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Leevi Madetoja (1887–1947) Symphony No
Leevi Madetoja (1887–1947) Symphony No. 2 / Kullervo / Elegy 1. Kullervo, Symphonic Poem, Op. 15 14:13 Symphony No. 2, Op. 35 2. I. Allegro moderato – 13:23 LEEVI MADETOJA II. Andante 13:36 SYMPHONY NO. 2 III. Allegro non troppo – 9:39 KULLERVO IV. Andantino 4:53 ELEGY 3. Elegy, Op. 4/1 (First movement from the Symphonic Suite, Op. 4) 5:53 –2– Leevi Madetoja To be an orchestral composer in Finland as a contemporary of Sibelius and nevertheless create an independent composer profile was no mean feat, but Leevi Madetoja managed it. Though even he was not LEEVI MADETOJA completely immune to the influence of SYMPHONY NO. 2 his great colleague, he did find a voice for KULLERVO ELEGY himself where the elegiac nature of the landscape and folk songs of his native province of Ostrobothnia merged with a French elegance. Madetoja’s three symphonies did not follow the trail blazed by Sibelius, and another mark of his independence as a composer is that his principal works include two operas, Pohjalaisia (The Ostrobothnians, 1924) and Juha (1935), a genre that Sibelius never embraced. Madetoja emerged as a composer while still a student at the Helsinki Music Institute, when Robert Kajanus conducted his first orchestral work, elegy (1909) for strings, in January 1910. The work was favourably received and was given four further performances in Helsinki that spring. It is a melodically charming and harmonically nuanced miniature that betrays the influence of Tchaikovsky in its achingly tender tones. Later, Madetoja incorporated Elegia into his four-movement Sinfoninen sarja (Symphonic Suite, 1910), but even so it is better known as a separate number. -
OTTORINO RESPIGHI — Trittico Botticelliano (Three Botticelli Pictures)
OTTORINO RESPIGHI — Trittico Botticelliano (Three Botticelli Pictures) Though he was born in Bologna, the composer Ottorino Respighi is inevitably and forever associated with Rome thanks to his so-called “Roman Trilogy” of orchestral tone poems: Fountains of Rome, Pines of Rome, and Roman Festivals. For his Trittico Botticelliano, however, we must travel north to Tuscany and the Renaissance capital of Florence. It was there at the Uffizi Gallery that Respighi encountered three paintings by Sandro Botticelli: La Primavera (“Spring”), L’Adorazione dei Magi (“The Adoration of the Magi”), and La Nascita di Venere (“The Birth of Venus”). These three pictures don’t seem to have much in common other than the artist and gallery, but Respighi’s style, especially in his tone poems, often thrives on juxtaposition and contrast and he uses their divergent subject matters to maximum effect here to create a dynamic collection of snapshots. The opening movement provides an exuberant depiction of spring with the bassoon first introducing a dance tune that is subsequently echoed and ornamented by the full ensemble. In addition to his work as a composer, Respighi was also a scholar of Italian music history, so it is no accident that his dance tune closely resembles one that might have accompanied the Renaissance festivities of Botticelli’s day. The second movement is really the centerpiece and is built around the ninth century Latin antiphon “Veni Emmanuel,” better known to us as the advent hymn “O Come, O Come, Emmanuel.” The mournful and mysterious opening gives way to more colorful musical textures as each of the three Magi arrive at the manger and present their gifts. -
1 Ludwig Van Beethoven Symphony #9 in D Minor, Op. 125 2 Johann Sebastian Bach St. Matthew Passion
