Section 3 Classified Index Teil 3 Systematisches Verzeichnis

Total Page:16

File Type:pdf, Size:1020Kb

Section 3 Classified Index Teil 3 Systematisches Verzeichnis SECTION 3 CLASSIFIED INDEX TEIL 3 SYSTEMATISCHES VERZEICHNIS 301 302 Classified Index Orchestra / Orchester...............................................................................................................................305 Chamber Orchestra / Kammerorchester...............................................................................................310 String Orchestra / Streichorchester ........................................................................................................312 Wind Orchestra / Blasorchester..............................................................................................................312 Brass Band / Blaskapelle...........................................................................................................................313 String Ensemble / Streichensemble........................................................................................................313 Wind Ensemble / Bläserensemble ..........................................................................................................313 Brass Ensemble / Blechbläserensemble.................................................................................................314 Percussion Ensemble / Schlagzeugensemble ........................................................................................314 Mixed Ensemble / Gemischtes Ensemble.............................................................................................314 String Quartets / Streich-Quartett ..........................................................................................................315 Piano and Orchestra / Klavier und Orchester......................................................................................316 2 Pianos and Orchestra / 2 Klaviere und Orchester............................................................................316 Cembalo/Harpsichord and Orchestra / Cembalo und Orchester.....................................................316 2 Cembali/Harpsichords and Orchestra / 2 Cembali und Orchester ...............................................316 3 (or more) Cembali/Harpsichords and Orchestra / 3 (oder mehrere) Cembali und Orchester.......316 Organ and Orchestra / Orgel und Orchester........................................................................................317 Violin and Orchestra / Violine und Orchester .....................................................................................317 2 Violins and Orchestra / 2 Violinen und Orchester...........................................................................318 3 Violins and Orchestra / 3 Violinen und Orchester...........................................................................318 4 Violins and Orchestra / 4 Violinen und Orchester...........................................................................318 Viola and Orchestra / Viola und Orchester .........................................................................................318 2 Violas and Orchestra / 2 Violen und Orchester ...............................................................................318 Cello and Orchestra / Violoncello und Orchester................................................................................318 2 Cellos and Orchestra / 2 Violoncelli und Orchester.........................................................................319 Double Bass and Orchestra / Kontrabass und Orchester ..................................................................319 3 Double Basses and Orchestra / 3 Kontrabässe und Orchester ......................................................319 Flute (Piccolo/Alto/Bass Flute) and Orchestra / Flöte (Piccolo/Alt/Bass-Flöte) und Orchester.........319 2 Flutes and Orchestra / 2 Flöten und Orchester ...............................................................................319 3 Flutes and Orchestra / 3 Flöten und Orchester ...............................................................................319 Recorder and Orchestra / Blockflöte und Orchester ..........................................................................319 Oboe (Oboe d’amore) and Orchestra / Oboe (Oboe d’amore) und Orchester..............................319 2 Oboes and Orchestra / 2 Oboen und Orchester ..............................................................................320 Cor Anglais and Orchestra / Englisch Horn und Orchester..............................................................320 Clarinet/Bass Clarinet and Orchestra / Klarinette/Bass-Klarinette und Orchester .......................320 2 Clarinets and Orchestra / 2 Klarinetten und Orchester...................................................................320 Basset Horn and Orchestra / Basset-Horn und Orchester.................................................................320 Saxophone and Orchestra / Saxophon und Orchester........................................................................320 2 Saxophones and Orchestra / 2 Saxophone und Orchester .............................................................321 4 Saxophones and Orchestra / 4 Saxophone und Orchester .............................................................321 Bassoon and Orchestra / Fagott und Orchester...................................................................................321 Horn and Orchestra / Horn und Orchester..........................................................................................321 2 Horns and Orchestra / 2 Hörner und Orchester..............................................................................321 3 Horns and Orchestra / 3 Hörner und Orchester..............................................................................321 