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Czech Philharmonic
Czech Philharmonic Semyon Bychkov Chief Conductor and Music Director Alisa Weilerstein / Cello Thursday Evening, November 1, 2018 at 7:30 Hill Auditorium Ann Arbor 13th Performance of the 140th Annual Season 140th Annual Choral Union Series This evening’s performance is supported by Ken and Penny Fischer and by Martha Krehbiel in memory of David Krehbiel. Media partnership provided by WGTE 91.3 FM and WRCJ 90.9 FM. Special thanks to Matt Albert, Erin Burris, Anthony Elliott, Paul Feeny, and Stephen Shipps for their participation in events surrounding this evening’s performance. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this evening’s performance. The Czech Philharmonic appears by arrangement with Columbia Artists. The Czech Philharmonic’s US tour is sponsored by the Karel Komarek Family Foundation. In consideration for the artists and the audience, please refrain from the use of electronic devices during the performance. The photography, sound recording, or videotaping of this performance is prohibited. PROGRAM Antonín Dvořák Cello Concerto in b minor, Op. 104 Allegro Adagio, ma non troppo Finale: Allegro moderato Ms. Weilerstein Intermission Piotr Ilyich Tchaikovsky Serenade for Strings in C Major, Op. 48 Pezzo in forma di sonatina: Andante non troppo — Allegro moderato Valse: Moderato — Tempo di Valse Élégie: Larghetto elegiaco Finale: Andante — Allegro con spirito Tchaikovsky Francesca da Rimini: Symphonic Fantasia after Dante in e minor, Op. 32 Andante lugubre — Allegro vivo 3 A NOTE FROM THE CONDUCTOR On October 28, 2018 the Czech it remains true today. How fitting Republic celebrated 100 years of is it then, that in the very year that independence. -
C.P.E. Bach 3 Livres Sur Des Sujets Divers, Évoquant Aussi C.P.E
DOCUMENTS SUR Carl Philipp Emanuel BACH (1714-1788) (Mise à jour le 15/04/2015) Médiathèque Musicale Mahler 11 bis, rue Vézelay – F-75008 Paris – (+33) (0)1.53.89.09.10 Médiathèque Musicale Mahler – Carl Philipp Emanuel Bach Documents sur Carl Philipp Emanuel BACH Livres 3 Biographies de C.P.E. Bach 3 Livres sur des sujets divers, évoquant aussi C.P.E. Bach 4 Partitions 6 Périodiques 9 Enregistrements sonores 9 2 Médiathèque Musicale Mahler – Carl Philipp Emanuel Bach MONOGRAPHIES Sur C.P.E. Bach Bach et les siens / [textes de] S. d'Otremont, G. Duhamel, J. Chailley, M. Beaufils, R. Steglich, M. Pincherle, A. Cellier, B. de Schloezer, R. Leibowitz, H. Klotz, J. Rivière, C. Claoue, C.Marcel-Dubois, E. Marc, E. Borrel, P.J. Richard, R. Benecke,J. Witold, J.J. Brothier, H. Wirth, N. Dufourcq, J. Handschin, V. Fedorov, R. Wangermée, M. Delannoy, A. Panigel. - Paris : La Revue Internationale de Musique, 1950. - 195 p. - (BM BAC E5) Jean-Sébastien Bach et ses fils / [textes de] E. Weber, M. Petzoldt, G. Cantagrel, J. Lyon, J. Speerstra, U. Bartels, H.G. Ottenberg, D. Schulenberg, R. Klemm, M. Barbe, B. Robison ; présentation de J.C. Teboul. - Paris : Place, 2004. - 235 p. - (BM BAC E16) BACH Carl Philipp Emanuel. - Briefe von Carl Philipp Emanuel Bach an Johann Gottlob Immanuel Breitkopf und Johann Nikolaus Forkel / C.P.E. Bach ; hrsg und kommentiert von Ernst Suchalla. - Tutzing : Schneider, 1985. - 605-19 p. - (BM BAC (CPE) B3) BACH Carl Philipp Emanuel. - Carl Philip Emanuel Bach's autobiography : facsimile of the original ed. -
ART, and TATUM Through the Jazz Medium but Who Has Since Departed from Those Beginnings Into His Own Peculiar, Restless Firma Ment of Expression
