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Compact Discs by 20Th Century Composers Recent Releases - Spring 2020
Compact Discs by 20th Century Composers Recent Releases - Spring 2020 Compact Discs Adams, John Luther, 1953- Become Desert. 1 CDs 1 DVDs $19.98 Brooklyn, NY: Cantaloupe ©2019 CA 21148 2 713746314828 Ludovic Morlot conducts the Seattle Symphony. Includes one CD, and one video disc with a 5.1 surround sound mix. http://www.tfront.com/p-476866-become-desert.aspx Canticles of The Holy Wind. $16.98 Brooklyn, NY: Cantaloupe ©2017 CA 21131 2 713746313128 http://www.tfront.com/p-472325-canticles-of-the-holy-wind.aspx Adams, John, 1947- John Adams Album / Kent Nagano. $13.98 New York: Decca Records ©2019 DCA B003108502 2 028948349388 Contents: Common Tones in Simple Time -- 1. First Movement -- 2. the Anfortas Wound -- 3. Meister Eckhardt and Quackie -- Short Ride in a Fast Machine. Nagano conducts the Orchestre Symphonique de Montreal. http://www.tfront.com/p-482024-john-adams-album-kent-nagano.aspx Ades, Thomas, 1971- Colette [Original Motion Picture Soundtrack]. $14.98 Lake Shore Records ©2019 LKSO 35352 2 780163535228 Music from the film starring Keira Knightley. http://www.tfront.com/p-476302-colette-[original-motion-picture-soundtrack].aspx Agnew, Roy, 1891-1944. Piano Music / Stephanie McCallum, Piano. $18.98 London: Toccata Classics ©2019 TOCC 0496 5060113444967 Piano music by the early 20th century Australian composer. http://www.tfront.com/p-481657-piano-music-stephanie-mccallum-piano.aspx Aharonian, Coriun, 1940-2017. Carta. $18.98 Wien: Wergo Records ©2019 WER 7374 2 4010228737424 The music of the late Uruguayan composer is performed by Ensemble Aventure and SWF-Sinfonieorchester Baden-Baden. http://www.tfront.com/p-483640-carta.aspx Ahmas, Harri, 1957- Organ Music / Jan Lehtola, Organ. -
Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
(De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification. -
B Ach Cantatas for Christmas Gardiner
Bach Cantatas for Christmas Gardiner 1 Bach Cantatas for Christmas Gardiner 2 The Bach Cantata Pilgrimage On Christmas Day 1999 a unique celebration of the new Millennium began in the Herderkirche in Weimar, Germany: the Monteverdi Choir and English Baroque Soloists under the direction of Sir John Eliot Gardiner set out to perform all Johann Sebastian Bach’s surviving church cantatas in the course of the year 2000, the 250th anniversary of Bach’s death. The cantatas were performed on the liturgical feasts for which they were composed, in a year-long musical pilgrimage encompassing some of the most beautiful churches throughout Europe (including many where Bach himself performed) and culminating in three concerts in New York over the Christmas festivities at the end of the millennial year. These recordings of cantatas for the Christmas season were made at the beginning and end of the Pilgrimage. 3 Johann Sebastian Bach 1685-1750 Cantatas for Christmas and New Year Pages 5-13 CD 1 For Christmas Day 63 / 191 14-24 CD 2 For Christmas Day 91 / 110 For the Second Day of Christmas 121 / 40 25-38 CD 3 For the Second Day of Christmas 57 For the Third Day of Christmas 64 / 151 / 133 39-50 CD 4 For the Sunday after Christmas Motet 225 / 152 / 122 / 28 For New Year’s Day 190 51-62 CD 5 For New Year’s Day 143 / 41 / 16 / 171 63-73 CD 6 For the Sunday after New Year 153 / 58 For Epiphany 65 / 123 The Monteverdi Choir The English Baroque Soloists John Eliot Gardiner Live recordings from the Bach Cantata Pilgrimage Weimar / New York / Berlin / Leipzig 1999-2000 4 For Christmas Day Claron McFadden soprano Bernarda Fink alto Christoph Genz tenor Dietrich Henschel bass The Monteverdi Choir The English Baroque Soloists 1 John Eliot Gardiner Herderkirche, Weimar, 25 December 1999 « Contents page 5 CD1 40:15 For Christmas Day 26:28 Christen, ätzet diesen Tag BWV 63 1 (4:48) 1. -
