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Stravinsky, the Fire-Bird, "The Fire-Bird's Dance,"
/N81 AI2319 Ti VILSKY' USE OF IEhPIAN IN HIS ORCHESTRAL WORKS THE IS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of M1- JiROF JU.SIC by Wayne Griffith, B. Mus. Conway, Arkansas January, 1955 TABLE OF CONTENT4 Page LIST OF ILLUSTRATIONS . ,.. , , * . Chap ter I. THE USE OF PIANO1E A' Al ORCTHE TL I:ThUERIMT BEFOR 1910 . , , . , , l STRAICY II. S U6 OF 2E PIANO S E114ORCHES L ORK HIS OF "RUSIA PERIOD . 15 The Fire-Bird Pe~trouchka Le han u hossignol III. STAVIL C ' 0 USE OF TE PI 40IN 9M ORCHESTRAL .RKS OF HIS "NEO-CLASSIO" PERIOD . 56 Symphonyof Psalms Scherzo a la Russe Scenes IBfallet Symphony~in Three Movements BIIORPHYy * - . 100 iii 1I3T OF ILLUSTRATIONS Figure Page 1. Berlioz, Leio, Finale, (from Berlioz' Treatise on Instrumentation, p . 157) . 4 2. Saint-Saena, ym phony in 0-minor, (from Prof. H. Kling's Modern Orchestration and Instrumentation, a a.~~~~*f0" 0. 7 p. 74) . 0 0 * * * 3. Moussorgsky, Boris Godunov, "Coronation Scene,'" 36-40 mm.f . -a - - --. " " . 10 4. oussorgsky, Boris Godunov, "Coronation :scene," mm. 241-247 . f . * . 11 5. imsky-Korsakoff, Sadko , (from rimkir -Korsakoff' s Principles of 0rchtiration, Lart II, p. 135) . 12 6. ximsky-Korsakoff, The Snow aiden, (from Zimsky torsatoff'c tTTrin~lecs ofhOrchestration, Part II, . 01) . - - . - . * - - . 12 7 . i s akosy-. o Rf, TVe <now %aiN , (f 0r 1;i s^ky Korsaoif ' s Prciniles of Orchestration, Part II, 'p. 58) . aa. .a. .a- -.-"- -a-a -r . .". 13 8. Stravinsky, The Fire-Bird, "The Fire-Bird's Dance," 9. -
Biographies (396.2
ANTONELLO MANACORDA conducteur italien • Formation o études de violon entres autres avec Herman Krebbers à Amsterdam o puis, à partir de 2002, deux ans de direction d’orchestre chez Jorma Panula. • Orchestres o 1997 : il crée, avec Claudio Abbado, le Mahler Chamber Orchestra o 2006 : nommé chef permanent de l’ensemble I Pomeriggi Musicali à Milaan o 2010 : nommé chef permanent du Kammerakademie Potsdam o 2011 : chef permanent du Gelders Orkest o Frankfurt Radio Symphony, BBC Philharmonic, Mozarteumorchester Salzburg, Sydney Symphony, Orchestra della Svizzera Italia, Scottish Chamber Orchestra, Stavanger Symphony, Swedish Chamber Orchestra, Hamburger Symphoniker, Staatskapelle Weimar, Helsinki Philharmonic, Orchestre National du Capitole de Toulouse & Gothenburg Symphony • Fil rouge de sa carrière o collaboration artistique de longue durée avec La Fenice à Venise • Pour la Monnaie o dirigeerde in april 2016 het Symfonieorkest van de Munt in werk van Mozart en Schubert • Projets récents et futurs o Il Barbiere di Siviglia, Don Giovanni & L’Africaine à Frankfort, Lucio Silla & Foxie! La Petite Renarde rusée à la Monnaie, Le Nozze di Figaro à Munich, Midsummer Night’s Dream à Vienne et Die Zauberflöte à Amsterdam • Discographie sélective o symphonies de Schubert avec le Kammerakademie Potsdam (Sony Classical - courroné par Die Welt) o symphonies de Mendelssohn également avec le Kammerakademie Potsdam (Sony Classical) • Pour en savoir plus o http://www.inartmanagement.com o http://www.antonello-manacorda.com CHRISTOPHE COPPENS Artiste et metteur -
Boston Symphony Orchestra Concert Programs, Season 59,1939
SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, Commonwealth 1492 FIFTY—NINTH SEASON, 1939-194o CONCERT BULLETIN OF THE Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor RICHARD BURGIN, Assistant Conductor with historical and descriptive notes by JOHN N. BURK COPYRIGHT, 1939, BY BOSTON SYMPHONY ORCHESTRA, Inc. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, INC. ERNEST B. DANE • • President HENRY B. SAWYER Vice-President ERNEST B. DANE . • Treasurer HENRY B. CABOT M. A. DE WOLFE HOWE ERNEST B. DANE ROGER I. LEE ALVAN T. FULLER RICHARD C. PAINE JEROME D. GREENE HENRY B. SAWYER N. PENROSE HALT OWELL EDWARD A. TAFT BENTLEY W. WARREN G. E. JUDD, Manager C. W. SPALDING, Assistant Manager ( 289 ) Complete FIDUCIARY SERVICE /^INDIVIDUALS The fiduciary services of Old Colony Trust Company available to individuals are many and varied. We cite some of the fiduciary capacities in which we act. Executor and Administrator We settle estates as