The Classical Music Daily Newsletter: a Fresh Vision
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Bruno Walter (Ca
[To view this image, refer to the print version of this title.] Erik Ryding and Rebecca Pechefsky Yale University Press New Haven and London Frontispiece: Bruno Walter (ca. ). Courtesy of Österreichisches Theatermuseum. Copyright © by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections and of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Sonia L. Shannon Set in Bulmer type by The Composing Room of Michigan, Grand Rapids, Mich. Printed in the United States of America by R. R. Donnelley,Harrisonburg, Va. Library of Congress Cataloging-in-Publication Data Ryding, Erik S., – Bruno Walter : a world elsewhere / by Erik Ryding and Rebecca Pechefsky. p. cm. Includes bibliographical references, filmography,and indexes. ISBN --- (cloth : alk. paper) . Walter, Bruno, ‒. Conductors (Music)— Biography. I. Pechefsky,Rebecca. II. Title. ML.W R .Ј—dc [B] - A catalogue record for this book is available from the British Library. The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. For Emily, Mary, and William In memoriam Rachel Kemper and Howard Pechefsky Contents Illustrations follow pages and Preface xi Acknowledgments xv Bruno Schlesinger Berlin, Cologne, Hamburg,– Kapellmeister Walter Breslau, Pressburg, Riga, Berlin,‒ -
Angelika Kirchschlager, Mezzo-Soprano Malcolm Martineau
Cal Performances Presents Program Sunday, April 19, 2009, 3pm Erich Wolfgang Korngold (1897–1957) Five Songs, Op. 38 (1948) Hertz Hall Glückwunsch Der Kranke Alt-Spanisch Angelika Kirchschlager, mezzo-soprano Alt-English My Mistress’ Eyes Malcolm Martineau, piano Kurt Weill (1900–1950) Stay Well, from Lost in the Stars (1949) Complainte de la Seine (1934) Der Abschiedsbrief (1933) PROGRAM Je ne t’aime pas (1934) Franz Schubert (1797–1828) Fischerweise, D. 881, Op. 96, No. 4 (1826) The concert is part of the Koret Recital Series and is made possible, in part, Der Wanderer an den Mond, D. 870 (1826) by Patron Sponsors Nancy and Gordon Douglass, in honor of Robert Cole. Bertas Lied in der Nacht, D. 653 (1819) Wehmut, D. 772, Op. 22, No. 2 (1823) Cal Performances’ 2008–2009 season is sponsored by Wells Fargo Bank. Frühlingsglaube, D. 686 (1820) Im Frühling, D. 882, Op. 101, No. 1 (1826) Schubert Die Sterne, D. 939, Op. 96, No. 1 (1815) Lied der Anne Lyle, D. 830, Op. 85, No. 1 (1825) Abschied, D. 475 (1816) Rastlose Liebe, D. 138 (1815) Klärchen’s Lied, D. 210 (1815) Geheimes, D. 719 (1821) Versunken, D. 715 (1821) INTERMISSION CANCELED CANCELED 6 CAL PERFORMANCES CAL PERFORMANCES 7 Program Notes Program Notes Franz Schubert (1797–1828) suggests both the vigorous activity and the deep fashionable music lovers, and, in appreciation, his verses when Johann Schickh published some of Selected Songs contentment of the trade. he set five of Collin’s poems, including Wehmut them in his Zeitschrift für Kunst, Literatur, Theater Johann Gabriel Seidl (1804–1875), teacher, (“Sadness”) in 1823. -
Nézet-Séguin and Didonato
23 Season 2018-2019 Thursday, November 8, at 7:30 The Philadelphia Orchestra Friday, November 9, at 2:00 Saturday, November 10, Yannick Nézet-Séguin Conductor at 8:00 Joyce DiDonato Mezzo-soprano Wagner Prelude to Act I of Lohengrin Bates Anthology of Fantastic Zoology I. Forest Twilight— II. Sprite— III. Dusk— IV. The A Bao A Qu— V. Nymphs— VI. Night— VII. The Gryphon— VIII. Midnight— IX. Sirens— X. The Zaratan— XI. Madrugada First Philadelphia Orchestra performances Intermission 24 Chausson Poème de l’amour et de la mer, Op. 19, for voice and orchestra I. La Fleur des eaux II. Interlude III. La Mort de l’amour Respighi Fountains of Rome I. The Fountain of Valle Giulia at Dawn— II. The Triton Fountain at Morn— III. The Fountain of Trevi at Mid-day— IV. The Villa Medici Fountain at Sunset This program runs approximately 1 hour, 55 minutes. LiveNote® 2.0, the Orchestra’s interactive concert guide for mobile devices, will be enabled for these performances. These concerts are part of the Fred J. Cooper Memorial Organ Experience, supported through a generous grant from the Wyncote Foundation. The November 8 concert is sponsored by Leslie Miller and Richard Worley and an anonymous donor. The November 9 concert is sponsored by Adele Schaeffer. The November 10 concert is sponsored by Sarah Miller Coulson. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. -
