Itunes Store and Spotify Recordings

Total Page:16

File Type:pdf, Size:1020Kb

Itunes Store and Spotify Recordings A+ Music Memory 2019-2020 iTunes Store and Spotify Recordings Bach For Your Wedding, track 13, Was Mir Behagt, Ist Nur Die Muntre Jagd, Cantata, BWV20: Sheep May Safely Graze (Kirsten Flagstad, Sir Adrian Boult & London PhilharMonic Orchestra, Marks & Spencer PLC, 2004). iTunes: https://Music.apple.com/us/album/for-your-wedding/1452179726 Spotify: https://open.spotify.com/track/2JW6WyNFsFiBvCywPWGZ4h?si=DcTeE_NqSFa 4RbKDQhL01g Beethoven Beethoven: Symphony No. 3 “Eroica”, track 3, SyMphony No. 3 in E-Flat Major “Eroica”, Op. 55: III. Scherzo: Allegro Vivace (San Francisco SyMphony and Michael Tilson ThoMas, San Francisco SyMphony, 2009). iTunes: https://Music.apple.com/us/album/beethoven-symphony-no-3-eroica/335394744 Spotify: https://open.spotify.com/track/1LKjL7dUOYVT1zFe7FIgSS?si=qh0_DPI8SamFu 4sLun6VIg Bernstein Bernstein: Candide Overture; Symphonic Dances from West Side Story; Symphonic Suite from On The Waterfront; Fancy Free Ballet [Expanded Edition], track 1, Overture to Candide (Leonard Bernstein and New York PhilharMonic, Sony BMG EntertainMent, originally released 1961, released 2004). iTunes: https://Music.apple.com/us/album/bernstein-candide-overture-symphonic- dances-froM-west/159015473 Spotify: https://open.spotify.com/track/6yul9NbwH5cK7T0Pu6Twtu?si=xM9RFTesTw2 BJRCS6Vcjwg T. Giordani Cecilia Bartoli – Arie Antiche: Se Tu M’ami, track 6, Caro Mio Ben (Cecilia Bartoli and György Fischer, Decca Music Group LiMited, 1992). iTunes: https://Music.apple.com/us/album/cecilia-bartoli-arie-antiche-se-tu- mami/1452364928 Spotify: https://open.spotify.com/track/1xtfQ2adCxsz4Evv8oSYDG?si=vhhwerJ3TyKhp _SBk9MYtg 1 Grainger Lincolnshire Posy, track 3, II. Horkstow Grange (Dallas Wind SyMphony and Jerry Junkin, Reference Recordings, 2012). iTunes: https://Music.apple.com/us/album/lincolnshire-posy/995330032 Spotify: https://open.spotify.com/track/6FwkSITKGSBNIpzdMDSgMR?si=cbGWLLtfRwu 8nwBEKXQJ5Q Grieg Chiller, track 7, In the Hall of the Mountain King froM Peer Gynt, No. 1, Op. 46 (Cincinnati Pops Orchestra and Erich Kunzel, Telarc, 1989). iTunes: https://Music.apple.com/us/album/chiller/74714138 Spotify: https://open.spotify.com/track/4E6wYDROf7VfMFjQs5W2i2?si=esZCHDxTS2WC IhkrfgxTaA Mendelssohn, Fanny F. Mendelssohn-Hensel: Piano Music – Piano Sonatas, Lied & Sonata or Capriccio, track 1, Allegro Molto in C Minor (Heather SchMidt, Naxos, 2010). iTunes: https://Music.apple.com/us/album/f-mendelssohn-hensel-piano-music-piano- sonatas-lied/318736615 Spotify: https://open.spotify.com/track/4gNB8KuLVwDB3ZyYl3NVE1?si=DqzCTsiFQg CitUDzadS4zQ Mozart George Szell Plays and Conducts Mozart (Original Jacket Collection), track 5, Overture to the Marriage of Figaro, K. 492 (George Szell and Cleveland Orchestra, Sony BMG Music EntertainMent, 2006). iTunes: https://Music.apple.com/us/album/george-szell-plays-conducts-mozart-original- jacket/403679331 Spotify: https://open.spotify.com/track/3VviycdC3OaoSlJhfxTNiO?si=pNpn76KZTXq ZUfgEU77LvA Prokofiev Prokofiev: Romeo & Juliet, Op. 64, track 13, Act I: Scene XIII, Dance of the Knights (London Symphony Orchestra and