Download Booklet

Total Page：16

File Type：pdf, Size：1020Kb

Eternal VW_Booklet.indd 1 5/13/08 4:58:47 PM 8.572080 Eternal 1. Fantasia on Greensleeves . 4:35 2. The Lark Ascending. 15:03 3. Mass in G minor - Agnus Dei. 3:54 4. Phantasy Quintet - Prelude: Lento ma non troppo. 4:06 5. The Wasps (Overture). 9:28 6. Five Variants of Dives & Lazarus. 11:38 7. Fantasia on a Theme by Thomas Tallis. 15:17 8. Job: Scene IX - Epilogue. 2:59 9. Mass in G minor - Sanctus - Osanna 1. 2:33 Tracks from this collection are found on these Naxos releases: 8.555867 8.553955 8.554826 8.555300 8.550734 VW_Booklet.indd 2 5/13/08 4:58:48 PM Ralph Vaughan Williams (1872-1958) Fantasia on Greensleeves . 4:35 One of the leading English composers of his generation, Vaughan Williams was The Lark Ascending. 15:03 a pupil of Parry, Charles Wood and Stanford, and later of Bruch and Ravel. In his work as a composer he went some way towards creating a specifically English Mass in G minor - Agnus Dei. 3:54 musical idiom, influenced by his interest in folk-song, but colored by his own Phantasy Quintet - Prelude: Lento ma non troppo. 4:06 personal vision and language. Vaughan Williams wrote nine symphonies, the The Wasps (Overture). 9:28 first of these A Sea Symphony, with words taken from Walt Whitman, the Five Variants of Dives & Lazarus. 11:38 second “A London” Symphony and the third a “Pastoral” Symphony. The Sixth Fantasia on a Theme by Thomas Tallis. 15:17 Symphony, completed in its first version in 1947, seemed to break new ground and was followed by a seventh, the Sinfonia Antartica. Job: Scene IX - Epilogue. 2:59 Mass in G minor - Sanctus - Osanna 1. 2:33 Compositions by Vaughan Williams for solo instrument and orchestra include the pastoral romance The Lark Ascending, for solo violin, and a Concerto accademico for solo violin and string orchestra. There is an attractive concerto for oboe and two more unusual concertos, one for harmonica and the other for bass tuba. Flos campi uses a solo viola and is scored also for a small choir and chamber orchestra. He made direct use of folk-song in his three Norfolk Rhapsodies, his Fantasia on Greensleeves, for solo flute, harp and strings and in his English Folksong Suite for military band, among other works. His Fantasia on a Theme by Thomas Tallis for two string orchestras returns to the 16th century for its musical inspiration. 8.572080 8.557798 VW_Booklet.indd 3 5/13/08 4:58:48 PM Also Available: 8.572081 8.572079 Coming Soon: VW_Booklet.indd 4 5/13/08 4:58:49 PM.

Copy Link

Recommended publications

PROGRAM NOTES by Phillip Huscher
PROGRAM NOTES by Phillip Huscher Ralph Vaughan Williams – Symphony No. 5 in D Major Born October 12, 1872, Gloucestershire, England. Died August 26, 1958, London, England. Symphony No. 5 in D Major Vaughan Williams made his first sketches for this symphony in 1936, began composition in earnest in 1938, completed the work early in 1943, and made minor revisions in 1951. The first performance was given on June 24, 1943, at a Promenade Concert in Royal Albert Hall, with the composer conducting the London Philharmonic. The score calls for two flutes and piccolo, two oboes and english horn, two clarinets, two bassoons, two horns, two trumpets, three trombones, timpani, and strings. Performance time is approximately forty-two minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Vaughan Williams’s Fifth Symphony were given at Orchestra Hall on March 22 and 23, 1945, with Désiré Defauw conducting. Our most recent subscription concert performances were given on April 16, 17, and 18, 1987, with Leonard Slatkin conducting. Very early in the twentieth century, Ralph Vaughan Williams began to attract attention as a composer of tuneful songs. But, he eventually declared himself a symphonist, and over the next few years—the time of La mer, Pierrot lunaire, and The Rite of Spring—that tendency alone branded him as old-fashioned. His first significant large-scale work, the Fantasia on a Theme of Thomas Tallis, composed in 1910, is indebted to the music of his sixteenth-century predecessor and to the great English tradition. His entire upbringing was steeped in tradition—he was related both to the pottery Wedgwoods and Charles Darwin.
