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Use of the Simultaneous Cross-Relation by Sixteenth Century English and Continental Composers Tim Montgomery
University of Richmond UR Scholarship Repository Honors Theses Student Research 1968 Use of the simultaneous cross-relation by sixteenth century English and continental composers Tim Montgomery Follow this and additional works at: https://scholarship.richmond.edu/honors-theses Part of the Musicology Commons Recommended Citation Montgomery, Tim, "Use of the simultaneous cross-relation by sixteenth century English and continental composers" (1968). Honors Theses. 1033. https://scholarship.richmond.edu/honors-theses/1033 This Thesis is brought to you for free and open access by the Student Research at UR Scholarship Repository. It has been accepted for inclusion in Honors Theses by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. USE OF THE SIMULTANEOUS CROSS-RELATION BY SIXTEENTH CENTURY ENGLISH AND CONTINENTAL COMPOSERS Tim Montgomery Music H 391 LmnARY ~tJ=N-IVE-R-·SJTY OF RICHMOND YIRGINIA 2317S The principle of the s~multaneous cross-relation in vocal music has generally and commonly been associated with the English composers of the sixteenth century.(M p.71; R 824 n.J4) This ~ssumption has been more specifically connected with secular music, namely the English madrigal.(Dy p.13) To find the validity of this assumption in relation to both secular and sacred music I have C()mpared the available vocal music of three English composers, two major and one minor: Thomas Tallis (1505-1585), William Byrd (1.543-1623), and Thomas Whythorne (1528-1596). In deciding whether the simultaneous cross-relation was an aspect of English music exclusively, I examined vocal music of three composers of the continent, con temporaries of the English, for the use, if any, of the simul taneous cross-relation. -
Phrase Painting and Goal Orientation in Two Late Gesualdo Madrigals
CORE Metadata, citation and similar papers at core.ac.uk Provided by IUScholarWorks Phrase Painting and Goal Orientation In Two Late Gesualdo Madrigals MICHAEL E BURDICK I The late madrigals of Carlo Gesualdo have challenged the minds and ears of theorists for over three centuries. This challenge comes largely from the unorthodox type of chromatic harmony that we find in certain passages-a chromaticism that seems to belie its own place in the history of Western music. Of the late madrigals of Gesualdo, two of the most frequently quoted and analyzed are "Io pur respiro" and "Moro lasso" from his sixth book of madrigals. These two works, likewise, are the focus of at tention in this article. It is not the intent of this paper to attempt an explana tion of Gesualdo's unique chromaticism in terms of the harmonic practices of the Renaissance or Baroque periods. This has already been attempted by numerous authors over the years, with highly diversified and controversial results. However, some of these results will be presented here as a preliminary setting to the principal goal of this paper, which is to examine two structural principles in operation in these madrigals that offer to give greater understanding and meaning to the chord progressions themselves. Perhaps the most objective attempt to catalogue Gesualdo's chromaticism in a stylistic approach can be found in John Clough's article "The Leading Tone in Direct TWO GESUALDO MADRIGALS 17 Chromaticism: From Renaissance to Baroque."l The article gives a summary of different types of chromatic progres sions, with the emphasis on chromatic-third relationships (the chromatic-third progression being the salient feature of Gesualdo's more unconventional chromatic progressions). -
Download Booklet
