Program Notes by Dr

Total Page:16

File Type:pdf, Size:1020Kb

Program Notes by Dr Pittsburgh Symphony Orchestra 2019-2020 Mellon Grand Classics Season March 27 and 29, 2020 JUKKA-PEKKA SARASTE, CONDUCTOR RANDOLPH KELLY, VIOLA ZOLTÁN KODÁLY Dances of Galánta BÉLA BARTÓK (cmpl. Serly) Concerto for Viola and Orchestra I. Moderato II. Lento parlando — Andante religioso — Allegretto III. Allegro vivace Mr. Kelly Intermission IGOR STRAVINSKY Petrushka, Ballet in Four Tableaux (Original 1911 Version) I. The Shrove-Tide Fair II. Petrushka’s Room III. The Moor’s Room IV. The Shrove-Tide Fair Towards Evening March 27-29, 2020, page 1 PROGRAM NOTES BY DR. RICHARD E. RODDA ZOLTÁN KODÁLY Dances of Galánta (1933) Zoltan Kodály was born in Kecskemét, Hungary on December 16, 1882, and died in Budapest on March 6, 1967. He composed Dances of Galánta Budapest Philharmonic Orchestra’s 80th anniversary in 1933, and it was premiered by the orchestra with conductor Ernst von Dohnányi on October 10, 1933. The Pittsburgh Symphony first performed Dances of Galánta at Syria Mosque with Music Director Fritz Reiner in January 1944, and most recently performed it with conductor Hugh Wolff in January 1991. The score calls for woodwinds in pairs plus piccolo, four horns, two trumpets, timpani, percussion and strings. Performance time: approximately 15 minutes In 1905, when Kodály was working toward his doctoral degree at Budapest University, he found it necessary to leave town to do some research for his thesis — he needed information on the stanzaic structure of Hungarian folksong — and returned to his childhood home to collect it. Between 1885 and 1892 (ages three to ten), Kodály lived in Galánta, a small market town near the Austrian border, where his father was the local stationmaster for the national railway and where he had first heard the folksongs and Gypsy bands that were among his most lasting and influential musical impressions. When he returned there in 1905 on what proved to be the first of many folk music hunts throughout Eastern Europe, he went to old friends, servants and neighbors and asked them to sing again the songs he had loved as a boy. He accumulated over 150 examples, more than enough material to complete his thesis, and returned to Budapest. During the next thirty years, Kodály not only continued to collect indigenous music, but he also devised a system of music education based on Hungarian folk song and consistently utilized its stylistic components in his compositions. When the Budapest Philharmonic Orchestra commissioned him to write a work for its 80th anniversary, Kodály dipped once again into his inexhaustible folk treasury for melodic material, turning to some books of Hungarian dances published in Vienna around 1800 that contained music “after several Gypsies of Galánta.” The Dances of Galánta follow a structure of alternating slow and fast sections. The work’s slow introduction consists of a series of instrumental solos (played in turn by cello, horn, oboe and clarinet) separated by rushing string figures. The first dance, a slow one begun by the solo clarinet, displays a restrained Gypsy pathos in its snapping rhythmic figures. The quicker second dance, initiated by the solo flute, is based on a melody circling around a single pitch in halting rhythms. The first dance returns in the full orchestra as a bridge to the next number in the series, a spirited tune with engaging syncopations heard first in the oboe. Another brief recall of the opening dance leads to the finale, a brilliant whirlwind of music that is twice broken off in its headlong rush. The first interruption is for a cheeky little tune insouciantly paraded by the clarinet and the other woodwinds. The second interruption is for a final reminiscence of the opening dance, which dissolves into a short clarinet cadenza. The closing section of the Dances of Galánta, electric in its rhythmic intensity and gleaming orchestration, is music of stomping feet, whirling bodies and abundant, youthful enthusiasm. BÉLA BARTÓK Concerto for Viola and Orchestra (1945; completed by Tibor Serly in 1946-1949) Béla Bartók was born in Nagyszentmiklós, Hungary on March 25, 1881, and died in New York City on September 26, 1945. He composed his Concerto for Viola in Orchestra in 1945, and it was completed by his student Tibor Serly in 1946-1949 after Bartók’s death following a long battle with leukemia. The concerto eventually premiered by the Minneapolis Symphony Orchestra with conductor Antal Dorati and violist and commissioner William Primrose on December 2, 1949. The Pittsburgh Symphony first performed the concerto with Music Director André Previn and soloist March 27-29, 2020, page 2 Randolph Kelly in May 1979, and most recently performed it with conductor Semyon Bychkov and Mr. Kelly in March 2005. The score calls for piccolo, three flutes, two oboes, two clarinets, two