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LEON BOTSTEIN, Conductor
Thursday Evening, November 14, 2019, at 7:00 Isaac Stern Auditorium / Ronald O. Perelman Stage presents LEON BOTSTEIN, Conductor Performance #141: Season 5, Concert 12 ARTHUR HONEGGER Rugby (1928) (1891–1955) OTHMAR SCHOECK Lebendig begraben (Buried Alive), Op. 40 (1886–1957) (1926) MICHAEL NAGY, Baritone Intermission DIMITRI MITROPOULOS Concerto Grosso (1929) (1896–1960) Largo Allegro—Largo Chorale: Largo Allegro IGOR STRAVINSKY Divertimento, Symphonic Suite from the (1882–1971) Ballet The Fairy’s Kiss (1928, 1931, rev. ’32, ’34, ’49) Danses suisses (“Swiss Dances”) Scherzo Pas de deux a. Adagio b. Variation c. Coda This evening’s concert will run approximately 2 hours and 25 minutes including one 20-minute intermission. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. Notes ON THE MUSIC – TON’S KADEN HENDERSON ON ARTHUR HONEGGER’S RUGBY MATT DINE MATT Full Contact Music Honegger’s second tone poem, entitled Rugby, which we will be hearing today, was composed in 1928. Although it bears the name Rugby, the composer himself insisted that this work was not programmatic in a traditional sense. Despite what Honegger may have said, it takes little imagination to find oneself in the middle of the pitch dodging tack- les left and right from the very first note. Immediately from the downbeat it is apparent that Honegger is not alluding to two-hand-touch rugby, but rather the sport in its full contact, “hold no pris- oners” variety. The very first notes from The Composer the strings hit the audience like a ton of When thinking about the great orches- bricks as the cascading strings sweep us tral tone poems in our repertoire, the into a musical dogpile. -
RIMSKY-KORSAKOV Orchestral Works Including SHEHERAZADE
Kees Bakels RIMSKY-KORSAKOV Orchestral works including SHEHERAZADE BIS-CD-1667/68 MALAYSIAN PHILHARMONIC ORCHESTRA / KEES BAKELS BIS-CD-1667/68 RK:booklet 15/6/07 11:48 Page 2 RIMSKY-KORSAKOV, Nikolai (1844–1908) Disc 1 [74'34] Sheherazade 43'28 Symphonic Suite after the ‘Thousand and One Nights’, Op. 35 (1888) 1 I. The Sea and Sinbad’s Ship 9'02 2 II. The Tale of the Kalender Prince 12'00 3 III. The Young Prince and the Young Princess 10'22 4 IV. Festival in Baghdad – The Sea – The Ship Goes to Pieces on a Rock Surmounted by a Bronze Warrior – Conclusion 11'50 Markus Gundermann violin solo Symphony No. 2 (Symphonic Suite), ‘Antar’ 30'01 Op. 9 (1868/75/97) 5 I. Largo – Allegro – Allegretto – Largo 11'29 6 II. Allegro 4'38 7 III. Allegro risoluto 5'22 8 IV. Allegretto – Adagio 8'09 2 BIS-CD-1667/68 RK:booklet 15/6/07 11:48 Page 3 Disc 2 [76'42] Capriccio espagnol, Op. 34 (1887) 15'00 1 I. Alborada. Vivo e strepitoso 1'12 2 II. Variazioni. Andante con moto 4'38 3 III. Alborada. Vivo e strepitoso 1'14 4 IV. Scena e canto gitano. Allegretto 4'39 5 V. Fandango asturiano – Coda. Vivace assai – Presto 3'15 6 Piano Concerto in C sharp minor, Op.30 (1882–83) 14'06 Noriko Ogawa piano The Tale of Tsar Saltan, Suite, Op. 57 (1899–1900) 19'49 7 I. The Tsar’s Farewell and Departure. Allegro – Allegretto alla Marcia 4'44 8 II. -
PYO: 11.22.15 Kimmel Center Concert
Philadelphia Youth Orchestra Louis Scaglione • Music Director Presents PHILADELPHIA YOUTH ORCHESTRA KIMMEL CENTER CONCERT SERIES Louis Scaglione • Conductor Jennifer Montone • Horn Sunday • November 22 • 2015 • 3:00 p.m. Kimmel Center for the Performing Arts Verizon Hall Welcome to the 76th Anniversary season of the Philadelphia Youth Orchestra! This year promises to “spirit you away” with the great talent and artistry of our young musicians. You have seen us here with your belief in the power and great merit of music. Our solid, sustained history affords us the ability to reach out into our diverse communities ensuring that the universal gift and language of music is known to all who desire it. The Philadelphia Youth Orchestra organization takes pride in playing a pivotal role to prepare its students for successful university and conservatory experiences. PYO prepares its students to be successful, contributing