572813 bk Zemlinsky EU_572813 bk Zemlinsky EU 23/05/2013 13:45 Page 4 Escher String Quartet Alexander Adam Barnett-Hart, Violin I • Wu Jie, Violin II • Pierre Lapointe, Viola • Dane Johansen, Cello Championed by the Emerson String Quartet, the Escher String ZEMLINSKY Quartet players were BBC New Generation Artists from 2010- 2012, giving débuts at both the Wigmore Hall and the BBC Proms String Quartets • 1 at Cadogan Hall. In their home town of New York, the quartet recently completed a three-year Escher String Quartet Rising Stars residency at The Chamber Music Society of Lincoln Center. Within months of its inception in 2005, the Escher Quartet was invited by both Pinchas Zukerman and Itzhak Perlman to be Quartet-in-Residence at each artist’s summer festival: the Young Artists Programme at Canada’s National Arts Centre; and the Perlman Chamber Music Program on Shelter Island, NY. Photo: Henry Fair In addition, the quartet has collaborated with artists such as Andrés Diaz, Lawrence Dutton, Kurt Elling, Leon Fleisher, Anja Lechner, Vadim Gluzman, Angela Yoffe, Gary Hoffman, Joseph Kalichstein, Kurt Muroki, Joseph Silverstein, Khatia Buniatishvili, Benjamin Grosvenor and Matthew Hunt, as well pop folk singer-songwriter Luke Temple. Recent performances include appearances at the Cheltenham, Lichfield and City of London Festivals, the Auditorium du Louvre in Paris, 92nd Street Y in New York, the Kennedy Center in Washington DC and the Ravinia and Caramoor festivals. Elsewhere, the quartet undertook a tour of China including Beijing, Shanghai and Hangzhou, and made its Australian début with Brett Dean at the Perth International Arts Festival. -
Multiple Choice
Unit 4: Renaissance Practice Test 1. The Renaissance may be described as an age of A. the “rebirth” of human creativity B. curiosity and individualism C. exploration and adventure D. all of the above 2. The dominant intellectual movement of the Renaissance was called A. paganism B. feudalism C. classicism D. humanism 3. The intellectual movement called humanism A. treated the Madonna as a childlike unearthly creature B. focused on human life and its accomplishments C. condemned any remnant of pagan antiquity D. focused on the afterlife in heaven and hell 4. The Renaissance in music occurred between A. 1000 and 1150 B. 1150 and 1450 C. 1450 and 1600 D. 1600 and 1750 5. Which of the following statements is not true of the Renaissance? A. Musical activity gradually shifted from the church to the court. B. The Catholic church was even more powerful in the Renaissance than during the Middle Ages. C. Every educated person was expected to be trained in music. D. Education was considered a status symbol by aristocrats and the upper middle class. 6. Many prominent Renaissance composers, who held important posts all over Europe, came from an area known at that time as A. England B. Spain C. Flanders D. Scandinavia 7. Which of the following statements is not true of Renaissance music? A. The Renaissance period is sometimes called “the golden age” of a cappella choral music because the music did not need instrumental accompaniment. B. The texture of Renaissance music is chiefly polyphonic. C. Instrumental music became more important than vocal music during the Renaissance. -
Escher String Quartet String Quartets: No
MENDELSSOHN · ESCHER STRING QUARTET STRING QUARTETS: NO. 5 IN E FLAT MAJOR & NO. 6 IN F MAJOR Front cover from left: Pierre Lapointe, Adam Barnett-Hart, Aaron Boyd, Dane Johansen BIS-2160 BIS-2160 booklet cover.indd 1 2016-01-29 14:29 MENDELSSOHN BARTHOLDY, Felix (1809–47) Quartet No.5 in E flat major 34'50 Op.44 No.3, MWV R28 (1837–38) 1 I. Allegro vivace 13'22 2 II. Scherzo. Assai leggiero e vivace 4'05 3 III. Adagio non troppo 8'34 4 IV. Molto allegro con fuoco 8'40 from Four Pieces for String Quartet, Op.81 5 3. Capriccio (Andante con moto – Allegro fugato assai vivace) in E minor, MWV R32 (1843) 5'37 6 4. Fugue (A tempo ordinario) in E flat major, MWV R23 (1827) 5'00 Quartet No.6 in F minor, Op.80, MWV R37 (1847) 25'02 7 I. Allegro vivace assai – Presto 7'05 8 II. Allegro assai 4'14 9 III. Adagio 7'52 10 IV. Finale. Allegro molto 5'44 TT: 71'17 Escher String Quartet Adam Barnett-Hart violin · Aaron Boyd violin Pierre Lapointe viola · Dane Johansen cello 3 he quartet has always been regarded as the purest and noblest of mu sical genres, which in particular heightens, educates, refines our appre cia tion ‘Tof music and, with the tiniest of means, achieves the ut most. Its clarity and transparency, which no trickery can cloak, make quartet music the surest yard- stick for measuring genuine composers; in renouncing the sensual lures of sound effects and contrasts, it highlights the gift of musical invention and the art of exploiting a musical idea. -
