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Emily Jackson, Soprano Kathryn Piña, Soprano Mark Metcalf, Collaborative Pianist
Presents Emily Jackson, soprano Kathryn Piña, soprano Mark Metcalf, collaborative pianist Friday, April 23, 2021 ` 8:30 PM PepsiCo Recital Hall Program Cuatro Madrigales Amatorios Joaquín Rodrigo (1901-1999) 1. ¿Con qué la lavaré? 2. Vos me matásteis 3. ¿De dónde venís, amore? 4. De los álamos vengo, madre Ms. Piña Three Irish Folksong Settings John Corigliano (b. 1938) 1. The Salley Gardens 2. The Foggy Dew 3. She Moved Thro’The Fair Ms. Jackson Dr. Kristen Queen, flute Selections from 24 Canzoncine Isabella Colbran (1785-1845) Benché ti sia crudel T’intendo, si mio cor Professor Mallory McHenry, harp In uomini, in soldati from Cosi fan tutte W. A. Mozart (1756-1791) Ms. Piña Er Ist Gekommen in Sturm und Regen Clara Schumann Die Lorelei (1819-1896) O wär ich schön from Fidelio Ludwig van Beethoven (1770-1827) Ms. Jackson Of Memories and Dreams Patrick Vu (b. 1998) 1. Spring Heart Cleaning 2. Honey 3. Iris 4. On the Hillside *world premiere* Ms. Piña Patrick Vu, collaborative pianist Selections from Clarières dans le ciel Lili Boulanger (1893-1918) Parfois, je suis triste Nous nous aimerons tant Ms. Jackson Tarantelle Gabriel Fauré (1845-1924) Ms. Jackson and Ms. Piña This recital is given in partial fulfillment of the requirements for a Bachelor’s Degree of Music with a vocal emphasis. Ms. Piña is a student of Dr. James Rodriguez and Emily Jackson is a student of Professor Angela Turner Wilson. The use of recording equipment or taking photographs is prohibited. Please silence all electronic devices including watches, pagers and phones. -
Aram Khachaturian
Boris Berezovsky ARAM KHACHATURIAN Boris Berezovsky has established a great reputation, both as the most powerful of Violin Sonata and Dances from Gayaneh & Spartacus virtuoso pianists and as a musician gifted with a unique insight and a great sensitivity. Born in Moscow, Boris Berezovsky studied at the Moscow Conservatory with Eliso Hideko Udagawa violin Virsaladze and privately with Alexander Satz. Subsequent to his London début at the Wigmore Hall in 1988, The Times described him as "an artist of exceptional promise, a player of dazzling virtuosity and formidable power". Two years later he won the Gold Boris Berezovsky piano Medal at the 1990 International Tchaïkovsky Competition in Moscow. Boris Berezovsky is regularly invited by the most prominent orchestras including the Philharmonia of London/Leonard Slatkin, the New York Philharmonic/Kurt Mazur, the Munich Philharmonic, Oslo Philharmonic, the Danish National Radio Symphony/Leif Segerstam, the Frankfurt Radio Symphony/Dmitri Kitaenko, the Birmingham Sympho- ny, the Berlin Symphonic Orchestra/ Marek Janowski, the Rotterdam Philharmonic, the Orchestre National de France. His partners in Chamber Music include Brigitte Engerer, Vadim Repin, Dmitri Makhtin, and Alexander Kniazev. Boris Berezovsky is often invited to the most prestigious international recitals series: The Berlin Philharmonic Piano serie, Concertgebouw International piano serie and the Royal Festival Hall Internatinal Piano series in London and to the great stages as the Théâtre des Champs-Elysées in Paris, the Palace of fine Arts in Brussells, the Konzerthaus of Vienna, the Megaron in Athena. 12 NI 6269 NI 6269 1 Her recent CD with the Philharmonia Orchestra was released by Signum Records in 2010 to coincide with her recital in Cadogan Hall. -
Sounding Nostalgia in Post-World War I Paris