Erich Korngold's Discursive Practices: Musical Values in the Salon Community from Vienna to Hollywood
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2016 Erich Korngold's Discursive Practices: Musical Values in the Salon Community from Vienna to Hollywood Bonnie Lynn Finn University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Musicology Commons Recommended Citation Finn, Bonnie Lynn, "Erich Korngold's Discursive Practices: Musical Values in the Salon Community from Vienna to Hollywood. " Master's Thesis, University of Tennessee, 2016. https://trace.tennessee.edu/utk_gradthes/4036 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Bonnie Lynn Finn entitled "Erich Korngold's Discursive Practices: Musical Values in the Salon Community from Vienna to Hollywood." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Rachel M. Golden, Major Professor We have read this thesis and recommend its acceptance: Leslie C. Gay Jr., Victor Chavez Accepted for the Council: Carolyn R. Hodges Vice Provost and -
Horne-Part-Ii-A-L.Pdf
J & J LUBRANO MUSIC ANTIQUARIANS Marilyn Horne in Norma by John Foote: National Portrait Gallery, Washington D.C. Autographs, Prints, & Memorabilia from the Collection of Marilyn Horne Part 2: A-L 6 Waterford Way, Syosset, NY 11791 USA Telephone 516-922-2192 [email protected] www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). Please note that all material is in good antiquarian condition unless otherwise described. All items are offered subject to prior sale. We thus suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory numbers of desired items in the SEARCH box at the upper right of our homepage. We ask that you kindly wait to receive our invoice to insure availability before remitting payment. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. New York State sales tax will be added to the invoices of New York State residents. We accept payment by: - Credit card (VISA, Mastercard, American Express) - PayPal to [email protected] - Checks in U.S. dollars drawn on a U.S. bank - International money order - Electronic Funds Transfer (EFT), inclusive of all bank charges (details at foot of invoice) - Automated Clearing House (ACH), inclusive of all bank charges (details at foot of invoice) All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full. -
A Comparative Study of Female Characters in the Operas of Erich Wolfgang Korngold from 1915 to 1927 Brandon Larry Dow University of Arkansas, Fayetteville
University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 5-2016 Korngold's Leading Ladies: A Comparative Study of Female Characters in the Operas of Erich Wolfgang Korngold from 1915 to 1927 Brandon Larry Dow University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the Other Music Commons Recommended Citation Dow, Brandon Larry, "Korngold's Leading Ladies: A Comparative Study of Female Characters in the Operas of Erich Wolfgang Korngold from 1915 to 1927" (2016). Theses and Dissertations. 