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14 January 2011 Page 1 of 9
Radio 3 Listings for 8 – 14 January 2011 Page 1 of 9 SATURDAY 08 JANUARY 2011 05:37AM virtuosity, but it's quite possible he wrote this concerto to play Mozart, Wolfgang Amadeus (1756-1791) himself. One early soloist commented that the middle SAT 01:00 Through the Night (b00wx4v1) Alma Dei creatoris (K.277) movement was 'too clever by half', but it's the finale that's The Genius of Mozart, presented by John Shea Ursula Reinhardt-Kiss (soprano); Annelies Burmeister (mezzo); catches most attention today, as it suddenly lurches into the Eberhard Büchner (tenor); Leipzig Radio Chorus & Symphony 'Turkish' (or more accurately Hungarian-inspired) style - and 01:01AM Orchestra), Herbert Kegel (conductor) the nickname has stuck. Mozart, Wolfgang Amadeus (1756-1791) Thamos, König in Ägypten (K.345) 05:43AM Conductor Garry Walker is no stranger to Mozart, last season Monteverdi Choir; English Baroque Soloists; cond. by John Mozart, Wolfgang Amadeus (1756-1791) he visited the St David's Festival in West Wales with the Eliot Gardiner 16 Minuets (K.176) (excerpts) Nos.1-4 orchestra, taking the 'Haffner' symphony. Today he conducts Slovak Sinfonietta, cond. Tara Krysa the players in Symphony No. 25, written when Mozart was a 01:50AM teenager. It's his first symphony in a minor key, and maybe the Mozart, Wolfgang Amadeus (1756-1791) 05:51AM passion and turbulence we hear in the outer movements a young Piano Sonata in C minor (K. 457) (1784) Mozart, Wolfgang Amadeus (1756-1791) man struggling out of his adolescence. Denis Burstein (piano) Quartet for strings in B flat major (K.458) "Hunt" Quatuor Mosaïques MOZART 02:15AM Violin Concerto No. -
Discourses of Decay and Purity in a Globalised Jazz World
1 Chapter Seven Cold Commodities: Discourses of Decay and Purity in a Globalised Jazz World Haftor Medbøe Since gaining prominence in public consciousness as a distinct genre in early 20th Century USA, jazz has become a music of global reach (Atkins, 2003). Coinciding with emerging mass dissemination technologies of the period, jazz spread throughout Europe and beyond via gramophone recordings, radio broadcasts and the Hollywood film industry. America’s involvement in the two World Wars, and the subsequent $13 billion Marshall Plan to rebuild Europe as a unified, and US friendly, trading zone further reinforced the proliferation of the new genre (McGregor, 2016; Paterson et al., 2013). The imposition of US trade and cultural products posed formidable challenges to the European identities, rooted as they were in 18th-Century national romanticism. Commercialised cultural representations of the ‘American dream’ captured the imaginations of Europe’s youth and represented a welcome antidote to post-war austerity. This chapter seeks to problematise the historiography and contemporary representations of jazz in the Nordic region, with particular focus on the production and reception of jazz from Norway. Accepted histories of jazz in Europe point to a period of adulatory imitation of American masters, leading to one of cultural awakening in which jazz was reimagined through a localised lens, and given a ‘national voice’. Evidence of this process of acculturation and reimagining is arguably nowhere more evident than in the canon of what has come to be received as the Nordic tone. In the early 1970s, a group of Norwegian musicians, including saxophonist Jan Garbarek (b.1947), guitarist Terje Rypdal (b.1947), bassist Arild Andersen (b.1945), drummer Jon Christensen (b.1943) and others, abstracted more literal jazz inflected reinterpretations of Scandinavian folk songs by Nordic forebears including pianist Jan Johansson (1931-1968), saxophonist Lars Gullin (1928-1976) bassist Georg Riedel (b.1934) (McEachrane 2014, pp. -
The University of Chicago Objects of Veneration
THE UNIVERSITY OF CHICAGO OBJECTS OF VENERATION: MUSIC AND MATERIALITY IN THE COMPOSER-CULTS OF GERMANY AND AUSTRIA, 1870-1930 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY ABIGAIL FINE CHICAGO, ILLINOIS AUGUST 2017 © Copyright Abigail Fine 2017 All rights reserved ii TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES.................................................................. v LIST OF FIGURES.......................................................................................... vi LIST OF TABLES............................................................................................ ix ACKNOWLEDGEMENTS............................................................................. x ABSTRACT....................................................................................................... xiii INTRODUCTION........................................................................................................ 1 CHAPTER 1: Beethoven’s Death and the Physiognomy of Late Style Introduction..................................................................................................... 41 Part I: Material Reception Beethoven’s (Death) Mask............................................................................. 50 The Cult of the Face........................................................................................ 67 Part II: Musical Reception Musical Physiognomies............................................................................... -