members of society, and trains them to be tomorrow’s leaders. As you settle into your seats in the acoustically and aesthetically magnificent Verizon Hall, we hope that you will delight in today’s performance. May your experience with us, today, be a catalyst for your returning to us throughout our concert season for you and your family’s music and cultural enjoyment. We welcome and appreciate your generosity and support of our mission, and look forward to welcoming you to our concerts. With much gratitude, Louis Scaglione, President and Music Director 01 Philadelphia Youth Orchestra Kimmel Center Series Philadelphia Youth Orchestra Louis Scaglione • Conductor Jennifer Montone • Horn The Kimmel Center for the Performing Arts • Verizon Hall Sunday, November 22, 2015 • 3:00 p.m. -
Boston Symphony Orchestra Concert Programs, Season
INFANTRY HALL PROVIDENCE >©§to! Thirty-fifth Season, 1915-1916 Dr. KARL MUCK, Conductor WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE TUESDAY EVENING, DECEMBER 28 AT 8.15 COPYRIGHT, 1915, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS. MANAGER ii^^i^"""" u Yes, Ifs a Steinway" ISN'T there supreme satisfaction in being able to say that of the piano in your home? Would you have the same feeling about any other piano? " It's a Steinway." Nothing more need be said. Everybody knows you have chosen wisely; you have given to your home the very best that money can buy. You will never even think of changing this piano for any other. As the years go by the words "It's a Steinway" will mean more and more to you, and thousands of times, as you continue to enjoy through life the com- panionship of that noble instrument, absolutely without a peer, you will say to yourself: "How glad I am I paid the few extr? dollars and got a Steinway." STEINWAY HALL 107-109 East 14th Street, New York Subway Express Station at the Door Represented by the Foremost Dealers Everywhere 2>ympif Thirty-fifth Season,Se 1915-1916 Dr. KARL MUC per; \l iCs\l\-A Violins. Witek, A. Roth, 0. Hoffmann, J. Rissland, K. Concert-master. Koessler, M. Schmidt, E. Theodorowicz, J. Noack, S. Mahn, F. Bak, A. Traupe, W. Goldstein, H. Tak, E. Ribarsch, A. Baraniecki, A. Sauvlet, H. Habenicht, W. Fiedler, B. Berger, H. Goldstein, S. Fiumara, P. Spoor, S. Stilzen, H. Fiedler, A. -
Rimsky-Korsakov Romances
booklet-paginated:cover 11/09/2017 12:02 Page 1 5060192780772 RIMSKY-KORSAKOV ROMANCES Anush Hovhannisyan Yuriy Yurchuk Sergey Rybin 28 1 booklet-paginated:cover 11/09/2017 12:02 Page 3 Produced, engineered and edited by Spencer Cozens. Recorded 19-21 December 2016 at Steinway Recording, Fulbeck, Lincolnshire, U.K. Steinway technician: Peter Roscoe. Publisher: Moscow, Musyka. Booklet notes © 2017 Sergey Rybin. English translations of sung text © 2017 Sergey Rybin. Cover: Photograph © 2013 Anatoly Sokolov. Inside from cover: Photograph of Sergey Rybin, Anush Hovhannisyan and Yuriy Yurchuk © 2017 Inna Kostukovsky. Graphic design: Colour Blind Design. Printed in the E.U. 2 27 booklet-paginated:cover 11/09/2017 12:02 Page 5 24 Prorok Op.49, No.2 The Prophet Alexander Pushkin Dukhovnoï zhazhdoïu tomim Tormented by spiritual anguish V pustyne mrachnoï ïa vlachils’a, I dragged myself through a grim desert, I shestikrylyï serafim And a six-winged seraphim Na pereputïe mne ïavils’a; Appeared to me at a crossroads; RIMSKY-KORSAKOV Perstami l’ogkimi, kak son, With his fingers, light as a dream, Moikh zenits kosnuls’a on: He touched my eyes: ROMANCES Otverzlis’ vesh’iïe zenitsy, They burst open wide, all-seeing, Kak u ispugannoï orlitsy. Like those of a startled eagle. Moikh usheï kosnuls’a on, He touched my ears I ikh napolnil shum i zvon: And they were filled with clamour and ringing: I vn’al ïa neba sodroganïe, I heard the rumbling of the heavens, I gorniï angelov pol’ot, The high flight of the angels, I gad morskikh podvodnyï khod, The crawling of the underwater reptilians I dol’ney lozy proz’abanïe. -
Maurice Ravel, After Nikolay Andreyevich Rimsky-Korsakov: Maurice Ravel (1875-1937) Antar – Incidental Music (1910/2014) 53:33 Orchestral Works • 5 1 No