44 long ago should have been placed, as a remarkably gifted technician who happened to learn his instrument ART, AND TATUM through the jazz medium but who has since departed from those beginnings into his own peculiar, restless firma ment of expression. ATUM's individuality as a musician Tis partl. y the result of his unique ex perience as a jazz performer. Since his professional emergence in 1931 he has worked almost entirely as a solo mu sician, with the exception of his vari ous sublimated trios (guitar and bass), a few studio bands, and occasional all- star recordings. In contrast, there are the remaining ninety-nine jazz pian ists who have had to work either with their own groups or as sidemen: Jess Stacy and Teddy Wilson with Benny Goodman; Billy Kyle with John Kir- by; Basie with Bennie Moten and his own band; Bud Powell with Cootie Williams and Charlie Parker, and so forth. Tatum, then, with his burgeon ing technical facilities, has been chiefly By WHITNEY BALLIETT who, a little overripe on the bough, responsible to himself. As a result, he exhibits, within the confines of his does not fit easily into the collective areas of big and small-band jazz. ART Tatum, the partly blind, fifty- materials, an extraordinary set of There was always the feeling, in fact, /% year-old pianist from Dayton, pianistic exercises that are, simpjy, in many of his recordings made in the -^•*-Ohio, who has undistinguished, demonstrations of how to play the Forties with his trios, that he was stubby fingers and a dumpy figure, has piano perfectly. -
Czech Philharmonic
Biography Czech Philharmonic “The Czech Philharmonic is among the very few orchestras that have managed to preserve a unique identity. In a music world that is increasingly globalized and uniform, the Orchestra’s noble tradition has retained authenticity of expression and sound, making it one of the world's artistic treasures. When the orchestra and Czech government asked me to succeed beloved Jiří Bělohlávek, I felt deeply honoured by the trust they were ready to place in me. There is no greater privilege for an artist than to become part of and lead an institution that shares the same values, the same commitment and the same devotion to the art of music.” Semyon Bychkov, Chief Conductor & Music Director The 125 year-old Czech Philharmonic gave its first concert – an all Dvořák programme which included the world première of his Biblical Songs, Nos. 1-5 conducted by the composer himself - in the famed Rudolfinum Hall on 4 January 1896. Acknowledged for its definitive interpretations of Czech composers, whose music the Czech Philharmonic has championed since its formation, the Orchestra is also recognised for the special relationship it has to the music of Brahms and Tchaikovsky - friends of Dvořák - and to Mahler, who gave the world première of his Symphony No. 7 with the Orchestra in 1908. The Czech Philharmonic’s extraordinary and proud history reflects both its location at the very heart of Europe and the Czech Republic’s turbulent political history, for which Smetana’s Má vlast (My Homeland) has become a potent symbol. The Orchestra gave its first full rendition of Má vlast in a brewery in Smíchov in 1901; in 1925 under Chief Conductor Václav Talich, Má vlast was the Orchestra’s first live broadcast and, five years later, the first work that the Orchestra committed to disc. -
Navigating, Coping & Cashing In
