Breaking the Silence 28Th Concert Season 2021•2022
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Network Notebook
Network Notebook Fall Quarter 2018 (October - December) 1 A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more. -
Princely Experience at Mandarin Oriental, Prague
PRINCELY EXPERIENCE AT MANDARIN ORIENTAL, PRAGUE Hong Kong, 22 June 2017 – Mandarin Oriental, Prague is offering guests an opportunity to experience Prague like a prince. Guests booking the Lobkowicz Princely Experience package can stay in the hotel’s magnificent Lobkowicz Suite and take a tour of nearby Lobkowicz Palace, which forms part of Prague Castle, where they can enjoy a glass of Prosecco on the balcony overlooking the Golden City. Other treats include receiving a lithograph facsimile from Prague’s famous Lobkowicz art collection to take home with them. Exuding history, the Lobkowicz Suite features an exclusive selection of lithograph facsimiles from The Lobkowicz Collections, sometimes referred to as the “Princely Collections”, a privately-owned set of world famous artworks amassed by the Lobkowicz family over seven centuries. Located in the hotel’s Baroque wing, the sumptuous suite features vaulted ceiling, tall windows, original parquet floors and other original architectural features. Headed by a hereditary prince, the Lobkowicz family is one of the Czech Republic’s oldest noble lines. Five per cent of proceeds from suite bookings go to the Lobkowicz Foundation, which conserves and restores the palace’s artworks. The Lobkowicz Princely Experience package is available all year-round, and includes: Daily breakfast served in the comfort of the Lobkowicz Suite Lobkowicz treats, including chocolates and a personal note from Alexandra and William Lobkowicz Tour of the Lobkowicz Collections at Prague Castle, with a glass of Prosecco on the balcony overlooking Prague A lithograph facsimile from the Lobkowicz Collections to take home as a keepsake Price includes 5% contribution to the Lobkowicz Foundation Package rates start from EUR 965 per night for a minimum of two nights’ stay, including 15% VAT. -
PROKOFIEV Hannu Lintu Piano Concertos Nos
Olli Mustonen Finnish Radio Symphony Orchestra PROKOFIEV Hannu Lintu Piano Concertos Nos. 2 & 5 SERGEI PROKOFIEV (1891–1953) Piano Concerto No. 2 in G minor, Op. 16 33:55 1 I Andantino 11:57 2 II Scherzo. Vivace 2:59 3 III Intermezzo. Allegro moderato 7:04 4 IV Finale. Allegro tempestoso 11:55 Piano Concerto No. 5 in G major, Op. 55 23:43 5 I Allegro con brio 5:15 6 II Moderato ben accentuato 4:02 7 III Toccata. Allegro con fuoco 1:58 8 IV Larghetto 6:27 9 V Vivo 6:01 OLLI MUSTONEN, piano Finnish Radio Symphony Orchestra HANNU LINTU, conductor 3 Prokofiev Piano Concertos Nos. 2 and 5 Honestly frank, or just plain rude? Prokofiev was renowned for his uncompromisingly direct behaviour. On one occasion he berated a famous singer saying – within the hearing of her many admirers – that she understood nothing of his music. Seeing her eyes brim, he mercilessly sharpened his tongue and humiliated her still further: ‘All of you women take refuge in tears instead of listening to what one has to say and learning how to correct your faults.’ One of Prokofiev’s long-suffering friends in France, fellow Russian émigré Nicolas Nabokov, sought to explain the composer’s boorishness by saying ‘Prokofiev, by nature, cannot tell a lie. He cannot even say the most conventional lie, such as “This is a charming piece”, when he believes the piece has no charm. […] On the contrary he would say exactly what he thought of it and discuss at great length its faults and its qualities and give valuable suggestions as to how to improve the piece.’ Nabokov said that for anyone with the resilience to withstand Prokofiev’s gruff manner and biting sarcasm he was an invaluable friend. -
Prezentace Aplikace Powerpoint
PROPOSAL FOR Ms. Helena Novakova US trip, 40 pax May, 2018 PRAGUE/Czech Republic About destination PRAGUE – THE GOLDEN CITY About destination PRAGUE – THE GOLDEN CITY About destination PRAGUE – THE GOLDEN CITY ‘Prague – the golden city.’ There can hardly be another town in the whole of central Europe that has been so often and so variously praised by the figures from all spheres of the arts. Rainer Maria Rilke described his birthplace, as “a vast and rich of epic of architecture”, and Goethe labeled it “the most beautiful jewel in the Bohemian crown”. The 19th-century Czech writer and journalist Jan Neruda, whose characteristically humorous literary depictions of Prague are still popular with readers today, claimed that “there is no other town to rival Prague in beauty”. The city of 100 spires, “Golden Prague” a jewel in the heart of the new Europe. Culture, tradition and a lively atmosphere present themselves in beautifully restored cultural monuments and former aristocratic palaces. The