RAVEL Orchestral Works • 5 Antar – Incidental music after works by Rimsky-Korsakov Shéhérazade André Dussollier, Narrator Isabelle Druet, Mezzo-soprano Orchestre National de Lyon Leonard Slatkin Maurice Ravel, after Nikolay Andreyevich Rimsky-Korsakov: Maurice Ravel (1875-1937) Antar – Incidental music (1910/2014) 53:33 Orchestral Works • 5 1 No. 1. Rimsky-Korsakov: Antar, 1st movement: Largo – Allegro giocoso – Furioso – Allegretto vivace – Adagio – Allegretto vivace – Largo Ravel was still a teenager when he fell under the spell of that the Orient had exerted over me since my childhood.” Russian music: he discovered both The Five That said, the work also boasts a number of trademark “Le désert n’est pas vide…” 11:09 (Mussorgsky, Rimsky-Korsakov, Cui, Borodin and Ravelian qualities – clarity of discourse, sophistication of 2 No. 1 bis. Ravel: Allegro 0:35 Balakirev) and the Javanese gamelan at the age of detail, and an ongoing conflict between instinct and 3 No. 2. Ravel: Cadenza ad libitum fourteen when he visited the 1889 Universal Exhibition in control. “En ce temps-là…” 1:39 Paris (an event whose centrepiece was the newly Ravel’s choice of orchestral forces also reflects the 4 No. 3. Ravel: Allegretto constructed Eiffel Tower). Ten years later, the dual impact influence of Debussy: divided strings, a large wind “Sa mère, Zébiba…” 0:53 of Russia and the Orient bore fruit in the “fairy overture” section, celesta, two harps and a rich array of percussion. 5 No. 5. Ravel: Allargando Shéhérazade, originally intended to be the curtain-raiser But where Debussy favours doubling and timbral “Sa renommée grandissait avec lui…” 0:32 for an opera based on the Arabian Nights – a work that in blending, uses the warmth of the brass section and the end never saw the light of day. -
ED 048 793 AUTHOR TITLE INSTTTUTION PUB DATE EDRS PRICE DESCRIPTORS ABSTRACT DOCUMENT RESUME FL 002 147 Jay, Charles, Ed.; Castl
DOCUMENT RESUME ED 048 793 FL 002 147 AUTHOR Jay, Charles, Ed.; Castle, Pat, Ed. TITLE French Language Education: The Teaching of Culture in the Classroom. INSTTTUTION Illinois State Office of the Superintendent of Public Instruction, Springfield. PUB DATE 71 NOTE 130p. EDRS PRICE EDRS Price MF-$0.65 HC-$6.58 DESCRIPTORS Area Studies, Articulation (Program), Cultural Background, *Cultural Education, *Educational Objectives, Evaluation Methods, Fles, Foreign Culture, *French, Instructional Program Divisions, *Language Instruction, *Modern Languages, Relevance (Education) , Second Language Learning, Student Attitudes, Student Motivation, Teacher Attitudes, Teaching Methods ABSTRACT Eleven articles focus on the necessity of including cross-cultural studies in language programs in American schools. The notion of culture, it is emphasized, must not be seen as the narrow study of literature, art, music, and philosophy. The articles include: (1) a one act tragedy on the omission of cultural studies in secondary schools,(2) teaching of French culture,(3) culture in FLES programs,(4) culture and student motivation, (5) French music and the mini-lesson in culture, (6) culture at the un.versity level, (7) culture-wide values and assumptions as essential content for levels 1to 3, (8) a modern college curriculum in French studies, (9) testing and teaching auditory comprehension with pictures,(10) French culture and civilization for high school students, and (11) experiencing culture in the classroom. Several French songs are included. The 1969 Bloomington Conference "An Explanation of 'Levels, of Competence in Foreign Language Learning in French--Levels 1,2, 3" is found in the appendix. (RL) MICHAEL J. bAKALIS SUPT. OF PUBLIC INSTRUCTION OFFICE 302 STATE OFFICEBUILDING CON SPRINGFIELD, ILLINOIS 62706 FRENCH LANGUAGE EDUCATION: THE TEACHING OF CULTURE IN THE CLASSROOM U.S. -
Piatigorsky THESIS.Pdf