4 Horns and Orchestra / 4 Hörner und Orchester..............................................................................321 Trumpet and Orchestra / Trompete und Orchester............................................................................321 2 Trumpets and Orchestra / 2 Trompeten und Orchester .................................................................321 3 Trumpets and Orchestra / 3 Trompeten und Orchester .................................................................321 Trombone and Orchestra / Posaune und Orchester ...........................................................................321 2 Trombones and Orchestra / 2 Posaunen und Orchester.................................................................322 Tuba and Orchestra / Tuba und Orchester...........................................................................................322 Percussion/Timpani and Orchestra / Schlagzeug/Pauken und Orchester ......................................322 Harp and Orchestra / Harfe und Orchester..........................................................................................322 2 Harps and Orchestra / 2 Harfen und Orchester ...............................................................................322 Guitar and Orchestra / Gitarre und Orchester.....................................................................................322 2 Guitars and Orchestra / 2 Gitarren und Orchester ..........................................................................322 3 Guitars and Orchestra / 3 Gitarren und Orchester ..........................................................................322 Accordion and Orchestra / Akkordeon und Orchester ......................................................................322 Harmonica and Orchestra / Harmonika und Orchester .....................................................................322 Miscellaneous Instruments and Orchestra / Verschiedene Instrumente und Orchester…...........322 303 Classified Index 2 (or more) different Solo Instruments and Orchestra / 2 (oder mehrere) unterschiedliche Soloinstrumente und Orchester.............................................322 Solos / Duos.........................................................................................................................................323 Miscellaneous Works / Verschiedene Werke .................................................................................323 Fanfares / Fanfaren.............................................................................................................................323 Films / Filme........................................................................................................................................323 Works for Tape or Electronics / Werke für Tonband oder Elektronik......................................324 Chorus and Orchestra with Soloist(s) / Chor und Orchester mit Solostimme(n).....................324 Chorus and Orchestra without Soloist(s) / Chor und Orchester ohne Solostimme(n)............325 Female Chorus and Orchestra (with or without Soloists) Frauenchor und Orchester (mit oder ohne Soli).............................................................................326 Male Chorus and Orchestra (with or without Soloists) Männerchor und Orchester (mit oder ohne Soli) ...........................................................................326 Narrator and Orchestra or Ensemble / Sprecher und Orchester oder Ensemble ....................326 Soprano and Orchestra / Sopran und Orchester............................................................................327 Mezzo-Soprano and Orchestra / Mezzo-Sopran und Orchester.................................................328 Alto and Orchestra / Alt und Orchester..........................................................................................328
Recommended publications
  • Saisonprogramm 2019/20
    19 – 20 ZWISCHEN Vollendeter HEIMAT Genuss TRADITION braucht ein & BRAUCHTUM perfektes MODERNE Zusammenspiel KULTURRÄUME NATIONEN Als führendes Energie- und Infrastrukturunternehmen im oberösterreichischen Zentralraum sind wir ein starker Partner für Wirtschaft, Kunst und Kultur und die Menschen in der Region. Die LINZ AG wünscht allen Besucherinnen und Besuchern beste Unterhaltung. LINZ AG_Brucknerfest 190x245 mit 7mm Bund.indd 1 30.01.19 09:35 6 Vorworte 12 Saison 19/20 16 Abos 19/20 22 Das Große Abonnement 32 Sonntagsmatineen 42 Kost-Proben 44 Das besondere Konzert 100 Moderierte Foyer-Konzerte am Sonntagnachmittag 50 Chorkonzerte 104 Musikalischer Adventkalender 54 Liederabende 112 BrucknerBeats 58 Streichquartette 114 Russische Dienstage INHALTS- 62 Kammermusik 118 Musik der Völker 66 Stars von morgen 124 Jazz 70 Klavierrecitals 130 BRUCKNER’S Jazz 74 C. Bechstein Klavierabende 132 Gemischter Satz 80 Orgelkonzerte VERZEICHNIS 134 Comedy.Music 84 Orgelmusik zur Teatime 138 Serenaden 88 WortKlang 146 Kooperationen 92 Ars Antiqua Austria 158 Jugend 96 Hier & Jetzt 162 Kinder 178 Kalendarium 193 Team Brucknerhaus 214 Saalpläne 218 Karten & Service 5 Kunst und Kultur sind anregend, manchmal im flüge unseres Bruckner Orchesters genießen Hommage an das Genie Anton Bruckner Das neugestaltete Musikprogramm erinnert wahrsten Sinn des Wortes aufregend – immer kann. Dass auch die oberösterreichischen Linz spielt im Kulturleben des Landes Ober- ebenso wie das Brucknerfest an das kompo- aber eine Bereicherung unseres Lebens, weil Landesmusikschulen immer wieder zu Gast österreich ohne Zweifel die erste Geige. Mit sitorische Schaffen des Jahrhundertgenies sie die Kraft haben, über alle Unterschiedlich- im Brucknerhaus Linz sind, ist eine weitere dem internationalen Brucknerfest, den Klang- Bruckner, für den unsere Stadt einen Lebens- keiten hinweg verbindend zu wirken.