1 Ludwig van Beethoven Symphony #9 in D minor, Op. 125 2 Johann Sebastian Bach St. Matthew Passion "Ebarme dich, mein Gott" 3 George Frideric Handel Messiah: Hallelujah Chorus 4 Wolfgang Amadeus Mozart Symphony 41 C, K.551 "Jupiter" 5 Samuel Barber Adagio for Strings Op.11 6 Wolfgang Amadeus Mozart Clarinet Concerto A, K.622 7 Ludwig van Beethoven Piano Concerto 5 E-Flat, Op.73 "Emperor" (3) 8 Antonin Dvorak Symphony No 9 (IV) 9 George Gershwin Rhapsody In Blue (1924) 10 Wolfgang Amadeus Mozart Requiem in D minor K 626 (aeternam/kyrie/lacrimosa) 11 George Frideric Handel Xerxes - Largo 12 Johann Sebastian Bach Toccata And Fugue In D Minor, BWV 565 (arr Stokowski) 13 Ludwig van Beethoven Symphony No 5 in C minor Op 67 (I) 14 Johann Sebastian Bach Orchestral Suite #3 BWV 1068: Air on the G String 15 Antonio Vivaldi Concerto Grosso in E Op. 8/1 RV 269 "Spring" 16 Tomaso Albinoni Adagio in G minor 17 Edvard Grieg Peer Gynt 1, Op.46 18 Sergei Rachmaninov Piano Concerto No 2 in C minor Op 18 (I) 19 Ralph Vaughan Williams Lark Ascending 20 Gustav Mahler Symphony 5 C-Sharp Min (4) 21 Peter Ilyich Tchaikovsky 1812 Overture 22 Jean Sibelius Finlandia, Op.26 23 Johann Pachelbel Canon in D 24 Carl Orff Carmina Burana: O Fortuna, In taberna, Tanz 25 Wolfgang Amadeus Mozart Serenade G, K.525 "Eine Kleine Nachtmusik" 26 Johann Sebastian Bach Brandenburg Concerto No 5 in D BWV 1050 (I) 27 Johann Strauss II Blue Danube Waltz, Op.314 28 Franz Joseph Haydn Piano Trio 39 G, Hob.15-25 29 George Frideric Handel Water Music Suite #2 in D 30 Wolfgang Amadeus Mozart Ave Verum Corpus, K.618 31 Johannes Brahms Symphony 1 C Min, Op.68 32 Felix Mendelssohn Violin Concerto in E minor, Op. -
Italian Interlude: 14Th Annual International Mandolin and Guitar Accademia by Barbara Conrad
November 2019 25 Italian Interlude: 14th Annual International Mandolin and Guitar Accademia By Barbara Conrad led by Roberto Margaritella and Elisa Ferrando, with newcomer Elio Rimondi from Genova. Our guest artist was mandolinist David Surrette from Maine, returning for the second year, this time with his wife, singer/guitarist Susie Burke. Organizing staff, headed by Giulia Alliri, had handled all the logistics and kept the week running smoothly. The musical program at Carlo’s Accademias is always a unique mix. He and his instructors choose lesser-known pieces from the mandolin repertoire that end up being enjoyable for players and the eventual audience. This year’s program ranged When snatches of mandolin music keep running from baroque to modern: on your mental sound system, you know you • Carlo Adolfo Bracco, Souvenirs d’un concert, must have just taken part in an intense musical Op.90 (Serenade) experience. This one was no exception. • Michel Corrette, Concerto op.26/6, in three An international movements, with harpsichord and Carlo on group of mandolin and the solo mandolin part guitar enthusiasts of all ages spent a • Gustav Gunsenheimer, Konzert no.1, three blissful week that movements, with solo harpsichord included playing music • Vincent Beer-Demander, Le petit bal des together, swimming in bêtes, five movements the warm Ligurian Sea and enjoying gelato • Dino Berruti, Nell’oriente misterioso (intro- and other Italian duzione e danza) specialties. Carlo Aonzo and his team have found a winning David Surrette led the orchestra in two pieces: formula for a satisfying • Hanter Dros/Eliz Iza, a mix of traditional kind of mando-tourism Breton tunes Musicians take a relaxing break that keeps many Photo by Barbara Conrad • Blackbird (Lennon/McCartney), arranged by returning time after David, with Susie singing time, while attracting newbies each year. -
03 May 2021.Pdf
3 May 2021 12:01 AM Francesco Geminiani (1687-1762) Concerto grosso in D minor, Op 7 No 2 La Petite Bande, Sigiswald Kuijken (conductor) DEWDR 12:10 AM Heitor Villa-Lobos (1887-1959) Prelude for guitar no.1 in E minor Norbert Kraft (guitar) CACBC 12:15 AM Sergey Rachmaninov (1873-1943) 2 Songs: When Night Descends in silence; Oh stop thy singing maiden fair Fredrik Zetterstrom (baritone), Tobias Ringborg (violin), Anders Kilstrom (piano) SESR 12:24 AM Jean Sibelius (1865-1957) Serenade no 2 in G minor for violin & orchestra, Op 69b Judy Kang (violin), Orchestre Symphonique de Laval CACBC 12:33 AM Franz Liszt (1811-1886) Polonaise No.2 in E major from (S.223) Ferruccio Busoni (piano) SESR 12:43 AM Giovanni Gabrieli (1557-1612) Exaudi me, for 12 part triple chorus, continuo and 4 trombones Danish National Radio Chorus, Copenhagen Cornetts & Sackbutts, Lars Baunkilde (violone), Soren Christian Vestergaard (organ), Bo Holten (conductor) DKDR 12:50 AM Joseph Haydn (1732-1809) Symphony no 104 in D major "London" (H.1.104) Tamas Vasary (conductor), Hungarian Radio Symphony Orchestra HUMR 01:15 AM Erich Wolfgang Korngold (1897-1957) Piano Quintet in E major, Op 15 Daniel Bard (violin), Tim Crawford (violin), Mark Holloway (viola), Chiara Enderle (cello), Paolo Giacometti (piano) CHSRF 01:47 AM Barbara Strozzi (1619-1677) "Hor che Apollo" - Serenade for Soprano, 2 violins & continuo Susanne Ryden (soprano), Musica Fiorita, Daniela Dolci (director) DEWDR 02:01 AM Maurice Ravel (1875-1937) Ma mère l'oye (suite) WDR Radio Orchestra, Cologne, Christoph Eschenbach (conductor) DEWDR 02:18 AM Francis Poulenc (1899-1963) Concerto for Two Pianos in D minor, FP 61 Lucas Jussen (piano), Arthur Jussen (piano), WDR Radio Orchestra, Cologne, Christoph Eschenbach (conductor) DEWDR 02:38 AM Ludwig van Beethoven (1770-1827) Symphony No. -
Concert Program
Chapel Hill Philharmonia Donald L. Oehler, Music Director 7:30 p.m. Sunday, May 3, 2015 Hill Hall – University of North Carolina at Chapel Hill Fanfare for Jerry Hulka Garth Molyneux Chapel Hill Philharmonia Horns Overture from Egmont, Op. 84 Ludwig van Beethoven Piano Concerto No. 1 in E Minor, Op. 11 Frédéric Chopin Allegro maestoso Jane Zhao, piano Intermission Symphony No. 6 in B minor, Op. 74 Pyotr Ilyich Tchaikovsky Pathétique Adagio – Allegro non troppo Allegro con grazia Allegro molto vivace Finale: Adagio lamentoso – Andante Please join us for a reception in the rotunda after the concert Kindly remember to turn off mobile devices Pathétique The Romantic era idealized heroes. The works on tonight’s Chapel Hill Philharmonia program comprise three dis- tinct takes on heroism—the martyrdom of a leader to the cause of freedom, the creativity of an artist in the face of an incurable illness, and the passionate suffering of an individual descending into silence. Fanfare for Jerry Hulka Jaroslav Hulka, M.D., passed away on November 24, 2014, at age 84. A founding member of the CHP and long time principal French horn player, Jerry also served the orchestra as a board member and president. He is survived by his wife Barbara Sorenson Hulka, a UNC-Chapel Hill professor emerita and former CHP concertmaster. The couple met as undergraduates when both were section princi- pals in the Harvard/Radcliffe Orchestra. The Hulkas have donated generously to the CHP and to classical music programs at UNC- Chapel Hill and throughout the Triangle. In his “day job” Jerry was a well-respected academic and obstetrics/gynecology specialist, recognized as a wise physician, mentor, and innovator. -
A Senior Recital
Senior Recitals Recitals 4-7-2008 A Senior Recital Audrey Hansen University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/music_senior_recitals Part of the Music Performance Commons Repository Citation Hansen, A. (2008). A Senior Recital. 1-1. Available at: https://digitalscholarship.unlv.edu/music_senior_recitals/1 This Music Program is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Music Program in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Music Program has been accepted for inclusion in Senior Recitals by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. illi1YThe University Of Nevada Las Ve gas Co ll e~e of Fine Arts Ocparlmenl o f Music Pre:senls A Senior Recital Audrey Hansen, ptano ~Program~ ._a Conternplazione: Una Fantasia Piccola, Johann Nepomuk Hummel 1 Op. 107, No.3 (1778-1837) Deux Preludes Claude Achille Debussy Book 1, No.8: La fi/le aux cf7 eueux de /in (1862-1918) Book 2, No. 5: Bruyeres Ballades, Op. 10 Johannes Brahms No. 1 in D minor -Andante (1833-1897) No. 2 in D maj or -Andante No. 3 in B minor -Intermezzo No. 4 in B major - Andante con moto Papillons, Op. -
String Orchestra of Brooklyn Repertoire Updated February 28, 2011
