DOCSLIB.ORG

New Classical Pete Seeger

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

NEW CLASSICAL (CLASSICAL LP'S ISSUED THIS FALL AND AIMED AT THE HEAVY YEAR-END GIFT BUYING PERIOD) ARIAS AND SONGS—Fedor Chaliapin—COLH 141 SYMPHONY NO. 3 IN E FLAT—Schumann—Berlin ANGEL FRANCO CORELLI SINGS GREAT RELIGIOUS SONGS Philharmonic—LPM 18 90S; SLPM 138 908 & ARIAS—36209 (si DIE FRAU OHNE SCHATTEN—Strauss—Various— THE KING OF INSTRUMENTS—Noel Rowsthorne— THE FOUR OVERTURES FOR FIDELIO—Otto Klem- LPM 18 911/14; SLPM 911/14 36191 111 perer—36209 Isl SYMPHONY NO. 6 IN B MINOR—Tchaikovsky— MARIA CALLAS SINGS VERDI ARIAS—36221 (si Berlin Philharmonic—LPM 18 921; SLPM 138 944 BLOCH: CONCERTO FOR VIOLIN t ORCH.—Yehudi SAINT-SAENS: SAMSON AND DELILAH—HIGH- PIANO SONATAS—Beethoven—Kempff—LPM 18 Menuhin—36192 Isl LIGHTS—Georges Pretre—36210 (si 944; SLPM 13 944 OPERATIC ARIAS AND SONGS—Luisa Tetrazzini— PIANO SONATAS—Beethoven—Kempff—LPM 18 PROKOFIEV: CONCERTOS No. 3 & 5—Samson COLH 136 945; SLPM 138 945 Francois—36193 (si VERDI: REQUIEM MASS—Maria Giulini—3649 (si HANDEL: DETTINGEN TE DEUM—Wolfgang Gon- nenwein—36194 (s) EPIC MUSIC OF SPAIN—Rafel Fruhbeck Do Burgos— COLUMBIA 36195 Isl BACH: Four Orchestral Suites—Paillard Chamber SCHUBERT: DIE SCHONE MULLERIN— Lotle leh- Orch.—SC 6047/BSC 147 SAINT-SAENS: Concerto No. 3 & CHAUSSON: mann, Paul Ulanowsky—ML 5996 FAURE: Requiem, Cantique De Jean Racine—Na- POEME FOR VIOLIN & ORCH.—Nathan Milstein IMBRIE: CONCERTO FOR VIOLIN & ORCH. & EF- tional Orch of Monte Carlo Opera/Fremaux, —36005K Isl FINGER: LITTLE SYMPHONY No. 1—Rozsnyai, Kruysen, Thilliez—LC 3885/BC 1285 Columbia Symphony—ML 5997; MS 6597 FOSS: Echoi, Time Cycle—Group For Contemporary RACHMANINOFF: CONCERTO No. 3—Witold Ro- ALBENIZ: SUITE ESPANOLA S PAVANA-CAPRICHO Music At Columbia University Improvisation wicki—36197 (s) —DeLarrocho—ML 6003; MS 6603 Chamber Ensemble—LC 3886/BC 1286 STRAVINSKY: FIREBIRD BALLET & LE SACRE DU MENDELSSOHN: Quartet No. 2, Quartet No. 3— HANDEL: THE TWELVE GROSSI CONCERN—Yehudi PRINTEMP5—Stravinsky, Columbia Symphony— Juilliard String Quartet—LC 3887/BC 1287 Menuhin—3647 (s) M3L 305; M3S 705 MOZART: Six Sonatas For Flute & Harpsichord— BERLIOZ: SYMPHONIE FANTASTIQUE, Op. 14 Rampal/Veyron-LaCroix—LC 3888/BC 1288 MOZART: MASS in C MINOR—Wolfgang Gonnen- Bernstein/NY Philh—ML 6007; MS 6607 woin—36205 Isl COLUMBIA RECORDS PRESENTS JOHN WILLIAMS —ML 6008; MS 6608 RED ARMY ENSEMBLE, VOL. 3—Soviet Army BEETHOVEN: CONCERTO No. 3 in C MINOR FOR L'OISEAU-LYRE Chorus—36206 (s) PIANO AND ORCH.—Serkin, Bernstein/NY Philh —ML 6016; MS 6616 PROKOFIEV: QUINTET IN G MINOR FOR OBOE, ROSSINI: BARBER OF SEVILLE—HIGHLIGHTS— CHAUSSON: POEME, OP. 25 & SAINT SAENS: CLARINET, VIOLIN, VIOLA & DOUBLE BASS— Victoria de los Angeles/Philh Orch 36207 (si RONDO CAPRICCIOSO—Francescatti, Bernstein/ SHOSTAKOVITCH: QUINTET FOR PIANO & NY Philh—ML 6017; MS 6617 STRINGS—The Melos Ensemble Of London—OL PUCCINI: LA BOHEME—Mirella Freni—3643 (si GROFE: GRAND CANYON SUITE—Bernstein/NY 267; SOL 267 Philh—ML 6018; MS 6618 HELEN WATTS RECITAL—OL 268; SOL 268 BERLIOZ: SYMPHONIE FANTASTIQUE—Otto Klem- THE MORMON TABERNACLE CHOIR AT THE PALESTRINA: MASS-SINE t^pMINE/MASS-ECCE EGO perer—36196 (s) WORLD'S FAIR—ML 6019; MS 6619 JOANNES—Choir of the Carmelite Priory of BRAHMS: QUINTET in F MINOR FOR PIANO & London—John McCarthy, Cond.