Valery Gergiev, London Symphony Orchestra Ltd, 2010). iTunes: https://Music.apple.com/us/album/prokofiev-roMeo-juliet-op-64/1387024022 Spotify: https://open.spotify.com/track/2DbO6KuIaXGZHAL33NbJIC?si=RA5RYNnITBW Pglk0V_JN8A 2 Puccini Kiri Te Kanawa Sings Puccini and Verdi, track 5, O Mio Babbino caro froM Gianni Schicchi (Dame Kiri Te Kanawa, John Pritchard and London PhilharMonic Orchestra, Sony Music Entertainment Inc., 1990). iTunes: https://Music.apple.com/us/album/kiri-te-kanawa-sings-puccini-and- verdi/201282173 Spotify: https://open.spotify.com/track/3oAnC0x3JvCsfyr7t49d2g?si=dbn6DydGSW- y8nvoO8wM6w Rachmaninoff Joshua Bell: Voice of the Violin, track 1, Vocalize, Op. 34, No. 14 (Joshua Bell, Michael Stern, and Orchestra of St. Luke’s, Sony BMG Music Entertainment, 2006). iTunes: https://Music.apple.com/us/album/joshua-bell-voice-of-the-violin/251294370 Spotify: https://open.spotify.com/track/378YUhl7dJe2ndr8hNGd4K?si=vEwoongcRv W8_6h5PuZbeg Schubert Schubert: Trout Quintet & Arpeggione Sonata, track 4, IV. TheMe and Variations, Andantino (Yo-Yo Ma, Emanuel Ax, Barbara Bonney, Pamela Frank, Edgar Meyer and Rebecca Young, Sony Music Entertainment Inc., 1996). iTunes: https://Music.apple.com/us/album/schubert-trout-quintet-arpeggione- sonata/580304065 Spotify: https://open.spotify.com/track/7eM0D95R5kxA1zSrx2JbKY?si=oiu4IMMQSJS xIvc810fO3A Schumann Schumann: Album für die Jugend, Parts 1 and 2, track 6, AlbuM fur die Jugend (AlbuM for the Young), Op. 68, Part I: Fur Kleinere: No. 8. Wilder Reiter (Wild HorseMan) (Norman Shetler, “edel” Records GMbH, 1980). iTunes: https://Music.apple.com/us/album/schumann-albuM-f%C3%BCr-die-jugend- parts-1-and-2/329492263 Spotify: https://open.spotify.com/track/3eOCBiyPprjdz0daZg7D4W?si=GN4K8b8xSD- pHKnA2iFGaA 3 Verdi Great Opera Choruses, track 2, Il Trovatore: “Vedi! Le Fosche Notturne Spoglie” (Anvil Chorus (Chicago SyMphony Chorus, Sir Georg Solti and Chicago SyMphony Orchestra, Decca Music Group LiMited, 1998). iTunes: https://Music.apple.com/us/albuM/great-opera-choruses/1452178441 Spotify: https://open.spotify.com/track/59tjdOlKGpcMreM3DWFSZ0?si=aMMenm JmQd-ELQS933-tIA Vivaldi Vivaldi: The Four Seasons, track 1, Concerto in E Major for Violin, String Orchestra and Continuo, Op. 8, No. 1, RV 269, “La PriMavera” (Spring) (Joshua Bell and Academy of St. Martin in the Fields, Sony BMG Music EntertainMent, 2008). iTunes: https://Music.apple.com/us/album/vivaldi-the-four-seasons/288519596 Spotify: https://open.spotify.com/track/1Xg3SzDX0dWuIPD5uUP5cD?si=HNwQIJh 4SkCM109mjF5h6w Williams The Very Best Movie Soundtracks by John Williams, track 10, Liberty Fanfare (Philharmonische Orchester des Staatstheaters Cottbus and Evean Christ, Telos Music, 2015). iTunes: https://Music.apple.com/us/album/the-very-best-movie-soundtracks-by-john- williams/960376548 Spotify: https://open.spotify.com/track/5Umx2pmuoa83Ydl1PDOUTY?si=GdjG0xbU T1eNP4neo_rUww Brahms Brahms: Academic Festival Overture & Alto Rhapsody – Schubert: Symphony No. 9 in C Major, track 1, AcadeMic Festival Overture in C Minor, Op. 80 (London PhilharMonic Orchestra and Sir Adrian Boult, Mangora Classical, 2013). iTunes: https://Music.apple.com/us/album/acadeMic-festival-overture-in-c-minor-op- 