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Reinhardt's Choice: Some Alternatives to Weill?
DAVID DREW Reinhardt's Choice: Some Alternatives to Weill? The pretexts for the present paper are the author's essays >Der T#g der Ver heissung and the Prophecies of jeremiah<, Tempo, 206 (October 1998), 11- 20, and >Der T#g der Verheissung: Weill at the Crossroads<, 1impo, 208 (April 1999), 335-50. As suggested in the preface to the second essay, the paper is intended to function both as a free-standing entity and as an extended bridge between the last section of the earlier essay and the first section of its successor. According to Meyer Weisgal's detailed account of the origins of The Eter nal Road, Reinhardt had no inkling of his plans until their November 1933 meeting in Paris.1 Weisgal began by outlining the idea of a biblical drama that would for the first time evoke the Old Testan1ent in all its breadth rather than in isolated episodes. At the end of his account, according to Weisgal, Reinhardt sat motionless and in silence before saying »very sim ply<< »But who will be the author of this biblical play and who will write the mu sic?<< . »You are the master<< , I said, ••It is up to you to select them<<. Again there was a long uncomfortable pause and Reinhardt said that he would ask Franz Werfel and Kurt Weill to collaborate with him. With or without prior notice2, the problems inherent in Weisgal's com mission were so complex that Reinhardt would have had good reason for Meyer W. Weisgal, >Beginnings of The Eternal Road<, in: T"he Etemal Road (New York 1937 - programme-book for the production by MWW and Crosby Gaige at the Man hattan Opera House), pp. -
Paris, 1918-45
un :al Chapter II a nd or Paris , 1918-45 ,-e ed MARK D EVOTO l.S. as es. 21 March 1918 was the first day of spring. T o celebrate it, the German he army, hoping to break a stalemate that had lasted more than three tat years, attacked along the western front in Flanders, pushing back the nv allied armies within a few days to a point where Paris was within reach an oflong-range cannon. When Claude Debussy, who died on 25 M arch, was buried three days later in the Pere-Laehaise Cemetery in Paris, nobody lingered for eulogies. The critic Louis Laloy wrote some years later: B. Th<' sky was overcast. There was a rumbling in the distance. \Vas it a storm, the explosion of a shell, or the guns atrhe front? Along the wide avenues the only traffic consisted of militarr trucks; people on the pavements pressed ahead hurriedly ... The shopkeepers questioned each other at their doors and glanced at the streamers on the wreaths. 'II parait que c'ctait un musicicn,' they said. 1 Fortified by the surrender of the Russians on the eastern front, the spring offensive of 1918 in France was the last and most desperate gamble of the German empire-and it almost succeeded. But its failure was decisive by late summer, and the greatest war in history was over by November, leaving in its wake a continent transformed by social lb\ convulsion, economic ruin and a devastation of human spirit. The four-year struggle had exhausted not only armies but whole civiliza tions. -
Ian Davidson, Composer
TEXAS STATE VITA I. Academic/Professional Background A. Name: Ian Bruce Davidson Title: Regents’ Professor B. Educational Background Degree Year University Major Thesis/Dissertation DMA 1997 University of Texas Music – Oboe “The Use of the Oboe and Oboe D’Amore at Austin Performance in selected works of J.S. Bach” MM 1983 University of Texas Music – Oboe Masters Oboe Performance Recital at Austin Performance BM 1980 DePauw University Music – Oboe Oboe Performance Senior Recital Performance C. University Experience Position University Dates Regents’ Professor Texas State