John Gilhooly
A RARE INTERVIEW WITH JOHN GILHOOLY PLUS SPRING SCHUMANN PERSPECTIVES 2018 PEKKA KUUSISTO RESIDENCY JAN ÁČEK’S INSTRUMENTAL WORKS FRIENDS OF OF FRIENDS YOUR 2018/19 DATES INSIDE John Gilhooly’s vision for Wigmore Hall extends far into the next decade and beyond. He outlines further dynamic plans to develop artistic quality, financial stability and audience diversity. JOHN GILHOOLY IN CONVERSATION WITH CLASSICAL MUSIC JOURNALIST, ANDY STEWART. FUTURE COMMITMENT “I’M IN FOR THE LONG HAUL!” Wigmore Hall’s Chief Executive and Artistic Director delivers the makings of a modern manifesto in eight words. “This is no longer a hall for hire,” says John Gilhooly, “or at least, very rarely”. The headline leads to a summary of the new season, its themed concerts, special projects, artist residencies and Learning events, programmed in partnership with an array of world-class artists and promoted by Wigmore Hall. It also prefaces a statement of intent by a well-liked, creative leader committed to remain in post throughout the next decade, determined to realise a long list of plans and priorities. “I am excited about the future,” says John, “and I am very grateful for the ongoing help and support of the loyal audience who have done so much already, especially in the past 15 years.” 2 WWW.WIGMORE-HALL.ORG.UK | FRIENDS OFFICE 020 7258 8230 ‘ The Hall is a magical place. I love it. I love the artists, © Kaupo Kikkas © Kaupo the music, the staff and the A glance at next audience. There are so many John’s plans for season’s highlights the Hall pave the confirms the strength characters who add to the way for another 15 and quality of an colour and complexion of the years of success. -
The Transcriber's Art – #51 Josquin
The Transcriber’s Art – #51 Josquin des Prez by Richard Yates “Take Five. There's a certain piece that if we don’t play, we’re in trouble.” —Dave Brubek It was a familiar situation: deep in the stacks, surrounded by ancient scores, browsing for music that might find artful expression through the guitar. Perusing pages of choral music, I was suddenly struck by the realization that what I was doing was precisely what lutenists 400 years ago had done. While not exactly déjà vu, there was a strong sense of threading my way along paths first explored centuries ago. And if I was struggling with this source material, did they also? What solutions did they find and what tricks did they devise? What can we learn from them to help solve the puzzle of intabulating Renaissance vocal polyphony? The 16th century saw the gradual evolution of musical ideals that culminated in the works of Giovanni Pierluigi da Palestrina (1525–94). Polyphonic music was to be a smooth, effortless flow of independent voices. Predominant stepwise movement emphasized continuity of individual lines but without drawing undue attention to any particular one. Dissonance was largely confined to the weak beats and passing tones or softened through suspensions. With its unique capacity for continuous modulation of timbre, pitch and volume, the human voice was exquisitely suited to this style. The articulation of syllables, true legato and subtle, unobtrusive portamento that connects phonemes and that is inherent in singing all facilitated the tracking of voices through a closely woven texture. Renaissance choral music is inextricably bound up with, and dependent on, the qualities of human voice. -
Gesualdo Cruel Ecstasy City 2021 PROG-2