Complete Piano Music Rˇák
DVO COMPLETE PIANO MUSIC RˇÁK Inna Poroshina piano QUINTESSENCE · QUINTESSENZ · QUINTESSENZA · QUINAESENCIA · QUINTESSÊNCIA · QUINTESSENCE · QUINTESSENZ · QUINTESSENZA · QUINAESENCIA · QUINTESSÊNCIA Antonín Dvorˇák 1841-1904 Complete Piano Music Theme and Variations Op.36 (1876) Two Furiants Op.42 (1878) Six Mazurkas Op.56 1. Theme 1’21 26. No.1 in D major 5’33 51. No.1 2’50 76. No.4 in D minor, poco andante 2’46 2. Variation 1 1’09 27. No.2 in F major 7’38 52. No.2 2’28 77. No.5 in A minor, vivace 3’04 3. Variation 2 1’12 53. No.3 1’58 78. No.6 in B major, poco allegretto 2’56 4. Variation 3 2’56 Eight Waltzes Op.54 (1880) 54. No.4 2’57 79. No.7 in G flat major, poco lento 5. Variation 4 0’41 28. No.1 in A major 3’39 55. No.5 2’37 e grazioso 3’26 6. Variation 5 1’00 29. No.2 in A minor 4’05 56. No.6 2’35 80. No.8 in B minor, poco andante 3’22 7. Variation 6 1’36 30. No.3 in C sharp minor 2’55 8. Variation 7 0’58 31. No.4 in D flat major 2’52 57. Moderato in A major B.116 2’10 81. Dumka, Op.12/1 (1884) 4’00 9. Variation 8 3’53 32. No.5 in B flat major 3’00 33. No.6 in F major 5’05 58. Question, B.128a 0’27 82. -
Brahms Beethoven
Saturday 18 November 2017 at 7pm All Saints’ Church Lovelace Road West Dulwich SE21 8JY Beethoven Violin Concerto in D Soloist: Patrick Rafter Brahms Ein deutsches Requiem Dulwich Symphony Chorus Ruth Holton (soprano) Jonny Davies (baritone) Leigh O’Hara Conductor Paula Tysall Leader £12/£10 (concessions) under 16s free Interval collection for St Christopher’s Hospice DSO is a registered charity. Charity no. 1100857 Violin Concerto in D Major, Op. 61 (1806) Ludwig van Beethoven i. Allegro ma non troppo ii. Larghetto iii. Rondo Allegro By the time he wrote his only violin concerto, Joseph Joachim, later a close collaborator of Brahms. Beethoven had been living in Vienna for fourteen years. Under Mendelssohn’s baton, the twelve-year-old His hearing had already deteriorated but, in spite of Joachim elicited frenetic applause for his sensation this, the works composed during this, his middle performance before a London audience in 1844. period, show a new generosity of scale, increased From its courtly opening theme to its lively final emotional weight and a spirit of momentum. movement, the concerto is a triumph. Four soft timpani The only violin concerto after Mozart’s five of 1775 strokes open the piece, forming the foundation of the and Mendelssohn’s of 1844 which is still regularly first movement, one of the longest in all Beethoven’s performed, Beethoven’s concerto harnesses classic works, including the symphonies. The initial statement elements of the form while maximizing their dramatic of the main theme is reshaped by the violin. The second force. For all its modern totemic status, its early movement is a peaceful larghetto with two themes and reception was inauspicious. -
Boston Symphony Orchestra Concert Programs, Summer, 1984, Tanglewood
m~ p. - . i j- fjffii V .*& - "lli s -» «*: W . mr jrr~r *hi W **VtitH°** "Bk . Less than a mile from Tanglewood . White Pines offers all of the carefree convenience of condominium living in truly luxurious contemporary in- White teriors. The White Pines buildings, four-season swimming pool, Har-Tru tennis courts and private beach on Stockbridge Bowl are all set in the Pines magnificence of a traditional French Provincial country estate. $180,000 country estate and up. Our model is open seven days a week. condominiums at Stockbridge P. O. Box 949 Dept. T Hawthorne St. Stockbridge MA 01262 (413)637-1140 or Reinholt Realty. Seiji Ozawa, Music