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Sounding Nostalgia In Post-World War I Paris Tristan Paré-Morin University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Paré-Morin, Tristan, "Sounding Nostalgia In Post-World War I Paris" (2019). Publicly Accessible Penn Dissertations. 3399. https://repository.upenn.edu/edissertations/3399 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3399 For more information, please contact [email protected]. Sounding Nostalgia In Post-World War I Paris Abstract In the years that immediately followed the Armistice of November 11, 1918, Paris was at a turning point in its history: the aftermath of the Great War overlapped with the early stages of what is commonly perceived as a decade of rejuvenation. This transitional period was marked by tension between the preservation (and reconstruction) of a certain prewar heritage and the negation of that heritage through a series of social and cultural innovations. In this dissertation, I examine the intricate role that nostalgia played across various conflicting experiences of sound and music in the cultural institutions and popular media of the city of Paris during that transition to peace, around 1919-1920. I show how artists understood nostalgia as an affective concept and how they employed it as a creative resource that served multiple personal, social, cultural, and national functions. Rather than using the term “nostalgia” as a mere diagnosis of temporal longing, I revert to the capricious definitions of the early twentieth century in order to propose a notion of nostalgia as a set of interconnected forms of longing. -
FRENCH SYMPHONIES from the Nineteenth Century to the Present
FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen. -
EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES from the 19Th Century to the Present Composers
EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES From the 19th Century To the Present A Discography of CDs and LPs Prepared by Michael Herman Composers R-Z ALEXANDER RAICHEV (1922-2003, BULGARIAN) Born in Lom. He studied composition with Assen Karastoyanov and Parashkev Hadjiev at the Sofia State Conservatory and then privately with Pancho Vladigerov. He went on for post-graduate studies at the Liszt Music Academy in Budapest where he studied composition with János Viski and Zoltán Kodály and conducting with János Ferencsik. He worked at the Music Section of Radio Sofia and later conducted the orchestra of the National Youth Theatre prior to joining the staff of the State Academy of Music as lecturer in harmony and later as professor of harmony and composition. He composed operas, operettas, ballets, orchestral, chamber and choral works. There is an unrecorded Symphony No. 6 (1994). Symphony No. 1 (Symphony-Cantata) for Mixed Choir and Orchestra "He Never Dies" (1952) Konstantin Iliev/Bulgarian A Capella Choir "Sv. Obretanov"/Sofia State Philharmonic Orchestra BALKANTON BCA 1307 (LP) (1960s) Vasil Stefanov/Bulgarian Radio Symphony Orchestra and Chorus BALKANTON 0184 (LP) (1950s) Symphony No. 2 "The New Prometheus" (1958) Vasil Stefanov/Bulgarian Radio Symphony Orchestra BALKANTON BCA 176 (LP) (1960s) Yevgeny Svetlanov/USSR State Symphony Orchestra (rec. 1965) ( + Vladigerov: Piano Concertos Nos. 3 and 4 and Marinov: Fantastic Scenes) MELODIYA D 016547-52 (3 LPs) (1965) Symphony No. 3 "Strivings" (1966) Dimiter Manolov/Sofia State Philharmonic Orchestra ( + Bulgaria-White, Green, Red Oratorio) BALKANTON BCA 2035 (LP) (1970s) Ivan Voulpe/Bourgas State Symphony Orchestra ( + Stravinsky: Firebird Suite) BALKANTON BCA 1131 (LP) (c. -
Hifi/Stereo Review October 1961
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Contents Price Code an Introduction to Chandos