APRIL 2009 LIST See Inside for Valid Dates
tel 0115 982 7500 fax 0115 982 7020 APRIL 2009 LIST See inside for valid dates Dear Customer As the weather here becomes positively agreeable and the evenings lengthen, we offer you a cornucopia of delights containing both new growth and old returning favourites in a seductively priced spring bouquet - we hope you cannot resist! The major new release this month is Angela Hewitt’s re-visit of the Bach 48, a fresh look at this masterpiece of the keyboard repertoire. The reports indicate a quite different approach from her original recordings a decade ago, resulting from her years of performing and living with this music - a ‘new-found freedom’ as Ms Hewitt calls it. We have made it available at a special price for this list, along with reductions on the whole of her Hyperion back catalogue. The LSO Live Gergiev Mahler series continues with Symphony no.8 recorded in the mammoth acoustic of St Paul’s Cathedral. DG, in this Handel year, provide us with the first ever studio recording of his neglected Ezio, first performed in London in 1732 and a fine example of ‘opera seria’. For fans of the Gheorghiu/Alagna duo, there is a fascinating new world premiere recording on the Larghetto label (see page 8) of excerpts from a little known opera by Vladimir Cosma, Marius and Fanny, inspired by the writings of Marcel Pagnol. As always, we have negotiated reduced price offers - HM Gold, Praga, Delphian, Accord, Handel sets on Hyperion, EMI Gemini and British Composers, and the Medici Arts DVD catalogue. Make the most of them. -
Welkom Achtergrondartikelen Programma's En Toelichtingen Musici Informatie
2 welkom welcome 7 achtergrondartikelen articles 41 programma's en toelichtingen programmes and program notes 99 musici musicians 135 informatie information 1 Beste Biënnale bezoeker, Na drie succesvolle edities van de worden gepresenteerd leeft bij ons voort. In Dear Biennial visitor, The Biennial also offers young professionals Biënnale kan met voorzichtige trots worden deze Biënnale worden liefst elf gloednieuwe After three successful editions of the Amsterdam and amateurs the opportunity to make their geconstateerd dat er een unieke traditie is composities ten doop gehouden, daarnaast Cello Biennial, we can conclude with guarded way into the spotlight. A great number of young ontstaan in het Muziekgebouw aan ’t IJ. Van zijn er dagelijks composities te horen die – pride that a unique tradition has been established professionals have entered the National Cello 26 oktober tot en met 3 november 2012 is het ten onrechte – zelden worden uitgevoerd. in the Muziekgebouw aan ‘t IJ. From October 26 Competition or signed up for the twelve public weer zo ver: het hele gebouw gonst dan van Ondertussen is de Biënnale ook de plek through November 3, the tradition continues: the masterclasses, workshops or Open Podium. In de celloklanken. waar jonge professionals en amateurs entire building will buzz with the sound of the addition there is the ever-popular Mega Kinder Dit festivalboek maakt u wegwijs in het zich in de kijker kunnen spelen. Veel jonge cello. Cello Orkest (MegaKCO), where approximately volledige programma van deze Vierde professionele cellisten schreven zich in voor This festival book will guide you through the 140 young amateurs will bundle their efforts and Amsterdamse Cello Biënnale. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
Robert Schumann 1810–1856