—OL 269; SOL MONTEVERDI: L'INCORONAZIONE Dl POPPEA STRINGS—Serkin, Budapest String Quartet—ML 269 Magda Laszlo—3644 (si 6031; MS 6631 TCHAIKOVSKY: EXCERPTS FROM SLEEPING BEAUTY MARIA CALLAS SINGS ARIAS BY BEETHOVEN, SWAN LAKE & NUTCRACKER—Ormandy/Phila MOZART & WEBER—36200 Is) Orch. M3L 306; M3S 706 MUSSORGSKY: BORIS GODUNOV—London, Melik- LONDON Pachaev—M4L 296; M4S 696 GILBERT & SULLIVAN: THE YEOMAN OF THE BACH: TWO & THREE PART INVENTIONS—Gould GUARD—D'Oyly Carle Opera Co.—Royal Phil- —ML 6022; MS 6622 harmonic Orch.—Sir Malcolm Sargent—OSA FIREWORKS!—Ormandy/Phila Orch.—ML 6024- 1258/A 4258 MS 6624 BEETHOVEN: FIDELIO—Birgit Nilsson, James Mc- MOZART: SINFONIA CONCERTANTE & MOZART- Cracken, Tom Krause, Hermann Prey, Graziella PETE SEEGER EXSULTATE, JUBILATE—Szell/Cleveland Orch— Sciutti, Kurt Boehme and others—Chorus of the AT HIS BEST ON ML 6025: MS 6625 Vienna State Opera—The Vienna Phil. Orch.— BARTOK: CONCERTO FOR ORCH.— Ormandy/Phila Lorin Maazel—OSA 1259/A 4259 FOLKWAYS RECORDS Orch.—ML 6026; MS 6626 ROSSINI: LA CENERENTOLA—Guilietta Simionato, STRAUSS: SYMPHONIA DOMESTICA, Op. 53— Seslo Bruscantini, Ugo Benelli, Paolo Montar- Szell/Cleveland Orch.—Ml 6027; MS 6627 solo, others—Chorus and Orch. of the Maggio MENDELSSOHN: SYMPHONY No. 4 & A MIDSUM- Musicale Fiorentiono—Oliviero de Fabritiis— MER NIGHT'S DREAM—Ormandy/Phila Orch OSA 1376/A 4376 —ML 6028; MS 6628 RICHARD STRAUSS RECITAL—Hermann Prey, bari- RAVEL: CONCERTO in G MAJOR & FALL: NIGHTS tone, Gerald Moore, piano—OS 25869/5869 THERE'S ALWAYS SOMETHING IN THE GARDENS OF SPAIN—Entremont, Or- HANDEL: JULIUS CAESAR—Arias—Johan Suther- NEW—A new holiday offering froij land Margreta Elkins, Monica Sinclair, Marilyn mandy/Phila Orch.—ML 6029; MS 6629 Golden Books aimed at the kiddie sf BACH: MUSIC OF JUBILEE—Rozsnyai, Columbia Home, Richard Conrad—The New Symph. Orch. Chamber Orch.—ML 6015; MS 6615 —Richard Bonynge—OS 25876 features an illustrated story with al BACH: HARPISICHORD CONCERTO NO. 1 IN D accompanying disk which narraw MINOR, HARPSICHORD CONCERTO NO. 2 IN E MAJOR—George Malcolm—The Stuttgart Cham- the tale as the child reads it. IV COMMAND ber Orch.—Karl Munchinger—CS 6392/CM 9392 current catalog of 18 Golden Bool BRITTEN: THE YOUNG PERSON'S GUIDE TO THE and Record Sets includes such ft ORCHESTRA—SERENADE FOR TENOR, HORN & BEETHOVEN SYMPHONY NO. 1 /SYMPHONY NO. vorites as Hansel & Gretel, Litlll 2—Pittsburgh Symp/Steinberg—11024 STRINGS—Peter Pears, Barry Tuckwell—The VIGIL FOX PLAYS THE JOHN WANAMAKER OR- London Symph. Orchestra—Benjamin Britten— Red Riding Hood, Jack & The Bear- GAN—11025 CS 6398/CM 9398 stalk, Rumpelstiltskin and the Nigh BARTOK: THE MIRACULOUS MANDARIN SUITE— Before Christmas. Colorfully jacketa MUSIC FOR STRINGS, PERCUSSION I CELESTA— '||cr Bli The London Symh. Orch.