The RECORDING Navigating, Coping & Cashing In Maze November 2013 Introduction Trying to get a handle on where the recording business is headed is a little like trying to nail Jell-O to the wall. No matter what side of the business you may be on— producing, selling, distributing, even buying recordings— there is no longer a “standard operating procedure.” Hence the title of this Special Report, designed as a guide to the abundance of recording and distribution options that seem to be cropping up almost daily thanks to technology’s relentless march forward. And as each new delivery CONTENTS option takes hold—CD, download, streaming, app, flash drive, you name it—it exponentionally accelerates the next. 2 Introduction At the other end of the spectrum sits the artist, overwhelmed with choices: 4 The Distribution Maze: anybody can (and does) make a recording these days, but if an artist is not signed Bring a Compass: Part I with a record label, or doesn’t have the resources to make a vanity recording, is there still a way? As Phil Sommerich points out in his excellent overview of “The 8 The Distribution Maze: Distribution Maze,” Part I and Part II, yes, there is a way, or rather, ways. But which Bring a Compass: Part II one is the right one? Sommerich lets us in on a few of the major players, explains 11 Five Minutes, Five Questions how they each work, and the advantages and disadvantages of each. with Three Top Label Execs In “The Musical America Recording Surveys,” we confirmed that our readers are both consumers and makers of recordings. -
The Dracula Film Adaptations
DRACULA IN THE DARK DRACULA IN THE DARK The Dracula Film Adaptations JAMES CRAIG HOLTE Contributions to the Study of Science Fiction and Fantasy, Number 73 Donald Palumbo, Series Adviser GREENWOOD PRESS Westport, Connecticut • London Recent Titles in Contributions to the Study of Science Fiction and Fantasy Robbe-Grillet and the Fantastic: A Collection of Essays Virginia Harger-Grinling and Tony Chadwick, editors The Dystopian Impulse in Modern Literature: Fiction as Social Criticism M. Keith Booker The Company of Camelot: Arthurian Characters in Romance and Fantasy Charlotte Spivack and Roberta Lynne Staples Science Fiction Fandom Joe Sanders, editor Philip K. Dick: Contemporary Critical Interpretations Samuel J. Umland, editor Lord Dunsany: Master of the Anglo-Irish Imagination S. T. Joshi Modes of the Fantastic: Selected Essays from the Twelfth International Conference on the Fantastic in the Arts Robert A. Latham and Robert A. Collins, editors Functions of the Fantastic: Selected Essays from the Thirteenth International Conference on the Fantastic in the Arts Joe Sanders, editor Cosmic Engineers: A Study of Hard Science Fiction Gary Westfahl The Fantastic Sublime: Romanticism and Transcendence in Nineteenth-Century Children’s Fantasy Literature David Sandner Visions of the Fantastic: Selected Essays from the Fifteenth International Conference on the Fantastic in the Arts Allienne R. Becker, editor The Dark Fantastic: Selected Essays from the Ninth International Conference on the Fantastic in the Arts C. W. Sullivan III, editor Library of Congress Cataloging-in-Publication Data Holte, James Craig. Dracula in the dark : the Dracula film adaptations / James Craig Holte. p. cm.—(Contributions to the study of science fiction and fantasy, ISSN 0193–6875 ; no. -
Martinu° Classics Cello Concertos Cello Concertino