80/662983548?i=662983620 Spotify: https://open.spotify.com/track/4nHW8kYtk2qCHvs9JyXS0M?si=Twg08US7R- iY1UeTLMd3gg 4 Schubert Schubert: Lieder, track 13, Die Forelle, D. 550 (Op. 32) (Dietrich Fischer-Dieskau and Gerald Moore, Deutsche GraMMophon GmbH, Berlin, 2003). iTunes: https://Music.apple.com/us/album/schubert-lieder/1452169131 Spotify: https://open.spotify.com/track/7lCqzDWT6GPECGp0TzMnR7?si=V4N8pDg- ShKomfG69xbi8w Stravinsky Stravinsky: Pétrouchka, track 5, Le Sacre du Printemps Pt. I: The Adoration of the Earth (Cleveland Orchestra and Pierre Boulez, Deutsche GraMMophon GMbH, Berlin, 1992). iTunes: https://Music.apple.com/us/album/stravinsky-p%C3%A9trouchka/1452227794 Spotify: https://open.spotify.com/track/4L9FvKSbdGOAKMZSfDAbDA?si=SToGmdIFQi27 HlK9f2hwBg Whitacre BCM …Saves the World, tracks 13 and 14, Godzilla Eats Las Vegas: Part I and Part II (ThoMas Leslie and University of Nevada, Las Vegas Wind Orchestra, Mark Records, 2012). iTunes: https://Music.apple.com/us/album/bcM-saves-the-world/490519440 (two separate tracks) Spotify: https://open.spotify.com/track/1WWM0LUKBGK3WhZtrAJvfQ?si=dyubahcYS_ OVmdqNlYZDTQ and https://open.spotify.com/track/0pl5VLB9M3tHWVlLIXJGLh?si= EuINjSo5TLanJnRK1J359Q (two separate tracks) 5 iTunes and Spotify Information The preceding pages contain iTunes and Spotify links to the official 2019-2020 UIL Music MeMory selections. These recordings were used to prepare the Music MeMory Passport and the Official Clip Tape for the Music Memory CoMpetition. Teachers May purchase and download the selections froM iTunes to create practice CDs for their students. The recordings are NOT part of this publication. iTunes Plus Products do not contain security technology that limits your usage of such products. Usage Rules (ii) – (v) on the iTunes Usage Rule AgreeMent do not apply. You may copy, store, and burn iTunes Plus Products as reasonably necessary for personal, non-coMMercial use. FurtherMore, UIL has created a playlist available on Spotify where users can listen to the selections for free: https://spoti.fi/2KG8Rp6. The QR code below links to the 2019-2020 UIL Music MeMory playlist. You will need to set up a Spotify account in order to access the Music. Spotify currently offers a free subscription Model that includes advertising, or paid subscription options that are ad-free and have additional features. There are also Spotify apps available for multiple platforms and devices. A Note on Streaming Services Streaming services are subscription-based, Meaning you have access to their whole catalog as long as you are a subscriber but lose access if your subscription expires. It is not possible to burn CDs with Music accessed through the free streaming services. In order for students to be able to listen to Music at home through a streaMing service, they will need to have access to their own account. Keep in Mind that there are minimum age requirements for setting up accounts with services such as Spotify, so parental assistance would be necessary. A sample note for parents is included in the Correspondence folder. 6 .
Recommended publications
  • ARSC Journal
    A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers.