City Summer Sounds 21 June 2021, 7pm Festival Concert Filmed at Holy Trinity Hoxton EXAUDI Gesualdo: Cruel Ecstasy Programme Carlo Gesualdo (1566-1613): Madrigals from Books V and VI (1611) Gioite voi col canto (Libro V) Itene, o miei sospiri (V) Deh, come invan sospiro ‘Io parto’, e non più dissi (VI) Asciugate i begli occhi (V) Patrick Hegarty (*1996): Recitation (2019) Gesualdo: Madrigals from Books V and VI Se la mia morte brami (VI) O dolorosa gioia (V) Al mio gioir (VI) Mille volte il dì (VI) Tu piangi, o Filli mia (VI) Languisce al fin chi da la vita parte (V) EXAUDI Juliet Fraser soprano Lucy Goddard mezzo Tom Williams countertenor Stephen Jeffes, David de Winter tenor Jimmy Holliday bass James Weeks director The Department of Music at City, University of London, would like to thank Fr Andrew Newcombe at Holy Trinity Hoxton for his generosity in hosting this event. Notes on the Music Gesualdo: Madrigals from Books V and VI Four hundred years after his death, Carlo Gesualdo, Prince of Venosa, remains the most tantalising of musicians, the most alluring of myths. We are drawn back to the dark flame of this strange, obsessive music like moths to the candle, like lovers who can’t let go. At the heart of his work we sense a mystery, an inward-turning, a kind of silence: its extreme chromatic harmonies and wild polarities no mere artifice or exoticism, but emanating from a soul whose nature is other, lying apart from us, outside our cosmology, orbiting a different sun. This is music which begets myths, and its composer’s sad and troubled life supplies plenty. -
Even String Quartets— No Longer Sit in Chairs When
It’s not a huge FINE, auprising, but a number of Upst ensembles—nding even string quartets— no longer sit in chairs when EMPIRE BRASS performing. What’s it all about? 26 may/june 2010 a ENSEMBLES ike most art forms, chamber music PROS by Judith Kogan performance has evolved to reflect For many people, it’s simply more com- Upst ndingchanges in society and technology. fortable to play standing up. It’s how we’re L As instruments developed greater power to taught to play and how we perform as solo- project, performances moved from small ists. Standing, it’s easier to establish good chambers to larger spaces, where professional posture with the instrument. musicians played to paying audiences. New Standing also allows freedom to express instrumentations, such as the saxophone with the whole body. With arms, shoulders quartet and the percussion ensemble, and waist liberated, a player’s range of motion emerged. By the late twentieth century, expands. For wind players, there’s better composers had recast what was once thought air flow. The ability to turn the whole body of as “intimate musical conversation” to in- makes it easier to communicate with other corporate abrasive electronically-produced ensemble members and the audience. One sonorities. Some works called for musi- arguably feels the rhythm of a piece better cians to wear headphones with click tracks, on one’s feet, and, perhaps unconsciously, preventing them from hearing each other. produces a bigger, fatter sound. Sometimes they couldn’t even hear them- In terms of acoustics, sound travels farther selves. -
Calendarmailerfinal:Layout 1
Jon Manasse Boston Cello Quartet Julian Schwarz Jon Nakamatsu Martin Beaver Amit Peled Cypress String Quartet Stephanie Chase Yeesun Kim Curtis on Tour Emerson String Quartet Natasha Paremski Noreen Polera Sunday Monday Tuesday Wednesday Thursday Friday Dennis & Yarmouth Wellfleet & Provincetown Cotuit & Orleans Chatham Wellfleet Wellfleet Cape Cod Gala July 21, Wellfleet 7:30pm July 29, Orleans 7:30pm July 31 7:30pm Sunday, July 27 ~ 6pm Curtis On Tour features a string chamber Boston Cello Quartet Jon Manasse, CLARINET Blaise Déjardin Adam Esbensen Join us for a festive evening at our orchestra performing Antonio Vivaldi’s iconic Emerson String Quartet Cape Cod Gala! Featuring music by The Four Seasons paired with Ástor Piazzolla’s Mihail Jojatu Alexandre Lecarme tango masterpieces Cuatro Estaciones W.A. MOZART Overture to The Abduction from the Eugene Drucker, VIOLIN Philip Setzer, VIOLIN the Manasse/Nakamatsu Duo. Cocktails Seraglio Porteñas (The Four Seasons of Buenos Aires) Lawrence Dutton, VIOLA Paul Watkins, CELLO at 6, music at 6:45 followed by a full F. MENDELSSOHN Scherzo from A Midsummer buffet dinner. featuring celebrated Curtis alumna violinist Night’s Dream J. HAYDN String Quartet in G Minor; Opus 20 No. Elissa Lee Koljonen (’94). C. DEBUSSY Reverie 3, Hob. III.33 Jon Manasse, CLARINET D. POPPER Suite for Two Cellos, Opus 16 W. A. MOZART Quintet in A Major for Clarinet and The proceeds from this concert will help fund Jon Nakamatsu, PIANO E. CHABRIER España, rapsodie pour orchestra Strings, K. 581 Luis Ortiz, PIANO the restoration of the late 18th-early 19th J. WILLIAMS Theme from Angela’s Ashes century “Church Bass” that has been in the L. -