Executor and Administrator. Trustee We act as Trustee under wills and under voluntary or living trusts. Agent We act as Agent for those who wish to be relieved of the care of their investments. The officers of Old Colony Trust Company are always glad to discuss estate and property matters with you and point out if and where our services are applicable. Old Colony Trust Company 17 COURT STREET, BOSTON Member of the Federal Deposit Insurance Corporation ^Allied w/'MThe First National Bank ^Boston [ 290] ,1 FIFTY-NINTH SEASON - NINETEEN HUNDRED THIRTY-NINE AND FORTY Seventh Programme FRIDAY AFTERNOON, December i, at 2:30 o'clock SATURDAY EVENING, December 2, at 8:15 o'clock IGOR STRAVINSKY Conducting Stravinsky "Jeu de Cartes" (Card Game, Ballet in Three Deals) (First performances at these concerts) Stravinsky Capriccio for Orchestra with Piano Solo I. -
There's a Real Buzz and Sense of Purpose About What This Company Is Doing
15 FEBRUARY 7.15PM & 17 FEBRUARY 2PM “There’s a real buzz and sense of purpose about what this company is doing” ~ The Guardian www.niopera.com Grand Opera House, Belfast Welcome to The Grand Opera House for this new production of The Flying Dutchman. This is, by some way, NI Opera’s biggest production to date. Our very first opera (Menotti’s The Medium, coincidentally staged two years ago this month) utilised just five singers and a chamber band, and to go from this to a grand opera demanding 50 singers and a full symphony orchestra in such a short space of time indicates impressive progress. Similarly, our performances of Noye’s Fludde at the Beijing Music Festival in October, and our recent Irish Times Theatre Award nominations for The Turn of the Screw, demonstrate that our focus on bringing high quality, innovative opera to the widest possible audience continues to bear fruit. It feels appropriate for us to be staging our first Wagner opera in the bicentenary of the composer’s birth, but this production marks more than just a historical anniversary. Unsurprisingly, given the cost and complexities involved in performing Wagner, this will be the first fully staged Dutchman to be seen in Northern Ireland for generations. More unexpectedly, perhaps, this is the first ever new production of a Wagner opera by a Northern Irish company. Northern Ireland features heavily in this production. The opera begins and ends with ships and the sea, and it does not take too much imagination to link this back to Belfast’s industrial heritage and the recent Titanic commemorations. -
WAGNER Die Walküre
660172-74 bk Walküre US 17/7/06 10:28 Page 16 3 CDs Recorded at the Staatsoper Stuttgart, Germany, WAGNER on 29th September 2002 and 2nd January 2003. General Director: Prof. Klaus Zehelein Die Walküre Executive Producers: Dr Reinhard Ermen (SWR Radio), Gambill • Jun • Rootering • Denoke • Behle • Vaughn Dr Dietrich Mack (SWR TV) and Paul Smaczny (EuroArts) Staatsoper Stuttgart • Staatsorchester Stuttgart Producer: Thomas Angelkorte Editor: Irmgard Bauer Lothar Zagrosek Engineers: Brigitte Hermann and Karl-Heinz Runde This performance of Die Walküre is the second part of Wagner’s Ring cycle recorded live during Stuttgart Opera’s 2002/2003 season. For the first time in the history of the Ring cycle each of the four operas was staged with separate producers and casts. A production of EuroArts Music International GmbH and Südwestrundfunk in co-operation with ARTE Gefördert von der Medien- und Filmgesellschaft Baden-Württemberg 8.660172-74 16 660172-74 bk Walküre US 17/7/06 10:28 Page 2 Die Walküre Stuttgart Staatsorchester (The Valkyrie) Established in 1589 as the Court Orchestra of Württemberg, the Württemberg Stuttgart State Orchestra has a history The First Day of over four hundred years. Over the generations there have been collaborations with musicians of distinction, among them Leonhard Lechner, the Frobergers, Niccolò Jommelli, Johann Rudolf Zumsteeg, Konradin Kreutzer, of Johann Nepomuk Hummel and Carl Maria von Weber. Berlioz praised the orchestra, when he appeared with it as Der Ring des Nibelungen conductor, and in the 1880s Stuttgart was one of the first to stage the complete Ring cycle, conducted by the then (The Ring of the Nibelung) General Music Director Herman Zumpe, who had assisted Wagner at the first Bayreuth Festival. -