    [Show full text]
  • An Interview with Robert Shaw: Reflections at Eighty
    An Interview with Robert Shaw: Reflections at Eighty by Jeffrey Baxter RobertShaw .Robert Shaw's distinguished career began in New York City In 1979, Shaw was appointed by President Jimmy Carter to in 1938, where he prepared choruses for such renowned con­ the National Council on the Arts and he was a 1991 recipient of ductors as Fred Waring, Arturo Toscanini, and Bruno Walter. the Kennedy Center Honors, the nation's highest award given to In 1949 he formed the Robert Shaw Chorale, which for two artists. Musical America, the international directory of the per­ decades reigned as America's premier touring choir. Under the forming arts, named him Musician of the Year for 1992, and auspices ofthe U.S. State Department, the Chorale performed during the same year he was awarded the National Medal ofthe in thirty countries throughout Europe, the Soviet Union, the Arts in a White House ceremony. He was the 1993 recipient of Middle East, and Latin America. During this period Shaw also the Conductors' Guild TheodoreThomas Award, in recognition served as Music Director ofthe San Diego Symphony and then ofhis outstanding achievement in conducting and his contribu­ as Associate Conductor of the Cleveland Orchestra, working tions to the education and training ofyoung conductors. closely with George Szell for eleven years. He served as Music A regular guest conductor ofmajor orchestras in this country Director of the Atlanta Symphony Orchestra from 1967 to and abroad, Shaw also is in demand as a teacher and lecturer at 1988, during which time the orchestra garnered widespread leading U.S.
    [Show full text]
  • Myung-Whun Chung
    如 • 歌 • 文 • 化 Ruge Artists Management 扫描关注微信订阅号 CONDUCTOR / Myung-Whun Chung PERFORMANCES He was Music Director of the Saarbrücken Radio Symphony Orchestra from 1984 to 1990, Principal Guest Conductor of the TeatroComunale of Florence from 1987 to 1992, Music Director of the Opéra de Paris-Bastille from 1989 to 1994 and Principal Conductor atthe Santa Cecilia Orchestra in Rome from 1997 to 2005. In 1995, Myung-Whun Chung founds the Asia Philharmonic, an orchestra made up of the best musicians from 8 Asian countries. In 2005,he was appointed Music Director of the Seoul Philarmonic Orchestra. He has been Music Director of the Orchestre Philharmonique deRadio France since 2000. Myung-Whun Chung has conducted virtually all the world’s leading orchestras, including the Berlin and Vienna Philharmonic, theConcertgebouw, all the major London and Parisian Orchestras, Filharmonica della Scala, Bayerisch Rundfunk, Dresden Staatskapelle,Boston and Chicago Symphony, the Metropolitan Opera, the New York Philharmonic and the Cleveland and Philadelphia Orchestras. RECORDINGS An exclusive recording artist for Deutsche Grammophon since 1990, many of his numerous recordings have won international prizes and awards. These include Messiaen's TurangalîlaSymphony and Eclairs sur l’Au-Delà, Verdi's Otello, Berlioz'sSymphonie Fantastique, Shostakovich's Lady Macbeth with the Orchestre de l'Opéra Bastille; a series of Dvorák's symphonies and serenades with the Vienna Philharmonic Orchestra and a series dedicated to the great sacred music with the Orchestra dell'Accademia Nazionale di Santa Cecilia, including the award-winning recording of Duruflé’s and Fauré’s Requiems with Cecilia Bartoli and Bryn Terfel. Recent releases include Messiaen’s La transfiguration de Notre Seigneur Jésus-Christ and Des Canyons aux étoiles with the Orchestre Philharmonique de Radio France as well as works by Debussy and Ravel with the Seoul Philharmonic Orchestra.