1612. http://scholarworks.uark.edu/etd/1612 This Thesis is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. Korngold’s Leading Ladies: A Comparative Study of Female Characters in the Operas of Erich Wolfgang Korngold from 1915 to 1927 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Music in Music by Brandon Dow Southern Arkansas University Bachelor of Arts in Music, 2014 May 2016 University of Arkansas This thesis is approved for recommendation to the Graduate Council. Dr. Martin Nedbal Thesis Director Dr. Laurence Hare Committee Member Dr. Alan Gosman Committee Member Abstract Portrayals of women in art have always been a sensitive subject due to the unequal distribution of power between the sexes within the Western patriarchal society and, more recently, due to newly acquired criticism of artistic misogyny. The operas of Erich Wolfgang Korngold showcase varying interpretations of female characters that waver between misogynist objectification and disparagement and ardent endorsement of feminine prominence. -
Mid-Season Gala Thaïs Opera in Concert 26 August 2017
MID-SEASON GALA THAÏS OPERA IN CONCERT 26 AUGUST 2017 CONCERT PROGRAM Athanaël, Cénobite monk ......Quinn Kelsey baritone Nicias, young Sybarite philosopher ......Diego Silva tenor Palemon, old Cénobite monk ......Daniel Sumegi bass A servant ......Maurice Wan bass Thaïs, actress and courtesan ......Erin Wall soprano Crobyle, slave ......Jacqueline Porter soprano Myrtale, slave ......Fiona Campbell mezzo-soprano Albine, abbess ......Liane Keegan contralto ‘La Charmeuse’ ......Eva Kong soprano Cénobite monk ......Jean-Francois Ravat tenor Cénobite monk ......Maurice Wan bass Cénobites, histrions and actors, philosophers, friends of Nicias, people, White Nuns Melbourne Symphony Orchestra Chorus Anthony Hunt guest chorus master Melbourne Symphony Orchestra Eoin Andersen concertmaster Sir Andrew Davis conductor Tianyi Lu assistant conductor Massenet Thaïs Running time: 2 hours and 40 minutes, including 20-minute interval In consideration of your fellow patrons, the MSO thanks you for dimming the lighting on your mobile phone. MELBOURNE SYMPHONY SIR ANDREW DAVIS ORCHESTRA CONDUCTOR Established in 1906, the Melbourne Sir Andrew Davis is Music Director and Symphony Orchestra (MSO) is an Principal Conductor of the Lyric Opera arts leader and Australia’s oldest of Chicago and Chief Conductor of the professional orchestra. Chief Melbourne Symphony Orchestra. In a Conductor Sir Andrew Davis has career spanning over 40 years, he has been at the helm of MSO since 2013. been the musical and artistic leader at Engaging more than 2.5 million several of the world's most distinguished people each year, and as a truly global opera and symphonic institutions, orchestra, the MSO collaborates with including the BBC Symphony Orchestra guest artists and arts organisations (1991-2004), Glyndebourne Festival from across the world. -
Czech Opera Singers
311 _ Czech Opera Singers Stanislav Bohadlo Legendary Supraphon Recordings SUDJXHFRQWHPSRUDU\PXVLFIHVWLYDO 4 . 11 . / 11 . 11 . / 16 . 11 . 2011 La Fabrika, Komunardů 30, Praha 7 WK\HDU 4 1RYHPEHUWK 1RYHPEHUWK 1RYHPEHUWK Eric Wubbels (USA) Miguel Azguime & Miso Jiří Bárta (CZ) and guest Ablinger: Voices and Piano Ensemble (Portugal) Bryars, Kopelent, ensemble recherche (D) Itinerário do Sal Pálka, Smolka, Štochl Lachenmann, Zemek Quatuor Diotima (F) Reich, Srnka www.contempuls.cz Dear readers, 11 The decline of the record industry has been a constant 3 _ topic of debate in musical circles over the past few Contents: years. Although there is no doubt that there has been a paradigm shift and that “conserved music” is again beginning to become secondary in relation to the live concert, it remains a sphere of classical music and other minority artistic genres that has tolerably withstood the crisis of the music carriers market – the drop in Stanislav Bohadlo: sales hasn’t been entirely catastrophic. This is relatively Nothing compares to Kuks understandable: on the one hand, sophisticated long by Dita Hradecká compositions require a certain quality of listening, on page 2 the other, we more readily accord them the status of an artefact that deserves a certain handling, i.e. being placed on a shelf for CDs (or even gramophone Czech opera soloists – a colourful gallery discs) and not being downloaded from the internet against the backdrop of the gray rushing in a compressed form. And above all, although in motorway of the opera bussines comparison with pop music successful recordings of artful music sell in relatively small numbers, they by Helena Havlíková continue to sell for years, sometimes decades. -