Director Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor One Hundred and Third Season, 1983-84 Trustees of the Boston Symphony Orchestra, Inc. Leo L. Beranek, Chairman Nelson J. Darling, Jr., President Mrs. Harris Fahnestock, Vice-President George H. Kidder, Vice-President Sidney Stoneman, Vice-President Roderick M. MacDougall, Treasurer John Ex Rodgers, Assistant Treasurer Vernon R. Alden Mrs. Michael H. Davis Thomas D. Perry, Jr. David B. Arnold, Jr. Archie C. Epps III William J. Poorvu J.R Barger Mrs. John H. Fitzpatrick Irving W. Rabb Mrs. John M. Bradley Mrs. John L. Grandin Mrs. George R. Rowland Mrs. Norman L. Cahners E. James Morton Mrs. George Lee Sargent George H.A. Clowes, Jr. David G. Mugar William A. Selke Mrs. Lewis S. Dabney Albert L. Nickerson John Hoyt Stookey Trustees Emeriti Abram T. Collier, Chairman of the Board Emeritus Philip K. Allen E. Morton Jennings, Jr. Mrs. -
A Critical Study of Five Reconstructions of Bach's Markuspassion BWV 247 with Particular Reference to the Parody Technique
A critical study of five reconstructions of Bach’s Markuspassion BWV 247 with particular reference to the parody technique Paula Fourie Supervisor: Professor John Hinch Submitted in fulfilment of the requirements of the degree MMus Department of Music University of Pretoria November 2010 © University of Pretoria Acknowledgements I would like to thank the following people for their part in this dissertation: • Professor John Hinch for his guidance and supervision • Johann van der Sandt for guiding me to this topic and for providing scores and recordings of several of the reconstructions under discussion • Isobel Rycroft from the UP music library for her unwavering help in locating information sources • My parents who have shown that learning is a life-long quest • Etienne, for his patience and assistance with proofreading ©© Abstract A part of Johann Sebastian Bach’s musical duties in Leipzig was to present an annual setting of the passion for Good Friday Vespers. One such work was the Markuspassion, performed in 1731. Although the score of this companion work to the Matthäuspassion and Johannespassion has been lost, the original text of the Markuspassion is extant. Bach frequently made use of the parody technique in his compositions. This practice consisted of adapting existing music to a new text that was based on the rhyme scheme of the original one, resulting in two compositions essentially sung to the same music, barring a number of enforced changes. This particular feature of Bach’s compositional technique makes it possible that the lost music originally contained in the Markuspassion could be discovered within his oeuvre. In the late 19th century, Bach scholars began to research the possibility of reconstructing the Markuspassion, recognizing that it may have contained music parodied from other compositions basing, to a large extent, their research on textual comparison. -
A Summer of Concerts Live on WFMT
A summer of concerts live on WFMT Thomas Wilkins conducts the Grant Park Music Festival from the South Shore Cultural Center Friday, July 29, 6:30 pm Air Check Dear Member, The Guide Greetings! Summer in Chicago is a time to get out and about, and both WTTW and WFMT are out in The Member Magazine for WTTW and WFMT the community during these warmer months. We’re bringing PBS Kids walk-around character Nature Renée Crown Public Media Center Cat outdoors to engage with kids around the city and suburbs, encouraging them to discover the 5400 North Saint Louis Avenue natural world in their own back yards; and we recently launched a new Chicago Loop app, which you Chicago, Illinois 60625 can download to join Geoffrey Baer and explore our great city and its architectural wonders like never Main