[Show full text]
Vaughan Williams
VAUGHAN WILLIAMS The Lark Ascending Suite of Six Short Pieces The Solent Fantasia Jennifer Pike, Violin Sina Kloke, Piano Chamber Orchestra of New York Salvatore Di Vittorio Ralph Vaughan Williams (1872-1958): The Lark Ascending a flinty, tenebrous theme for the soloist is succeeded by an He rises and begins to round, The Solent · Fantasia for Piano and Orchestra · Suite of Six Short Pieces orchestral statement of a chorale-like melody. The rest of He drops the silver chain of sound, the work offers variants upon these initial ideas, which are Of many links without a break, rigorously developed. Various contrasting sections, In chirrup, whistle, slur and shake. Vaughan Williams’ earliest compositions, which date from The opening phrase of The Solent held a deep significance including a scherzo-like passage, are heralded by rhetorical 1895, when he left the Royal College of Music, to 1908, for the composer, who returned to it several times throughout statements from the soloist before the coda recalls the For singing till his heaven fills, the year he went to Paris to study with Ravel, reveal a his long creative life. Near the start of A Sea Symphony chorale-like theme in a virtuosic manner. ’Tis love of earth that he instils, young creative artist attempting to establish his own (begun in the same year The Solent was written), it appears Vaughan Williams’ mastery of the piano is evident in And ever winging up and up, personal musical language. He withdrew or destroyed imposingly to the line ‘And on its limitless, heaving breast, the this Fantasia and in the concerto he wrote for the Our valley is his golden cup many works from that period, with the notable exception ships’.
[Show full text]
RALPH VAUGHAN WILLIAMS a London Symphony Serenade to Music Rochester Philharmonic Christopher Seaman EUGÈNE YSAŸE Six Sonatas for Solo Violin Op.27 TAI MURRAY, Violin
RALPH VAUGHAN WILLIAMS A London Symphony Serenade to Music Rochester Philharmonic Christopher Seaman EUGÈNE YSAŸE Six Sonatas for Solo Violin op.27 TAI MURRAY, violin PRODUCTION USA FRANZ LISZT RALPH VAUGHAN WILLIAMS (1872-1958) A London Symphony (1912-1913, rev.1920) [42’42] (Symphony no.2, in G major) 1 | I. Lento – Allegro risoluto 13’28 2 | II. Lento 9’22 3 | III. Scherzo [Nocturne]: Allegro vivace 8’03 4 | IV. Andante con moto – Maestoso alla marcia – Allegro 11’48 Epilogue: Andante sostenuto 5 | Serenade to Music (original version, 1939) [12’33] Juliana Athayde, solo violin Singers from Mercury Opera Rochester Benton Hess, artistic director Rochester Philharmonic Orchestra Christopher Seaman, conductor Ralph and Ursula Vaughan Williams, 1957 - akg-images / ullstein bild Rochester Philharmonic Orchestra Christopher Seaman, Music Director 1998–2011 Violin 1 Juliana Athayde, Concertmaster The Caroline W. Gannett & Clayla Ward Chair* Wilfredo Degláns, Associate Concertmaster Shannon Nance, Assistant Concertmaster Perrin Yang, Tigran Vardanyan, Ellen Rathjen, William Hunt, Kenneth Langley, Lise Stoddard Jeremy Hill, An-Chi OuYang, Margaret Leenhouts, Heidi Brodwin, Ainur Zabenova Violin 2 David Brickman, Principal Daryl Perlo, Assistant Principal Patricia Sunwoo, John Sullivan, Lara Sipols, Nancy Hunt, Boris Zapesochny, Liana Koteva Kirvan Markiyan Melnychenko, Karine Stone, Chloe Fedor, Man Yui Kitty Cheung, Hee Sagong Viola Melissa Matson, Principal Michael Larco, Assistant Principal Marc Anderson, Elizabeth Seka, Olita Povero, Lisa