martinu° Classics cello concertos cello concertino raphael wallfisch cello czech philharmonic orchestra jirˇí beˇlohlávek CHAN 10547 X Bohuslav Martinů in Paris, 1925 Bohuslav Martinů (1890 – 1959) Concerto No. 1, H 196 (1930; revised 1939 and 1955)* 26:08 for Cello and Orchestra 1 I Allegro moderato 8:46 2 II Andante moderato 10:20 3 III Allegro – Andantino – Tempo I 7:00 Concerto No. 2, H 304 (1944 – 45)† 36:07 © P.B. Martinů/Lebrecht© P.B. Music & Arts Photo Library for Cello and Orchestra 4 I Moderato 13:05 5 II Andante poco moderato 14:10 6 III Allegro 8:44 7 Concertino, H 143 (1924)† 13:54 in C minor • in c-Moll • en ut mineur for Cello, Wind Instruments, Piano and Percussion Allegro TT 76:27 Raphael Wallfisch cello Czech Philharmonic Orchestra Bohumil Kotmel* • Josef Kroft† leaders Jiří Bělohlávek 3 Miloš Šafránek, in a letter that year: ‘My of great beauty and sense of peace. Either Martinů: head wasn’t in order when I re-scored it side lies a boldly angular opening movement, Cello Concertos/Concertino (originally) under too trying circumstances’ and a frenetically energetic finale with a (war clouds were gathering over Europe). He contrasting lyrical central Andantino. Concerto No. 1 for Cello and Orchestra had become reasonably well established in set about producing a third version of his Bohuslav Martinů was a prolific writer of Paris and grown far more confident about his Cello Concerto No. 1, removing both tuba and Concerto No. 2 for Cello and Orchestra concertos and concertante works. Among own creative abilities; he was also receiving piano from the orchestra but still keeping its In 1941 Martinů left Paris for New York, just these are four for solo cello, and four in which much moral support from many French otherwise larger format: ahead of the Nazi occupation. -
THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED the CRITICAL RECEPTION of INSTRUMENTAL VIRTUOSITY in EUROPE, C. 1815 A
THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED THE CRITICAL RECEPTION OF INSTRUMENTAL VIRTUOSITY IN EUROPE, c. 1815–1850 A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Zarko Cvejic August 2011 © 2011 Zarko Cvejic THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED THE CRITICAL RECEPTION OF INSTRUMENTAL VIRTUOSITY IN EUROPE, c. 1815–1850 Zarko Cvejic, Ph. D. Cornell University 2011 The purpose of this dissertation is to offer a novel reading of the steady decline that instrumental virtuosity underwent in its critical reception between c. 1815 and c. 1850, represented here by a selection of the most influential music periodicals edited in Europe at that time. In contemporary philosophy, the same period saw, on the one hand, the reconceptualization of music (especially of instrumental music) from ―pleasant nonsense‖ (Sulzer) and a merely ―agreeable art‖ (Kant) into the ―most romantic of the arts‖ (E. T. A. Hoffmann), a radically disembodied, aesthetically autonomous, and transcendent art and on the other, the growing suspicion about the tenability of the free subject of the Enlightenment. This dissertation‘s main claim is that those three developments did not merely coincide but, rather, that the changes in the aesthetics of music and the philosophy of subjectivity around 1800 made a deep impact on the contemporary critical reception of instrumental virtuosity. More precisely, it seems that instrumental virtuosity was increasingly regarded with suspicion because it was deemed incompatible with, and even threatening to, the new philosophic conception of music and via it, to the increasingly beleaguered notion of subjective freedom that music thus reconceived was meant to symbolize. -
000000018 1.Pdf