—Georg Solti—CS 6399/ and wearing a 69-cent price tag, thes FA 2320 American Favorite Ballads, DECCA CM 9399 sets should stimulate sales interei Mucin MOZART: FLUTE CONCERTO IN D MAJOR/BACH: during the coming holiday seasoi Vol.1 MOZART, BEETHOVEN: Erica Marina, Rudolf Fir- kusny—DL 10094 S SUITE NO. 2 IN B MINOR/GLUCK: DANCE OF The cardboard standup browser bo FA 2412 Pete Seeger at THE BLESSED SPIRITS—Claude Monleux—The FACADE—Hermiono Gingold, Russell Oberlin DL pictured above is designed for ewi Carnegie Hall London Symphony Orchestra—Pierre Monteux CS ; pSoni 10097 S 6400/CM 9400 persual of the book and record sen FN 2501 Gazette FORTY FABULOUS FINGERS—Original Pinao Quar- •IfOllh FN 2502 Gazette, Vol. 2 tet—DL 10098 S w ' THE PLAY OF HEROD—New York Pro Musica— sl'st Par FC 7001 American Folk Songs DXA 187 S -6,011 for Children SEGOVIA—DL 10093 S :tlO(Hi FA 2456 Broadsides if 01 Tli FH 5233 Songs of Ml Struggle & Protest DEUTSCHE rr of Thi Fl 8303 5-String Banjo Instructor GRAMMOPHONE • Ml Fi Fl 8354 The Folksinger's pi Guitar Guide mfH73*94 SUITES/HANDEI—1Li Stadelmann- : It Of Ft BR 302 Broadside, Vol. 2 M^20°" 73201R V0,CES-We"mi'»'er Chorister, f " Tin 32 other Pete Seeger albums available P E "!^P S & FUGUES—Helmut Walcha—3206- B2 Write for our (roe catalogue of 1 200 LP'' / 3206 fl* FOLKWAYS RECORDS TV3217;SP7MUAL CONCERTOS-Helmut Krebs- 165 West 46th Street New York 36. N.Y. ill TH73220USICAL OFFER,NG IBochl—Various—3220; Wue I WORKS FROM IMPERIAL CHAPEL OF MAXIMILIAN | Sidespi I—Vienna Chorus—3223; 73223 I Sidesp] OVERTURE IN D MAJOR (Tolomannl—3224 - 73224 'Sdespi C 3 Selling wherever played ™5l ^L^SZtES °NCERTOS-Vario u^ »H( " H« "DOUBLE LOVE" Wphif—KLFU27T3'lANGLER—'N "E"ORIAM-Berlin x m SYMPHONIES 8 « 9 IBeethovenl—Berlin Phil — $ Drew*: The Chandeliers #1601 LPM 18 807; SLPM 138 807 Are On CELLO CONCERTOS—Boccherini—LPM 18 816- * Drew. SLPM 138 8)6 ' 11 "GET TO STEPPING" RCAV*CTO***I ARABELLA IStrauss)—Bavarian State Opera LPM 1 The Cals #1604 18-683; SLPM 138/863 P LKM I Ore* ! HAYDN/MOZART—LPEM 19 398; SLPEM )36 398 Coming Soon ?fr$OU£oSCHvE,?ZI-lPEM SLPEM )36/45? "MY SWEET LOVE" 876; AZ 138 876 ^VERS-Varlous-LPM7 18 raj PIANO WORKS—Brahms—Kempff—LPM 18 902 Paula Lamont #1606 SLPM 138 902 THE DIARY OF ONE WHO VANISHED—Janacek— Ollhe Various—LPM 18 904; SLPM 138 904 "STOP DRAGGING STRING QUARTETS—Mozart—Amadeus Quartet— LPM 18 909; SLPM 138 909 ^Hoi MY HEART AROUND" PIANO QUARTETS—Mozart—Geza Anda—LPM 18 917; SLPM 138 917 The Chandeliers #1607 THE RITE OF SPRING—Stravinsky—Berlin Philhar- ffcHoi monic—LPM 18920; SLPM 138 920 MIGNON—Thomas—Various—LPEM 19 97a. Hou 'A FROWN ON MY FACE" SLPEM 136 279 2 Paula Lamont #1609 THE COMPLETE PIANO SONATAS—Beethoven— THINK CLASSICAL—Although pop product captures most of the Liroeli Siii Kempff—KL 42/51 the tremendous commerciality of classical merchandise should never be looked especially during the heavy-sales Yuletide season. Classical albums LOADSTONE RECORDS TEN^CENTURIES OF MUSIC—Various—KL 52/61; KINDERTOTENLIEDER FOUR RUECKERT SONGS— excellent gift ideas for those record buyers discerning enough to take Phone (4151 Mahler—LPM 18 879; SLPM 138 879 required extra .time before making a purchase. Do not relegate these alW® ZIGEUNERLIEDER—Brahms—FIVE SONGS Schubert to an inferior, back-seat status. An attractive classical corner like the —Various—LPM 18 889; SLPM 138 869 ab0 PIANO MUSIC—Brahms—Kempff—LPM 18 903- pictured suggested display from RCA Victor will surely result in hands * PTI SLPM 138 903 ' dividends.
Recommended publications