CONTENTS AN INTRODUCTION TO CHANDOS RECORDS An Introduction to Chandos Records ... ...2 Harpsichord ... ......................................................... .269 A-Z CD listing by composer ... .5 Guitar ... ..........................................................................271 Chandos Records was founded in 1979 and quickly established itself as one of the world’s leading independent classical labels. The company records all over Collections: Woodwind ... ............................................................ .273 the world and markets its recordings from offices and studios in Colchester, Military ... ...208 Violin ... ...........................................................................277 England. It is distributed worldwide to over forty countries as well as online from Brass ... ..212 Christmas... ........................................................ ..279 its own website and other online suppliers. Concert Band... ..229 Light Music... ..................................................... ...281 Opera in English ... ...231 Various Popular Light... ......................................... ..283 The company has championed rare and neglected repertoire, filling in many Orchestral ... .239 Compilations ... ...................................................... ...287 gaps in the record catalogues. Initially focussing on British composers (Alwyn, Bax, Bliss, Dyson, Moeran, Rubbra et al.), it subsequently embraced a much Chamber ... ...245 Conductor Index ... ............................................... .296 -
A) Forman Como Las Dos Señaladas Con La Le
ANEXO. NR TEMPORADA DE INVIERNO 1967-68 REPERTORIO LA TRAVIATA Giuseppe VERDI LA BOHEME Giacomo PUCCINI LUCIA DE LAMMERMOOR Gaetano DONIZETTI WERTHER Jules MASSENET ANDREA CHENIER Umberto GIORDANO TOSCA Giacomo PUCCINI AIDA Giuseppe VERDI TRISTAN E ISOLDA Richard WAGNER SALOÏ.ÍE Richard STRAUSS Nota: Las tres obras señaladas con la Letra A) forman un programa, como las dos señaladas con la le — tfa B) otroo ANEXO Ne 1 Ho,]a ng 2 TEMPORADA DE INVIERNO 1967-68 REPOSICIONES EL BARBERO DE SEVILLA Joacchino ROSSINI A) SUOR ANGELICA Giacocio PUCCINI MARINA E. ARRIE TA LA DAME DE PI^UE Peter I. TCHAIKOWSKY DER FREISCHUTZ K. Mo WEBER MARTA F. FLOTOW ES TRENOS A) AilSSA Raffaello DE BANFIELD EL AMOR DE LAS TRES NARANJAS S. PROKOFIEV BALLETS B) LA LEYENDA DE JOSE Ro STRAUSS A) EL DUELO R. DE BANFIELD ANEXO N2 2 MAESTROS DIRECTORES DE ORQUESTA Y CONUERTADOEES AIME IDA Antonio de 25-XI a 10-XII-1967 V/ERTHER BASIC Miaden 18 a 31-1-1968 SALOME LA LEYENDA DE JOSE (Ballet) DANON Oskar 7 a 21-1-1968 . EL AMOR DE LAS TRES NARANJA LA DAME DE PIQUE GUADAGNO Anton 8 a 14-XII-1967 TOSCA 1 a 16-1-1968 AIDA HALASE Laszlo 2 a 17-XII-1967 ANDREA CHENIER VELTRI Michelangelo 2-XI-67 a 1-I1-68 MARINA VERCHI Nino 4-XI a 3-XII-67 EL BARBERO DE SEVILLA LUCIA DI LAMMERMOOR VERNIZZI Fulvio 1-a 16-XII—1967 LA TRAVIATA RIGACCI Bruno 9-XI a 8—XII-1967 SUOR ANGEL l'CA ALISSA Dl BOHEME 1SESSEL- THERNHORN Helmuth 12 a 21-XII-67 DER KIEISCBÛTZ WINTERFILE Baron D. -
Rachmaninov: Music for Violin and Piano
Rachmaninov For Violin and Piano Sonata in G minor Op. 19 * transc. V. Mikhailovsky 1 Lento: Allegro moderato [12.31] 2 Allegro scherzando [6.20] 3 Andante [5.43] 4 Allegro mosso - Meno mosso - Moderato - Piu vivo [10.27] 5 Romance in A minor Op. Posth (original) * [4.23] 6 Danse Orientale Op. 2, No 2 * transc. V. Mikhailovsky [5.20] 7 Daisies Op. 38, No 3 transc. F. Kreisler [3.25] 8 Etude-Tableaux Op. 33, No 7 transc. J. Heifetz [1.50] 9 Prelude Op. 32, No 5 transc. J. Heifetz [3.00] 0 Melody Op. 21, No 9 transc. J. Heifetz [3.15] q Oriental Sketch transc. J. Heifetz [1.50] w Etude-Tableaux Op. 33, No 2 transc. J. Heifetz [2.20] e Vocalise Op. 34, No 14 transc. M. Press [5.35] r Danse Hongroise Op. 6, No 2 (original) edited S. Dushkin [3.55] * World Premiere Recording Total Timings [69.54] Hideko Udagawa violin Konstantin Lifschitz piano www.signumrecords.com Artist’s Note I have always adored the music of Sergei Rachmaninov, and I rather envied pianists who have such a wide range of his music at their disposal. He did compose a few pieces for string instruments when he was young ; two pieces for cello and piano Op.2, two pieces for violin and piano Op.6, the Trio Elegaique Op.9 and one of his finest chamber music works, the Sonata for cello and piano Op.19. This work I have always loved and found that the 3rd movement (Andante) sounded very well on violin. -