THE BOHUSLAV MARTINŮ FOUNDATION THE BOHUSLAV MARTINŮ INSTITUTE THE INTERNATIONAL MARTINŮ CIRCLE INTERVIEW WITH CONDUCTOR JIŘÍ BĚLOHLÁVEK martinůJANUARY—APRILrevue 2010 VOL.X NO. FESTIVAL IN BASEL 2009 1 MARTINŮ EVENTS IN LONDON MARTINŮ RECORDINGS ķ IN THE GERMAN RADIO ARCHIVES contents 3 Martinů Revisited Highlights 4 news —Anna Fárová Dies —Zdeněk Mácal’s Gift 5 International Martinů Circle 6 festivals —The Fruit of Diligent and Relentless Activity CHRISTINE FIVIAN 8 interview …with Jiří Bělohlávek ALEŠ BŘEZINA 9 Liturgical Mass in Prague MILAN ČERNÝ 10 News from Polička LUCIE JIRGLOVÁ UP 0121-2 11 special series —List of Martinů’s Works VIII 12 research —Martinů Treasures in the German Radio Archives GREGORY TERIAN 13 review —Martinů in Scotland GREGORY TERIAN 14 review —Czech Festival in London UP 0123-2 UP 0126-2 PATRICK LAMBERT 16 festivals —Bohuslav Martinů Days 2009 PETR VEBER 17 news / conference 18 events 19 news UP 0106-2 UP 0122-2 UP 0116-2 —New CDs, Publications ARCODIVA Jaromírova 48, 128 00 Praha 2, Czech Republic tel.: +420 223 006 934, +420 777 687 797 • fax: +420 223 006 935 e-mail: [email protected] ķ highlights IN 2010 TOO WE ARE CELEBRATING a momentous anniversary – 120 years since the birth of Bohuslav Martinů (8 December 1890, Polička). Numerous ensembles and music organisations have included Martinů works in their 2010 repertoire. We will keep you up to date on this page with the most significant events. MORE INFORMATION > www.martinu.cz > www.czechmusic.org ‹vFESTIVALS—› The 65th Prague Spring The 65th PRAGUE SPRING INTERNATIONAL MUSIC FESTIVAL International Music Festival Prague, 12 May—4 June 2010 Prague / 12 May—4 June 2010 www.festival.cz 15 May 2010, 11.00 am > Martinů Hall, Lichtenštejn Palace Scherzo, H. -
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The “Slavic Spirit” and the Opera Scene in Olomouc, 1830–19201 Jiří KOPECKÝ Department of Musicology, Faculty of Arts of Palacký University Olomouc Univerzitní 3, 771 80 Olomouc, Czech Republic E-mail: [email protected] Lenka KřUPKOVÁ Department of Musicology, Faculty of Arts of Palacký University Olomouc Univerzitní 3, 771 80 Olomouc, Czech Republic E-mail: [email protected] (Received: June 2017; accepted: September 2017) Abstract: In 1830, a new theater building was opened in the Olomouc Upper square. The stable theatrical life enriched enormously the cultural life of the city and en- couraged the development of publishing activities in the field of music journalism and publishing. The public debates on the artistic value of theater performances, on abilities of particular artists and on other subjects gained new quality after the 1860 October diploma because Czechs living in and around the traditional German town put pressure on theater directors and demanded Czech plays on the stage. The fights for the national repertoire on the stage of the Olomouc Provincial Theater are demon- strated in this essay in two contrary ways: at first, the introduction of Czech dramas into the German scene during the 1860s is discussed, then the intensive promotion of German operas during the 1880s and 1890s when internationally played Slavonic operas were performed in all theaters. The director Carl König (1862–1868) offered a contract to many artists who were able to speak both German and Czech, so he could open an independent subscription for the Czech public. The relatively tolerant atmos- phere allowed König’s company to give performances in both languages and connect the Olomouc theatrical life to the Prague Provisional Theater. -
28Apr2004p2.Pdf