  • ARSC Journal

    A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers.
  • PREVIEW PREVIEW Previewstrictly on the Surface, ‘The Platters Rock’ Just Doesn’T Sound Right

    PREVIEW PREVIEW Previewstrictly on the Surface, ‘The Platters Rock’ Just Doesn’T Sound Right

    PREVIEW PREVIEW PREVIEWStrictly on the surface, ‘The Platters Rock’ just doesn’t sound right. During the mid-to-late 1950s, the ultra- polished vocal group was the epitome of cool, velvet-smooth harmonizing as they cranked out an avalanche of smash ballads under the supervision of manager Buck Ram. Filmmakers cast them as the relatively safe and sedate antidote to the otherwise steamy sounds dished up in the memorable films ‘Rock Around the Clock,’ ‘The Girl Can’t Help It,’ ‘Rock All Night,’ ‘Carnival Rock,’ and ‘Girls Town,’ their segments allowing overheated teenagers a chance to to. They’d started out as an R&B vocal group cool down a bit in their sweaty theater seats. before magnificently crossing over to the pop realm, and that early training never deserted Yet a close examination of their mammoth them altogether. catalog for Chicago’s Mercury Records reveals a surprising number of up-tempo The quintet’s unusual four-guys-and-one- gems that entirely legitimize the concept of gal lineup was influential in itself, mirrored this collection. You may not recognize all by a number of African American vocal of the titles at first glance, but taken as a groups that followed in their wake (most whole they confirm that The Platters could notably Smokey Robinson’s Miracles). But indeed rock whenever Ram allowed them very few outfits could boast the presence of 5 a stratospheric lead tenor the equal of The Bass singer Herb Reed was the first Platters’ Tony Williams, whose powerful, member that we now revere as a Platter to PREVIEWgymnastic vocal flights approximated a ride come into the fold.
  • A Chronology of All Artists' Appearances with the Chamber