Switchboard before. And on musical front, WFMT is proud to bring you live summer (773) 583-5000 concerts from the Ravinia and Grant Park festivals; this month, in a first Member and Viewer Services for the station, we will be bringing you a special Grant Park concert from (773) 509-1111 x 6 the South Shore Cultural Center with the Grant Park Orchestra led by WFMT Radio Networks (773) 279-2000 guest conductor Thomas Wilkins. Remember that you can take all of this Chicago Production Center content with you on your phone. Go to iTunes to download the WTTW/ (773) 583-5000 PBS Video app, the new WTTW Chicago’s Loop app, and the WFMT app for Apple and Android. -
2007, Senior Seminar, Symphonic Nationalism
James Hepokoski Spring 2007 Office Hours (143 Elm, Room 202): Tue, 1:30-3:00 [email protected] Music 422: Symphonic Nationalism Senior Seminar: A consideration of selected musical idioms, ca. 1840-1925, associated with European “nationalism” and the construction of cultural memory and identity. The compositions to be considered include symphonic works, operatic excerpts, and a few other vocal pieces. The seminar centers on art music from three differing cultures: Russia—4 sessions (Glinka, Balakirev, Borodin, Musorgsky, Rimsky-Korsakov, and Tchaikovsky); Czech regions/Bohemia-- 4 sessions (Smetana and Dvořák), and Finland—4 sessions (Sibelius). Another session in the middle of the term will be devoted more exclusively to larger issues of nationalism, culture, and identity. Discussions of selected movements; interpretations of program and structure; background and contextual reading and listening. This course focuses on the role of symphonic and operatic music in the creation of cultural monuments, ca. 1850-1910—canonic works of music traditionally regarded as expressive of the aspirations of a nation, a people, or a culture that perceived itself as existing outside of the artistic hegemonies of Austria, Germany, France, and Italy. The central purpose of the seminar is to underscore the role of art music in the formation of national and cultural ideologies in the mid- and late-nineteenth century and at the beginning of the twentieth century. Pyotr Tchaikovsky Antonin Dvořák Jean Sibelius Required purchases: Antonin Dvořák: Symphonies Nos. 8 and 9 (“New World”) in Full Score (Dover). Jean Sibelius: Symphonies 1 and 2 in Full Score (Dover) Benedict Anderson: Imagined Communities: Reflections on the Origin and Spread of Nationalism, rev. -
Boston Symphony Orchestra Concert Programs, Season 105, 1985-1986
^^mi^.:.'- •-vm>/.^*<V Hi i^v Boston Symphony Orchestra SEIJI OZAWA, Music Directoi H 1985-86 Qutttf the wood comes the TTvgniMmciiiiiiiihnrMn of the world's first - 'IB barrel-blended 12 year-old u^Teti: Canadian whisky. *r, i<* « ^ K11" Barrel-Blending is the final process of blending selected whiskies as they are poured into oak barrels to marry prior to bottling. Imported in bottle by Hiram Walker Importers Inc., Detroit Ml © 1985. Seiji Ozawa, Music Director One Hundred and Fifth Season, 1985-86 Trustees of the Boston Symphony Orchestra, Inc. Leo L. Beranek, Chairman Nelson J. Darling, Jr., President J.P Barger, Vice-Chairman Mrs. John M. Bradley, Vice-Chairman George H. Kidder, Vice-Chairman William J. Poorvu, Treasurer Mrs. George L. Sargent, Vice-Chairman Vernon R. Alden Archie C. Epps Mrs. August R. Meyer David B. Arnold, Jr. Mrs. John H. Fitzpatrick E. James Morton Mrs. Norman L. Cahners Mrs. John L. Grandin David G. Mugar George H.A. Clowes, Jr. Francis W Hatch, Jr. Thomas D. Perry, Jr. William M. Crozier, Jr. Harvey Chet Krentzman Mrs. George R. Rowland Mrs. Lewis S. Dabney Roderick M. MacDougall Richard A. Smith Mrs. Michael H. Davis John Hoyt Stookey Trustees Emeriti Philip K. Allen E. Morton Jennings, Jr. John T. Noonan Allen G. Barry Edward M. Kennedy Irving W. Rabb Richard P. Chapman Edward G. Murray Paul C. Reardon Abram T. Collier Albert L. Nickerson Sidney Stoneman Mrs. Harris Fahnestock John L. Thorndike Officers of the Corporation Thomas W Morris, Vice-President, Special Projects and Planning John Ex Rodgers, Assistant Treasurer Theodore A. -