University System Foundation 2014-Present University Distinguished Professor Texas State University – San Marcos 2014-Present Professor Texas State University – San Marcos 2008-2014 Associate Professor Texas State University – San Marcos 2003-2008 Assistant Professor Texas State University – San Marcos 1997-2003 Instructor Texas State University – San Marcos 1993-1997 Lecturer Texas State University – San Marcos 1991-1993 Visiting Lecturer University of Texas at Austin 1995-1996 Lecturer Southwestern University 1989-1992 D. Relevant Professional Experience Position Entity Dates English Horn and Associate Principal Oboe Austin Symphony Orchestra 1984-Present English Horn and Assistant Principal Oboe Austin Lyric Opera Orchestra 1988-Present Oboist and Founding Member Wild Basin Winds 1996-Present Assistant Principal and Utility Oboe Santa Fe Opera Orchestra 1996-1998 Principal Oboe Dallas Bach Orchestra 1988-1998 II. TEACHING A. Teaching Honors and Awards: 1) Presidential Awards 2004 – Departmental Nominee – Teaching 2003 – Departmental Nominee – Teaching 1999 – Departmental Nominee – Teaching 2) Alpha Chi Honor Society 2004 – Alpha Chi Honor Society – Favorite Professor 2002 – Alpha Chi Honor Society – Favorite Professor B. Courses Taught: 1) Oboe – All Levels 2) MU2313 – “Introduction to Fine Arts” 3) MU1312 – “Essential Musicianship” 4) MU1212 – “Theory II 5) MU2104 – “Writing About Music” 6) MU1000-MU4000 – “Departmental Convocation” C. -
Boston Symphony Orchestra Concert Programs, Season 129, 2009-2010
— BOSTON SYMPHONY ORCHESTRA James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 129th Season, 2009-2010 €r*<& CHAMBER TEA I Friday, October 30, at 2:30 COMMUNITY CONCERT I Sunday, November 1, at 3, at First Church in Dedham This concert is supported by the Dedham Institution for Savings Foundation, in memory of R. Willis Leith, Jr. COMMUNITY CONCERT II Sunday, November 8, at 3, at Blessed Mother Teresa Parish, Dorchester These free concerts are made possible by a generous grant from The Lowell Institute. SHEILA FIEKOWSKY, violin (1st violin in Honegger) BO YOUP HWANG, violin (1st violin in Beethoven) RACHEL FAGERBURG, viola ALEXANDRE LECARME, cello HONEGGER Quartet No. 2 in D Allegro Adagio Allegro marcato BEETHOVEN String Quartet No. 10 in E-flat, Opus 74, Harp Poco adagio—Allegro Adagio ma non troppo Presto—Piu presto quasi andantino—Tempo I Allegretto con variazioni Week5 Arthur Honegger (1892-1955) Quartet No. 2 in D Arthur Honegger was born in Le Havre, France, to Swiss parents, and grew up there. In 1913 he moved with his family to Zurich, where he attended the Conservatory for two years before moving to Paris to study at the Conservatory there in a range of musical subjects, including violin. While there he got to know his fellow students Germaine Tailleferre, Georges Auric, and Darius Milhaud, all of whom would later be lumped together as "Les nouveaux jeunes" and later (along with Francis Poulenc and Louis Durey) "Les Six" in association with Satie and Cocteau, although the interests of the individual composers soon outstripped allegiance to the group. -
FRENCH SYMPHONIES from the Nineteenth Century to the Present
FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen. -
Kenneth Woods - Conductor
