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Mozart Magic Philharmoniker
THE T A R S Mass, in C minor, K 427 (Grosse Messe) Barbara Hendricks, Janet Perry, sopranos; Peter Schreier, tenor; Benjamin Luxon, bass; David Bell, organ; Wiener Singverein; Herbert von Karajan, conductor; Berliner Mozart magic Philharmoniker. Mass, in C major, K 317 (Kronungsmesse) (Coronation) Edith Mathis, soprano; Norma Procter, contralto...[et al.]; Rafael Kubelik, Bernhard Klee, conductors; Symphonie-Orchester des on CD Bayerischen Rundfunks. Vocal: Opera Così fan tutte. Complete Montserrat Caballé, Ileana Cotrubas, so- DALENA LE ROUX pranos; Janet Baker, mezzo-soprano; Nicolai Librarian, Central Reference Vocal: Vespers Vesparae solennes de confessore, K 339 Gedda, tenor; Wladimiro Ganzarolli, baritone; Kiri te Kanawa, soprano; Elizabeth Bainbridge, Richard van Allan, bass; Sir Colin Davis, con- or a composer whose life was as contralto; Ryland Davies, tenor; Gwynne ductor; Chorus and Orchestra of the Royal pathetically brief as Mozart’s, it is Howell, bass; Sir Colin Davis, conductor; Opera House, Covent Garden. astonishing what a colossal legacy F London Symphony Orchestra and Chorus. Idomeneo, K 366. Complete of musical art he has produced in a fever Anthony Rolfe Johnson, tenor; Anne of unremitting work. So much music was Sofie von Otter, contralto; Sylvia McNair, crowded into his young life that, dead at just Vocal: Masses/requiem Requiem mass, K 626 soprano...[et al.]; Monteverdi Choir; John less than thirty-six, he has bequeathed an Barbara Bonney, soprano; Anne Sofie von Eliot Gardiner, conductor; English Baroque eternal legacy, the full wealth of which the Otter, contralto; Hans Peter Blochwitz, tenor; soloists. world has yet to assess. Willard White, bass; Monteverdi Choir; John Le nozze di Figaro (The marriage of Figaro). -
Boston Symphony Orchestra Concert Programs, Season 130, 2010-2011
BOSTON SYM PHONY • 4 ORCH ESTRA MTSP III __ 2010-2011 SEASON WEEK 1 James Levine Music Director Bernard Haitink Conductor Emeritus Seiji Ozawa Music Director Laureate RMES TALE I S, LIFE AS A ^S Table of Contents Week i 15 BSO NEWS 21 ON DISPLAY IN SYMPHONY HALL 22 BSO MUSIC DIRECTOR JAMES LEVINE 24 THE BOSTON SYMPHONY ORCHESTRA 27 A BRIEF HISTORY OF THE BOSTON SYMPHONY ORCHESTRA 33 THIS WEEK'S PROGRAM 35 FROM THE MUSIC DIRECTOR Notes on the Program 39 Gustav Mahler 57 To Read and Hear More... Guest Artists 61 Layla Claire 62 Karen Cargill 64 Tanglewood Festival Chorus 67 John Oliver 70 SPONSORS AND DONORS 80 FUTURE PROGRAMS 82 SYMPHONY HALL EXIT PLAN 83 SYMPHONY HALL INFORMATION THIS WEEK S PRE-CONCERT TALKS ARE GIVEN BY BSO DIRECTOR OF PROGRAM PUBLICATIONS MARC MANDEL (OCTOBER 8, 12) AND ASSISTANT DIRECTOR OF PROGRAM PUBLICATIONS ROBERT KIRZINGER (OCTOBER 7, 9). program copyright ©2010 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photograph by Michael J. Lutch BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org THE JOURNEY TO THE PRIVATE CLOUD STARTS NOW EMC is proud to support the Boston Symphony Orchestra. Learn more atwww.EMC.com/bso. EMC where information lives endary. HARVARD EXTENSION SCHOOL Greek heroes and award-winning faculty. At Harvard Extension School, we have our share of legends. Whether you are interested in ancient mythology or some other awe-inspiring subject, we invite you to check out our evening and online courses. -
RICHARD STRAUSS Composer Biography