awe-inspiring panorama of the castle and St. Vitus Cathedral capture the heart of every visitor, a walk across Charles Bridge is a must… About destination CZECH REPUBLIC – BASIC FACTS Official title Czech Republic (Česká republika) Area 78,864 square kilometres Neighbouring countries Germany, Poland, Austria and Slovakia Population 10,300,000 inhabitants Capital Prague (1.2 million inhabitants) Other major cities Brno (388,596), Ostrava (325,827), Pilsen (171,908), Olomouc (106,278) Administrative language Czech Religion Predominantly Roman Catholic (39.2 %), Protestant (4.6%), Orthodox (3%), Atheist (39.8%) Political system Parliamentary democracy Currency Czech crown - CZK (Kč), 1 Kč = 100 h (haléřů) coins: 1, 2, 5, 10, 20 and 50 Kč banknotes: 100, 200, 500, 1000, 2000 and 5000 Kč About destination CZECH REPUBLIC – BASIC FACTS Time zone Central European Time (CET), from April to October - summer time (GMT + 1, GMT + 2) Climate temperate, four seasons, a mix of ocean and inland climate, changeable winters, warm summers. -
Gardiner's Schumann
Sunday 11 March 2018 7–9pm Barbican Hall LSO SEASON CONCERT GARDINER’S SCHUMANN Schumann Overture: Genoveva Berlioz Les nuits d’été Interval Schumann Symphony No 2 SCHUMANN Sir John Eliot Gardiner conductor Ann Hallenberg mezzo-soprano Recommended by Classic FM Streamed live on YouTube and medici.tv Welcome LSO News On Our Blog This evening we hear Schumann’s works THANK YOU TO THE LSO GUARDIANS WATCH: alongside a set of orchestral songs by another WHY IS THE ORCHESTRA STANDING? quintessentially Romantic composer – Berlioz. Tonight we welcome the LSO Guardians, and It is a great pleasure to welcome soloist extend our sincere thanks to them for their This evening’s performance of Schumann’s Ann Hallenberg, who makes her debut with commitment to the Orchestra. LSO Guardians Second Symphony will be performed with the Orchestra this evening in Les nuits d’été. are those who have pledged to remember the members of the Orchestra standing up. LSO in their Will. In making this meaningful Watch as Sir John Eliot Gardiner explains I would like to take this opportunity to commitment, they are helping to secure why this is the case. thank our media partners, medici.tv, who the future of the Orchestra, ensuring that are broadcasting tonight’s concert live, our world-class artistic programme and youtube.com/lso and to Classic FM, who have recommended pioneering education and community A warm welcome to this evening’s LSO tonight’s concert to their listeners. The projects will thrive for years to come. concert at the Barbican, as we are joined by performance will also be streamed live on WELCOME TO TONIGHT’S GROUPS one of the Orchestra’s regular collaborators, the LSO’s YouTube channel, where it will lso.co.uk/legacies Sir John Eliot Gardiner. -
11 NOVEMBER WEDNESDAY SERIES 5 Helsinki Music Centre at 19
11 NOVEMBER WEDNESDAY SERIES 5 Helsinki Music Centre at 19 Olli Mustonen, piano Sergei Prokofiev: Piano Sonata No. 5 in C Major, Op. 38 15 min (original version) I Allegro tranquillo II Andantino III Un poco allegretto Sergei Prokofiev: Piano Sonata No. 8 in B-flat Major, 29 min Op. 84 I Andante dolce II Andante sognando III Vivace INTERVAL 20 min Sergei Prokofiev: Piano Sonata No. 1 in F Minor, Op. 1 8 min Allegro Sergei Prokofiev: Piano Sonata No. 3 in A Minor, Op. 28 7 min Allegro tempestoso Sergei Prokofiev: Piano Sonata No. 7 in B-flat Major, 18 min Op. 83 I Allegro inquieto II Andante caloroso III Precipitato Interval at about 19.55. The concert ends at about 21.10. Broadcast live on Yle Radio 1 and online at yle.fi/rso. 1 SERGEI PROKOFIEV The sonata begins with an Allegro tempestoso (“tempestuous”) that (1891–1953): PIANO charges along like the cavalry; such ac- SONATAS tion-packed Allegros would in fact be- come one of Prokofiev’s trademarks in As a student in the early years of last his works for the piano. The elegant century, Sergei Prokofiev composed a second theme (Moderato) makes only a host of piano sonatas, some of which fleeting appearance before the march- survived after subsequent revision. His like Allegro comes storming back. The Piano Sonata No. 1 dates from 1909 second time round, the lyrical second and was based on a sonata he had theme has increasingly ethereal aspira- sketched during the family’s summer tions and works up to a splendid dra- vacation in Sontsovka a couple of years matic climax. -
The Environmental Mining Limits in the North Bohemian Lignite Region