bassoons, three horns, three trumpets, two trombones, tuba, timpani, percussion and strings. Performance time: approximately 23 minutes The last months of Bartók’s life were ones of alarmingly deteriorating health and strong, often conflicting emotions. The leukemia that had sapped his strength during his entire residence in the United States, beginning in 1940, finally proved fatal on September 26th; the year 1945 was a disheartening round of hospital stays, rest cures and confinement at home in his tiny 57th Street apartment in New York City. There was, however, some cheering news. Germany surrendered unconditionally on May 7th, freeing his beloved Hungarian homeland and allowing him to be restored to all the official posts he had resigned when he fled Budapest at the beginning of the World War II. He was even nominated as a member of the new Hungarian parliament. Following the successful premiere of the Concerto for Orchestra in Boston in December 1944, his music, which had suffered shameful neglect throughout his American residence, was finally being heard with some frequency. He was also receiving important commissions. Ralph Hawkes, of the publishing firm Boosey & Hawkes, ordered from Bartók in December 1944 a seventh string quartet (never realized), and two months later, at the instigation of Hawkes, the eminent Scottish violist William Primrose requested a concerto for his instrument. Another concerto commission, from the duo-pianists Ethel Bartlett and Rae Robinson, presented him with more work than his failing health would allow. The two-piano concerto was not written, but it may have been the catalyst for the Third Piano Concerto, the last work that Bartók completed. Bartók began the Viola Concerto soon after he received the commission from Primrose in February 1945. He worked deliberately but haltingly on the score, writing much of it in a cryptic notational shorthand that he devised to maximize his effort when he was well enough to compose. Early in the summer, he left the city for the quiet of Saranac Lake, where he had composed the Concerto for Orchestra a year earlier. (Bartók had to refuse Yehudi Menuhin’s offer to spend the summer with him in California when his physician advised against making the long trip to the West Coast). He put aside the Viola Concerto to write the Third Piano Concerto, which, given the difficult financial situation he knew would be the lot of his wife, the pianist Ditta Pásztory, after his imminent death, he viewed as a legacy to help insure her future. Throughout the summer he worked simultaneously on both Concertos, though the one for piano — the one for Ditta — received more attention and was finished in conventional notation, except for the closing page, before he died. The Viola Concerto, however, was left in quite a different state of completion. Less than a month before his death, back in New York, Bartók wrote to Primrose, “I am very glad to be able to tell you that your Viola Concerto is ready in draft, so that only the score has to be written, which means purely mechanical work, so to speak. If nothing happens, I can be through in 5 or 6 weeks, that is, I can send you a copy of the orchestral score in the second half of October. Many interesting problems arose in composing this work. The orchestration will be rather transparent, more transparent than in the Violin Concerto. Also the somber, more masculine character of your instrument exerted some influence on the general character of the work. The highest note I use is ‘A,’ but I exploit rather frequently the lower registers. It is conceived in a rather virtuoso style. Most probably some passages will prove to be uncomfortable or unplayable. These we will discuss later, according to your observations.” Bartók’s disciple Tibor Serly (pronounced SHARE-lee) continued the story of the Viola Concerto in an article that appeared in The New York Times on December 11, 1949: “On the evening of September 21, 1945, when I last talked with Béla Bartók, he was lying in bed, quite ill. Nevertheless, on and around his bed were sheets of score and sketch manuscript papers. He was working feverishly to complete the scoring of the last few bars of his Third Piano Concerto. While discussing the Concerto with him, my attention was drawn to a night table beside his bed where I noticed, underneath several half-empty medicine bottles, some additional pages in score, seemingly not related to the Piano Concerto. Pointing to these manuscript sheets, I inquired about the Viola Concerto. Bartók nodded wearily toward the night table, saying: ‘Yes, that is the Viola Concerto.’ To my question as to whether it was completed, his reply was, ‘Yes and no.’ He explained that while in the sketches the work was by and large finished, the details and scoring had not yet been worked out. The following day he was taken to the hospital, where he died on September 26th….