1 The Campaign for French Music: The Société des Concerts Français and the Critical Reception of French Music in Britain 1907–1915 Anna Piatigorsky ORCID: 0000-0001-8653-8394 April 2018 Thesis submitted in fulfilment of the requirements of the Master of Music (MMus) Musicology & Ethnomusicology, University of Melbourne 2 ABSTRACT Between 1907 and 1915, more than 80 concerts dedicated to the promotion of French music in Britain were staged across the United Kingdom. The majority of these were organised by Tony Guéritte, who had come to Britain for a very different purpose, to oversee the application of reinforced concrete in construction. My thesis examines Guéritte’s efforts to bring a range of French music to Britain and focuses in particular on a series of 28 concerts organised by him in London. Much of the music performed in these concerts had never been heard in Britain before, and the introduction of the chamber music of Ravel and other composers to British critics and audiences had a marked impact. In my thesis, I aim, first, to piece together the concert programmes, which have been largely overlooked by scholars, and second to explore their critical reception by examining reviews in a range of different periodicals and national newspapers published over eight years from 1907 until 1915, when the outbreak of the First World War halted the concerts. 3 DECLARATION This thesis comprises only my original work towards the Master of Music (MMus) Musicology & Ethnomusicology. Due acknowledgement has been made in the text to all other material used. The thesis is less than the maximum word limit in length. -
RUSSIAN & UKRAINIAN Russian & Ukrainian Symphonies and Orchestral Works
RUSSIAN & UKRAINIAN Russian & Ukrainian Symphonies and Orchestral Works Occupying a vast land mass that has long been a melting pot of home-spun traditions and external influences, Russia’s history is deeply encrypted in the orchestral music to be found in this catalogue. Journeying from the Russian Empire through the Soviet era to the contemporary scene, the music of the Russian masters covers a huge canvas of richly coloured and immediately accessible works. Influences of folklore, orthodox liturgy, political brutality and human passion are all to be found in the listings. These range from 19th-century masterpieces penned by ‘The Mighty Five’ (Balakirev, Rimsky-Korsakov, Mussorgsky, Borodin, and Cui) to the edgy works of Prokofiev and Shostakovich that rubbed against the watchful eye of the Soviet authorities, culminating in the symphonic output of one of today’s most noted Russian composers, Alla Pavlova. Tchaikovsky wrote his orchestral works in a largely cosmopolitan style, leaving it to the band of brothers in The Mighty Five to fully shake off the Germanic influence that had long dominated their homeland’s musical scene. As part of this process, they imparted a thoroughly ethnic identity to their compositions. The titles of the works alone are enough to get the imaginative juices running, witness Borodin’s In the Steppes of Central Asia, Rimsky-Korsakov’s The Legend of the Invisible City of Kitezh, and Mussorgsky’s St John’s Night on the Bare Mountain. Supplementing the purely symphonic works, instrumental music from operas and ballets is also to be found in, for example, Prokofiev’sThe Love for Three Oranges Suite, Shostakovich’s four Ballet Suites, and Stravinsky’s Firebird Suite. -
Playing Rameau on the Piano
PLAYING RAMEAU ON THE PIANO: THE SUITE IN A MINOR FROM NOUVELLES SUITES DE PIÈCES DE CLAVECIN A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS BY HIROMI SASAKI DISSERTATION ADVISORS: DR. ROBERT PALMER AND DR. LINDA POHLY BALL STATE UNIVERSITY MUNCIE, INDIANA DECEMBER 2017 CONTENTS LIST OF FIGURES ii LIST OF AUDIO EXCERPTS iv CHAPTER ONE INTRODUCTION 1 Purpose and Need for this Study 1 Review of Literature 4 Preliminary Information 12 CHAPTER TWO DIFFERENCES IN HARPSICHORD AND PIANO; PERFORMANCE PRACTICES 25 A Comparison of Basic Constructions of Harpsichord and Piano 25 Sound and Timbre 29 Means of Expression 30 Temperament 33 Performance Practice 37 CHAPTER THREE PERFORMANCE SUGGESTIONS FOR PIANISTS FOR RAMEAU’S A-MINOR SUITE 49 Allemande 50 Courante 61 Sarabande 68 Les trois Mains 74 Fanfarinette 81 La Triomphante 88 Gavotte 95 CHAPTER FOUR CONCLUSION AND SUMMARY; SUGGESTIONS FOR FURTHER STUDY 111 Conclusion 111 Summary of Chapters 111 Reflection on the Study 116 Suggestions for Further Study 117 BIBLIOGRAPHY 120 APPENDIX AUDIO RECORDING OF EXCERPTS n. p. i FIGURES 1. Rameau's Ornament Table 39 2. Allemande, mm. 1-4 52 3. Allemande, mm. 3-7 54 4. Allemande, m. 4 56 5. Allemande, m. 21 56 6. Allemande, m. 10 58 7. Allemande, mm. 15-19 59 8. Courante, mm. 1-7 62 9. Courante, mm. 1-7 64 10. Courante, m. 27 67 11. Courante, m. 27 67 12. Sarabande, mm. 1-2 69 13. Sarabande, mm. 9-10 70 14. Sarabande, mm. 9-10 71 15. -