    [Show full text]
  • MTO 0.7: Alphonce, Dissonance and Schumann's Reckless Counterpoint
    Volume 0, Number 7, March 1994 Copyright © 1994 Society for Music Theory Bo H. Alphonce KEYWORDS: Schumann, piano music, counterpoint, dissonance, rhythmic shift ABSTRACT: Work in progress about linearity in early romantic music. The essay discusses non-traditional dissonance treatment in some contrapuntal passages from Schumann’s Kreisleriana, opus 16, and his Grande Sonate F minor, opus 14, in particular some that involve a wedge-shaped linear motion or a rhythmic shift of one line relative to the harmonic progression. [1] The present paper is the first result of a planned project on linearity and other features of person- and period-style in early romantic music.(1) It is limited to Schumann's piano music from the eighteen-thirties and refers to score excerpts drawn exclusively from opus 14 and 16, the Grande Sonate in F minor and the Kreisleriana—the Finale of the former and the first two pieces of the latter. It deals with dissonance in foreground terms only and without reference to expressive connotations. Also, Eusebius, Florestan, E.T.A. Hoffmann, and Herr Kapellmeister Kreisler are kept gently off stage. [2] Schumann favours friction dissonances, especially the minor ninth and the major seventh, and he likes them raw: with little preparation and scant resolution. The sforzato clash of C and D in measures 131 and 261 of the Finale of the G minor Sonata, opus 22, offers a brilliant example, a peculiarly compressed dominant arrival just before the return of the main theme in G minor. The minor ninth often occurs exposed at the beginning of a phrase as in the second piece of the Davidsbuendler, opus 6: the opening chord is a V with an appoggiatura 6; as 6 goes to 5, the minor ninth enters together with the fundamental in, respectively, high and low peak registers.
    [Show full text]
  • Der Student Im Garten*
    Der Student im Garten von Harald Lönnecker Frankfurt a. Main 2008 Dateiabruf unter: www.burschenschaft.de Dateiabruf unter: www.burschenschaft.de Der Student im Garten* von Harald Lönnecker 1924 veröffentlichte die Deutsche Studentenschaft, der öffentlich-rechtliche Zusammenschluß der Allgemeinen Studentenausschüsse in Deutschland, Österreich, Danzig und dem Sudetenland, im Göttinger Deutschen Hochschul-Verlag ein 194 Seiten umfassendes Buch mit dem Titel: „Rosanders, des lieblich floetenden Schaeffers und klirrend Gassatim gehenden Purschen Studentengartlein, worinnen derselbe manichmahl mit seinen Confratibus und Liebsten mit sonderer Ergezzlichkeit sich erlustiret, spazziret und maniche sueß-dufftende Bluhme sich abgebrochen“.1 „Gassatim gehen“ oder „gassatieren“ bedeutete in der Studentensprache seit dem ausgehenden 17., beginnenden 18. Jahrhundert, sich lärmend, musizierend und singend nachts auf den Gassen und Straßen herumzutreiben. Dies geschah in der Regel „klirrend“ von Sporen und Raufdegen, der gern lautstark und herausfordernd als „Gassenhauer“ an Steinen und Häuserecken gewetzt wurde. „Pursch[e]“ oder „Bursch[e]“ war die gängige Bezeichnung für den Studenten, „Burschenschaft“ hieß nicht mehr als „Studentenschaft“. Erst nach 1815 bezeichnet das Wort einen bestimmten Korporationstypus.2 Das „Studentengartlein“ lehnt sich an Johannes Jeeps (1581/82-1644) erstmals 1605 bzw. 1613 erschienenes „Studentengärtlein“ an, ein Studentenliederbuch, entstanden an der Nürnberger Hochschule zu Altdorf und ihren Studenten gewidmet, das eine Tradition der einfachen Strophen- und Melodiegestaltung für das säkulare Studentenlied begründete und für rund zweihundert Jahre wegweisend und stilbildend für den studentischen Gesang wurde.3 * Zuerst in: Eva-Maria Stolberg (Hg.), Auf der Suche nach Eden. Eine Kulturgeschichte des Gartens, Frankfurt a. M., Berlin, Bern, Bruxelles, New York, Oxford, Wien 2008, S. 111-133. 1 „auffs Neue an den Tag gebracht [...] von Kurt Siemers“.