Download Booklet
GLAZoUNOV Baroque Inspirations Concerto for Violin and Orchestra in A minor Tchaikovsky • Chausson • Sarasate • Saint-Säens Hideko Udagawa, violin Hideko Udagawa, violin Nicholas Kraemer, conductor London Philharmonic Orchestra Scottish Chamber Orchestra Kenneth Klein, conductor World Première Recordings * NI 6299 Giuseppe Tartini (1692-1770) Sonata in G minor ‘Devil’s Trill’ for solo violin * Antonio Vivaldi (1678-1741) Prelude for solo violin ‘Andante in C minor’ * Karl Stamitz (1745-1801) Concerto in B flat for violin and orchestra * Fritz Kreisler (1875-1962) Concerto in C for violin and orchestra in the style of Antonio Vivaldi Tomasso Vitali (1663-1745) Chaconne in G minor for violin and orchestra Total playing time 57.35 12 NI 6316 NI 6316 1 Brahms & Bruch Violin Concertos GLAZoUNOV Hideko Udagawa Concerto for Violin and Orchestra in A minor Sir Charles Mackerras London Symphony Orchestra Tchaikovsky • Chausson • Sarasate • Saint-Säens NI 6270 Hideko Udagawa, violinSong-Poem (1929) Johannes Brahms (1833-1897) Dance No.1 * (1925) Concerto for Violin and Orchestra London Philharmonic OrchestraElegy * (1925) in D major, op.77 Kenneth Klein, conductorDance (1926) I Allegro non troppo II Adagio III Allegro giocoso Masquerade (1940) : Nocturne * Sabre Dance Max Bruch (1838-1920) Ayesha’s Dance Concerto for Violin and Orchestra Nuneh Variation * No.1 in G minor, op.26 Lullaby I Allegro moderato II Adagio Producer: John Boyden Engineers: Michael Sheady III Finale. Allegro energico Editing and post-production: Tony Bridge, FinespliceDance -
Decca Discography
DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982. -
Heartless Thieves Steal Dyslexic's Lifeline a Dyslexic Student Checks My Spelling and Front Door Unlocked
IR OCT 199i UNIVEriSITY OF LZEDS INN 15tb October 1992 1111111) UNIVERSITY SLAMMED IN ANIMAL RESEARCH REPORT UNIVERSITY OF 'SHAME' - jeeds University has been The controversial report morally unacceptable and the University defended the research at Leeds University criticised for carrying refers to experiments carried By John Revill scientifically invalid. Other research: "All such work is published in 1991 claimed that I out horrific and out at Leeds University over methods of research have carried out in accordance with experiments included: the unnecessary• animal research in the last year. being the main culprits. simply not received enough the legislative provisions of the implantation of rats with a report published yesterday. In one experiment chickens Ian Green, Campaigns funding. The aim of the report Animals Procedures Act 1986. cancerous tumours, then left Cities of Shame, which was were subjected to heat stress to Officer at Animal Aid, said: is to raise public awareness Those who hold licenses to grow to 2.5 centremetres in compiled by Animal Aid, test whether they consume "Leeds is one of the worse and to encourage people into respect the motives of many of diameter; balloons inflated into includes graphic details of more food with Vitamin C. The offenders. Last year there were non-violent action. " those people concerned over dogs' hearts: dogs' intestines animals subjected to horrific study also alleges that rabbits nearly 20 publications relating Thi research is the latest in such procedures." re-corineeted to their anuses: experiments in the University's in the Anaesthesia department to animal research produced in a string of controversies Referring In the claim that and rats injected with diabetes.