Kenneth Woods - Conductor - Contents “A symphonic conductor of stature” Gramophone Biography Resumé “A conductor with Discography true vision and purpose” Acclaim Peter Oundjian References Music Director, Toronto Symphony Contact “brimming with personality, affection Management, engagements and freshly imagined drama” ABMC Productions International Washington Post Matthew Peters-Managing Director (UK and Europe) [email protected] “Woods proves in this recording to be +44 7726 661 659 a front rank conductor” Sativa Saposnek- Director of North Audiophile Audition American Operations (USA, Canada, Mexico and South America) [email protected] + 1 978.701.4914 “In 20 years of being a music critic, I have never written a story like this Special Projects and Media Relations one about Pendleton's symphony Melanne Mueller pulling out all the stops to play MusicCo International, Ltd. [email protected] Mahler's First Symphony after a UK +44 (0) 20 8542 4866 devastating fire ... The OES under USA +1 917 907 2785 Kenneth Woods, looking like a 103 Churston Drive Morden, Surrey SM4 4JE younger, dark haired William Hurt, Skype melanne4 gives Mahler the ride of his life.” The Oregonian 1 Kenneth Woods, conductor www.kennethwoods.net Kenneth Woods, conductor Biography Hailed by the Washington Post as a “true star” of the podium, conductor, rock guitarist, author and cellist Kenneth Woods has worked with many orchestras of international distinction including the National Symphony Orchestra, Royal Philharmonic, English Chamber Orchestra, Cincinnati Symphony, BBC National Orchestra of Wales, Budapest Festival Orchestra and State of Mexico Symphony Orchestra. He has also appeared on the stages of some of the world’s leading music festivals such as Aspen and Lucerne. -
Maximum Mark: 60
Cambridge International Examinations Cambridge Pre-U Certificate MUSIC (PRINCIPAL) 9800/12 Paper 12 Analysis and Historical Study For Examination from 2016 SPECIMEN MARK SCHEME 1 hour 30 minutes MAXIMUM MARK: 60 The Specimen paper is for general illustrative purposes. Please see the syllabus for the relevant year of the examination for details of the Topics. The syllabus is approved for use in England, Wales and Northern Ireland as a Cambridge International Level 3 Pre-U Certificate. This document consists of 13 printed pages and 1 blank page. © UCLES 2013 [Turn over 2 Section C (30 marks) Candidates must choose one of the following Topics and answer Question (a) and either (b) (i) or (b) (ii). They are permitted to use an unmarked copy of the score of any of the Prescribed Works in this Section, and in the case of Topic C4 they may also use a recording. Marks must be awarded according to the following descriptors and mark bands, on the basis of the notes provided after each Question. DESCRIPTORS MARKS Thorough and detailed knowledge of the Topic and Prescribed Work, supported by excellent analytic skills, close familiarity with a wide range of relevant music and an 16–18 extensive understanding of context. Answers give a clear demonstration of the ability to apply this knowledge and understanding to address the specific question. Thorough knowledge of the Topic and Prescribed Work, supported by very good analytic skills, close familiarity with a range of relevant music and a good understanding 13–15 of context. Answers provide evidence of the ability to apply this knowledge and understanding to address the specific question. -
MAHLERFEST XXXIV the RETURN Decadence & Debauchery | Premieres Mahler’S Fifth Symphony | 1920S: ARTISTIC DIRECTOR
August 24–28, 2021 Boulder, CO Kenneth Woods Artistic Director SAVE THE DATE MAHLERFEST XXXV May 17–22, 2022 * Gustav Mahler Symphony No. 2 in C Minor Boulder Concert Chorale Stacey Rishoi Mezzo-soprano April Fredrick Soprano Richard Wagner Die Walküre (The Valkyrie), Act One Stacey Rishoi Mezzo-soprano Brennen Guillory Tenor Matthew Sharp Bass-baritone * All programming and artists subject to change KENNETH WOODS Mahler’s First | Mahler’s Musical Heirs Symphony | Mahler and Beethoven MAHLERFEST.ORG MAHLERFEST XXXIV THE RETURN Decadence & Debauchery | Premieres Mahler’s Fifth Symphony | 1920s: ARTISTIC DIRECTOR 1 MAHLERFEST XXXIV FESTIVAL WEEK TUESDAY, AUGUST 24, 7 PM | Chamber Concert | Dairy Arts