Recommended publications
  • PROGRAM NOTES Witold Lutosławski Concerto for Orchestra
    PROGRAM NOTES by Phillip Huscher Witold Lutosławski Born January 25, 1913, Warsaw, Poland. Died February 7, 1994, Warsaw, Poland. Concerto for Orchestra Lutosławski began this work in 1950 and completed it in 1954. The first performance was given on November 26, 1954, in Warsaw. The score calls for three flutes and two piccolos, three oboes and english horn, three clarinets and bass clarinet, three bassoons and contrabassoon, four horns, four trumpets, four trombones and tuba, timpani, snare drum, side drums, tenor drum, bass drum, cymbals, tam-tam, tambourine, xylophone, bells, celesta, two harps, piano, and strings. Performance time is approximately twenty-eight minutes. The Chicago Symphony Orchestra's first subscription concert performances of Lutosławski's Concerto for Orchestra were given at Orchestra Hall on February 6, 7, and 8, 1964, with Paul Kletzki conducting. Our most recent subscription concert performance was given November 7, 8, and 9, 2002, with Christoph von Dohnányi conducting. The Orchestra has performed this concerto at the Ravinia Festival only once, on June 28, 1970, with Seiji Ozawa conducting. For the record The Orchestra recorded Lutosławski's Concerto for Orchestra in 1970 under Seiji Ozawa for Angel, and in 1992 under Daniel Barenboim for Erato. To most musicians today, as to Witold Lutosławski in 1954, the title “concerto for orchestra” suggests Béla Bartók's landmark 1943 score of that name. Bartók's is the most celebrated, but it's neither the first nor the last work with this title. Paul Hindemith, Walter Piston, and Zoltán Kodály all wrote concertos for orchestra before Bartók, and Witold Lutosławski, Michael Tippett, Elliott Carter, and Shulamit Ran are among those who have done so after his famous example.
    [Show full text]
  • Pastiche for Piano on Kaikhosru Shapurji Sorabji Op 6 Sheet Music
    Pastiche For Piano On Kaikhosru Shapurji Sorabji Op 6 Sheet Music Download pastiche for piano on kaikhosru shapurji sorabji op 6 sheet music pdf now available in our library. We give you 4 pages partial preview of pastiche for piano on kaikhosru shapurji sorabji op 6 sheet music that you can try for free. This music notes has been read 2619 times and last read at 2021-09-28 10:12:03. In order to continue read the entire sheet music of pastiche for piano on kaikhosru shapurji sorabji op 6 you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Piano Method, Piano Solo Ensemble: Mixed Level: Advanced [ READ SHEET MUSIC ] Other Sheet Music Opus Calidoscopium In Memory Of Sorabji Op 2 Opus Calidoscopium In Memory Of Sorabji Op 2 sheet music has been read 3180 times. Opus calidoscopium in memory of sorabji op 2 arrangement is for Advanced level. The music notes has 4 preview and last read at 2021-09-26 19:02:59. [ Read More ] Pastiche 2017 Pastiche 2017 sheet music has been read 2663 times. Pastiche 2017 arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-28 02:51:33. [ Read More ] Virtuoso Etude No 4 In Memory Of Sorabji Nocturne Op 1 Virtuoso Etude No 4 In Memory Of Sorabji Nocturne Op 1 sheet music has been read 2729 times. Virtuoso etude no 4 in memory of sorabji nocturne op 1 arrangement is for Advanced level. The music notes has 4 preview and last read at 2021-09-28 05:00:02.