    [Show full text]
  • Study Guides
    Study Guides for Singing Our Lives These guides integrate Bible study, prayer, and worship to help us explore how singing can lift our hearts to adore God, awaken us to confess the disorder in our lives, and inspire us to good Christian Reflection work that speaks God’s transforming love into the hurting A Series in Faith and Ethics world. Use them individually or in a series. You may reproduce them for personal or group use. Why We Sing 2 When we come before God in worship, why do we sing rather than merely think or talk with one another? Singing is a language that God has given us to express our deepest longings, greatest joys, and most profound trust in the One who created us and loves us unconditionally. Nurturing the Congregation’s Voice 4 Every congregation is an unmatched creation with lessons to learn about its voice—what music it’s intended to make and what music is meant for another congregation. These lessons can be learned through the disciplines of hearing, joining, sounding, remembering, and coaching its voice. Singing with the Psalter 6 What sets the book of Psalms apart from other Scripture is the sacramental nature of its songs, their ability to mold and transform the believer. Reading or singing the psalms, we lift them to God as our prayers, as though we are speaking our own words rather than recalling an ancient litany. Gifts of New Music 8 A prophetic song that lifts our hearts to adore God, awa- kens us to confess the disorder in our lives, or inspires us to share God’s love for the hurting world is a wonderful gift.
    [Show full text]
  • 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.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 27,1907-1908, Trip
    CARNEGIE HALL - - NEW YORK Twenty-second Season in New York DR. KARL MUCK, Conductor fnigrammra of % FIRST CONCERT THURSDAY EVENING, NOVEMBER 7 AT 8.15 PRECISELY AND THK FIRST MATINEE SATURDAY AFTERNOON, NOVEMBER 9 AT 2.30 PRECISELY WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE PUBLISHED BY C. A. ELLIS, MANAGER : Piano. Used and indorsed by Reisenauer, Neitzel, Burmeister, Gabrilowitsch, Nordica, Campanari, Bispham, and many other noted artists, will be used by TERESA CARRENO during her tour of the United States this season. The Everett piano has been played recently under the baton of the following famous conductors Theodore Thomas Franz Kneisel Dr. Karl Muck Fritz Scheel Walter Damrosch Frank Damrosch Frederick Stock F. Van Der Stucken Wassily Safonoff Emil Oberhoffer Wilhelm Gericke Emil Paur Felix Weingartner REPRESENTED BY THE JOHN CHURCH COMPANY . 37 West 32d Street, New York Boston Symphony Orchestra PERSONNEL TWENTY-SEVENTH SEASON, 1907-1908 Dr. KARL MUCK, Conductor First Violins. Wendling, Carl, Roth, O. Hoffmann, J. Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Czerwonky, R. Mahn, F. Eichheim, H. Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. < Second Violins. • Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Rennert, B. Eichler, J. Tischer-Zeitz, H Kuntz, A. Swornsbourne, W. Goldstein, S. Kurth, R. Goldstein, H. Violas. Ferir, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. t Violoncellos. Warnke, H. Nagel, R. Barth, C. Loefner, E. Heberlein, H. Keller, J. Kautzenbach, A. Nast, L.