String Orchestra of Brooklyn Repertoire Updated February 28, 2011 Anton Arensky Variations on a Theme by Tchaikovsky Johann Sebastian Bach Art of the Fugue, selections Piano Concerto No. 1 in d minor, BWV 1052 Piano Concerto No. 5 in f minor, BWV 1056 Erbarme Dich from St. Matthew's Passion Brandenburg Concerto No. 3 Samuel Barber Dover Beach for Baritone and Strings Adagio for Strings Bela Bartok Divertimento for Strings Roumanian Folk Dances Ludwig van Beethoven Egmont Overture* Grosse Fuge (arr. Furtwängler) Violin Concerto, Op. 61* Johannes Brahms Variations on a Theme by Haydn* Kenji Bunch Nocturne Tony Conrad Eleven Across John Corigliano Voyage for String Orchestra Claude Debussy Sacred and Profane Dances Antonin Dvorak Symphony No. 8* Josh Feltman Triptych Osvaldo Golijov Muertes des Angel Antonio Carlos Gomes Sonata for Strings Judd Greenstein Four on the Floor Edvard Grieg Holberg Suite Nathan Hall Last Rose Georg Frederic Handel Concerto Grosso Op. 6, No. 3 in D Major Ian Hartsough Stick Figures Bernard Herrmann Suite from Psycho Paul Hindemith Acht Stücke, Op. 43/3 Trauermusik for viola and strings Leos Janacek Suite for Strings Gabriel Lubell Quomodo sedet sola Gustav Mahler Adagietto from Symphony No. 5 Matt McBane 2 x 4 for String Octet Felix Mendelssohn Octet for Strings String Symphony No. 10 Symphony No. 1* Alex Mincek Ebb and Flow Wolfgang Amadeus Mozart Adagio and Fugue, k546 Requiem Mass, k626* Serenata Notturna, k239 Sinfonia Concertante, k364* sull'aria from Le Nozze di Figaro* Symphony No. 40, k550* Arvo Pärt Fratres, version for String Orchestra and Percussion Krzysztof Penderecki Ciaconna (“Polish Requiem”) Josh Penman Lovesongs to God, second movement Tristan Perich I am not without my eyes open Duane Pitre Suspended in Dreams Claudio Santoro Mini Concerto for String Orchestra Franz Schubert Death and the Maiden, second movement (arr. -
Barber Piano Sonata in E-Flat Minor, Opus 26
Barber Piano Sonata In E-flat Minor, Opus 26 Comparative Survey: 29 performances evaluated, September 2014 Samuel Barber (1910 - 1981) is most famous for his Adagio for Strings which achieved iconic status when it was played at F.D.R’s funeral procession and at subsequent solemn occasions of state. But he also wrote many wonderful songs, a symphony, a dramatic Sonata for Cello and Piano, and much more. He also contributed one of the most important 20th Century works written for the piano: The Piano Sonata, Op. 26. Written between 1947 and 1949, Barber’s Sonata vies, in terms of popularity, with Copland’s Piano Variations as one of the most frequently programmed and recorded works by an American composer. Despite snide remarks from Barber’s terminally insular academic contemporaries, the Sonata has been well received by audiences ever since its first flamboyant premier by Vladimir Horowitz. Barber’s unique brand of mid-20th Century post-romantic modernism is in full creative flower here with four well-contrasted movements that offer a full range of textures and techniques. Each of the strongly characterized movements offers a corresponding range of moods from jagged defiance, wistful nostalgia and dark despondency, to self-generating optimism, all of which is generously wrapped with Barber’s own soaring lyricism. The first movement, Allegro energico, is tough and angular, the most ‘modern’ of the movements in terms of aggressive dissonance. Yet it is not unremittingly pugilistic, for Barber provides the listener with alternating sections of dreamy introspection and moments of expansive optimism. The opening theme is stern and severe with jagged and dotted rhythms that give a sense of propelling physicality of gesture and a mood of angry defiance. -
Johann Nepomuk Hummel's Transcriptions
JOHANN NEPOMUK HUMMEL´S TRANSCRIPTIONS OF BEETHOVEN´S SYMPHONY NO. 2, OP. 36: A COMPARISON OF THE SOLO PIANO AND THE PIANO QUARTET VERSIONS Aram Kim, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2012 APPROVED: Pamela Mia Paul, Major Professor Clay Couturiaux, Minor Professor Gustavo Romero, Committee Member Steven Harlos, Chair, Division of Keyboard Studies John Murphy, Director of Graduate Studies in the College of Music James Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Kim, Aram. Johann Nepomuk Hummel’s Transcriptions of Beethoven´s Symphony No. 2, Op. 36: A Comparison of the Solo Piano and the Piano Quartet Versions. Doctor of Musical Arts (Performance), August 2012, 30 pp., 2 figures, 13 musical examples, references, 19 titles. Johann Nepomuk Hummel was a noted Austrian