Jodi Levitz Carla Moore The Benvenue Fortepiano Trio 2 Robert Schumann 1810–1856 Märchenbilder Op.113* 1 I. Nicht schnell 3.29 2 II. Lebhaft 3.58 3 III. Rasch 2.32 4 IV. Langsam 5.26 Fünf Stücke im Volkston Op.102 † 5 I. Mit Humor 3.05 6 II. Langsam 3.21 7 III. Nicht schnell 4.13 8 IV. Nicht zu rasch 1.53 9 V. Stark und markiert 3.00 Piano Quintet in E flat Op.44° 10 I. Allegro brillante 9.04 11 II. In modo d’un marcia 7.50 12 III. Scherzo 4.51 13 IV. Allegro ma non troppo 7.06 59.48 The Benvenue Fortepiano Trio on period instruments * † ° Eric Zivian fortepiano (Franz Rausch, Vienna, 1841) ° Monica Huggett violin (Dutch [Cuypers School], circa 1770) † ° Tanya Tomkins cello (Joseph Panormo, London, 1811) *°Jodi Levitz viola (Andrea Ghisalberti, Parma, 1729) ° Carla Moore violin (Johann Georg Thir, Vienna, 1754) 3 When Robert Schumann finally married Clara Wieck on 12 September 1840, it marked the end of a long battle with Clara’s father, Friedrich Wieck, who considered the 30-year-old composer unfit for her. As Wieck’s arguments fell away and it became clear that the young lovers would soon be able to marry, Schumann entered an extraordinary phase of compositional productivity. During 1840 and into 1841 – known as the composer’s Liederjahr or ‘year of song’ – he composed no fewer than 125 Lieder, casting them off at white heat, sometimes at the rate of two a day. This prodigious activity continued into the next year, when he turned his mind to the orchestra, composing the First Symphony and the original version of the Fourth, along with the Overture, Scherzo and Finale and the piano Phantasie, which was to become the first movement of the Piano Concerto a few years later. -
20Th-Century Repertory
Mikrokosmos List 575. - 2 - June 2013 ....20TH-CENTURY REPERTORY 1 Ahrens, Joseph: Das heilige Jahr - comp.organ S 3 x MUSICA VIV MV 601114 A 20 2 Anrooy, Peter van: Piet Hein/ H.Andriessen: Kuhnau Variations/ J.Wagenaar: FONTANA 6530044 A 10 Cyrano & De getemde feeks Overtures - Residentie Orkest, cond.Dorati, Otterloo (Dutch pressing) S 3 Arndt, Rudi: Burleske for Trompet & Orch/Hattwig: Carpe diem/Rosenfeld: Scherzo NOVA 885008 A 10 for Vln & Orch/Arenz: Sommer/Bruchmann: Toccata S 4 Auric: Trio/ M.Constant: Trio/ Canteloube: Rustiques/ Lesur: Suite - Monte Carlo REM 11029 A 12 Wind Trio (gatefold) 1987 S 5 Balanchivadze: Piano Concerto 3, Ritsa Lake Intermezzo, On the Tbilisi Sea Waltz - MELODIYA D 3916 A 60 CP1 L.Oborin, cond.Khaikin, Dimitriadi 10" OLD 6 Bantock: Pierrot Ov/ Bridge: Summer, Hamlet, Suite for String Orch/ Butterworth: RCA RL 25184 A 10 Idyll for Small Orch - cond.Del Mar (UK) S 7 Bartok: Cantata Profana, 5 Hungarian Folk Songs, Village scenes, 7 Choruses - HUNGAROT SLPX 11510 A 10 cond.Dorati, Ferencsik, Korodi (Complete Edition) S 8 Bartok: Kossuth Sym Poem; Scherzo for Pno; Scherzo from Sym in E flat - E.Tusa, HUNGAROT SLPX 11517 A 10 cond.Lehel S 9 Bartok: Miraculous Mandarin ballet, Dance Suite, Hungarian Peasant Songs - HUNGAROT SLPX 11319 A 10 Budapest PO, cond.J.Sandor (Complete Edition) S 10 Bartok: Sonata for 2 Pnos & Perc; Solo Sonata for Vln - Kocsis, Ranki, Petz, Marton, HUNGAROT SLPX 11479 A 10 D.Kovacs (Complete Edition) S 11 Bartok: Suite 2, Rumanian Folk Dances, Transylvanian Dances, Hungarian Sketches -
Creativity in Jazz
Creativity in Jazz Norman Lawrence Meehan A thesis submitted to Massey University and Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy New Zealand School of Music 2014 1 Creativity in Jazz ................................................................................................................ 1 Acknowledgements .......................................................................................................... 7 Part One: Creativity and Jazz ......................................................................................... 8 Introduction ........................................................................................................................ 9 Why are these questions important? .................................................................................. 9 The central idea ....................................................................................................................... 17 Thesis Plan ................................................................................................................................ 19 Chapter One: Creativity, and its importance ......................................................... 24 Why is creativity important? ............................................................................................... 24 Creativity in Music? ................................................................................................................ 27 Defining creativity ................................................................................................................. -
March 2013 List Blu-Ray New Releases