    [Show full text]
  • Die Deutsche Nationalhymne
    Wartburgfest 1817 III. Die deutsche Nationalhymne 1. Nationen und ihre Hymnen Seit den frühesten Zeiten haben Stämme, Völker und Kampfeinheiten sich durch einen gemeinsamen Gesang Mut zugesungen und zugleich versucht, den Gegner zu schrecken. Der altgriechische Päan ist vielleicht das bekannteste Beispiel. Parallel zum Aufkommen des Nationalismus entwickelten die Staaten nationale, identitätsstiftende Lieder. Die nieder- ländische Hymne stammt aus dem 16 Jahrhundert und gilt als die älteste. Wilhelmus von Nassawe bin ich von teutschem blut, dem vaterland getrawe bleib ich bis in den todt; 30 ein printze von Uranien bin ich frey unverfehrt, den könig von Hispanien hab ich allzeit geehrt. Die aus dem Jahre 1740 stammen Rule Britannia ist etwas jünger, und schon erheblich nationalistischer. When Britain first, at Heaven‘s command Arose from out the azure main; This was the charter of the land, And guardian angels sang this strain: „Rule, Britannia! rule the waves: „Britons never will be slaves.“ usw. Verbreitet waren Preisgesänge auf den Herrscher: Gott erhalte Franz, den Kaiser sang man in Österreich, God save the king in England, Boshe chrani zarja, was dasselbe bedeutet, in Rußland. Hierher gehören die dänische Hymne Kong Christian stod ved højen mast i røg og damp u. a. Die französische Revolution entwickelte eine Reihe von Revolutionsge- sängen, die durchweg recht brutal daherkommen, wie zum Beispiel das damals berühmte Ah! ça ira, ça ira, ça ira, Les aristocrates à la lanterne! Ah! ça ira, ça ira, ça ira, Les aristocrates on les pendra! also frei übersetzt: Schaut mal her, kommt zuhauf, wir hängen alle Fürsten auf! Auch die blutrünstige französische Nationalhymne, die Mar- seillaise, stammt aus dieser Zeit: Allons enfants de la patrie.
    [Show full text]
  • THE INCIDENTAL MUSIC of BEETHOVEN THESIS Presented To
    Z 2 THE INCIDENTAL MUSIC OF BEETHOVEN THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Theodore J. Albrecht, B. M. E. Denton, Texas May, 1969 TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS. .................. iv Chapter I. INTRODUCTION............... ............. II. EGMONT.................... ......... 0 0 05 Historical Background Egmont: Synopsis Egmont: the Music III. KONIG STEPHAN, DIE RUINEN VON ATHEN, DIE WEIHE DES HAUSES................. .......... 39 Historical Background K*niq Stephan: Synopsis K'nig Stephan: the Music Die Ruinen von Athen: Synopsis Die Ruinen von Athen: the Music Die Weihe des Hauses: the Play and the Music IV. THE LATER PLAYS......................-.-...121 Tarpe.ja: Historical Background Tarpeja: the Music Die gute Nachricht: Historical Background Die gute Nachricht: the Music Leonore Prohaska: Historical Background Leonore Prohaska: the Music Die Ehrenpforten: Historical Background Die Ehrenpforten: the Music Wilhelm Tell: Historical Background Wilhelm Tell: the Music V. CONCLUSION,...................... .......... 143 BIBLIOGRAPHY.....................................-..145 iii LIST OF ILLUSTRATIONS Figure Page 1. Egmont, Overture, bars 28-32 . , . 17 2. Egmont, Overture, bars 82-85 . , . 17 3. Overture, bars 295-298 , . , . 18 4. Number 1, bars 1-6 . 19 5. Elgmpnt, Number 1, bars 16-18 . 19 Eqm 20 6. EEqgmont, gmont, Number 1, bars 30-37 . Egmont, 7. Number 1, bars 87-91 . 20 Egmont,Eqm 8. Number 2, bars 1-4 . 21 Egmon t, 9. Number 2, bars 9-12. 22 Egmont,, 10. Number 2, bars 27-29 . 22 23 11. Eqmont, Number 2, bar 32 . Egmont, 12. Number 2, bars 71-75 . 23 Egmont,, 13.