The environmental mining limits in the North Bohemian Lignite Region …need to be preserved permanently and the remaining settlements, landscape and population protected against further devastation or Let’s recreate a landscape of homes from a landscape of mines Ing. arch. Martin Říha, Ing. Jaroslav Stoklasa, CSc. Ing. Marie Lafarová Ing. Ivan Dejmal RNDr. Jan Marek, CSc. Petr Pakosta Ing. Arch. Karel Beránek 1 Photo (original version) © Ibra Ibrahimovič Development and implementation of the original version: Typoexpedice, Karel Čapek Originally published by Společnost pro krajinu, Kamenická 45, Prague 7 in 2005 Updated and expanded by Karel Beránek in 2011 2 3 Černice Jezeři Chateau Arboretum Area of 3 million m3 landslides in June 2005 Czechoslovak Army Mine 4 5 INTRODUCTION Martin Říha Jaroslav Stoklasa, Marie Lafarová, Jan Marek, Petr Pakosta The Czechoslovak Communist Party and government strategies of the 1950s and 60s emphasised the development of heavy industry and energy, dependent almost exclusively on brown coal. The largest deposits of coal are located in the basins of the foothills of the Ore Mountains, at Sokolov, Chomutov, Most and Teplice. These areas were developed exclusively on the basis of coal mining at the expense of other economic activities, the natural environment, the existing built environment, social structures and public health. Everything had to make way for coal mining as coal was considered the “life blood of industry”. Mining executives, mining projection auxiliary operations, and especially Communist party functionaries were rewarded for ever increasing the quantities of coal mined and the excavation and relocation of as much overburden as possible. When I began in 1979 as an officer of government of the regional Regional National Committee (KNV) for North Bohemia in Ústí nad Labem, the craze for coal was in full swing, as villages, one after another, were swallowed up. -
Unit 7 Romantic Era Notes.Pdf
The Romantic Era 1820-1900 1 Historical Themes Science Nationalism Art 2 Science Increased role of science in defining how people saw life Charles Darwin-The Origin of the Species Freud 3 Nationalism Rise of European nationalism Napoleonic ideas created patriotic fervor Many revolutions and attempts at revolutions. Many areas of Europe (especially Italy and Central Europe) struggled to free themselves from foreign control 4 Art Art came to be appreciated for its aesthetic worth Program-music that serves an extra-musical purpose Absolute-music for the sake and beauty of the music itself 5 Musical Context Increased interest in nature and the supernatural The natural world was considered a source of mysterious powers. Romantic composers gravitated toward supernatural texts and stories 6 Listening #1 Berlioz: Symphonie Fantastique (4th mvmt) Pg 323-325 CD 5/30 https://www.youtube.com/watch?v=QwCuFaq2L3U 7 The Rise of Program Music Music began to be used to tell stories, or to imply meaning beyond the purely musical. Composers found ways to make their musical ideas represent people, things, and dramatic situations as well as emotional states and even philosophical ideas. 8 Art Forms Close relationship Literature among all the art Shakespeare forms Poe Bronte Composers drew Drama inspiration from other Schiller fine arts Hugo Art Goya Constable Delacroix 9 Nationalism and Exoticism Composers used music as a tool for highlighting national identity. Instrumental composers (such as Bedrich Smetana) made reference to folk music and national images Operatic composers (such as Giuseppe Verdi) set stories with strong patriotic undercurrents. Composers took an interest in the music of various ethnic groups and incorporated it into their own music. -
The Nineteenth Century, Part 2: Nationalism and Ideology
A-R Online Music Anthology www.armusicanthology.com Content Guide The Nineteenth Century, Part 2: Nationalism and Ideology Joseph E. Jones is Associate Professor at Texas A&M by Joseph E. Jones and Sarah Marie Lucas University-Kingsville. His research has focused on German opera, especially the collaborations of Strauss Texas A&M University-Kingsville and Hofmannsthal, and Viennese cultural history. He co- edited Richard Strauss in Context (Cambridge, 2020) Assigned Readings and directs a study abroad program in Austria. Core Survey Sarah Marie Lucas is Lecturer of Music History, Music Historical and Analytical Perspectives Theory, and Ear Training at Texas A&M University- Composer Biographies Kingsville. Her research interests include reception and Supplementary Readings performance history, as well as sketch studies, particularly relating to Béla Bartók and his Summary List collaborations with the conductor Fritz Reiner. Her work at the Budapest Bartók Archives was supported by a Genres to Understand Fulbright grant. Musical Terms to Understand Contextual Terms, Figures, and Events Main Concepts Scores and Recordings Exercises This document is for authorized use only. Unauthorized copying or posting is an infringement of copyright. If you have questions about using this guide, please contact us: http://www.armusicanthology.com/anthology/Contact.aspx Content Guide: The Nineteenth Century, Part 2 (Nationalism and Ideology) 1 ______________________________________________________________________________ Content Guide The Nineteenth Century, -