[Show full text]
Journal of the American Viola Society Volume 28 No. 1, Spring 2012
y t e i c o S a l o i V n a c i r e m A e h t Features: 1 f IVC 39 Review r e o b Bernard Zaslav: m From Broadway u l to Babbitt N a Sergey Vasilenko's 8 n Viola Compositions 2 r e m u u l o V o J Journal of the American Viola Society A publication of the American Viola Society Spring 2012 Volume 28 Number 1 Contents p. 3 From the Editor p. 5 From the President p. 7 News & Notes: Announcements ~ In Memoriam ~ IVC Host Letter Feature Articles p. 13 International Viola Congress XXXIX in Review: Andrew Filmer and John Roxburgh report from Germany p. 19 Bowing for Dollars: From Broadway to Babbitt: Bernard Zaslav highlights his career as Broadway musician, recording artist, and quartet violist p. 33 Unknown Sergey Vasilenko and His Viola Compositions: Recent Discoveries in Russian Archives: Elena Artamonova uncovers works by Russian composer Sergey Vasilenko Departments p. 49 In the Studio: Yavet Boyadjiev chats with legendary Thai viola teacher Choochart Pitaksakorn p. 57 Student Life: Meet six young violists featured on NPR’s From the Top p. 65 With Viola in Hand: George Andrix reflects on his viola alta p. 69 Recording Reviews On the Cover: Karoline Leal Viola One Violist Karoline Leal uses her classical music background for inspiration in advertising, graphic design, and printmaking. Viola One is an alu - minum plate lithograph featuring her viola atop the viola part to Dvořák’s “New World” Symphony. To view more of her art, please visit: www.karolineart.daportfolio.com.
[Show full text]
Vaughan Williams a Cotswold Romance • the Death of Tintagiles
VAUGHAN WILLIAMS A Cotswold Romance • The Death of Tintagiles London Philharmonic Choir Rosa Mannion soprano London Symphony Orchestra Thomas Randle tenor Matthew Brook baritone Richard Hickox Greg Barrett Richard Hickox (1948 – 2008) Ralph Vaughan Williams (1872 – 1958) premiere recordings A Cotswold Romance* 39:34 Adapted from Hugh the Drover by Maurice Jacobson (1896 – 1976) in collaboration with the composer 1 1 The Men of Cotsall 3:47 2 2 Sweet Little Linnet 1:27 3 3 Hugh’s Song of the Road 4:06 4 4 Love at First Sight 6:05 5 5 The Best Man in England 2:22 6 6 Alone and Friendless 2:24 7 7 The Fight and its Sequel 4:48 8 8 Hugh in the Stocks 1:51 9 9 Mary Escapes 4:28 10 10 Freedom at Last 7:52 3 The Death of Tintagiles 14:48 11 Prelude. Largo – Andantino – Adagio – 5:37 12 1 Lento – 1:10 13 2 Allegro – 0:42 14 3 Lento – Andante tranquillo – Lento – 2:51 15 4 Moderato – 1:09 16 41/2 Allegro – 1:00 17 5 Lento 2:15 TT 54:34 Rosa Mannion soprano (Mary)* Thomas Randle tenor (Hugh)* Matthew Brook baritone* London Philharmonic Choir* London Symphony Orchestra Richard Hickox 4 Vaughan Williams: A Cotswold Romance / The Death of Tintagiles Vaughan Williams composed his ‘ballad-opera’ and ‘The Roadside Fire’ from the earlier Hugh the Drover, from which A Cotswold setting of Robert Louis Stevenson’s poetry in Romance is adapted, between 1910 and 1914. Songs of Travel. Writing to his librettist, the journalist Harold Hugh the Drover was first performed in Child, in 1910, he said: public on 14 July 1924 by forces of the British I have an idea for an opera written to real National Opera Company at His Majesty’s English words, with a certain amount of Theatre, London, conducted by Malcolm real English music… Sargent.