    [Show full text]
  • Wuorinen Printable Program
    The University at Buffalo Department of Music and The Robert & Carol Morris Center for 21st Century Music present Celebrating Charles Wuorinen at 80 featuring Ensemble SIGNAL Brad Lubman, conductor Tuesday, April 24, 2018 7:30pm Lippes Concert Hall in Slee Hall PROGRAM Charles Wuorinen (b. 1938) iRidule Jacqueline Leclair, oboe soloist Spin 5 Olivia De Prato, violin soloist Intermission Megalith Eric Huebner, piano soloist PERSONNEL Ensemble Signal Brad Lubman, Music Director Paul Coleman, Sound Director Olivia De Prato, Violin Lauren Radnofsky, Cello Ken Thomson, Clarinet, Bass Clarinet Adrián Sandí, Clarinet, Bass Clarinet David Friend, Piano 1 Oliver Hagen, Piano 2 Karl Larson, Piano 3 Georgia Mills, Piano 4 Matt Evans, Vibraphone, Piano Carson Moody, Marimba 1 Bill Solomon, Marimba 2 Amy Garapic, Marimba 3 Brad Lubman, Marimba Sarah Brailey, Voice 1 Mellissa Hughes, Voice 2 Kirsten Sollek, Voice 4 Charles Wuorinen In 1970 Wuorinen became the youngest composer at that time to win the Pulitzer Prize (for the electronic work Time's Encomium). The Pulitzer and the MacArthur Fellowship are just two among many awards, fellowships and other honors to have come his way. Wuorinen has written more than 260 compositions to date. His most recent works include Sudden Changes for Michael Tilson Thomas and the San Francisco Symphony, Exsultet (Praeconium Paschale) for Francisco Núñez and the Young People's Chorus of New York, a String Trio for the Goeyvaerts String Trio, and a duo for viola and percussion, Xenolith, for Lois Martin and Michael Truesdell. The premiere of of his opera on Annie Proulx's Brokeback Mountain was was a major cultural event worldwide.
    [Show full text]
  • Interview with Charles Wuorinen Международный Отдел
    Международный отдел • International Division ISSN 1997-0854 (Print), 2587-6341 (Online) DOI: 10.17674/1997-0854.2019.4.046-056 Interview with Charles Wuorinen Dear readers of the journal “Problemy muzykal’noj nauki / Music Scholarship”! he editorial board of the journal with composer and performer Harvey T“Problemy muzykalnoj nauki / Music Solberger, he was one of the leaders of the Scholarship” is happy to concert series, the Group present an interview with the for Contemporary Music, famous American composer devoted to performance Charles Wuorinen. At the of works by contemporary present time Wuorinen is the composers. In the 1970s most well-known composer Wuorinen wrote an orchestral of twelve-tone music in the composition A Reliquary for USA. He was born in New Igor Stravinsky, in which he York City in 1938, studied incorporated the last musical at Columbia University in sketches of the great master. New York, and subsequently Wuorinen is the author of taught at many universities Charles Wuorinen. a book on serial music, and conservatories in the Photo by Nina Roberts titled Simple Composition, USA, including Columbia which he characterizes as a University, Manhattan School of Music (New manual for composers, meant to teach them York), Princeton University and Rutgers how to compose music, and not a music University (New Jersey), New England theory book analyzing already composed Conservatory (Massachussetts), etc. In 1970 works. Wuorinen’s music is well-known he was awarded the Pulitzer Prize for his in the USA and in the countries of Western electronic composition Time’s Encomium, Europe, where there are frequent premiere composed with the use of the RCA Synthesizer performances of his new compositions, at the Columbia-Princeton Electronic Music among which it becomes proper to name Center.