tel 0115 982 7500 fax 0115 982 7020 MARCH 2013 LIST See inside for valid dates Dear Customer The recording that we are most excited about this month has to be the brand new St John Passion from the Dunedin Consort. Ever since their stunning release of Handel’s Messiah on the Linn label, each new offering has been eagerly awaited and this latest venture certainly doesn’t disappoint. Due out on 18th March, we have arranged for it to be available at a very special price for all those who order it in advance - see p.2 for details. Boulez is back with Mahler this month, this time exploring the lesser-recorded Das Klagende Lied with Anna Prohaska and Dorothea Roschmann - well worth a try. Other items we are looking forward to are the second instalment of Barry Douglas’ Brahms cycle for Chandos, Christina Pluhar’s Mediterraneo for Virgin Classics and Sir Mark Elder’s issue of Vaughan Williams’ Symphonies 5 & 8 on the Halle label. There also appears to be an abundance of new bargain boxsets this month, including items focused on Vladimir Ashkenazy (Decca), Sir John Eliot Gardiner (DG Archiv), Boult’s Vaughan Williams (EMI), Klemperer’s Mozart Operas (EMI), Byron Janis (Sony), Jascha Heifetz (Sony) and Wagner (also Sony). These can all be found under the relevant label sections - great value for collectors. Hungaroton have recently agreed a new distribution arrangement in the UK and this month we are able to feature a special offer on the entire label for the first time in a while. -
Unbound Jazz: Composing and Performing in a Multi- Cultural Tonality
Unbound Jazz: Composing and Performing in a Multi- Cultural Tonality By Carlo Estolano Commentaries for the PhD folio of compositions University of York Music December 2017 2 3 Unbound Jazz: Composing and Performing in a Multi-Cultural Tonality Thesis submitted in partial fulfilment of a PhD degree in Music at The University of York, December 2018 by Carlo Estolano. Abstract This folio is conceived to propose and demonstrate music realisation of original compositions throughout the employment of elements of mainly two distinct sources: a selection from the wide palette of Brazilian folk styles that have improvisation as a strong element, which is internationally acknowledged as Brazilian Jazz; and its intersections with a certain style of European Jazz represented by artists notable by their keenness to combine elements from distinct musical genres with their Classical background, such as Ralph Towner, Jan Garbarek, John Abercrombie, Eberhard Weber, Kenny Wheeler, Terje Rypdal, Keith Jarrett to name a few. Both Brazilian and European approaches to Jazz seem to share processes of appropriation of foreign musical languages, as well as utilising characteristic features of their own traditions. Another common ground is their relation with some elements and procedures of classical music. The methodology to accomplish an organized collection of musical material was to divide them in five major influences, part of them by composers and part by genres notable by having evolved through absorbing elements from distinct cultural sources. In five projects, fifteen original compositions are provided along with their recorded and/or filmed performances and commentaries about the compositional aspects, concerningthe style or composer focused on. -
Brahms String Sextets WDR Chamber Players
Brahms String Sextets WDR Chamber Players 1 Johannes Brahms (1833-1897) A testing ground for chamber music Thoughts on the Brahms string sextets String Sextet No. 1 in B-flat Major, Op. 18 (1862) 1 I. Allegro ma non troppo 13. 33 “One hears six intelligent people at the same time are granted absolute 2 II. Andante, ma moderato 8. 56 conversing among themselves, derives individuality. 3 III. Scherzo. Allegro molto 3. 04 pleasure from their discourse, and gets to 4 IV. Rondo. Poco allegretto e grazioso 9. 15 know the peculiarities of the instruments.” On this basis, the string quartet — If Goethe’s well-known aperçu concerning probably the most significant chamber- String Sextet No. 2 in G Major, Op. 36 (1865) the string quartet could be so easily music genre in the history of European 1 I. Allegro non troppo 13. 48 adapted to the string sextet by merely music, thanks to its aesthetic appeal — has 2 II. Scherzo. Allegro non troppo - Presto giocoso - Tempo primo 7. 04 replacing the number four by six, then one developed a tradition that extends from 3 III. Adagio 8. 37 would truly be oversimplifying matters its beginnings with Haydn through Mozart 4 IV. Poco allegro 8. 12 with regard to the string sextet. For and Beethoven until well into the 20th the essence of Goethe’s thinking — the century. The string sextet cannot present Total playing time: 72. 45 conversation in which each participant a comparable development as a genre, has an equally important say — cannot irrespective of the varying combination WDR Symphony Orchestra Cologne be transferred without further ado to of instruments: for there was no standard Chamber Players: the extended ensemble.