    [Show full text]
  • Heralding a New Enlightenment
    Peculiarities of Clarinet Concertos Form-Building in the Second Half of the 20th Century and the Beginning of the 21st Century Marina Chernaya and Yu Zhao* Abstract: The article deals with clarinet concertos composed in the 20th– 21st centuries. Many different works have been created, either in one or few parts; the longest concert that is mentioned has seven parts (by K. Meyer, 2000). Most of the concertos have 3 parts and the fast-slowly-fast kind of structure connected with the Italian overture; sometimes, the scheme has variants. Our question is: How does the concerto genre function during this period? To answer, we had to search many musical compositions. Sometimes the clarinet is accompanied by orchestra, other times it is surrounded by an ensemble of instruments. More than 100 concertos were found and analyzed. Examples of such concertos were written by C. Nielsen, P. Boulez, J. Adams, C. Debussy, M. Arnold, A. Copland, P. Hindemith, I. Stravinsky, S. Vassilenko, and the attention in the article is focused on them. A special complete analysis is made as regards “Domaines” for clarinet and 21 instruments divided in 6 groups, by Pierre Boulez that had a great role for the concert routine, based on the “aleatoric” principle. The conclusions underline the significant development of the clarinet concerto genre in the 20th -21st centuries, the high diversity of the compositions’ structures, the considerable expressiveness and technicality together with the soloist’s part in the expressive concertizing (as a rule). Further studies suggest the analysis of stylistic and structural peculiarities of the found compositions that are apparently to win their popularity with performers and listeners.
    [Show full text]
  • Toward a Lexicon for the Style Hongrois Jonathan D
    University of Northern Colorado Scholarship & Creative Works @ Digital UNC School of Music Faculty Publications School of Music Spring 1991 Toward a Lexicon for the Style hongrois Jonathan D. Bellman Follow this and additional works at: https://digscholarship.unco.edu/musicfacpub Part of the Musicology Commons Recommended Citation Bellman, Jonathan D., "Toward a Lexicon for the Style hongrois" (1991). School of Music Faculty Publications. 2. https://digscholarship.unco.edu/musicfacpub/2 This Article is brought to you for free and open access by the School of Music at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in School of Music Faculty Publications by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. Toward a Lexicon for the Style hongrois Author(s): Jonathan Bellman Source: The Journal of Musicology, Vol. 9, No. 2 (Spring, 1991), pp. 214-237 Published by: University of California Press Stable URL: http://www.jstor.org/stable/763553 . Accessed: 17/01/2015 20:21 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Musicology.
    [Show full text]
  • CALIFORNIA STATE UNIVERSITY, NORTHRIDGE the Gypsy Violin A
    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE The Gypsy Violin A thesis submitted in partial fulfillment of the requirements For the degree of Master of Music in Music, Performance By Eun Ah Choi December 2019 The thesis of Eun Ah Choi is approved: ___________________________________ ___________________ Dr. Liviu Marinesqu Date ___________________________________ ___________________ Dr. Ming Tsu Date ___________________________________ ___________________ Dr. Lorenz Gamma, Chair Date California State University, Northridge ii Table of Contents Signature Page…………………………………………………………………………………….ii List of Examples……………………………………………………………………………...…..iv Abstract…………………………………………………………………………………………....v Chapter 1: Introduction.……………..……………………………………………………….……1 Chapter 2: The Establishment of the Gypsy Violin.……………………….……………………...3 Chapter 3: Bela Bartók’s Romanian Folk Dances [1915].………….…….……………………….8 Chapter 4: Vittorio Monti’s Csádás [1904]….…………………………………..………………18 Chapter 5: Conclusion …………..……………...……………………………………………….24 Works Cited.…………….……………………………………………………………………….26 California State University, Northridge iii List of Examples 1 Bartók’s Romanian Dances, Movement I: mm. 1-13……………………………………..9 2 Bartók’s Romanian Dances, Movement II: mm. 1-16…………………………...………10 3 Bartók’s Romanian Dances, Movement III …………………………………..…………12 4 Bartók’s Romanian Dances, Movement IV …………………………………..…………14 5 Bartók’s Romanian Dances, Movement V: mm. 5-16…………………………………...16 6 Monti’s Csárdás, m. 5………………………………………………..………………......19 7 Monti’s Csardas, mm. 6-9…………………………………………..…………………...19 8 Monti’s Csárdás, mm. 14-16.…………………………………….……………………...20 9 Monti’s Csárdás, mm. 20-21.………………………………….……………………..….20 10 Monti’s Csárdás, mm. 22-37………………….…………………………………………21 11 Monti’s Csárdás, mm. 38-53…………………….………………………………………22 12 Monti’s Csárdás, mm. 70-85…………………….………………………………………23 iv Abstract The Gypsy violin By Eun Ah Choi Master of Music in Music, Performance The origins of the Gypsies are not exactly known, and they lived a nomadic lifestyle for centuries, embracing many cultures, including music.