Center, 2590 Walnut Street Page 6 WEDNESDAY, AUGUST 25, 4 PM | Jason Starr Films | Boedecker Theater, Dairy Arts Center Page 9 THURSDAY, AUGUST 26, 4 PM | Chamber Concert | The Academy, 970 Aurora Avenue Page 10 FRIDAY, AUGUST 27, 8 PM | Chamber Orchestra Concert | Boulder Bandshell, 1212 Canyon Boulevard Page 13 SATURDAY, AUGUST 28, 9:30 AM–3:30 PM | Symposium | License No. 1 (under the Hotel Boulderado) Page 16 SATURDAY, AUGUST 28, 7 PM | Orchestral Concert Festival Finale | Macky Auditorium, CU Boulder Page 17 Pre-concert Lecture by Kenneth Woods at 6 PM ALL WEEK | Open Rehearsals, Dinners, and Other Events See full schedule online PRESIDENT’S GREETING elcome to MahlerFest XXXIV – What a year it’s been! We are back and looking to the future with great excitement and hope. I would like to thank our dedicated and gifted MahlerFest orchestra and festival musicians, our generous supporters, and our wonderful audience. I also want to acknowledge the immense contributions of Executive Director Ethan Hecht and Maestro Kenneth Woods that not only make this festival Wpossible but also facilitate its evolution. -
Honeggerus 18/06/2004 09:44Am Page 8
555974 bk HoneggerUS 18/06/2004 09:44am Page 8 dennoch sorgenvolles Thema wird eingeführt, zivilisierte Menschheit beschrieb. Das Hornthema kehrt Arthur alternierend zwischen Streichern und Holzbläsern. In nun mit einer Gegenmelodie in den Streichern zurück; seinem Verlauf entstehen neue Gestaltungselemente, anschließend folgt erneut das Marschthema und mit ihm vor allem in einer ausgesprochen anrührenden Episode der Höhepunkt des Werks: der von Blechbläsern und HONEGGER für Violinen und gestopfte Trompeten. Akkorde im Schlagzeug herausgehämmerte Marschrhythmus tiefen Bassregister des Klaviers lassen den zentralen explodiert in einem dissonanten Akkord des gesamten Höhepunkt vorausahnen, der sich stetig und entschieden Orchesters, bevor er in Stille versinkt. Aus diesem Symphony No.3 ‘Liturgique’ herausbildet, bevor er in der leidenschaftlichen Zusammenprall steigt eine expressiv-warme Melodie in Wiederkehr der ursprünglichen Thematik kulminiert. Bratschen und Celli hervor: der Wunsch der leidenden Es fehlt eine eigentliche Reprise, und sogar eine Menschheit nach Frieden. Während der Pacific 231 • Pastorale d’été • Rugby drohende weitere Klimax wird bewusst vermieden, Marschrhythmus noch immer leise in den Pauken wodurch der Satz in einem ruhigen, wenngleich offenen vernehmbar ist, erklingt noch einmal eine Reminiszenz New Zealand Symphony Orchestra Schluss wie mit einem Fragezeichen endet – noch der fragenden Elemente vom Ende des vorigen Satzes. verstärkt durch die Rückkehr des „Vogelthemas“ in der Das „Vogelthema“ in Piccoloflöte und -
A Collection of Stan Ruttenberg's Reviews of Mahler Recordings From
A collection of Stan Ruttenberg’s Reviews of Mahler Recordings from the Archives Of the Colorado MahlerFest (Symphonies 3 through 7 and Kindertotenlieder) Colorado MahlerFest XIII Recordings of the Mahler Third Symphony Of the fifty recordings listed in Peter Fülöp’s monumental discography (up to 1955, and many more have been added since then), I review here fifteen at my disposal, leaving out two by Boulez and one by Scherchen as not as worthy as the others. All of these fifteen are recommendable, all with fine points, all with some or more weaknesses. I cannot rank them in any numerical order, but I can say that there are four which I would rather hear more than the others — my desert island choices. I am glad to have the others for their own particular merits. Getting ready for MFest XIII we discovered that the matter of score versions and parts is complex. I use the Dover score, no date but attributed to Universal Edition; my guess this is an early version. The Kalmus edition is copied from who knows which published version. Then there is the “Critical Edition,” prepared by the Mahler Gesellschaft, Vienna. I can find two major discrepancies between the Dover/Universal and the Critical (I) the lack of horns at RN25-5, doubling the string riff and (ii) only two harp glissandi at the middle of RN28, whereas the Critical has three. Our first horn found another. Both the Dover and Critical have the horn doublings, written ff at RN 67, but only a few conductors observe them. -