    A Chronology of All Artists' Appearances with the Chamber

    75 Years of Chamber Music Excellence: A Chronology of all artists’ appearances with the Chamber Music Society of Louisville st 1 ​ Season, 1938 – 1939 ​ Kathleen Parlow, violin and Gunnar Johansen, piano The Gordon String Quartet The Coolidge Quartet The Heermann Trio nd 2 ​ Season, 1939 – 1940 ​ The Budapest String Quartet The Stradivarius Quartet Marcel Hubert, cello and Harold Dart, piano rd 3 ​ Season, 1940 – 1941 ​ Ralph Kirkpatrick, harpsichord and Lois Wann, oboe Belgian Piano­String Quartet The Coolidge Quartet th 4 ​ Season, 1941 – 1942 ​ The Trio of New York The Musical Art Quartet The Pro Arte Quartet th 5 ​ Season, 1942 – 1943 ​ The Budapest String Quartet The Coolidge Quartet The Stradivarius Quartet th 6 ​ Season, 1943 – 1944 ​ The Budapest String Quartet Gunnar Johansen, piano and Antonio Brosa, violin The Musical Art Quartet th 7 ​ Season, 1944 – 1945 ​ The Budapest String Quartet The Pro Arte Quartet Alexander Schneider, violin and Ralph Kirkpatrick, harpsichord th 8 ​ Season, 1945 – 1946 ​ The Musical Art Quartet Nikolai Graudan, cello and Joanna Graudan, piano Philip Manuel, harpsichord and Gavin Williamson, harpsichord The Budpest String Quartet th 9 ​ Season, 1946 – 1947 ​ The Louisville Philharmonic String Quartet with Doris Davis, piano The Albeneri Trio The Budapest String Quartet th 10 ​ Season, 1947 – 1948 ​ Alexander Schneider, violin and Ralph Kirkpatrick, harpsichord The Budapest String Quartet The London String Quartet The Walden String Quartet The Albeneri Trio th 11 ​ Season, 1948 – 1949 ​ The Alma Trio
  • Welcome Anthea Kreston! the Artemis Quartet Welcomes Its New Member

    Welcome Anthea Kreston! the Artemis Quartet Welcomes Its New Member

    Welcome Anthea Kreston! The Artemis Quartet welcomes its new member Berlin, 18 January 2016 In the past six months, amidst mourning the death of Friedemann Weigle, the Artemis Quartet also came to the decision of continuing its work as an ensemble. Now, the Artemis Quartet is pleased to announce its new member: the American violinist Anthea Kreston, who will take over the second violin position with immediate effect. In a musical chairs scenario, Gregor Sigl will assume the viola position in the quartet. Andrea Kreston, born in Chicago, studied with Felix Galimir and Ida Kavafian at the renowned Curtis Institute of Music in Philadelphia, as well as chamber music with the Vermeer Quartet and Emerson String Quartet. Anthea Kreston was a member of the Avalon Quartet - with whom she won the ARD Competition in 2000 - for seven years. In 1999, she founded the Amelia Piano Trio. She has given many concerts in the United States and Europe with both ensembles. Eckart Runge and Anthea Kreston have known each other for twenty years. They met, as members of different ensembles, at a masterclass given by the Juilliard String Quartet. Eckart Runge: “Already then, Anthea struck me as an extraordinarily brilliant musician and someone who has a big personality. She applied for the available position, travelled to the audition from the West Coast [of the United States] and impressed us with her warm-heartedness, boundless energy and - above all - her fantastic qualities as a musician and violinist. All three of us immediately felt that, in her own way, Anthea reflects the soul of Friedemann and will bring new energy to our quartet.” Anthea Kreston: “It is with a full heart that I join the Artemis Quartet, my favourite quartet since we were all students together at the Juilliard Quartet Seminar 20 years ago.
  • MOZART Symphonies 29,31,32,35,36

    MOZART Symphonies 29,31,32,35,36

    ALSO AVAILABLE ON LINN RECORDS MOZART Requiem ................................................CKD 211 MOZART Wind Concertos .................................CKD 273 MOZART Serenades ..............................................CKD 287 MOZART Symphonies 38~41 ..........................CKD 308 MOZART Colloredo Serenade............................CKD 320 MOZART Symphonies 29,31,32,35,36 ..........CKD 350 MENDELSSOHN Symphony No.3 ‘Scottish’ ..............CKD 216 SIBELIUS Theatre Music......................................CKD 220 BRAHMS Violin Concerto ..................................CKD 224 BARTÓK Strings, Percussion & Celeste ........CKD 234 PROKOFIEV Symphony No.1 in D major............CKD 219 DVORˇÁK Violin Concerto ..................................CKD 241 BEETHOVEN Piano Concertos 3,4,5 ......................CKD 336 Available on SACD and Studio Master Download from www.linnrecords.com Wolfgang Amadeus Mozart Wolfgang Amadeus Mozart (1756–1791) Divertimento K.334 GIVEN THAT CHAMBER MUSIC takes such an important place in Mozart’s output Oboe Quartet K.370 – the great string quintets and quartets, and the wonderful range of works with SCOTTISH CHAMBER piano – it seems surprising that in the first years of his maturity, from 1774, say, ORCHESTRA ENSEMBLE until 1781, he wrote so little. His earlier string quartets, dating from between Alexander Janiczek director / violin*† 1770 and 1773, had been associated with visits to Italy and Vienna; in Salzburg, it seems, there was more call for serenade music for orchestra or wind ensemble, Divertimento No.17 in D Major Ruth Crouch violin* for 2 violins, viola, bass and 2 horns * Jane Atkins viola*† often performed out-of-doors. There is, however, an important series of works David Watkin cello† for strings and two horns (K.205, 247, 287 and 334) that are designed for single 1 March K.445 (320c) ................................. 2.27 Nikita Naumov double bass* players and attest to his increasing mastery in writing for small ensembles.
  • In T H E W O R