    [Show full text]
  • PROGRAM NOTES Franz Liszt Piano Concerto No. 2 in a Major
    PROGRAM NOTES by Phillip Huscher Franz Liszt Born October 22, 1811, Raiding, Hungary. Died July 31, 1886, Bayreuth, Germany. Piano Concerto No. 2 in A Major Liszt composed this concerto in 1839 and revised it often, beginning in 1849. It was first performed on January 7, 1857, in Weimar, by Hans von Bronsart, with the composer conducting. The first American performance was given in Boston on October 5, 1870, by Anna Mehlig, with Theodore Thomas, who later founded the Chicago Symphony, conducting his own orchestra. The orchestra consists of three flutes and piccolo, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones and tuba, timpani, cymbals, and strings. Performance time is approximately twenty-two minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Liszt’s Second Piano Concerto were given at the Auditorium Theatre on March 1 and 2, 1901, with Leopold Godowsky as soloist and Theodore Thomas conducting. Our most recent subscription concert performances were given at Orchestra Hall on March 19, 20, and 21, 2009, with Jean-Yves Thibaudet as soloist and Jaap van Zweden conducting. The Orchestra first performed this concerto at the Ravinia Festival on August 4, 1945, with Leon Fleisher as soloist and Leonard Bernstein conducting, and most recently on July 3, 1996, with Misha Dichter as soloist and Hermann Michael conducting. Liszt is music’s misunderstood genius. The greatest pianist of his time, he often has been caricatured as a mad, intemperate virtuoso and as a shameless and
    [Show full text]
  • The Pennsylvania State University Schreyer Honors College
    THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE SCHOOL OF MUSIC ECLECTIC STRING STYLES IN MUSIC EDUCATION JENNY M. KNABB SPRING 2015 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Music Education with honors in Music Education Reviewed and approved* by the following: Robert D. Gardner Associate Professor of Music Education Thesis Supervisor Ann C. Clements Associate Professor of Music Education Honors Adviser * Signatures are on file in the Schreyer Honors College. i ABSTRACT What type of music do you think your students are listening to? For students that do not normally listen to classical how can we keep them interested, motivated, and involved in music long after they graduate? Not every student will go on to become the next Yo-Yo Ma or Itzhak Perlman or be a classically trained violinist at Julliard. We should show them the other genres and styles they can perform on their instruments besides only playing classical music. There are many different styles of music that you can teach: jazz, rock, fiddle, blues, Celtic, mariachi, gypsy, pop and movie soundtracks to name a few. There are also many different subgenres within the genre and many combinations of styles called fusions. By teaching eclectic styles of music student will learn that there are many different styles that they can play on their instrument. Students will be aware that they can play in a rock band, jazz ensemble or create their own band to perform any style of music that interests them. It is important for teachers to understand the difference in eclectic styles and be able to teach different genres and styles.
