlIUI\\IUlII\\IUI\\\\II\\\\\\\\\\\\\\IUUlIIUI\I\IU\I\\II\1\\\I\\\I\I\\\I\\\\I\I\IIU\\UI\\\\\I\\lUlII\lI\lII\\\lII\\II\\\\I Ford Fisher of Men r Scholarship Meets a Challenge ERTUNATELY for Minnesota a man stood ready to step into Coff. man's place, one who was completely in sympathy with his predeces sor's ideas. Guy Stanton Ford saw the university through a time of trial and challenge, when the country was being drawn into a second world war, never losing either the historian's broad view of human ex perience or the civilized man's deep insight into principle. Ford's service to the university already had been long and expert. In 1913 when he came to Minnesota as dean of the Graduate School he had had to deal with only 175 students. A decade and a half later the total number of individuals enrolled in its programs during the calen dar year had risen to 2164. In 1938 when Ford ended his deanship to become president the comparable enrollment figure was 3299. In a re cent year the total number of individuals registered in the Graduate School for fall, winter, spring, and two summer sessions reached 5676. During Ford's time the university itself had grown tremendously but while its figures increased five times over, those of the Graduate School were multiplied by thirty. So startling a change in outlook must be accounted for by a change in administrative policy. -
Eugene Ormandy Papers Ms
Eugene Ormandy papers Ms. Coll. 91 Finding aid prepared by Leslie J. Delauter and Isabel Boston. Last updated on June 08, 2020. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 1999 Eugene Ormandy papers Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents....................................................................................................................................... 7 Administrative Information......................................................................................................................... 15 Controlled Access Headings........................................................................................................................16 Collection Inventory.................................................................................................................................... 17 Correspondence......................................................................................................................................17 Programming........................................................................................................................................199 Notes.....................................................................................................................................................205 -
Minnesota Orchestra
PHOTO BY COURTNEY PERRY MINNESOTA ORCHESTRA OSMO VÄNSKÄ, CONDUCTOR INON BARNATAN, PIANO Thursday, January 25, 2018, 7:30pm Foellinger Great Hall PROGRAM MINNESOTA ORCHESTRA OSMO VÄNSKÄ, CONDUCTOR INON BARNATAN, PIANO Jean Sibelius En Saga, Opus 9 (1865-1957) Peter Ilyich Tchaikovsky Concerto No. 1 in B-flat Minor for Piano and Orchestra, Op. 23 (1840-1893) Allegro non troppo e molto maestoso Andantino semplice Allegro con fuoco Inon Barnatan, piano 20-minute intermission Ludwig van Beethoven Symphony No. 7 in A Major, Op. 92 (1770-1827) Poco sostenuto, Vivace Allegretto Presto Allegro con brio This program is subject to change. Minnesota Orchestra appears by arrangement with: Opus 3 Artists 470 Park Avenue South New York, NY 10016 www.opus3artists.com Leading orchestras and soloists from around the world comprise the Great Hall Series. The 2017-18 series includes Chicago Symphony Orchestra (October 28), Mariinksy Orchestra of St. Petersburg (November 9), Minnesota Orchestra (January 25), Joshua Bell, violin (February 1), and Staatskapelle Weimar (March 10). For more information about these events, including conductors, soloists, and program selections, please visit KrannertCenter.com/calendar. 2 THE ACT OF GIVING OF ACT THE THANK YOU FOR SPONSORING THIS PERFORMANCE Krannert Center honors the spirited generosity of donors who make these performances possible. This event is supported by: The presentation of the Minnesota Orchestra is supported by the Arts Midwest Touring Fund, a program of Arts Midwest that is funded by the National Endowment for the Arts, with additional contributions from Illinois Arts Council and the Crane Group. Krannert Center honors the legacy of Endowed Underwriter Valentine Jobst III. -
MAHLER MINNESOTA ORCHESTRA OSMO VÄNSKÄ BIS-2386 7 Beginning of the Scherzo (Third Movement) in Mahler’S Autograph Manuscript
Emil Orlik: Studies for a portrait, 1903 MAHLER MINNESOTA ORCHESTRA OSMO VÄNSKÄ BIS-2386 7 Beginning of the Scherzo (third movement) in Mahler’s autograph manuscript 2 MAHLER, Gustav (1860—1911) Symphony No. 7 in E minor (1904—05) (Bote & Bock) 76'59 1 I. Langsam (Adagio) — Allegro risoluto, ma non troppo 22'42 R. Douglas Wright tenor horn solo 2 II. Nachtmusik. Allegro moderato. Molto moderato (Andante) 15'23 3 III. Scherzo. Schattenhaft. Fließend aber nicht zu schnell 8'38 4 IV. Nachtmusik. Andante amoroso 12'24 5 V. Rondo-Finale. Allegro ordinario 17'30 Minnesota Orchestra Erin Keefe leader Osmo Vänskä conductor 3 or various reasons a tradition has evolved around Mahler’s Seventh Sym- phony that casts it as problematic, enigmatic, and somehow less successful Fthan his other large-scale orchestral works. If reception history were the sole arbiter, then there is certainly evidence to support these claims, since the Seventh remains his least-performed and least-written-about symphony. However, in a letter of 1908 sent to the impresario Emil Gutmann in an effort to arrange the first per for- mance, Mahler declared it to be his best work, ‘preponderantly cheerful in char ac- ter’ (and therefore, presumably, to be differentiated from his ‘tragic’ Sixth Sym phony whose reputation was growing). Notwithstanding the clear act of self-promotion addressed here to the man who would later engineer the première of the Eighth Sym phony in Munich, it seems that more recent generations of musicians, critics and commentators do not share the composer’s view about the Seventh.