    In T H E W O R

    I N T IN THE WORKS: FREE ORCHESTRA CONCERT Wednesday, August 5, 5:30pm | Santa Cruz Civic Auditorium You’ll find yourself at the very center of contemporary music-making with a special concert featuring new works by three young composers—Brendan Faegre, Takuma Itoh, H and Emily Praetorius—conducted in rotation by seven emerging conductors. All are studying in the prestigious Conductors/Composers Workshop. E W Don’t miss the excitement when the creative sparks fly! O R K S IN THE WORKS COMPOSERS BRENDAN FAEGRE TAKUMA ITOH EMILY PRAETORIUS Brendan Faegre is a Takuma Itoh spent his Emily Praetorius is composer, educator, early childhood in Japan a composer and b and l e ader, and before moving to Palo clarinetist from Ojai, percussionist whose Alto, California, where California. She holds music draws inspiration he grew up. His music a Master of Music from jazz and rock has been described as in composition from drumming, Hindustani “brashly youthful and Manhattan School of classical music, and fresh” (New York Times). Music (2014) and a contemporary concert Featured amongst one Bachelor of Music in music. Faegre’s works have been programmed of “100 Composers Under 40” on NPR Music, clarinet performance and composition from at festivals around the world, including Itoh has been the recipient of an award from the University of Redlands (2008). Praetorius Huddersfield (UK), Gaudeamus (NL), TRANSIT the American Academy of Arts and Letters; a has written for a variety of different instrumental Leuven (BE), Dark Music Days (IS), Beijing Charles Ives Scholarship; a Music Alive: New combinations, from clarinet duo with live Modern (CN), and Bang on a Can (US).
  • Richard Strauss's Ariadne Auf Naxos

    Richard Strauss's Ariadne Auf Naxos

    Richard Strauss’s Ariadne auf Naxos - A survey of the major recordings by Ralph Moore Ariadne auf Naxos is less frequently encountered on stage than Der Rosenkavalier or Salome, but it is something of favourite among those who fancy themselves connoisseurs, insofar as its plot revolves around a conceit typical of Hofmannsthal’s libretti, whereby two worlds clash: the merits of populist entertainment, personified by characters from the burlesque Commedia dell’arte tradition enacting Viennese operetta, are uneasily juxtaposed with the claims of high art to elevate and refine the observer as embodied in the opera seria to be performed by another company of singers, its plot derived from classical myth. The tale of Ariadne’s desertion by Theseus is performed in the second half of the evening and is in effect an opera within an opera. The fun starts when the major-domo conveys the instructions from “the richest man in Vienna” that in order to save time and avoid delaying the fireworks, both entertainments must be performed simultaneously. Both genres are parodied and a further contrast is made between Zerbinetta’s pragmatic attitude towards love and life and Ariadne’s morbid, death-oriented idealism – “Todgeweihtes Herz!”, Tristan und Isolde-style. Strauss’ scoring is interesting and innovative; the orchestra numbers only forty or so players: strings and brass are reduced to chamber-music scale and the orchestration heavily weighted towards woodwind and percussion, with the result that it is far less grand and Romantic in scale than is usual in Strauss and a peculiarly spare ad spiky mood frequently prevails.
  • Daniel Saidenberg Faculty Recital Series