[Show full text]
British Roots
Thursday 12 December 2019 7.30–9.30pm Barbican LSO SEASON CONCERT BRITISH ROOTS Tippett Concerto for Double String Orchestra Elgar Sea Pictures Interval PAPPANO Vaughan Williams Symphony No 4 Sir Antonio Pappano conductor Karen Cargill mezzo-soprano Supported by LSO Friends Broadcast live on BBC Radio 3 6pm Barbican LSO Platforms: Guildhall Artists Vaughan Williams Phantasy Quintet Howells Rhapsodic Quintet Portorius Quartet Welcome News On Our Blog Thank you to our media partners: BBC Radio 3, LSO STRING EXPERIENCE SCHEME BELA BARTÓK AND who broadcast the performance live, and THE MIRACULOUS MANDARIN Classic FM, who have recommended the We are delighted to appoint 14 players to concert to their listeners. We also extend this year’s LSO String Experience cohort. Against a turbulent political background, sincere thanks to the LSO Friends for their Since 1992, the scheme has been enabling Bartók wrote his pantomime-ballet The important support of this concert; we are young string players from London’s music Miraculous Mandarin, which a German delighted to have so many Friends and conservatoires to gain experience playing in music journal reported caused ‘waves of supporters in the audience tonight. rehearsals and concerts with the LSO. They moral outrage’ to ‘engulf the city’ when it will join the Orchestra on stage for concerts premiered in Cologne. Ahead of tonight’s performance, the in the New Year. Guildhall School’s Portorius Quartet gave elcome to this evening’s LSO a recital of music by Vaughan Williams WHAT’S NEXT FOR OUR 2018/19 concert at the Barbican. It is a and Howells on the Barbican stage.
[Show full text]
RVW Final Feb 06 21/2/06 12:44 PM Page 1
RVW Final Feb 06 21/2/06 12:44 PM Page 1 Journal of the No.35 February 2006 In this issue... James Day on Englishness page 3 RVWSociety Tony Williams on Whitman page 7 Simona Pakenham writes for the Journal To all Members: page 11 Em Marshall on Holst Can you help? page 14 Six pages of CD and DVD reviews Our f irst r ecording v enture – the rar e songs of Vaughan Williams – has r eached a Page 22 critical point such that we no w need at least 100 members to each support us with a £100 subscription. Could you help us? and more . The project The rare songs will fill two CDs. We begin with Songs from the Operas and this includes ten songs from Hugh the Drover, arranged by the composer for voice and piano. These are world premiere recordings in this arrangement and are all quite lo vely. Our second CD covers the CHAIRMAN Early Years and includes man y songs ne ver previously recorded. These two CDs will be Stephen Connock MBE recorded in 2006-07 and issued separately thereafter. 65 Marathon House 200 Marylebone Road There is much wonderful music here, so rare and yet of such quality!The overall project will London NW1 5PL cost around £25,000 using the f inest singers and state of the art recording. We do not want Tel: 01728 454820 to compromise on quality – thus our need for members’support to drive the project forward. Fax: 01728 454873 [email protected] The Subscriptions’ benefits Both CDs will cost over £25,000.