    [Show full text]
  • Alla Zingarese August 5 and 6
    Concert Program V: Alla Zingarese August 5 and 6 Friday, August 5 F RANZ JOSEph HAYDN (1732–1809) 8:00 p.m., Stent Family Hall, Menlo School Rondo all’ongarese (Gypsy Rondo) from Piano Trio in G Major, Hob. XV: 25 (1795) S Jon Kimura Parker, piano; Elmar Oliveira, violin; David Finckel, cello Saturday, August 6 8:00 p.m., The Center for Performing Arts at Menlo-Atherton HErmaNN SchULENBURG (1886–1959) AM Puszta-Märchen (Gypsy Romance and Czardas) (1936) PROgram OVERVIEW CharlES ROBERT VALDEZ A lifelong fascination with popular music of all kinds—espe- Serenade du Tzigane (Gypsy Serenade) cially the Gypsy folk music that Hungarian refugees brought to Germany in the 1840s—resulted in some of Brahms’s most ANONYMOUS cap tivating works. The music Brahms composed alla zinga- The Canary rese—in the Gypsy style—constitutes a vital dimension of his Wu Han, piano; Paul Neubauer, viola creative identity. Concert Program V surrounds Brahms’s lusty Hungarian Dances with other examples of compos- JOHANNES BrahmS (1833–1897) PROGR ERT ers drawing from Eastern European folk idioms, including Selected Hungarian Dances, WoO 1, Book 1 (1868–1869) C Hungarian Dance no. 1 in g minor; Hungarian Dance no. 6 in D-flat Major; the famous rondo “in the Gypsy style” from Joseph Haydn’s Hungarian Dance no. 5 in f-sharp minor G Major Piano Trio; the Slavonic Dances of Brahms’s pro- Wu Han, Jon Kimura Parker, piano ON tégé Antonín Dvorˇák; and Maurice Ravel’s Tzigane, a paean C to the Hun garian violin virtuoso Jelly d’Arányi.
    [Show full text]
  • Conducting from the Piano: a Tradition Worth Reviving? a Study in Performance
    CONDUCTING FROM THE PIANO: A TRADITION WORTH REVIVING? A STUDY IN PERFORMANCE PRACTICE: MOZART’S PIANO CONCERTO IN C MINOR, K. 491 Eldred Colonel Marshall IV, B.A., M.M., M.M, M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2018 APPROVED: Pamela Mia Paul, Major Professor David Itkin, Committee Member Jesse Eschbach, Committee Member Steven Harlos, Chair of the Division of Keyboard Studies Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Marshall IV, Eldred Colonel. Conducting from the Piano: A Tradition Worth Reviving? A Study in Performance Practice: Mozart’s Piano Concerto in C minor, K. 491. Doctor of Musical Arts (Performance), May 2018, 74 pp., bibliography, 43 titles. Is conducting from the piano "real conducting?" Does one need formal orchestral conducting training in order to conduct classical-era piano concertos from the piano? Do Mozart piano concertos need a conductor? These are all questions this paper attempts to answer. Copyright 2018 by Eldred Colonel Marshall IV ii TABLE OF CONTENTS Page CHAPTER 1. INTRODUCTION: A BRIEF HISTORY OF CONDUCTING FROM THE KEYBOARD ............ 1 CHAPTER 2. WHAT IS “REAL CONDUCTING?” ................................................................................. 6 CHAPTER 3. ARE CONDUCTORS NECESSARY IN MOZART PIANO CONCERTOS? ........................... 13 Piano Concerto No. 9 in E-flat major, K. 271 “Jeunehomme” (1777) ............................... 13 Piano Concerto No. 13 in C major, K. 415 (1782) ............................................................. 23 Piano Concerto No. 20 in D minor, K. 466 (1785) ............................................................. 25 Piano Concerto No. 24 in C minor, K.
    [Show full text]
  • "If There Were More Cynthia Phelpses Around, There Might Be More Viola Recitals…She Is a Master of Her Instrument -- Rema
    "If there were more Cynthia Phelpses around, there might be more viola recitals…she is a master of her instrument -- remarkable technique and warm, full sound." – THE WALL STREET JOURNAL "Not only does CYNTHIA PHELPS produce one of the richest, deepest viola timbres in the world, she is a superb musician" (Seattle Post-Intelligencer). Principal Violist of the New York Philharmonic, Ms. Phelps has distinguished herself both here and abroad as one of the leading instrumentalists of our time. The recipient of numerous honors and awards, including the Pro Musicis International Award and first prize at both the Lionel Tertis International Viola Competition and the Washington International String Competition, she has captivated audiences with her compelling solo and chamber music performances. She is "a performer of top rank...the sounds she drew were not only completely unproblematical --technically faultless, generously nuanced-- but sensuously breathtaking" (The Boston Globe). Ms. Phelps performs throughout the world as soloist with orchestras, including the Minnesota Orchestra, Shanghai, San Diego, Santa Barbara, Eastern Music Festival and Vermont Symphonies, Orquesta Sinfonica de Bilbao, and Rochester and Hong Kong Philharmonic among others. World-wide, her electrifying solo appearances with the New York Philharmonic garner raves; they have included Berlioz's Harold in Italy, the Bartok Viola Concerto, Strauss's Don Quixote, the Benjamin Lees Concerto for String Quartet, the premiere of a concerto written for her by Sofia Gubaidulina and most recently, the premiere of a new concerto by the young composer Julia Adolphe written for her. She has appeared as soloist with the orchestra across the globe, including Vienna’s Musikverein, London’s Royal Festival Hall, and the Concertgebouw in Amsterdam among others.