RICHARD STRAUSS Composer Biography Richard Strauss (June 11, 1864–September 8, 1949) was a German composer of the late Romantic and early modern eras. Born into a family of musicians, he received a formal music education from his father and wrote his first composition at the age of six. He heard his first Wagner operas in 1874; the composer would go on to hugely influence Strauss’s style. He became the Music Director in Meiningen at the age of 21 and, a year later, the Musical Director at the Munich Court Opera. 1886 saw the peak of his skill at orchestration. In 1889, he moved to Weimar and became 2nd Kappelmeister. He married soprano Pauline de Ahna in 1894. Salome premiered in 1905, and Strauss became known as the father of modern opera music. His operas during this time were met with extremely mixed reactions. Elektra, like Salome, was considered extremely risqué by critics. After World War I, Strauss’s fortune was confiscated as “enemy assets”. He began to compose Lieder again during this time. In 1919, he was appointed Vienna State Opera Music Director and fought against its image as an outdated institution that produced only traditional operas by bringing new productions to the opera house. Wishing to confront the bleakness of the post-war era with cultural beauty, he helped to co-found the Salzburg Festival in 1920. He also toured in the USA and South America during this time. The interwar period saw the production of more light-hearted tunes and musical comedies. This is a stark contrast to the following period in which he was made President of the German State Music Bureau “Reichsmusikkammer” in 1933. -
Tomaschek Goethe Lieder
tomaschek goethe lieder ildikó raimondi leopold hager johann wenzel tomaschek goethe lieder 3 Johann Wenzel Tomaschek (1774–1850) Johann Wolfgang von Goethe (1749–1832) 1 2:06 An Linna 2 2:02 Wanderers Nachtlied 3 3:27 An den Mond 4 1:35 Auf dem See 5 3:05 Erlkönig 6 2:51 Der König von Thule 7 2:54 Der Fischer 8 2:29 Heidenröslein 9 1:31 An die Entfernte 10 2:57 Nähe des Geliebten 11 1:54 Die Spröde 12 2:12 Die Bekehrte 13 1:31 Vorschlag zur Güte 14 2:52 Die Spinnerin 15 2:31 Das Veilchen 16 2:11 Erster Verlust 17 4:08 Schäfers Klagelied 18 1:12 Sorge 19 2:23 Frühzeitiger Frühling 20 4:00 Mignons Sehnsucht 21 2:18 Das Geheimnis 22 0:53 Rastlose Liebe 4 Ildikó Raimondi, soprano Leopold Hager, piano 5 “You have understood the poem […] in gratitude Because there was no piano at the „Goldene Sonne“, and to remember enjoyable hours” (Johann Wolfgang where Goethe was residing, a time was arranged to von Goethe to Johann Wenzel Tomaschek in Cheb, meet at the flat of the advocate Frank. Goethe’s and on 6 August 1822) Tomaschek’s notes now do not match, as Tomaschek says 41 of Tomaschek’s 63 Lieder are based on poems by that this concert took place on the following day, whereas Johann Wolfgang von Goethe (1749–1832), the rest are Goethe claims that everything took place on one day. poems by Heinrich Heine, Friedrich von Schiller and some However, the composer accompanied himself from mem- Bohemian poets. -
Kostka, Stefan
TEN Classical Serialism INTRODUCTION When Schoenberg composed the first twelve-tone piece in the summer of 192 1, I the "Pre- lude" to what would eventually become his Suite, Op. 25 (1923), he carried to a conclusion the developments in chromaticism that had begun many decades earlier. The assault of chromaticism on the tonal system had led to the nonsystem of free atonality, and now Schoenberg had developed a "method [he insisted it was not a "system"] of composing with twelve tones that are related only with one another." Free atonality achieved some of its effect through the use of aggregates, as we have seen, and many atonal composers seemed to have been convinced that atonality could best be achieved through some sort of regular recycling of the twelve pitch class- es. But it was Schoenberg who came up with the idea of arranging the twelve pitch classes into a particular series, or row, th at would remain