KORNGOLD and HIS WORLD August 9–11 and 16–18, 2019
SUMMERSCAPE KORNGOLD AND HIS WORLD August 9–11 and 16–18, 2019 BARD Vienna Secession. The building, dedicated in 1898, was designed by Joseph Maria Olbrich; the stalls in the central market extend as far as the Karlsplatz. Bruno Reiffenstein, 1899 KORNGOLD AND HIS WORLD August 9–11 and 16–18, 2019 Leon Botstein and Christopher H. Gibbs, Artistic Directors Daniel Goldmark and Kevin C. Karnes, Scholars in Residence 2019 Irene Zedlacher, Executive Director Raissa St. Pierre ’87, Associate Director Founded in 1990, the Bard Music Festival has established its unique identity in the classical concert field by presenting programs that, through performance and discussion, place selected works in the cultural and social context of the composer’s world. Programs of the Bard Music Festival offer a point of view. The intimate communication of recital and chamber music and the excitement of full orchestral and choral works are complemented by informative preconcert talks, panel discussions by renowned musicians and scholars, and special events. In addition, each season Princeton University Press publishes a book of essays, translations, and correspondence relating to the festival’s central figure. By providing an illuminating context, the festival encourages listeners and musicians alike to rediscover the powerful, expressive nature of familiar compositions and to become acquainted with less well-known works. Since its inaugural season, the Bard Music Festival has entered the worlds of Brahms, Mendelssohn, Richard Strauss, Dvorˇák, Schumann, Bartók, Ives, Haydn, Tchaikovsky, Schoenberg, Beethoven, Debussy, Mahler, Janácˇek, Shostakovich, Copland, Liszt, Elgar, Prokofiev, Wagner, Berg, Sibelius, Saint-Saëns, Stravinsky, Schubert, Carlos Chávez, Puccini, Chopin, Rimsky-Korsakov, and Korngold. -
Kurt Weill and Erich Wolfgang Korngold
KURT WEILL AND ERICH WOLFGANG KORNGOLD: COMPOSERS OF TWO WORLDS A Report of a Senior Study by Bonnie Pelsue Finn Major: Music Maryville College Fall, 2011 Date Approved , by Faculty Supervisor Date Approved , by Editor ABSTRACT This research follows the lives of two composers, Erich Wolfgang Korngold and Kurt Weill, ultimately looking at the effect they had on American music. Both were born at the turn of the 20th century, and composed classically in Europe prior to the Nazi takeover of Germany and Austria. An explanation is given of the political background of Germany prior to 1933, as well as how music and politics intertwined and affected many Jewish composers and musicians of the era. Brief descriptions of Nazi doctrines are also included. Following the lives and musical output of these two composers, the first chapter focuses from birth to 1933. Their music and talents will be explored, as well as the political arenas they lived in and how they reacted to the changing times. Chapter Two will follow how becoming an American affected them and the effect they had on American music from 1933 until their deaths. The final chapter examines the music they created in each world and the changes imposed upon it through emigration. iii Table of Contents CHAPTER 1 ......................................................................................................................... GERMAN POLITICAL BACKGROUND; KORNGOLD AND WEILL TO 1933 ..... 5 CHAPTER 2 ........................................................................................................................ -