The St. Louis Symphony Orchestra and Music Director Stéphane Denève Announce Fall Programming for the 2021/2022 Season
FOR IMMEDIATE RELEASE [June , ] Contacts: St. Louis Symphony Orchestra: Eric Dundon [email protected], C'D-*FG-D'CD National/International: NiKKi Scandalios [email protected], L(D-CD(-D(MD THE ST. LOUIS SYMPHONY ORCHESTRA AND MUSIC DIRECTOR STÉPHANE DENÈVE ANNOUNCE FALL PROGRAMMING FOR THE 2021/2022 SEASON Highlights of offerings from September 17-December 5, 2021, include: • The return of full orchestral performances led by Music Director Stéphane Denève at Powell Hall featuring repertoire spanning genre and time that celebrates the resilience of the human spirit. • Denève opens the classical season with two programs at Powell Hall. The season opener includes the first SLSO performances of Jessie Montgomery’s Banner and Anna Clyne’s Dance alongside Pyotr Ilyich Tchaikovsky’s Symphony No. 4. In his second weeK, Denève leads the SLSO in the string orchestra version of Caroline Shaw’s Entr’acte, Charles Ives’ The Unanswered Question, Christopher Rouse’s Rapture, and Sergei Rachmaninoff’s Piano Concerto No. 3 with pianist Yefim Bronfman. • The SLSO and Denève continue their deep commitment to music and composers of today, performing works by Thomas Adès, Karim Al-Zand, William Bolcom, Jake Heggie, James Lee III, Jessie Montgomery, Caroline Shaw, Carlos Simon, Outi Tarkiainen, Joan Tower, and the U.S. premiere of Anna Clyne’s PIVOT. • Other highlights of Denève’s fall programs include performances of Ludwig van Beethoven’s Symphony No. 5, Dmitri ShostaKovich’s Symphony No. 5, and collaborations with pianist VíKingur Ólafsson in his first SLSO appearance and violinist Nikolaj Szeps-Znaider. • The highly anticipated return of the free Forest Park concert, which welcomes thousands of St. -
'Kazushi Ono's Musical Direction Was Flawlessly Idiomatic
Kazushi Ono Conductor ‘Kazushi Ono’s musical direction was flawlessly idiomatic in a challenging score that must be as fiendish to play as it is elaborate on the ear’ MUSICAL AMERICA – The Fiery Angel – Aix Festival Kazushi Ono’s musical influence and vision span and connect continents and cultures, with roles as Music Director of Tokyo Metropolitan Symphony Orchestra (TMSO) and Orquestra Simfònica de Barcelona i Nacional de Catalunya (OBC) and as Artistic Director of the New National Theatre Tokyo (NNTT). He has toured Europe extensively with TMSO, visiting six cities in eleven days in 2015, and brought OBC to Japan in 2019 with a new production of Turandot for NNTT, as well as orchestral concerts. He is passionate about new music and has commissioned many works and projects, such as Mark-Anthony Turnage’s Hibiki, which premiered at Suntory Hall before featuring at the 2017 BBC Proms. He instigated NNTT’s first commissioning scheme, dedicated to Japanese composers, which has so far included operas Asters by Akira Nishimura (2019) and Dai Fujikura’s A Dream of Armageddon (2020). Ono established himself internationally with orchestras such as London Symphony Orchestra, BBC Symphony Orchestra, London Philharmonic Orchestra, Brussels Philharmonic, Orchestre de Paris, Orchestre de la Suisse Romande, Seoul Philharmonic and Houston Symphony Orchestra, where his performance of Russian repertoire was described by the Houston Chronicle as ‘a first-rate concert steeped in stormy emotions, fragile beauty, and wide- screen grandeur’. From 2008 to 2017, Ono served as Principal Conductor of Opéra National de Lyon, attracting international acclaim with landmark performances of works such as Prokofiev’s The Gamblers, Berg’s Lulu and Wagner’s Parsifal. -
Stéphane Denève and the St. Louis Symphony Orchestra to Perform Concert of John Williams’ Movie Music, September 13-15