essentially constant through- out a composition. Various twelve-tone melodies that predate 1921 are often cited as precursors of Schoenberg's tone row, a famous example being the fugue theme from Richard Strauss's Thus Spake Zararhustra (1895). A less famous example, but one closer than Strauss's theme to Schoenberg'S method, is seen in Example IO-\. Notice that Ives holds off the last pitch class, C, for measures until its dramatic entrance in m. 68. Tn the music of Strauss and rves th e twelve-note theme is a curiosity, but in the mu sic of Schoenberg and his fo ll owers the twelve-note row is a basic shape that can be presented in four well-defined ways, thereby assuring a certain unity in the pitch domain of a composition. -
An Examination of Stylistic Elements in Richard Strauss's Wind Chamber Music Works and Selected Tone Poems Galit Kaunitz
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 An Examination of Stylistic Elements in Richard Strauss's Wind Chamber Music Works and Selected Tone Poems Galit Kaunitz Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC AN EXAMINATION OF STYLISTIC ELEMENTS IN RICHARD STRAUSS’S WIND CHAMBER MUSIC WORKS AND SELECTED TONE POEMS By GALIT KAUNITZ A treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2012 Galit Kaunitz defended this treatise on March 12, 2012. The members of the supervisory committee were: Eric Ohlsson Professor Directing Treatise Richard Clary University Representative Jeffrey Keesecker Committee Member Deborah Bish Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii This treatise is dedicated to my parents, who have given me unlimited love and support. iii ACKNOWLEDGEMENTS I would like to thank my committee members for their patience and guidance throughout this process, and Eric Ohlsson for being my mentor and teacher for the past three years. iv TABLE OF CONTENTS List of Figures ................................................................................................................................ vi Abstract -
Leopold Hager Director Duración Total Aproximada: 80´
VALLADOLID ABONO OSCYL 3 JUEVES 13 Y VIERNES 14 DE NOVIEMBRE DE 2014 20.00 H · SALA SINFÓNICA CENTRO CULTURAL MIGUEL DELIBES LEOPOLD HAGER DIRECTOR DuraciÓN total AProXimada: 80´ LA OSCYL Y loS INTÉRPRETES Leopold Hager es la primera vez que dirige a la OSCyL Editado por Junta de Castilla y León · Consejería de Cultura y Turismo CENTRO CULTURAL MIGUEL DELIBES / ORQUESTA SINFÓNICA DE CASTILLA Y LEÓN Av. Monasterio Ntra. Sra. de Prado, 2 · 47015 Valladolid · T 983 385 604 www.auditoriomigueldelibes.com www.facebook.com/auditoriomigueldelibes www.twitter.com/AMDValladolid EDITA © Junta de Castilla y León. Consejería de Cultura y Turismo Fundación Siglo para el Turismo y las Artes de Castilla y León © De los textos: sus autores © Foto de Portada Josep Molina La Orquesta Sinfónica de Castilla y León es miembro de la Asociación Española de Orquestas Sinfónicas (AEOS) La Orquesta Sinfónica de Castilla y León y el Centro Cultural Miguel Delibes son miembros de la Red de Organizadores de Conciertos Educativos (ROCE) Todos los datos de salas, programas, fechas e intérpretes que aparecen, son susceptibles de modificaciones. Imprime: Gráficas Angelma D.L.: VA 722-2014 Valladolid, España 2014 leoPold HAGer DIRECTOR VALLADOLID ABONO OSCYL 3 — JUeves 13 Y vierNes 14 de NoviemBre de 2014 20.00 H · sala siNFÓNica CENTRO CUltURAL MIGUEL DELIBES PROGRAMA AntOn BruCkner (1824–1896) Sinfonía nº 8 en Do menor* Allegro moderato Scherzo (Allegro moderato) – Trio (Langsam) – Scherzo da capo Adagio (Feierlich langsam; doch nicht schleppend) Finale (Feierlich, nicht schnell) * Primera vez por esta orquesta BELLEZA NUEVA, MOLDES VIEJOS AntOn BruCkner (Ansfelden, Austria, 9-ix-1824 – Viena, 11-x-1896) Sinfonía nº 8 en Do menor La Sinfonía nº 8 en Do menor de Anton Bruckner, compuesta entre 1884 y 1892, constituye la cima absoluta y liminal de este género y, en consecuencia un giro decisivo en la historia de su desarrollo durante el romanticismo germano tardío. -