Herminie a Performer's Guide to Hector Berlioz's Prix De Rome Cantata Rosella Lucille Ewing Louisiana State University and Agricultural and Mechanical College
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2009 Herminie a performer's guide to Hector Berlioz's Prix de Rome cantata Rosella Lucille Ewing Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Ewing, Rosella Lucille, "Herminie a performer's guide to Hector Berlioz's Prix de Rome cantata" (2009). LSU Doctoral Dissertations. 2043. https://digitalcommons.lsu.edu/gradschool_dissertations/2043 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. HERMINIE A PERFORMER’S GUIDE TO HECTOR BERLIOZ’S PRIX DE ROME CANTATA A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music and Dramatic Arts by Rosella Ewing B.A. The University of the South, 1997 M.M. Westminster Choir College of Rider University, 1999 December 2009 DEDICATION I wish to dedicate this document and my Lecture-Recital to my parents, Ward and Jenny. Without their unfailing love, support, and nagging, this degree and my career would never have been possible. I also wish to dedicate this document to my beloved teacher, Patricia O’Neill. You are my mentor, my guide, my Yoda; you are the voice in my head helping me be a better teacher and singer. -
Hector Berlioz Harold in Italy, Op. 16
PROGRAM NOTES by Phillip Huscher Hector Berlioz Born December 11, 1803, Côte-Saint-André, France. Died March 8, 1869, Paris, France. Harold in Italy, Op. 16 Berlioz composed Harold in Italy in 1834. The first performance was given on November 23 of that year in Paris. The score calls for solo viola and an orchestra consisting of two flutes and piccolo, two oboes and english horn, two clarinets, four bassoons, four horns, two cornets and two trumpets, three trombones and tuba, timpani, snare drum, triangle, cymbals, harp, and strings. Performance time is approximately forty-two minutes. The Chicago Symphony Orchestra's first performances of Berlioz's Harold in Italy were given on subscription concerts at the Auditorium Theatre on March 11 and 12, 1892 with August Junker as soloist and Theodore Thomas conducting. At one of the first performances of his blockbuster Symphonie fantastique, Hector Berlioz noticed that a man stayed behind in the empty concert hall after the ovations had ended and the musicians were packing up to go home. He was, as Berlioz recalls in his Memoirs, "a man with long hair and piercing eyes and a strange, ravaged countenance, a creature haunted by genius, a Titan among giants, whom I had never seen before, the first sight of whom stirred me to the depths." The man stopped Berlioz in the hallway, grabbed his hand, and "uttered glowing eulogies that thrilled and moved me to the depths. It was Paganini." Paganini, is, of course, Italian-born Nicolò Paganini, among the first of music's one-name sensations. In 1833, the year he met Berlioz, Paganini was one of music's greatest celebrities, known for the almost superhuman virtuosity of his violin playing as well as his charismatic, commanding presence. -
Julius Stockhausen's Early Performances of Franz Schubert's
19TH CENTURY MUSIC Julius Stockhausen’s Early Performances of Franz Schubert’s Die schöne Müllerin NATASHA LOGES Franz Schubert’s huge song cycle Die schöne mances of Die schöne Müllerin by the baritone Müllerin, D. 795, is a staple of recital halls and Julius Stockhausen (1826–1906), as well as the record collections, currently available in no responses of his audiences, collaborators, and fewer than 125 recordings as an uninterrupted critics.3 The circumstances surrounding the first sequence of twenty songs.1 In the liner notes of complete performance in Vienna’s Musikverein one recent release, the tenor Robert Murray on 4 May 1856, more than three decades after observes that the hour-long work requires con- the cycle was composed in 1823, will be traced.4 siderable stamina in comparison with operatic Subsequent performances by Stockhausen will roles.2 Although Murray does not comment on the demands the work makes on its audience, this is surely also a consideration, and certainly 3For an account of early Schubert song performance in a one that shaped the early performance history variety of public and private contexts, see Eric Van Tassel, of the work. This article offers a detailed con- “‘Something Utterly New:’ Listening to Schubert Lieder. sideration of the pioneering complete perfor- 1: Vogl and the Declamatory Style,” Early Music 25/4 (November 1997): 702–14. A general history of the Lied in concert focusing on the late nineteenth century is in Ed- ward F. Kravitt, “The Lied in 19th-Century Concert Life,” This study was generously funded by the British Academy Journal of the American Musicological Society 18 (1965): in 2015–16.