[Show full text]
A Walt Whitman Sampler LEON BOTSTEIN, Conductor
Wednesday Evening, October 17, 2018, at 8:00 Isaac Stern Auditorium / Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00 presents A Walt Whitman Sampler LEON BOTSTEIN, Conductor OTHMAR SCHOECK Trommelschläge, Op. 26 BARD FESTIVAL CHORALE JAMES BAGWELL, Director KURT WEILL Four Walt Whitman Songs Beat! Beat! Drums! Oh Captain! My Captain! Come up from the Fields, Father Dirge for Two Veterans EDWARD NELSON, Baritone FRANZ SCHREKER Vom ewigen Leben (From Eternal Life) ANGEL BLUE, Soprano Intermission RALPH VAUGHAN A Sea Symphony (Symphony No. 1) WILLIAMS I. A Song for All Seas, All Ships II. On the Beach at Night Alone III. The Waves IV. The Explorers ANGEL BLUE, Soprano EDWARD NELSON, Baritone BARD FESTIVAL CHORALE JAMES BAGWELL, Director This performance is dedicated to the memory of Susana Meyer, long-time artistic consultant of the American Symphony Orchestra, respected colleague and friend. This evening’s concert will run approximately 2 hours and 20 minutes including one 20-minute intermission. This program has been made possible due in part to the Kurt Weill Foundation for Music, Inc., New York, NY. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. FROM THE Music Director Whitman and Democracy comprehend the English of Shakespeare by Leon Botstein or even Jane Austen without some reflection. (Indeed, even the space Among the most arguably difficult of between one generation and the next literary enterprises is the art of transla- can be daunting.) But this is because tion. Vladimir Nabokov was obsessed language is a living thing. There is a about the matter; his complicated and decided family resemblance over time controversial views on the processes of within a language, but the differences transferring the sensibilities evoked by in usage and meaning and in rhetoric one language to another have them- and significance are always developing.
[Show full text]
We Are TEN – in This Issue
RVW No.31 NEW 2004 Final 6/10/04 10:36 Page 1 Journal of the No.31 October 2004 EDITOR Stephen Connock RVW (see address below) Society We are TEN – In this issue... and still growing! G What RVW means to me Testimonials by sixteen The RVW Society celebrated its 10th anniversary this July – just as we signed up our 1000 th new members member to mark a decade of growth and achievement. When John Bishop (still much missed), Robin Barber and I (Stephen Connock) came together to form the Society our aim was to widen from page 4 appreciation of RVW’s music, particularly through recordings of neglected but high quality music. Looking back, we feel proud of what we have achieved. G 49th Parallel World premieres Through our involvement with Richard Hickox, and Chandos, we have stimulated many fine world by Richard Young premiere recordings, including The Poisoned Kiss, A Cotswold Romance, Norfolk Rhapsody No.2, page 14 The Death of Tintagiles and the original version of A London Symphony. Our work on The Poisoned Kiss represents a special contribution as we worked closely with Ursula Vaughan Williams on shaping the libretto for the recording. And what beautiful music there is! G Index to Journals 11-29 Medal of Honour The Trustees sought to mark our Tenth Anniversary in a special way and decided to award an International Medal of Honour to people who have made a remarkable contribution to RVW’s music. The first such Award was given to Richard Hickox during the concert in Gloucester and more .
[Show full text]
Performances from 1974 to 2020
Performances from 1974 to 2020 2019-20 December 1 & 2, 2018 Michael Slon, Conductor September 28 & 29, 2019 Family Holiday Concerts Benjamin Rous, Conductor MOZART Symphony No. 32 February 16 & 17, 2019 ROUSTOM Ramal Benjamin Rous, Conductor BRAHMS Piano Concerto No. 2 in B-flat Major RAVEL Pavane pour une infante défunte RAVEL Piano Concerto in G Major November 16 & 17, 2019 MOYA Siempre Lunes, Siempre Marzo Benjamin Rous & Michael Slon, Conductors KODALY Variations on a HunGarian FolksonG MONTGOMERY Caught by the Wind ‘The Peacock’ RICHARD STRAUSS Horn Concerto No. 1 in E-flat Major March 23 & 24, 2019 MENDELSSOHN Psalm 42 Benjamin Rous, Conductor BRUCKNER Te Deum in C Major BARTOK Violin Concerto No. 2 MENDELSSOHN Symphony No. 4 in A Major December 6 & 7, 2019 Michael