    [Show full text]
  • View List (.Pdf)
    Symphony Society of New York Stadium Concert United States Premieres New York Philharmonic Commission as of November 30, 2020 NY PHIL Biennial Members of / musicians from the New York Philharmonic Click to jump to decade 1842-49 | 1850-59 | 1860-69 | 1870-79 | 1880-89 | 1890-99 | 1900-09 | 1910-19 | 1920-29 | 1930-39 1940-49 | 1950-59 | 1960-69 | 1970-79 | 1980-89 | 1990-99 | 2000-09 | 2010-19 | 2020 Composer Work Date Conductor 1842 – 1849 Beethoven Symphony No. 3, Sinfonia Eroica 18-Feb 1843 Hill Beethoven Symphony No. 7 18-Nov 1843 Hill Vieuxtemps Fantasia pour le Violon sur la quatrième corde 18-May 1844 Alpers Lindpaintner War Jubilee Overture 16-Nov 1844 Loder Mendelssohn The Hebrides Overture (Fingal's Cave) 16-Nov 1844 Loder Beethoven Symphony No. 8 16-Nov 1844 Loder Bennett Die Najaden (The Naiades) 1-Mar 1845 Wiegers Mendelssohn Symphony No. 3, Scottish 22-Nov 1845 Loder Mendelssohn Piano Concerto No. 1 17-Jan 1846 Hill Kalliwoda Symphony No. 1 7-Mar 1846 Boucher Furstenau Flute Concerto No. 5 7-Mar 1846 Boucher Donizetti "Tutto or Morte" from Faliero 20-May 1846 Hill Beethoven Symphony No. 9, Choral 20-May 1846 Loder Gade Grand Symphony 2-Dec 1848 Loder Mendelssohn Violin Concerto in E minor 24-Nov 1849 Eisfeld Beethoven Symphony No. 4 24-Nov 1849 Eisfeld 1850 – 1859 Schubert Symphony in C major, Great 11-Jan 1851 Eisfeld R. Schumann Introduction and Allegro appassionato for Piano and 25-Apr 1857 Eisfeld Orchestra Litolff Chant des belges 25-Apr 1857 Eisfeld R. Schumann Overture to the Incidental Music to Byron's Dramatic 21-Nov 1857 Eisfeld Poem, Manfred 1860 - 1869 Brahms Serenade No.
    [Show full text]
  • NORTHERN STARS MUSIC from the NORDIC and BALTIC REGIONS NAXOS • MARCO POLO • ONDINE • PROPRIUS • SWEDISH SOCIETY • DACAPO Northern Stars
    NORTHERN STARS MUSIC FROM THE NORDIC AND BALTIC REGIONS NAXOS • MARCO POLO • ONDINE • PROPRIUS • SWEDISH SOCIETY • DACAPO Northern Stars Often inspired by folk tradition, nature, landscape and a potent spirit of independence, the music of Scandinavia, Finland and the Baltic states is distinctive and varied, with each country’s music influenced by its neighbours, yet shaped and coloured by its individual heritage. Traveling composers such as Sweden’s Joseph Kraus introduced 18th and early 19th century classical trends from Germany and Italy, but with national identity gaining increasing importance as Romantic ideals took hold, influential and distinctive creative lines were soon established. The muscular strength of Carl Nielsen’s symphonies grew out of the Danish nationalist vigor shown by Friedrich Kuhlau and Niels Gade, extending to names such as Per Nørgård today. Gade was a teacher of Edvard Grieg, who owes his position as Norway’s leading composer, at least in part, to the country’s traditional folk music and the poignant lyricism of the Hardanger fiddle. The music of Finland is dominated by the rugged symphonies of Jean Sibelius, and his Finlandia ensured his status as an enduring national symbol. Sibelius successfully combined the lessons of Viennese romanticism with a strong Nordic character, and this pragmatic approach has generated numerous contemporary giants such as Aus Sallinen, Einojuhani Rautavaara, Kalevi Aho and Kaija Saariaho. Turbulent history in the Baltic States partially explains a conspicuous individualism amongst the region’s composers, few more so than with Arvo Pärt, whose work distils the strong Estonian vocal tradition into music of striking intensity and crystalline beauty.
    [Show full text]