Chicago Symphony Orchestra
Pittsburgh Symphony Orchestra 2015-2016 Mellon Grand Classics Season June 10 and 12, 2016 GIANCARLO GUERRERO, CONDUCTOR SERGEI PROKOFIEV Suite from Lieutenant Kijé, Opus 60 I. The Birth of Kijé II. Romance III. Kijé’s Wedding IV. Troika V. The Burial of Kijé AARON COPLAND El Salón México Intermission THE EARTH – AN HD ODYSSEY RICHARD STRAUSS Also sprach Zarathustra, Opus 30 JOHN ADAMS Short Ride in a Fast Machine June 10-12, 2016, page 1 PROGRAM NOTES BY DR. RICHARD E. RODDA SERGEI PROKOFIEV Born 23 April 1891 in Sontsovka, Russia; died 4 March 1953 in Moscow Suite from Lieutenant Kijé, Opus 60 (1933-1934) PREMIERE OF WORK: Moscow, 21 December 1934; Soviet State Radio Orchestra; Sergei Prokofiev, conductor PSO PREMIERE: 7 January 1944; Syria Mosque; Fritz Reiner, conductor APPROXIMATE DURATION: 19 minutes INSTRUMENTATION: woodwinds in pairs plus piccolo, tenor saxophone, four horns, cornet, two trumpets, three trombones, tuba, percussion, harp, celesta, piano and strings Lieutenant Kijé, directed by Alexander Feinzimmer, was a portrait of early-19th-century Russia and a satire on government bungling and militarism. Russian-born American scholar Nicholas Slonimsky described the plot: “The subject of the film is based on an anecdote about Czar Nicholas I, who misread the report of his military aid so that the last syllable of the name of a Russian officer which ended ki and the Russian expletive jé formed a non-existent name, Kijé. The obsequious courtiers, fearful of pointing out to the Czar the mistake he had made, decided to invent an officer of that name. Hence all kinds of comical adventures and fictitious occurrences.” The mythical soldier was really a blessing in disguise, since the blame for any bureaucratic bungling could be dumped on his head. -
Biography - Paul Armin Edelmann
Biography - Paul Armin Edelmann Paul Armin Edelmann's association with music began at an early age as the second son of the internationally renowned singer Otto Edelmann. As a child, he was a member and soloist of the famous Vienna Boys’ Choir. Later on he reinforced his musical studies by studying voice with his father at the University of Music and Performing Arts in Vienna. Shortly after completing his studies he became a member of the Opera Theatre in Koblenz in Germany, where he sang over 30 roles. In 1998, Mr.Edelmann went freelance and moved back to Vienna. Since then he has sung at: the Vienna State Opera, Vienna Volksoper, Theater an der Wien, Teatro Real Madrid, Komische Oper Berlin, Théâtre Royal de la Monnaie Brussels, San Diego Opera, New National Theatre in Tokyo, Opéra de Rouen, Lincoln Center Festival New York, the state theatres in Darmstadt and Wiesbaden, the opera houses in Cologne, Frankfurt, Leipzig and Düsseldorf, Opera Ireland Dublin and the Israeli Opera in Tel Aviv, as well as the Palau de les Arts Valencia, the San Sebastian Festival, Hongkong Opera, Center of the Performing Arts Beijing, Opera National de Montpellier, Czech National Theatre Prague, Prinzregentheater Munich, Staatsoper Stuttgart, Teatro de la Maestranza Sevilla, Teatro Massimo Catania, Opera National du Rhin Strasbourg, Palacio de Bellas Artes Mexico City, the Bregenz Festival, Theatro Municipal Rio de Janeiro and the Opera National de Paris. 2014 – 2016 Edelmann´s albums “ Schumann- Selected Songs” and “ Die schöne Magelone” with pianist Charles Spencer, the album “Max Reger- Orchestral Songs” with the Deutsche Staatsphilharmonie Rheinland Pfalz and his “Schubert Album”(2018) has been released on the label Naxos/Capriccio. -