Slon, Conductor April 27 & 28, 2019 Family Holiday Concerts Benjamin Rous, Conductor WAGNER Prelude from Parsifal February 15 & 16, 2020 SCHUMANN Piano Concerto in A minor Benjamin Rous, Conductor SHATIN PipinG the Earth BUTTERWORTH A Shropshire Lad RESPIGHI Pines of Rome BRITTEN Nocturne GRACE WILLIAMS Elegy for String Orchestra June 1, 2019 VAUGHAN WILLIAMS On Wenlock Edge Benjamin Rous, Conductor ARNOLD Tam o’Shanter Overture Pops at the Paramount 2018-19 2017-18 September 29 & 30, 2018 September 23 & 24, 2017 Benjamin Rous, Conductor Benjamin Rous, Conductor BOWEN Concerto in C minor for Viola WALKER Lyric for StrinGs and Orchestra ADAMS Short Ride in a Fast Machine MUSGRAVE SonG of the Enchanter MOZART Clarinet Concerto in A Major SIBELIUS Symphony No. 2 in D Major BEETHOVEN Symphony No. 7 in A Major November 17 & 18, 2018 October 6, 2017 Damon Gupton, Conductor Michael Slon, Conductor ROSSINI Overture to Semiramide UVA Bicentennial Celebration BARBER Violin Concerto WALKER Lyric for StrinGs TCHAIKOVSKY Symphony No.
[Show full text]
VAUGHAN WILLIAMS Symphonies Nos
VAUGHAN WILLIAMS Symphonies Nos. 3 "Pastoral" and 6 Bournemouth Symphony Orchestra Kees Bakels Ralph Vaughan Williams (1872 - 1958) Symphony No. 3 (Pastoral Symphony) Symphony No. 6 in E Minor Ralph Vaughan Williams was born in the Gloucestershire village of Down Ampney in 1872, the son of a clergyman. His ancestry on both his father's and mother's side was of some intellectual distinction. His father was descended from a family eminent in the law, while his maternal grandfather was a Wedgwood and his grandmother a Darwin. On the death of his father in 1875 the family moved to live with his mother's father at Leith Hill Place in Surrey. As a child Vaughan Williams learned the piano and the violin and received a conventional upper middle class education at Charterhouse, after which he delayed entry to Cambridge, preferring instead to study at the Royal College of Music, where his teachers included Hubert Parry and Walter Parratt, later Master of the Queen's Musick, both soon to be knighted. In 1892 he took up his place at Trinity College, Cambridge, where he read History, but took composition lessons from Charles Wood. After graduation in both Music and History, he returned to the Royal College, where he studied composition with Stanford, and, perhaps more important, became a friend of a fellow-student Gustav Holst. The friendship with Holst was to prove of great importance in frank exchanges of views on one another's compositions in the years following. In 1897 Vaughan Williams married and took the opportunity to visit Berlin, where he had lessons from Max Bruch and widened his musical experience.
[Show full text]
Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 12-2-2014 Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Logan, Cameron, "Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax" (2014). Doctoral Dissertations. 603. https://opencommons.uconn.edu/dissertations/603 i Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan, Ph.D. University of Connecticut, 2014 This study explores the pitch structures of passages within certain works by Ralph Vaughan Williams and Arnold Bax. A methodology that employs the nonatonic collection (set class 9-12) facilitates new insights into the harmonic language of symphonies by these two composers. The nonatonic collection has received only limited attention in studies of neo-Riemannian operations and transformational theory. This study seeks to go further in exploring the nonatonic‟s potential in forming transformational networks, especially those involving familiar types of seventh chords. An analysis of the entirety of Vaughan Williams‟s Fourth Symphony serves as the exemplar for these theories, and reveals that the nonatonic collection acts as a connecting thread between seemingly disparate pitch elements throughout the work. Nonatonicism is also revealed to be a significant structuring element in passages from Vaughan Williams‟s Sixth Symphony and his Sinfonia Antartica. A review of the historical context of the symphony in Great Britain shows that the need to craft a work of intellectual depth, simultaneously original and traditional, weighed heavily on the minds of British symphonists in the early twentieth century.
[Show full text]