composer and piano virtuoso who not only wrote substantially for the instrument, but also transcribed a series of important orchestral pieces. Among them are two transcriptions of Beethoven’s Symphony No. 2 in D Major, Op. 36- the first a version for piano solo and the second a work for piano quartet, with flute substituting for the traditional viola part. This study will examine Hummel’s treatment of the symphony in both transcriptions, looking at a variety of pianistic devices in the solo piano version and his particular instrumentation choices in the quartet version. Each of these transcriptions can serve a particular purpose for performers. The solo piano version is an obvious virtuoso vehicle, whereas the quartet version can be a refreshing program alternative in a piano quartet concert. -
The Baroque Offertoire : Apotheosis of the French Organ Art
The Baroque Offertoire : Apotheosis of the French Organ Art By Copyright 2016 Song Yi Park Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________ Chairperson Dr. Michael Bauer ________________________________ Dr. James Higdon ________________________________ Dr. Colin Roust ________________________________ Dr. Bradley Osborn ________________________________ Professor Jerel Hildig Date Defended: November 1, 2016 The Dissertation Committee for Song Yi Park certifies that this is the approved version of the following dissertation: The Baroque Offertoire : Apotheosis of the French Organ Art ________________________________ Chairperson Dr. Michael Bauer Date approved: November 1, 2016 ii Abstract During the French Baroque period, the function of the organ was primarily to serve the liturgy. It was an integral part of both Mass and the office of Vespers. Throughout these liturgies the organ functioned in alteration with vocal music, including Gregorian chant, choral repertoire, and fauxbourdon. The longest, most glorious organ music occurred at the time of the offertory of the Mass. The Offertoire was the place where French composers could develop musical ideas over a longer stretch of time and use the full resources of the French Classic Grand jeu , the most colorful registration on the French Baroque organ. This document will survey Offertoire movements by French Baroque composers. I will begin with an introductory discussion of the role of the offertory in the Mass and the alternatim plan in use during the French Baroque era. Following this I will look at the tonal resources of the French organ as they are incorporated into French Offertoire movements. -
Jillian Reed, Flute
presents A Degree Recital: Jillian Reed, flute Saturday, April 17, 2021, at 5:00 PM View the concert on: Bard Conservatory YouTube. Valentine Trills (1996) Joan Tower (b. 1938) Sonata IV (1756) Anna Bon di Venezia (1739-67) Allegro Moderato Andante Allegro Assai Christina Jones, cello To the Ends of the Earth (2018) Nikea Randolph (b. 1993) Tyler Emerson, piano Sonata for Flute and Piano (2016) Alonso Malik Pirio (b. 1997) Movement 1 Movement 2 Movement 3 Ryan McCullough, piano Looking Back (2009) Joseph Schwantner (b. 1943) Scurry about… Remembering… Just follow… Ryan McCullough, piano Program Notes Valentine Trills (1996) Joan Tower (b. 1938) As one of the most important American composers living today with a career spanning more than 50 years, Joan Tower has learned to create a striking and fun impact, even for a piece that is under two minutes! She reflected, “short pieces are not easy to write, and this is the shortest piece I’ve ever written. The reason that short pieces are hard is because you have to pack a lot of information in a short period of time. And because flutes can play fast, I thought that trills and scales at top speed would be the best profiles.” Valentine Trills was commissioned by Carol Wincenc in 1996, who said, “Valentine Trills is one of the most effective solo pieces I play. Audiences are awed by the continuous trilling, turning, spinning and seemingly breathless quality in the piece - all which builds to a thrilling climax.” Please consider this piece’s feelings of brief suspension and exciting momentum as a warm welcome to my recital.