144 NAXOS CATALOGUE 2004 | ALPHORN – BAROQUE ○○○○ ■ COLLECTIONS INVITATION TO THE DANCE Adam: Giselle (Acts I & II) • Delibes: Lakmé (Airs de ✦ ✦ danse) • Gounod: Faust • Ponchielli: La Gioconda ALPHORN (Dance of the Hours) • Weber: Invitation to the Dance ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Slovak RSO / Ondrej Lenárd . 8.550081 ■ ALPHORN CONCERTOS Daetwyler: Concerto for Alphorn and Orchestra • ■ RUSSIAN BALLET FAVOURITES Dialogue avec la nature for Alphorn, Piccolo and Glazunov: Raymonda (Grande valse–Pizzicato–Reprise Orchestra • Farkas: Concertino Rustico • L. Mozart: de la valse / Prélude et La Romanesca / Scène mimique / Sinfonia Pastorella Grand adagio / Grand pas espagnol) • Glière: The Red Jozsef Molnar, Alphorn / Capella Istropolitana / Slovak PO / Poppy (Coolies’ Dance / Phoenix–Adagio / Dance of the Urs Schneider . 8.555978 Chinese Women / Russian Sailors’ Dance) Khachaturian: Gayne (Sabre Dance) • Masquerade ✦ AMERICAN CLASSICS ✦ (Waltz) • Spartacus (Adagio of Spartacus and Phrygia) Prokofiev: Romeo and Juliet (Morning Dance / Masks / # DREAMER Dance of the Knights / Gavotte / Balcony Scene / A Portrait of Langston Hughes Romeo’s Variation / Love Dance / Act II Finale) Berger: Four Songs of Langston Hughes: Carolina Cabin Shostakovich: Age of Gold (Polka) •␣ Bonds: The Negro Speaks of Rivers • Three Dream Various artists . 8.554063 Portraits: Minstrel Man •␣ Burleigh: Lovely, Dark and Lonely One •␣ Davison: Fields of Wonder: In Time of ✦ ✦ Silver Rain •␣ Gordon: Genius Child: My People • BAROQUE Hughes: Evil • Madam and the Census Taker • My ■ BAROQUE FAVOURITES People • Negro • Sunday Morning Prophecy • Still Here J.S. Bach: ‘In dulci jubilo’, BWV 729 • ‘Nun komm, der •␣ Sylvester's Dying Bed • The Weary Blues •␣ Musto: Heiden Heiland’, BWV 659 • ‘O Haupt voll Blut und Shadow of the Blues: Island & Litany •␣ Owens: Heart on Wunden’ • Pastorale, BWV 590 • ‘Wachet auf’ (Cantata, the Wall: Heart •␣ Price: Song to the Dark Virgin BWV 140, No. -
CM 2-10.Indd
czech music quarterly Jan Mikušek The Bartered Bride Jazz of the 50s and 60s 2 0 1 0 2 | CM 2-10 obálka strany.indd 1 21.6.2010 14:51:46 International Music Festival Radio Autumn 12|10>16|10>2010 www.radioautumn.cz 12| 10| Tue 7.30 pm| Rudolfi num - Dvořák Hall 15| 10| Fri 7.30 pm| Bethlehem Chapel PRAGUE PREMIERS Contemporary Music Showcase Ferenc Liszt Concert of Laureates of Concertino Praga International Music Competition 2010 Hungarian Rhapsody No. 2 14| 10| Thu 7.30 pm| Martinů Hall Fryderik Chopin | Piano Concerto No. 2 Antonín Rejcha | Overture in D Major Béla Bartók Antonio Vivaldi | Guitar concerto Pavel Zemek (Novák) Dance Suite for orchestra Johann Sebastian Bach Concerto (Consonance) for Cello and Chamber Orchestra Maurice Ravel | La Valse Violin concerto in A minorr Wojciech Widłak | Shortly „on Line“ Wolfgang Amadeus Mozart Aleksander Nowak PRAGUE RADIO SYMPHONY Piano Concerto No. 23 Dark Haired Girl in a Black Sports Car ORCHESTRA Joseph Haydn | Symphony No. 45 „Farewell“ Tomáš Netopil | conductor Raminta Šerkšnytė Fairy Tale about the Little Prince Alexander Ghindin | piano COLLEGIUM OF PRAGUE RADIO SYMPHONY PLAYERS Erkki-Sven Tüür | Symphony No. 8 Tickets prices Alfonso Scarano | conductor 690, 490, 290, 90 CZK Veronika Hrdová | guitar CZECH CHAMBER PHILHARMONIC Julie Svěcená | violins ORCHESTRA PARDUBICE 13| 10| Wed 7.30 pm| Rudolfi num - Dvořák Hall Anastasia Vorotnaya | piano Marko Ivanovič | conductor Tickets prices Tickets prices Bedřich Smetana 290, 190, 90 CZK 150, 100 CZK Šárka, symphonic poem Witold Lutoslawski | Cello concerto 16| 10| Sat 7.00 pm| Rudolfi num - Dvořák Hall 15| 10| Fri 7.00 pm| Martinů Hall Zygmunt Noskowski Wojciech Kilar | Orawa for string orchestra Eye of the Sea, symphonic poem Wojciech Kilar Ignacy Jan Paderewski Leoš Janáček Ricordanza for string orcherstra Piano Concerto in A Minor Taras Bulba, rhapsody for orchestra Anatolius Šenderovas Antonín Dvořák | Symphony No.