FOR IMMEDIATE RELEASE [August 15, 2019] Contacts: St. Louis Symphony Orchestra: Eric Dundon [email protected], 314-286-4134 National/International: Nikki Scandalios [email protected], 704-340-4094 STÉPHANE DENÈVE AND THE ST. LOUIS SYMPHONY ORCHESTRA TO PERFORM CONCERT OF JOHN WILLIAMS’ MOVIE MUSIC, SEPTEMBER 13-15 Denève celebrates Williams – a personal friend – with concert including music from Jaws, Harry Potter, Indiana Jones, E.T., and more (August 15, 2019, St. Louis, MO) – Music Director Stéphane Denève and the St. Louis Symphony Orchestra will take audiences on a tour-de-force journey through some of Hollywood’s most thrilling movies in the first concerts of the 2019/2020 season: The Music of John Williams. Concerts are 7:00pm Friday and Saturday, September 13- 14, and 2:30pm Sunday, September 15. A bedrock of film music, John Williams redefined the American music landscape with his work on some of Hollywood’s biggest films, including Indiana Jones, Jaws, E.T. – The Extraterrestrial, Close Encounters of the Third Kind, and Harry Potter. The SLSO plays Williams’ most memorable themes, along with music from lesser-known films including Memoirs of a Geisha and The Book Thief. SLSO Principal Cello Daniel Lee and Assistant Concertmaster Erin Schreiber take center stage on the program, performing selections from Memoirs of a Geisha and Schindler’s List, respectively. A collaborator and personal friend of Denève’s, the SLSO will perform unpublished works from Memoirs of a Geisha and Dracula, borrowed from Williams’ personal library specifically for these concerts. Denève and Williams will provide their insights to the music through video clips played during the concert. -
Adriana Lecouvreur
FRANCESCO CILEA adriana lecouvreur conductor Opera in four acts Gianandrea Noseda Libretto by Arturo Colautti, based production Sir David McVicar on the play Adrienne Lecouvreur by Eugène Scribe and Ernest Legouvé set designer Charles Edwards Friday, January 4, 2019 costume designer 7:30–11:05 PM Brigitte Reiffenstuel lighting designer New Production Adam Silverman choreographer Andrew George The production of Adriana Lecouvreur associate director Justin Way was made possible by a generous gift from The Sybil B. Harrington Endowment Fund Co-Production of the Royal Opera House, Covent Garden, London; Gran Teatre del Liceu, Barcelona; Wiener Staatsoper; San Francisco Opera; and general manager L’Opéra National de Paris Peter Gelb jeanette lerman-neubauer This production was first seen at the Royal Opera music director Yannick Nézet-Séguin House, London, on November 18, 2010. 2018–19 SEASON The 75th Metropolitan Opera performance of FRANCESCO CILEA’S adriana lecouvreur conductor Gianandrea Noseda in order of vocal appearance mlle. jouvenot Sarah Joy Miller michonnet Ambrogio Maestri poisson Tony Stevenson* mlle. dangeville Samantha Hankey quinault Patrick Carfizzi the abbé of cha zeuil Carlo Bosi the prince of bouillon Maurizio Muraro adriana lecouvreur Anna Netrebko Friday, January 4, 2019, 7:30–11:05PM maurizio Piotr Beczała the princess of bouillon Anita Rachvelishvili major- domo Christian Rozakis chambermaid Anne Dyas mlle. duclos Snezhana Chernova pantalone Bill Corry judgment of paris ballet paris Kfir Danieli shepherdesses Jennifer -
Acclaimed Author Nick Gage Tells TNH About Paneperotic Federation
S O C V ΓΡΑΦΕΙ ΤΗΝ ΙΣΤΟΡΙΑ Bringing the news W ΤΟΥ ΕΛΛΗΝΙΣΜΟΥ to generations of E ΑΠΟ ΤΟ 1915 The National Herald Greek- Americans N c v A wEEKly GREEK-AmERIcAN PUblIcAtION www.thenationalherald.com VOL. 17, ISSUE 864 May 3-9, 2014 $1.50 Acclaimed Author Nick Super Bowl Champion Maragos Tells His Story Gage Tells TNH about Greek-American’s Long Journey to Paneperotic Federation Football’s top Prize By Theodore Kalmoukos we face the challenge of trying By Constantinos E. Scaros to bring our young people, who BOSTON, MA – The Panepirotic were born here and do not feel SEATTLE, WA – Super Bowl Federation of America (PFA) is the pull of the homeland the XLVIII (48), played on February far from being the biggest way we do, but we are faring 2, is the most-watched televi - Greek-American organization in pretty well there, too. Our cur - sion program in American his - the country, but for the past two rent board includes members tory. An astonishing 111.5 mil - decades it has been one of the who range in ages from the lion viewers watched this most effective, especially in pro - early 20s to the mid-70s. One professional football champi - moting the rights of ethnic can guess as to where I belong. onship game, according to the Greeks in Albania. To find out TNH: How would you de - Nielsen ratings, which means how the group does it, we asked scribe the mission of the Feder - more than half of the nation’s its new president, renowned ation in the past 20 years. -