Ernst, Daniel & Andreas Ottensamer
THE CLARINOTTS ERNST, DANIEL & ANDREAS OTTENSAMER THE CLARINOTTS 2 FELIX MENDELSSOHN 1809–1847 AMILCARE PONCHIELLI 1834–1886 Concert Piece for Clarinet, Basset Horn and Orchestra op. 113 7 Il convegno op. 76 9.54 arranged by Rainer Schottstädt The Meeting | Die Zusammenkunft | Le Rendez-vous 1 1. Allegro con fuoco 2.27 arranged by The Clarinotts 2 2. Andante 2.55 DANIEL OTTENSAMER clarinet I | ANDREAS OTTENSAMER clarinet II 3 3. Presto 2.23 WIENER VIRTUOSEN DANIEL OTTENSAMER clarinet | ANDREAS OTTENSAMER basset horn JEAN FRANÇAIX 1912–1997 WIENER VIRTUOSEN 8 Petit Quatuor: Cantilène (2nd mvt.) 2.28 WOLFGANG AMADEUS MOZART 1756–1791 arranged by Rainer Schottstädt 4 Trio “Soave sia il vento” from Mozart’s Così fan tutte 2.54 ANDREAS OTTENSAMER clarinet | DANIEL OTTENSAMER basset horn ERNST OTTENSAMER bass clarinet ANDREAS OTTENSAMER clarinet I | DANIEL OTTENSAMER clarinet II ERNST OTTENSAMER basset horn BELA KORENY *1946 WIENER VIRTUOSEN 9 Cinema I 10.25 FRANZ DOPPLER 1821–1883 & KARL DOPPLER 1825–1900 ANDREAS OTTENSAMER A clarinet | DANIEL OTTENSAMER B flat clarinet bass clarinet piano 5 Fantasy on Themes from Verdi’s Rigoletto 10.01 ERNST OTTENSAMER | CHRISTOPH TRAXLER arranged by Rainer Schottstädt WIENER VIRTUOSEN DANIEL OTTENSAMER clarinet I | ANDREAS OTTENSAMER clarinet II LUIZ BONFÁ 1922–2001 ERNST OTTENSAMER basset horn 0 Manhã de Carnaval 5.40 WIENER VIRTUOSEN THE CLARINMorning of Carnival | Karnevalsmorgen | MatinO de carnaval TTS GIOACCHINO ROSSINI 1792–1868 arranged by The Clarinotts 6 La danza 4.35 ANDREAS & DANIEL OTTENSAMER -
Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
(De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification. -
MA Biography Template
Aleksandar Markovic Conductor Aleksandar Markovic has established himself as a charismatic and inspiring symphonic and operatic conductor who has enjoyed highly successful tenures as Chief Conductor of the Tiroler Landestheater & Orchester in Innsbruck, Music Director and Principal Conductor of the Brno Philharmonic Orchestra, and Music Director of Opera North. In January 2020, Aleksandar Markovic made his US debut at Seattle Opera conducting Eugene Onegin. In autumn 2019 he conducted Sinfonia Varsovia at the Folle Journee festival in Warsaw, receiving an immediate reinvitation for March 2020. He returned to Croatian Radio Symphony Orchestra, and will be reappearing with Silesian Philharmonic in Katowice and NOMUS festival in Novi Sad. In June 2020 Alekandar will conduct Strauss’s Elektra with Slovenian Philharmonic in Cankarjev Dom, Ljubljana. Born in Belgrade, and a graduate of Leopold Hager’s conducting class at the Universität für Musik und darstellende Kunst Wien, Aleksandar Markovic also attended masterclasses at the Accademia Musicale Chigiana in Siena, where he was awarded a Diploma d’onore. He gained a scholarship from the Herbert von Karajan Foundation Berlin, and won First Prize at the 7th “Gregorz Fitelberg” International Conducting Competition in Katowice, Poland. Aleksandar Markovic commands a wide range of symphonic and operatic repertoire, ranging from Classic and Romantic to contemporary styles. His keen interest in 20th-century and avant- garde music has led to performances of works by the likes of Hartmann, Schiske, Istvan, Rozsa, Ligeti, Lutoslawski, Glass, D’Ase, Pintscher, Larcher, Tüür, Yusupov, Salonen and MacMillan. At the onset of 2018 he recorded Kasyan Goleizovsky ballet “Scriabiniana” and Lorenz Dangel’s ballet “Satori” for Sergey Polunin’s dance company.