Beethoven String Trio Op.3 · Serenade Op.8
95819 Beethoven String Trio Op.3 · Serenade Op.8 Trio Italiano d’Archi Ludwig van Beethoven 1770-1827 The Early String Trios and Ineluctable Fate To understand the creative essence of the Trio in E flat major Op.3 and the Serenade in D major Op.8, which are two of Beethoven’s best-known string trios, it certainly String Trio in E flat Op.3 Serenade in D Op.8 helps to take into account the background and conditions in which the composer was 1. I. Allegro con brio 11’37 7. I. Marcia: Allegro-Adagio 9’49 then working. A biographical introduction of this sort should also help underline the 2. II. Andante 7’37 8. II. Menuetto: mature nature of the works, despite the fact that they belong to Beethoven’s “youth” 3. III. Menuetto: Allegretto-Trio-Coda 2’12 as a composer. Allegretto-Trio-Coda 3’58 9. III. Adagio: Scherzo Allegro Although he was convinced that his birthdate was two years later, Beethoven was 4. IV. Adagio 7’43 molto-Adagio 4’48 actually born in Bonn on 16 December 1770, the second child of Maria Magdalena 5. V. Menuetto: 10. IV. Allegretto alla polacca 3’13 Keverich and Johann van Beethoven, whose first son had died in early childhood. Moderato-Minore 3’30 11. V. Tema con variazioni: Considered an extremely mediocre musician by 19th century historians, the 6. VI. Finale: Allegro 6’50 Andante quasi Allegretto 10’21 composer’s father must have been endowed with some skill, since he held the post of tenor and musician at the court of the Archbishop Elector of Cologne. -
Download Booklet
95894 JOHANN NEPOMUK HUMMEL 1778–1837 Concerto for piano and orchestra in A WoO 24a S.5 Concerto for piano, violin and orchestra in G Op.17 1 I. Allegro moderato 14’37 4 I. Allegro con brio 14’28 2 II. Romanze: Adagio 6’07 cadenza: J.N. Hummel 3 III. Rondo 9’01 5 II. Tema con Variazioni (Andante con moto) 9’55 6 III. Rondo 8’20 cadenza: A. Commellato 62’31 Alessandro Commellato fortepiano Joseph Böhm,Vienna, 1825 Stefano Barneschi violin Giacinto Santagiuliana, 1830 (4–6) Didier Talpain conductor First recordings on period instruments La Galante on period instruments (1–3) Milano Classica on period instruments (4–6) Violins I Archimede De Martini, Simone Draetta, Artem Dzeganovskyi, Tatiani Romo Bocanegra Violins I Eleonora Matsuno, Benedicta Manfredi, Jodi Livo, Cosetta Ponte, Steven Slade Violins II Gemma Longoni, Regina Yugovich, Pierfrancesco Pelà, Cristiana Franco, Debora Travaini Violins II Alessandro Vescovi, Sara Meloni, Silvana Pomarico, Arcimede di Martini Violas Domenico Scicchitano, Marco Calderara, Leoluca De Miceli Violas Claudia Brancaccio, Leoluca De Miceli Cellos Marcello Scandelli, Maria Calvo, Giacomo Biagi Cellos Cosimo Carovani, Marlise Goidanich Double Basses Davide Nava, Paolo Bogno Double Basses Carlo Segarro, Paolo Bogno Flute Marcello Lucifora Flute Marco Brolli Oboes Andrea Mion, Elisabeth Passot Oboes Rei Ishizaka, Michele Favaro Bassoon Alberto Guerra Bassoons Leonardo Dosso, Luca Barchi Horns Ermes Pecchinini, Elisa Giovangrandi Horns Ermes Pecchinini, Benedetto Dall’Aglio 2 3 ohann Nepomuk Hummel, born in Pressburg (Bratislava) on 14 November 1778, was one of destined to redraw the map of post-Napoleonic Europe, were assiduous visitors to the ballrooms Jthe most renowned and respected composer–pianists of his time, before falling into undeserved and concert halls.