    [Show full text]
  • PROGRAM NOTES by Phillip Huscher
    PROGRAM NOTES by Phillip Huscher Gustav Mahler Born July 7, 1860, Kalischt, Bohemia. Died May 18, 1911, Vienna, Austria. Symphony No. 9 in D Major Mahler began his ninth symphony in the spring of 1909 and on April 1, 1910, he told the conductor Bruno Walter that the score was complete. Walter conducted the first performance with the Vienna Philharmonic on June 26, 1912. The score calls for four flute s and piccolo, four oboes and english horn, three clarinets, E-flat clarinet and bass clarinet, four bassoons and contrabassoon, four horns, three trumpets, three trombones and tuba, timpani, cymbals, bass drum, tam -tam, triangle, glockenspiel, chimes, two harps, and strings. Performance time is approximately eighty -one minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Mahler’s Ninth Symphony were given at Orchestra Hall on April 6 and 7, 1950, with George Szell conductin g. Our most recent subscription concert performances were given on November 30, December 1, 2, and 5, 1995, with Pierre Boulez conducting. The Orchestra first performed this symphony at the Ravinia Festival on August 11, 1979, with Lawrence Foster conducti ng, and most recently on June 28, 1991, with James Levine conducting. Because this symphony is Mahler’s last completed work, and because he died tragically of heart disease at the age of fifty shortly after finishing it, leaving behind his beautiful wife Alma and young daughter Anna, it’s often considered both his farewell and his most deeply personal score. Bruno Walter, who conducted the premiere thirteen months after Mahler’s death, said that he recognized the composer’s own gait in the limping rhythm o f the march at the climax of the first movement.
    [Show full text]
  • Focus 2020 Pioneering Women Composers of the 20Th Century
    Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers.
    [Show full text]
  • A Culture of Recording: Christopher Raeburn and the Decca Record Company
    A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon.
    [Show full text]
  • Gardiner's Schumann
    Sunday 11 March 2018 7–9pm Barbican Hall LSO SEASON CONCERT GARDINER’S SCHUMANN Schumann Overture: Genoveva Berlioz Les nuits d’été Interval Schumann Symphony No 2 SCHUMANN Sir John Eliot Gardiner conductor Ann Hallenberg mezzo-soprano Recommended by Classic FM Streamed live on YouTube and medici.tv Welcome LSO News On Our Blog This evening we hear Schumann’s works THANK YOU TO THE LSO GUARDIANS WATCH: alongside a set of orchestral songs by another WHY IS THE ORCHESTRA STANDING? quintessentially Romantic composer – Berlioz. Tonight we welcome the LSO Guardians, and It is a great pleasure to welcome soloist extend our sincere thanks to them for their This evening’s performance of Schumann’s Ann Hallenberg, who makes her debut with commitment to the Orchestra. LSO Guardians Second Symphony will be performed with the Orchestra this evening in Les nuits d’été. are those who have pledged to remember the members of the Orchestra standing up. LSO in their Will. In making this meaningful Watch as Sir John Eliot Gardiner explains I would like to take this opportunity to commitment, they are helping to secure why this is the case. thank our media partners, medici.tv, who the future of the Orchestra, ensuring that are broadcasting tonight’s concert live, our world-class artistic programme and youtube.com/lso and to Classic FM, who have recommended pioneering education and community A warm welcome to this evening’s LSO tonight’s concert to their listeners. The projects will thrive for years to come. concert at the Barbican, as we are joined by performance will also be streamed live on WELCOME TO TONIGHT’S GROUPS one of the Orchestra’s regular collaborators, the LSO’s YouTube channel, where it will lso.co.uk/legacies Sir John Eliot Gardiner.