Bellini's Norma
Bellini’s Norma - A discographical survey by Ralph Moore There are around 130 recordings of Norma in the catalogue of which only ten were made in the studio. The penultimate version of those was made as long as thirty-five years ago, then, after a long gap, Cecilia Bartoli made a new recording between 2011 and 2013 which is really hors concours for reasons which I elaborate in my review below. The comparative scarcity of studio accounts is partially explained by the difficulty of casting the eponymous role, which epitomises bel canto style yet also lends itself to verismo interpretation, requiring a vocalist of supreme ability and versatility. Its challenges have thus been essayed by the greatest sopranos in history, beginning with Giuditta Pasta, who created the role of Norma in 1831. Subsequent famous exponents include Maria Malibran, Jenny Lind and Lilli Lehmann in the nineteenth century, through to Claudia Muzio, Rosa Ponselle and Gina Cigna in the first part of the twentieth. Maria Callas, then Joan Sutherland, dominated the role post-war; both performed it frequently and each made two bench-mark studio recordings. Callas in particular is to this day identified with Norma alongside Tosca; she performed it on stage over eighty times and her interpretation casts a long shadow over. Artists since, such as Gencer, Caballé, Scotto, Sills, and, more recently, Sondra Radvanovsky have had success with it, but none has really challenged the supremacy of Callas and Sutherland. Now that the age of expensive studio opera recordings is largely over in favour of recording live or concert performances, and given that there seemed to be little commercial or artistic rationale for producing another recording to challenge those already in the catalogue, the appearance of the new Bartoli recording was a surprise, but it sought to justify its existence via the claim that it authentically reinstates the integrity of Bellini’s original concept in matters such as voice categories, ornamentation and instrumentation. -
I Played Bach Regularly During the Composition of the Conc Erto, and Was Greatly Attracted to the “Brandenburg” Concertos
“I played Bach regularly during the composition of the Conc erto, and was greatly attracted to the “Brandenburg” Concertos. Whether or not the first theme of my [first] movement is a conscious borrowing from the third Brandenburg, however, I do not know.” — Igor Stravinsky Nederlands: pagina 2 Français : page 10 English: page 18 Musici / Musiciens: pagina / page 26 livestream in samenwerking met / en collaboration avec Evil Penguin TV met de steun van de Belgische Tax Shelter / avec le soutien du Tax Shelter belge 2 W ELKOM Igor Stravinsky en Sergei Prokofiev. Twee Russische grootmeesters die de muziekgeschiedenis danig beïnvloed hebben - en zelf hun bewondering voor illustere voorgangers niet onder stoelen of banken staken: dank dus aan Bach en Haydn voor de inspiratie die deze twee werken opleverde! Bachs Brandenburg Concertos stonden duidelijk op repeat bij Igor Stravinsky tijdens het schrijven van ‘Dumbarton Oaks’, naar de naam van de villa van opdrachtgevers Mildred en Robert Wood Bliss. Het muzikale cadeau voor hun 30ste huwelijksverjaardag werd een heerlijk kleurrijk en energiek werk. Geen Bach maar Haydn bij Prokofiev: hij componeerde zijn 1ste Symfonie, die de passende titel ‘de klassieke’ kreeg, alsof het een werk van de 18de-eeuwse meester was. De stijl, de orkestbezetting, de opzet: allemaal klassiek, maar wel dooraderd met Prokofievs eigen 20ste-eeuwse karakter. VOORPROGRAMMA Up, Close & Personal is een nieuwe videoreeks met kamermuziek door musici van Brussels Philharmonic. Vanavond speelt Duo Astérope - Emmanuel Tondus (cello) & Damien Bossy (piano) - Les Chants de l’Agartha van Guillaume Connesson en Andante uit de cellosonate van Sergei Rachmaninov. ARTIESTEN & LIVE PROGRAMMA Brussels Philharmonic · Stéphane Denève, dirigent Igor Stravinsky Concerto in Es "Dumbarton Oaks" I.