    Daniel Saidenberg Faculty Recital Series

    Daniel Saidenberg Faculty Recital Series Frank Morelli, Bassoon Behind every Juilliard artist is all of Juilliard —including you. With hundreds of dance, drama, and music performances, Juilliard is a wonderful place. When you join one of our membership programs, you become a part of this singular and celebrated community. by Claudio Papapietro Photo of cellist Khari Joyner Photo by Claudio Papapietro Become a member for as little as $250 Join with a gift starting at $1,250 and and receive exclusive benefits, including enjoy VIP privileges, including • Advance access to tickets through • All Association benefits Member Presales • Concierge ticket service by telephone • 50% discount on ticket purchases and email • Invitations to special • Invitations to behind-the-scenes events members-only gatherings • Access to master classes, performance previews, and rehearsal observations (212) 799-5000, ext. 303 [email protected] juilliard.edu The Juilliard School presents Faculty Recital: Frank Morelli, Bassoon Jesse Brault, Conductor Jonathan Feldman, Piano Jacob Wellman, Bassoon Wednesday, January 17, 2018, 7:30pm Paul Hall Part of the Daniel Saidenberg Faculty Recital Series GIOACHINO From The Barber of Seville (1816) ROSSINI (arr. François-René Gebauer/Frank Morelli) (1792–1868) All’idea di quell metallo Numero quindici a mano manca Largo al factotum Frank Morelli and Jacob Wellman, Bassoons JOHANNES Sonata for Cello, No. 1 in E Minor, Op. 38 (1862–65) BRAHMS Allegro non troppo (1833–97) Allegro quasi menuetto-Trio Allegro Frank Morelli, Bassoon Jonathan Feldman, Piano Intermission Program continues Major funding for establishing Paul Recital Hall and for continuing access to its series of public programs has been granted by The Bay Foundation and the Josephine Bay Paul and C.
  • "American Salute" Celebrating the Centennial of Morton Gould

    "American Salute" Celebrating the Centennial of Morton Gould

    Kennesaw State University College of the Arts School of Music presents American Salute Celebrating the Centennial of Morton Gould and featuring guest composer, Scott McAllister Tuesday, September 17, 2013 8:00 p.m Dr. Bobbie Bailey & Performance Center, Morgan Hall Fifth Concert of the 2013-14 Concert Season Program SCOTT MCALLISTER (b. 1969) Zing! (2008) Gone (2012) DivertiMetal (2006) I. quarter note = 96 II. eighth note = 54 III. quarter note = 120 Intermission KSU Chamber Music Ensemble The Music of ALEC WILDER (1907-1980) Kindergarten Flower Pageant (1942) Seldom the Sun (1940) It’s Silk- Feel It (1939) MORTON GOULD (1913-1996) American Salute (1942) Symphony for Band, "West Point" (1952) I. Epitaphs II. Marches Program Notes cott McAllister was born in Vero Beach, Florida, and completed his doctorate in composition at the Shepherd School of Music at Rice Uni- Sversity. McAllister has received numerous commissions, performances, and awards throughout the United States, Europe, and Asia. He has also been featured at the Aspen, Chautauqua, and The Prague/American In- stitute Summer Festivals. McAllister has received awards, performances, and/or commissions from ASCAP, The American Composers Orchestra, The Rascher Quartet, I Musici de Montreal, Charles Neidich, The Verdehr Trio, Jacksonville Symphony, Da Camera, The Ladislav Kubik Competi- tion, The United States New Music Ensemble, The President's Own Ma- rine Band, The Florida Arts Council, and The Florida Bandmaster's Asso- ciation. Scott McAllister's music is recorded on Summit Records, Naxos, ITunes and Centaur labels and his music can be found at Lydmusic.com. Scott McAllister is Professor of Composition at Baylor University.
  • Establish Your Own Named Program

    Establish Your Own Named Program

    THE ASCAP FOUNDATION LEGACY SOCIETY NAMED PROGRAMS The ASCAP Foundation offers naming opportunities for those interested in establishing a custom program named after themselves or a loved one. We are proud of the musical greats who have chosen to establish programs in their name and the many families that have memorialized loved ones’ achievements by creating and funding a named program. ASCAP Foundation Legacy Society Named Programs include those of: Harold Adamson, Robert Allen, Chein Garcia Alonso, Herb Alpert, Harold Arlen, Louis Armstrong, Nick Ashford, Irving Berlin, Leonard Bernstein, Freddy Bienstock, Irving Caesar, Sammy Cahn, Harry Chapin, Desmond Child, George M. Cohan, Cy Coleman, Aaron Copland, Hal David, George and Ira Gershwin, Jay Gorney, Morton Gould, W.C. Handy, Jerry Herman, Fred Ho, Bart Howard, Molly Hyman, Billy Joel, Quincy Jones, Leo Kaplan, Steve Kaplan, Dean Kay, Leiber & Stoller, Frederick Loewe, John LoFrumento, Henry Mancini, Johnny Mandel, Michael Masser, Joseph Meyer, Vic Mizzy, Jack Norworth, Cole Porter, Louis Prima, Didier Lean Rachou, Joe Raposo, Irwin Robinson, Richard Rodgers, Betty Rose, David Rose, Mark Snow, Stephen Sondheim, Deems Taylor, Virgil Thomson, Jimmy Van Heusen, Paul Williams, Lucille and Jack Yellen, and others. ESTABLISH A NAMED PROGRAM OF YOUR OWN Keep alive your name and legacy or honor that of a loved one, for today's music community and for those of the next generation. The named program can be tailored to your wishes as encompassed within the mission of The ASCAP Foundation. When you establish a Named Program at The ASCAP Foundation, you become part of The ASCAP Foundation Legacy Society in recognition of your generosity and commitment (unless you choose to remain anonymous).
  • Quatuor Ébène Pierre Colombet Violin • Gabriel Le Magadure Violin Marie Chilemme Viola • Raphaël Merlin Cello