    [Show full text]
  • Britten Connections a Guide for Performers and Programmers
    Britten Connections A guide for performers and programmers by Paul Kildea Britten –Pears Foundation Telephone 01728 451 700 The Red House, Golf Lane, [email protected] Aldeburgh, Suffolk, IP15 5PZ www.brittenpears.org Britten Connections A guide for performers and programmers by Paul Kildea Contents The twentieth century’s Programming tips for 03 consummate musician 07 13 selected Britten works Britten connected 20 26 Timeline CD sampler tracks The Britten-Pears Foundation is grateful to Orchestra, Naxos, Nimbus Records, NMC the following for permission to use the Recordings, Onyx Classics. EMI recordings recordings featured on the CD sampler: BBC, are licensed courtesy of EMI Classics, Decca Classics, EMI Classics, Hyperion Records, www.emiclassics.com For full track details, 28 Lammas Records, London Philharmonic and all label websites, see pages 26-27. Index of featured works Front cover : Britten in 1938. Photo: Howard Coster © National Portrait Gallery, London. Above: Britten in his composition studio at The Red House, c1958. Photo: Kurt Hutton . 29 Further information Opposite left : Conducting a rehearsal, early 1950s. Opposite right : Demonstrating how to make 'slung mugs' sound like raindrops for Noye's Fludde , 1958. Photo: Kurt Hutton. Britten Connections A guide for performers and programmers 03 The twentieth century's consummate musician In his tweed jackets and woollen ties, and When asked as a boy what he planned to be He had, of course, a great guide and mentor. with his plummy accent, country houses and when he grew up, Britten confidently The English composer Frank Bridge began royal connections, Benjamin Britten looked replied: ‘A composer.’ ‘But what else ?’ was the teaching composition to the teenage Britten every inch the English gentleman.
    [Show full text]
  • MUSIC DIRECTORS 100 Years Of
    TABLE OF CONTENTS “A Hero’s Journey: Fun & Games .......................6 Beethoven & Prometheus, Grades 4-8 . 2 Fan Mail ...........................7 Civil Rights: Remembering Youth Orchestra ....................8 Dr. Martin Luther King Jr., Grades 6-12 . 3 Children’s Chorus ...................8 See the Sounds. 4 Youth Chorus. .8 Conductor of the Orchestra ............5 Family Concerts ....................8 2017-18 Season Guide for Young Concert-goers MUSIC DIRECTORS 100 Years of NIKOLAI SOKOLOFF 1918-33 The Cleveland Orchestra!! 2017-2018 marks the 100th season of The Cleveland and dismissal pro cess (where every bus and corresponding Orchestra! You may not realize that by coming to school group gets a number) was established in 2000 to a Cleveland Orchestra Education Concert you are man age traffic and insure students’ safety. There are many part of a great Cleveland tradition! Students have more cars on the road today than there ARTUR RODZINSKI were in the 1930’s! 1933-43 been attending Cleveland Orchestra concerts since 1918! Ms. Lillian Bald win, the Orchestra’s first Ed u ca tion Director, pioneered the In the be gin ning, The Cleve land Or ches tra performed format of ‘educational concerts’ we concerts in com mu ni ty cen ters and sev er al area schools, know today. She developed extensive including East Tech and West Tech High Schools in study ma te rials so students could be Cleveland, Shaw High School in East Cleveland, and knowl edge able about the music they Lakewood High School. By 1920 audienc es be came too would hear at the concerts. (Instead large to accommodate in school settings and teachers and of read ing The Score as you are now, students be gan to trav el to hear The Cleve land Orchestra, ERICH LEINSDORF students read Ms.
    [Show full text]
  • KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas
    KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas GEORGES BIZET EMI 63633 Carmen Maria Stuarda Paris Opera National Theatre Orchestra; René Bologna Community Theater Orchestra and Duclos Chorus; Jean Pesneaud Childrens Chorus Chorus Georges Prêtre, conductor Richard Bonynge, conductor Maria Callas as Carmen (soprano) Joan Sutherland as Maria Stuarda (soprano) Nicolai Gedda as Don José (tenor) Luciano Pavarotti as Roberto the Earl of Andréa Guiot as Micaëla (soprano) Leicester (tenor) Robert Massard as Escamillo (baritone) Roger Soyer as Giorgio Tolbot (bass) James Morris as Guglielmo Cecil (baritone) EMI 54368 Margreta Elkins as Anna Kennedy (mezzo- GAETANO DONIZETTI soprano) Huguette Tourangeau as Queen Elizabeth Anna Bolena (soprano) London Symphony Orchestra; John Alldis Choir Julius Rudel, conductor DECCA 425 410 Beverly Sills as Anne Boleyn (soprano) Roberto Devereux Paul Plishka as Henry VIII (bass) Royal Philharmonic Orchestra and Ambrosian Shirley Verrett as Jane Seymour (mezzo- Opera Chorus soprano) Charles Mackerras, conductor Robert Lloyd as Lord Rochefort (bass) Beverly Sills as Queen Elizabeth (soprano) Stuart Burrows as Lord Percy (tenor) Robert Ilosfalvy as roberto Devereux, the Earl of Patricia Kern as Smeaton (contralto) Essex (tenor) Robert Tear as Harvey (tenor) Peter Glossop as the Duke of Nottingham BRILLIANT 93924 (baritone) Beverly Wolff as Sara, the Duchess of Lucia di Lammermoor Nottingham (mezzo-soprano) RIAS Symphony Orchestra and Chorus of La Scala Theater Milan DEUTSCHE GRAMMOPHON 465 964 Herbert von
    [Show full text]
  • Richard O'neill
    Richard O’Neill 1276 Aikins Way Boulder, CO 80305 917.826.7041 [email protected] www.richard-oneill.com Education University of North Carolina School of the Arts 1997 High School Diploma University of Southern California, Thornton School of Music 2001 Bachelor of Music, magna cum laude The Juilliard School 2003 Master of Music The Juilliard School 2005 Artist Diploma Teaching University of Colorado, Boulder, College of Music 2020 - present Experience Artist in Residence, Takacs Quartet University of California Los Angeles, Herb Alpert School of Music 2007 - 2016 Lecturer of Viola University of Southern California, Thornton School of Music 2008 Viola Masterclasses Hello?! Orchestra (South Korea) 2012 - present Multicultural Youth Orchestra Founder, conductor and teacher Music Academy of the West, Santa Barbara 2014 - present Viola and Chamber Music Florida International University 2014 Viola Masterclass Brown University 2015 Viola Masterclass Hong Kong Academy of Performing Arts. 2016, 2018 Viola Masterclasses Scotia Festival 2017 Viola Masterclasses Asia Society, Hong Kong 2018 Viola and Chamber Music Masterclasses Mannes School of Music 2018 Viola Masterclass The Broad Stage, Santa Monica 2018 - 2019 Artist-in-residence, viola masterclasses, community events Affiliations Sejong Soloists 2001 - 2007 Principal Viola The Chamber Music Society of Lincoln Center 2003 - present CMS Two/Bowers YoungArtist from 2004-06 CREDIA International Artist Management 2004 - present Worldwide manager, based in South Korea Seattle Chamber Music Society
    [Show full text]
  • La Couleur Du Temps – the Colour of Time Salzburg Whitsun Festival 29 May – 1 June 2020
    SALZBURGER FESTSPIELE PFINGSTEN Künstlerische Leitung: Cecilia Bartoli La couleur du temps – The Colour of Time Pauline Viardot-Garcia (1821 – 1910) Photo: Uli Weber - Decca Salzburg Whitsun Festival 29 May – 1 June 2020 (SF, 30 December 2019) The life of Pauline Viardot-Garcia – singer, musical ambassador of Europe, outstanding pianist and composer – is the focus of the 2020 programme of the Salzburg Whitsun Festival. “The uncanny instinct Cecilia Bartoli has for the themes of our times is proven once again by her programme for the 2020 Salzburg Whitsun Festival, which focuses on Pauline Viardot. Orlando Figes has just written a bestseller about this woman. Using Viardot as an example, he describes the importance of art within the idea of Europe,” says Festival President Helga Rabl-Stadler. 1 SALZBURGER FESTSPIELE PFINGSTEN Künstlerische Leitung: Cecilia Bartoli Pauline Viardot not only made a name for herself as a singer, composer and pianist, but her happy marriage with the French theatre manager, author and art critic Louis Viardot furthered her career and enabled her to act as a great patron of the arts. Thus, she made unique efforts to save the autograph of Mozart’s Don Giovanni for posterity. Don Giovanni was among the manuscripts Constanze Mozart had sold to Johann Anton André in Offenbach in 1799. After his death in 1842, his daughter inherited the autograph and offered it to libraries in Vienna, Berlin and London – without success. In 1855 her cousin, the pianist Ernst Pauer, took out an advertisement in the London-based journal Musical World. Thereupon, Pauline Viardot-García bought the manuscript for 180 pounds.
    [Show full text]