DOCSLIB.ORG

Philadelphia's Musical Legacy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Philadelphia's Musical Legacy 5 Philadelphia’s Musical Legacy Marjorie Hassen ennsylvania’s Quaker settlers had little interest in music; it P was, rather, William Penn’s hospitality to other religious groups that ensured the establishment of a musical life in the colony. From its earliest days, Philadelphia sheltered a thriving community of immigrant musicians, and over the course of the eighteenth century, as musical performance extended from the church to the concert hall, the city became one of the principal centers of music in the New World. Public subscription concerts were presented in Philadelphia as early as 1757, organized chiefly through the efforts of a native son, Francis Hopkinson. Hopkinson was a member of the first gradua- tion class of what was then the College of Philadelphia—later the University of Pennsylvania. A lawyer by profession and a signer of the Declaration of Independence, he was also an accomplished amateur harpsichordist, organist, and composer. His Seven songs for the harpsichord or forte piano, published in Philadelphia in 1788, includes a dedication to George Washington, in which the composer asserts, “I cannot, I believe, be refused the credit of being the first native of the United States who has produced a musical composition.” The Library’s copy of this publication 1 A fourth manuscript volume was Hopkinson’s own—a gift of the patriot’s direct descendent, (dated 1759) that contains several Edward Hopkinson Jr.—and is part of a sixteen-volume collec- of Hopkinson’s songs is held by the Library of Congress. For tion presented to the University between 1948 and 1950. a complete index of all four The Hopkinson Collection, as it has come to be known, in- volumes see Caroline Richards, cludes printed and manuscript music amassed primarily by Francis “An Eighteenth Century Music Collection” (master’s thesis, (1737-1791), but also by his grandson Oliver (1812-1905). At University of Pennsylvania, 1968). the heart of the collection are three volumes of holograph music 1 manuscripts, copied by Francis Hopkinson for his own library : a songbook fragment containing sixteen works primarily for voice Opposite page: George Frideric and keyboard (dated 1755 in Hopkinson’s hand); forty-six works Handel. Messiah, contra-tenor part. [ca. 1770]. From a set for keyboard (copied ca. 1763); and a volume of 115 Lessons for of parts belonging originally to keyboard (copied ca. 1764). It is unknown whether Hopkinson Benjamin Carr. Musical Fund himself was responsible for the many arrangements that are present Society of Philadelphia Collection in these volumes, but it is clear, given the breadth of the collection, of Music, Rare Book and that he was familiar with the forms and styles of European vocal Manuscript Library. and instrumental music of his day. His transcriptions include popu- I w: '.\L '."'J'.lD ::;ocr.:TY OF PiI'L.<l.Dr.,LPHIA Sencr'll 8ollcctio1; • CONTRA-TENOR ( '!nd the rnugh placer plai~) ,,, Allegro 10 And the glory e glory of thetord the glory of the L ord 7 lball be re_ ve l _ed fl rCC;1 r1ft9!F fi'r 3iJJ J iPIT-!H rr1 H FIC91,·1:1 rF rt be re. - _veal ••• - - ___ _ •• _ ed and the glory the glory of tli~ord lhall be _revea led and ill _1gY c.fr tIUr rI frrtIf Ir -- rI~ rIUt rIrBI9.I-I er rI9 r1t t t1 flefh fball fee it together a.tl all fl~£hall fee i to.- ge, __ ther and allfldh lhall fee it to_ 1if/A·1r r ffcrt,1 r rt1 cfr F1F E#Ffo/F1r1rr,FI@ FI &,f tp@/'('f:I _ gether and all £1.efh and all flefh {ball fe e it to••gerher ano d i flefh fhall fee i to• • ge,._. ther ;:-----. and the glory the g ory o the L ord and all fle/h (hall fee it together ~ ,..........._ r · ____ • _ • __ ___ ____ - the fon ••s of Le ___v1 the fon __ s of Levi that theyma-y .1g1, r- ~ 1 rs s r· c1 ~ c c , r rI r r r cI re- 1c; ~ r r I ffi;.J Jti ·Jr :1 J: offer un~eLord an offering in righteoufnefs in righteoufnefs and he !hall pu••ri fy ,.-::and 151rr r IUr Fr I· Ir, s-J cI fj r re Ir ~ krr r I fl t r(1§ It, Pr Fftf r he fhall pu•• ri_fy ,.,....._ and he lb all pu. 6i;i_ an-l he {hall pu•• rify and he fhall pu ri _ 1 lijl? Fe! r 1;, r ritr:r Fri t' r tr1 Fr r r1; [-,p C c1ccao-,s:au+1 - fv a\i helh,11 pu •• rify the fon --- s of L evi fhall pu rify. _____ _ _ - •••• -· -1g1p prrcrrc:vv,c P ,rcn;errr1rfrrrcrrr 1rr11rr 1rr1:rr i_; · _ . _ ln•ll purify_. ____ • __ • _ fhall purify____ ____ ___ • __ __ _ the fons of L evi that th.