TOCC0392DIGIBKLT.Pdf
ERNST KRENEK: COMPLETE PIANO CONCERTOS, VOLUME TWO – 1. THE MUSIC-HISTORIAN’S PERSPECTIVE by Peter Tregear Ernst Krenek’s reputation as a ‘one-man history of twentieth century music’ is nothing if not well deserved. Over nearly eight decades of creative life he was not only to witness but also to contribute to most of the formative art-music movements of the age. It may come as a surprise, then, to find that the concertos on this second album are quite similar in style – until one realises that all four works were composed in the ten or so years following his arrival in America, when he was coming to terms with the likelihood of an indefinite period of exile from Europe. Te prospect did not rest easy with him, not least because, as he later observed, ‘in America, I am a composer-in-residence since I am not American-born, while in Europe, I am a composer-in-absence’.1 Here he would also no longer be able to support himself through composing alone. Instead, like so many of Europe’s cultural and scientific elite who also had had to flee Nazi Germany in fear of their lives, a career in university teaching beckoned. Now in relative isolation from compositional developments in Europe and elsewhere, and faced with the necessity of forging what was essentially a new career as he approached middle age, a degree of consolidation and stock-taking in his compositional outlook was perhaps inevitable. In February 1939 Krenek commenced a two-year contract as a professor in music at Vassar College, a liberal-arts College in up-state New York, which then was followed by an offer of a Chair in Music at Hamline University in Saint Paul, Minnesota. -
Program Book
MahlerFest XXII Schedule of Events TERESE STEWART MEMORIAL CHAMBER CONCERT Wednesday, May 13, 2009, 7 :00 PM Boulder Public Llbrary Canyon Theater, 9th & Canyon Friday,May 15,7:30 PM Rocky Mountain Center for Musical Arts, 200 E. Baseline Rd., Lafayette Programr Musical Sertings of Passages from Goeth es Faust, by Beethoven, Schubert, Schumann, Liszt, Mussorgsky, and Lili Boulanger Karherine Montgomery, mezzo soprano; Joel Burcham, tenor; Patrick Mason, baritone; Christopher Zemliauskas, piano SYMPOSIUM Saturday, May 76,9100 AM - 3:30 PM Chamber Hall, Room C-799,Imig Music Building (CU-Boulder) l Marilyn McCoy, Boston, Massachusetts "Coaxing ,,'. the Universe to Resound and Ring: .:::::,::::::::. A Look at Some Climactic Moments from Mahler's Eighth Symphonf" , ,,,,,::r,,,i Robert Olson, Artistic Director, Colorado MahlerFest 'A Conductor's Perspective on Mahlers Eighth Symphony" : Jane K. Brown, University of Washington (Seattle) "Ever Onward: Goethes Fdusr around 1900" Stephen E. Hefing, Case Western Reserve University, Cleveland, Ohio :::' ,,'Accendelumensensibus,lAGreatBearerofJoy,AGifttotheNation,, SYMPHONY CONCERIS Saturday, May L6 & Sunday, May 77 ,2009 Macky Auditorium, CU Campus, Boulder The Colorado MahlerFest Orchestra, Robert Olson, conductor See page 2 for details. Fundingfor MahlerFest XXII has been prouided in part b1 grants f'on The Sciendfic and Cultural Facilities District, Tier III, administered by the Bouller Counry Commissioners; Avenir Foundation; Dietrich Foundation of Philadelphia; Boulder Public Library Foundation;