    [Show full text]
  • Repertoire List
    APPROVED REPERTOIRE FOR 2022 COMPETITION: Please choose your repertoire from the approved selections below. Repertoire substitution requests will be considered by the Charlotte Symphony on an individual case-by-case basis. The deadline for all repertoire approvals is September 15, 2021. Please email [email protected] with any questions. VIOLIN VIOLINCELLO J.S. BACH Violin Concerto No. 1 in A Minor BOCCHERINI All cello concerti Violin Concerto No. 2 in E Major DVORAK Cello Concerto in B Minor BEETHOVEN Romance No. 1 in G Major Romance No. 2 in F Major HAYDN Cello Concerto No. 1 in C Major Cello Concerto No. 2 in D Major BRUCH Violin Concerto No. 1 in G Minor LALO Cello Concerto in D Minor HAYDN Violin Concerto in C Major Violin Concerto in G Major SAINT-SAENS Cello Concerto No. 1 in A Minor Cello Concerto No. 2 in D Minor LALO Symphonie Espagnole for Violin SCHUMANN Cello Concerto in A Minor MENDELSSOHN Violin Concerto in E Minor DOUBLE BASS MONTI Czárdás BOTTESINI Double Bass Concerto No. 2in B Minor MOZART Violin Concerti Nos. 1 – 5 DITTERSDORF Double Bass Concerto in E Major PROKOFIEV Violin Concerto No. 2 in G Minor DRAGONETTI All double bass concerti SAINT-SAENS Introduction & Rondo Capriccioso KOUSSEVITSKY Double Bass Concerto in F# Minor Violin Concerto No. 3 in B Minor HARP SCHUBERT Rondo in A Major for Violin and Strings DEBUSSY Danses Sacrée et Profane (in entirety) SIBELIUS Violin Concerto in D Minor DITTERSDORF Harp Concerto in A Major VIVALDI The Four Seasons HANDEL Harp Concerto in Bb Major, Op.
    [Show full text]
  • Walton - a List of Works & Discography
    SIR WILLIAM WALTON - A LIST OF WORKS & DISCOGRAPHY Compiled by Martin Rutherford, Penang 2009 See end for sources and legend. Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Catalogue No F'mat St Rel A BIRTHDAY FANFARE Description For Seven Trumpets and Percussion Completion 1981, Ischia Dedication For Karl-Friedrich Still, a neighbour on Ischia, on his 70th birthday First Performances Type Date Orchestra Conductor Performers Recklinghausen First 10-Oct-81 Westphalia SO Karl Rickenbacher Royal Albert Hall L'don 7-Jun-82 Kneller Hall G E Evans A LITANY - ORIGINAL VERSION Description For Unaccompanied Mixed Voices Completion Easter, 1916 Oxford First Performances Type Date Orchestra Conductor Performers Unknown Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Cat No F'mat St Rel Hereford Cathedral 3.03 4-Jan-02 Stephen Layton Polyphony 01a HYP CDA 67330 CD S Jun-02 A LITANY - FIRST REVISION Description First revision by the Composer Completion 1917 First Performances Type Date Orchestra Conductor Performers Unknown Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Cat No F'mat St Rel Hereford Cathedral 3.14 4-Jan-02 Stephen Layton Polyphony 01a HYP CDA 67330 CD S Jun-02 A LITANY - SECOND REVISION Description Second revision by the Composer Completion 1930 First Performances Type Date Orchestra Conductor Performers Unknown Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Cat No F'mat St Rel St Johns, Cambridge ? Jan-62 George Guest St Johns, Cambridge 01a ARG ZRG
    [Show full text]