Vivianfung|Composer
vivianfung|Composer “Her music ... summons images of dusk and reaches for hidden places and states of mind.” San Jose Mercury News Vivian Fung Phone: (917) 535-0050 Email: [email protected] Website: www.vivianfung.net Vivian Fung has distinguished herself as a composer with a unique and powerful compositional voice. Since earning her doctorate from The Juilliard School in 2002, she has forged her own approach often merging western forms with non-western vivianfung|Composer influences such as Balinese and Javanese gamelan and folk songs from minority regions of China. The New “…as vital as encountering Steve Reich or the York Times has described her work as ―evocative,‖ Kronos for the first time.” and The Strad hails her Uighur-influenced music to be The Strad ―as vital as encountering Steve Reich or the Kronos for the first time.‖ Chicago Tribune described Fung‘s Yunnan Folk Songs as conveying ―a winning rawness that went beyond exoticism.‖ Fung has traveled extensively for her work. In 2004, she traveled to Bali, Indonesia Highlights of Fung's recent world as part of the Asia Pacific Performance Exchange premieres include: her Violin Concerto for Kristin Program, sponsored by the UCLA Center for Lee and Grammy nominated Metropolis Ensemble, Intercultural Performance. In summer 2010, as an Dust Devils commissioned by the Eastern Music ensemble member of Gamelan Dharma Swara, she Festival celebrating their 50th anniversary, Yunnan completed a performance tour of Bali including Folk Songs by Fulcrum Point New Music Project in competing in the Bali Arts Festival. Chicago; new choral works by the acclaimed Suwon Civic Chorale in South Korea; Chant by pianist Fung‘s works have increasingly Margaret Leng Tan at the Museum of Modern Art in become part of the core repertoire. -
Vivaldi Explosion Program
The following program notes may only be used in conjunction with the one-time streaming term for the corresponding Chamber Music Society of Lincoln Center (CMS) Front Row National program, with the following credit(s): Program notes by Laura Keller, CMS Editorial Manager © 2020 Chamber Music Society of Lincoln Center Any other use of these materials in connection with non-CMS concerts or events is prohibited. VIVALDI EXPLOSION PROGRAM ANTONIO VIVALDI (1678-1741) Sonata in A minor for Cello and Continuo, RV 43 (c. 1739) Largo Allegro Largo Allegro Efe Baltacigil, cello; Dane Johansen, cello; Paul O’Dette, lute; John Gibbons, harpsichord VIVALDI Concerto in G minor for Flute, Oboe, and Bassoon, RV 103 Allegro ma cantabile Largo Allegro non molto Sooyun Kim, flute; Stephen Taylor, oboe; Bram van Sambeek, bassoon VIVALDI Concerto in F major for Three Violins, Strings, and Continuo, RV 551 (1711) Allegro Andante Allegro Todd Phillips, violin; Bella Hristova, violin; Chad Hoopes, violin; Sean Lee, violin; Aaron Boyd, violin; Pierre Lapointe, viola; Timothy Eddy, cello; Anthony Manzo, bass; Michael Sponseller, harpsichord --INTERMISSION (Discussion with artists)-- VIVALDI Sonata in D minor for Two Violins and Continuo, RV 63, “La Follia” (published c. 1705) Adam Barnett-Hart, violin; Aaron Boyd, violin; Brook Speltz, cello; Jason Vieaux, guitar VIVALDI Concerto in D major for Mandolin, Strings, and Continuo, RV 93 (1730-31) Chamber Music Society of Lincoln Center Allegro giusto Largo Allegro Avi Avital, mandolin; Paul Huang, violin; Danbi Um, violin; Ani Kavafian, violin; Chad Hoopes, violin; Mihai Marica, cello; Daniel McDonough, cello; Anthony Manzo, bass; Jiayan Sun, harpsichord NOTES ON THE PROGRAM Violin virtuosity reached a new height around the year 1700.