Catalog of Audio Recordings February, 2009
Catalog of Audio Recordings February, 2009 Composers From the West Rare, Unusual and Eclectic Repertoire Historical Americana Carlos Chavez Chamber Music Volumes I and II Grammy® Winners - 2004 and 2005 Small Ensemble Category Southwest Chamber Music 50th ANNUAL GRAMMY® AWARDS NOMINATION New Release BEST INSTRUMENTAL SOLOIST PERFORMER Rufus Choi, piano (WITHOUT ORCHESTRA) Cambria Master Recordings Box 374, Lomita, California 90717 • USA Phone 310-831-1322 • Fax 310-833-7442 WWW.Cambriamus.com [email protected] ORCHESTRAL RECORDINGS ORCHESTRA WORKS BY ELINOR REMICK WARREN The Crystal Lake; Symphony in One Movement; Along the Western Shore; Suite for Orchestra; Good Morning, America (Narrator: Efrem Zimbalist, Jr.). Polish Radio Orchestra, Cracow. Szymon Kawalla, conductor. CD1042 ELINOR REMICK WARREN - THE LEGEND OF KING ARTHUR Choral Symphony Thomas Hampson, baritone; Lawrence Vincent, ten., Polish Radio Orch. and Chorus, Cracow. S. Kawalla, conductor. CD1043 SINGING EARTH - Choral/Orchestral Works by ELINOR REMICK WARREN Featuring American Baritone THOMAS HAMPSON Bruce Ferden conducts the Polish Radio Orchestra and Chorus of Krakow. Includes Singing Earth (orchestra and baritone soloist); The Harp Weaver (orchestra, chorus and baritone soloist); The Sleeping Beauty (orchestra, chorus, and soloists); and Abram in Egypt (orchestra, chorus, and baritone soloist). CD1095 THE MUSIC OF WILLIAM KRAFT Concerto For Four Percussion Soloists and Orchestra (Zubin Mehta and the Los Angeles Philh. Orchestra); Contextures:Riots - Decade '60 (Mehta and LAPO); Games: Collage No. 1, (Los Angeles Horn Club); Double Trio. CD1071 THREE ROMANTIC VIOLIN CONCERTI FAURE: Concerto in D Minor (Allegro); SIBELIUS: Concerto in D Minor; RICHARD DICIEDUE: Concerto in D. Mischa Lefkowitz, violin. Polish National Radio Symphony, David Amos, conductor. -
BBLDP001 Inner Pages
CDS7876 (DDD) Erich Wolfgang Korngold (Brno, 1897 – Los Angeles, 1957) VIOLANTA Opera in one act - Libretto by Hans Müller Original version sung in German - Edition: Schott Musik FIRST ITALIAN PERFORMANCE Violanta Annemarie Kremer Simone Trovai Michael Kupfer-Radecky Alfonso Norman Reinhardt Giovanni Bracca Peter Sonn Bice Soula Parassidis Barbara Anna Maria Chiuri Matteo Joan Folqué First Soldier Cristiano Olivieri Second Soldier Gabriel Alexander Wernick First Maid Eugenia Braynova Second Maid Claudia De Pian Conductor: Pinchas Steinberg Chorus Master: Andrea Secchi Orchestra and Chorus Teatro Regio Torino New staging Teatro Regio Torino Recording, Editing and Post-production: Rino Trasi Recorded at: Teatro Regio Torino, 21st and 23rd January 2020 SUNG IN GERMAN TRACKLIST 01 Vorspiel (Orchestra) 05:22 02 Unsere Barke blüht schon (Chorus; First Maid; Second Maid; First Soldier; Second Soldier) 02:54 03 He, was machst du? (Matteo; Second Soldier; First Soldier; Bice; First Maid; Barbara; Chorus) 05:20 04 Schweigt still! Wie oft hab ichs gesagt (Simone; Second Soldier; Barbara; Matteo; Bice) 02:46 05 Ich hol dich. Komm! (Giovanni; Simone) 01:50 06 Sie hasst ihn! (Simone; Giovanni) 03:13 07 Wein! Blumen! Lichter! Geigenhauch… (Giovanni; Violanta; Simone) 02:05 08 Violanta? (Simone; Violanta) 03:21 09 Aus den Gräbern... (Violanta; Chorus; Simone) 02:07 10 Dann hör ich durch Nacht und Stille (Violanta; Simone) 01:45 11 Violanta! - Ja, du wirst ihn töten (Simone; Violanta) 02:18 12 Ja, du wirst ihn töten! (Violanta; Simone) 01:25 13 Dicht Aug in Aug (Violanta; Simone) 01:40 14 Barbara! Bring Lichter! (Violanta; Barbara) 03:07 15 Wie ging das Märchen, Barbara (Violanta; Barbara) 02:40 16 Interludio (Orchestra) 02:28 17 Der Sommer will sich neigen..