    Quatuor Ébène Pierre Colombet Violin • Gabriel Le Magadure Violin Marie Chilemme Viola • Raphaël Merlin Cello

    Wednesday 12 December 2018 7.30pm Quatuor Ébène Pierre Colombet violin • Gabriel Le Magadure violin Marie Chilemme viola • Raphaël Merlin cello Ludwig van Beethoven String Quartet in F Op. 18 No. 1 Johannes Brahms String Quartet in C minor Op. 51 No. 1 I n t e r v a l (20 minutes) Ludwig van Beethoven String Quartet in F Op. 135 This evening’s concert will be streamed live, and will be available to watch afterwards on the Wigmore Hall website. PROGRAMME: £3 CAVATINA Chamber Music Trust has donated free tickets for 8-25 year-olds for the concert on 12 December 2018. For details of future concerts please call the Box Office on 020 7935 2141. 2018 cover-autumn test print.indd 1 29/08/2018 10:28 Ludwig van Beethoven Beethoven arrived in Vienna in 1792, a year after Mozart’s tragic death. The young, (1770–1827) Bonn-born composer was effectively travelling to the Habsburg capital to take up where the late, lamented composer had String Quartet in F Op. 18 No. 1 left off. He even carried a letter to that end, (1798–1800) written by his friend Count von Waldstein: Allegro con brio ‘You are going to Vienna in fulfilment Adagio affettuoso ed appassionato of your long-frustrated wishes. The Scherzo. Allegro molto Genius of Mozart is still mourning and Allegro weeping the death of her pupil. She found a refuge but no occupation with the inexhaustible Haydn; through him Johannes Brahms she wishes once more to form a union (1833–1897) with another.
  • Festival of Strings 2017 Flier

    Festival of Strings 2017 Flier

    Festival of Strings 2017 Five Consecutive days of Concerts and Master Classes with Internationally Recognized Artists and our own SHSU faculty Dylana Jenson (violin), The Solera String Quartet with Josu de Solaun (piano), The Kolonneh String Quartet (SHSU faculty) • Thursday, October 5, Concert Hall, 2:30-5:00 pm Master class with Dylana Jenson • Friday, October 6, Recital Hall 1:00-3:00 pm Master class with Dylana Jenson • Friday, October 6, Concert Hall, 7:30 pm SHSU Symphony Orchestra Concert with guest soloist Daniel Saenz (cello) VENUE CHANGE! • Saturday, October 7, Recital Hall, 7:30 pm University Heights Baptist Church Guest Artist Recital 2400 Sycamore Ave, Huntsville, TX 77340 Dylana Jenson, (violin) with Josu de Solaun (piano) •Sunday, October 8, Recital Hall, 3:30 pm Guest Artist Recital The Solera String Quartet with Josu de Solaun (piano) • Monday, October 9, Recital Hall, 7:30 pm The Kolonneh String Quartet www.shsu.edu/music/events Sam Houston State University Festival of Strings 2017 Guest Artists DYLANA JENSON Dylana Jenson has performed with most major orchestras in the United States and traveled to Europe, Australia, Japan and Latin America for concerts, recitals and recordings. After her triumphant success at the Tchaikovsky Competi- tion, where she became the youngest and first American woman to win the Silver Medal, she made her Carnegie Hall debut playing the Sibelius Concerto with Eugene Ormandy and the Philadelphia Orchestra. Following her most recent Carnegie Hall performance, Jenson again electrified both audience and critics in her per- formance of Karl Goldmark's violin concerto. According to Strad Magazine, "In Jenson's hands, even lyrical passages had an intense, tremulous quality..