Symphony Program
- Concert Etiquette Guidelines - BYU-IDAHO DEPARTMENT OF MUSIC Please be courteous and respectful to your fellow audience members PRESENTS and the performers during this concert by observing the following guidelines: I. Refrain from ALL talking or whispering during the performance of the music. S YMPHONY ORCHESTRA (Feel free to comment to your fellow audience members during applause or between pieces.) II. Turn off all electrical devices such as watches, tablets, computers, and cell phones. III. If you have to leave or re-enter the Concert Hall, please do so only between numbers. IV. Please hold all applause during the silent breaks between individual movements of large works until all the movements have been performed. (see example below) Symphony #5 in C minor ................................. Beethoven I. Allegro con brio (1st movement) II. Andante con moto (2nd movement) III. Allegro (3rd movement) IV. Allegro (4th movement) Thank you for helping create an appropriate and enjoyable atmosphere for all who have come to hear this concert. Nikolai Rimsky-Korsakov 1844 – 1908 Please sit bacK and enjoy! FEATURING DR. MICHAEL MCQUAY, PIANO Eliza R. Snow Society for the Performing and Visual Arts FEBRUARY 27, 2020, 7:30 PM For more information about becoming a member, contact: BARRUS CONCERT HALL www.byui.edu/snowsociety or call 208-496-1128/800-227-4257 was uncommon in western classical style and incorporated Orientalism: the use of distinctly eastern melodic and harmonic ideas to set their music apart from German composers of the time period. DAHO YMPHONY RCHESTRA BYU-I S O Rimsky-Korsakov first attempted this style in his Antar Symphony. -
Boston Symphony Orchestra Concert Programs, Season 35,1915-1916, Trip
Symphony No. 2, "Antar," Op. 15. Nicolas Andrejevitch Rimsky-Korsakoff (Born at Tikhvin, in the government of Novgorod, March 18,* 1844; died at Petrograd, June 21, 1908.) This symphony, composed in 1868, was first performed in Petro- grad at a concert of the Russian Musical Society on March 22, 1869. The year of performance is erroneously given as 1868 by some bi- ographers. The first performance in Germany was at Magdeburg in June, 1881, at a concert of the Allgemeiner Deutscher Musikverein Festival. " Antar" was performed in New York in the course of the season 1891-92, at one of three concerts with orchestra given by The Arion Society in Arion Hall, led by Frank Van der Stucken. The symphony is dedicated to Cesar Cui, and is scored for three flutes (one interchangeable with piccolo), two oboes (one interchange- able with English horn), two clarinets, two bassoons, four horns, two trumpets, three trombones, bass tuba, a set of three kettledrums, bass drum, tambourine, triangle, cymbals, tam-tam, harp, and the usual strings. Antar, as a historical character, was the son of an Abyssinian slave. His father was a chieftain in the tribe of Abs. He acknowledged and freed him, and Antar became famous as a poet and by his deeds. He asked his Uncle Malik for the hand of his cousin Abla. Malik accepted the offer, but, not wishing his daughter to wed the son of a slave girl, he led him into perilous adventures. Antar was slain by one of his foes about 615. According to Clement Huart's "History of Arabic Literature," this true desert poet ' Antara, son of Shaldad, "whose name was later to serve the popular story-tellers of the romance of 'Antar as the incarnate type of the virtues ascribed to the wandering paladins of the heathen tribes," was a mulatto and his lower lip was split.