-Y'l'lay ~1, r-v 1 , rJ cr· c ,, ct cr· .o 1 ~ r r*r I A- 1~ II· offer 11nto the Lord an offering in rlghteoufnefs'lr u, righteoufnefs , 104 THE PENN LIBRARY COLLECTIONS AT 250 Francis Hopkinson. Engraving by Johnson, Fry & co. 1862, after a painting by Alonzo Chappel (1820-1885), from the portrait by Robert Edge Pine (1730-1788). Rare Book and Manuscript Library. lar dance and march tunes as well as works by the leading English and Continental composers of the eighteenth century, among them Karl Friedrich Abel, Thomas Arne, Arcangelo Corelli, Francesco Geminiani, George Frideric Handel, Johan Adolf Hasse, Domenico Scarlatti, John Stanley, and Johann Stamitz. These manuscript volumes are supplemented by thirteen volumes of printed music that preserve an extraordinary compilation of con- temporaneous American and European editions. Here too, nearly all the important composers of the eighteenth century are represented. Among the works that date from the elder Hopkinson’s time are several Handel oratorios, arranged for voice, harpsichord and violin 2 Otto E. Albrecht, “Francis (London, 1784), and the solo string parts of some fifty concerti Hopkinson: Musician, Poet, and grossi of Domenico Alberti, Corelli, Geminiani, and Antonio Vivaldi Patriot, 1737-1937,” The University of Pennsylvania Library Chronicle 6 (London, ca. 1730), which were performed by Hopkinson and his (March 1938): p. 7. friends at concerts in Penn’s College Hall during his student years.2 PHILADELPHIA ’ S MUSICAL LEGACY 105 A “gentleman amateur” of high social standing, Hopkinson Arcangelo Corelli, Gigga. Copied by Francis Hopkinson, ca. 1760. frequently joined with immigrant European professionals in both Hopkinson Collection of Music, private and public music performances, a circumstance illustra- Rare Book and Manuscript Library. tive, in Richard Crawford’s words, of “the participatory at- 3 mosphere of music-making in colonial Philadelphia.” This 3 atmosphere continued into the early years of the nineteenth See Richard Crawford’s article on Francis Hopkinson in The New century and was the impetus behind the establishment, in 1820, Grove Dictionary of American Music, of the Musical Fund Society of Philadelphia by a group of ed. H. Wiley Hitchcock and Stan- professional and amateur musicians—today, the oldest American ley Sadie (London: Macmillan, music benevolent society in continuous existence. 1986), vol. 2, p. 421. The musical climate in Philadelphia at the time of the Soci- ety’s founding was engagingly described by the organization’s first Secretary, the attorney and amateur musician, John K. Kane. Looking back from the midpoint of the century, he remembered: 106 THE PENN LIBRARY COLLECTIONS AT 250 The state of music in those days, and musical taste! - Hupfeldt used to give his “Annual Concert,” the crack musical phenomenon of the year, at which he annually played his Concerto by Kreutzer, while the ladies chatted and laughed in ancient tea-party fashion, and gentlemen stood upon the benches with their hats on, or walked round the room to exchange compliments and retail the last joke. Yet we had our Quartette party, - three violins, all profes- sional except Dr. La Roche, - a tenor or two, - and a couple of basses; . and we used to meet round at each others’ houses of a Saturday night, fifteen or eighteen of us, to hear Haydn, Mozart, Boccherini, sometimes to boggle over Beethoven, and then to eat crackers and cheese, and drink porter or homoeopathic doses of sloppy hot punch. We were a delightful little club, the elite of the time, and the veritable germ of the Musical Fund.4 4 From The Autobiography of the Honorable John K. Kane, 1795-1858 The Society developed out of these “quartette parties,” adopt- (Philadelphia: Privately printed, 1949), entry for 20 January 1849. ing as its objectives “the relief of decayed musicians and their families, and the cultivation of skill and diffusion of taste in music.” And while its formal documents indicate that benevolent work was foremost in the minds of the Society’s founders, the level of musical activity within the organization throughout the first half of the nineteenth century suggests that its focus was in large measure the promotion of concerts. The significant role played by the Musical Fund Society in the growth of musical performance in Philadelphia, particularly over the course of the nineteenth century, is documented in its ar- chives. Donated to the Library in 1991, this material offers unique insight into Philadelphia’s cultural milieu and includes minute books, engagement books, concert programs, and papers from the Society’s 1820 founding through the present. Also preserved is an extensive collection of manuscript and published music, dating primarily from the late eighteenth century to the late nineteenth, much of it used for performance in Society concerts.
Load more

Recommended publications
  • Festival of Strings 2017 Flier
    Festival of Strings 2017 Five Consecutive days of Concerts and Master Classes with Internationally Recognized Artists and our own SHSU faculty Dylana Jenson (violin), The Solera String Quartet with Josu de Solaun (piano), The Kolonneh String Quartet (SHSU faculty) • Thursday, October 5, Concert Hall, 2:30-5:00 pm Master class with Dylana Jenson • Friday, October 6, Recital Hall 1:00-3:00 pm Master class with Dylana Jenson • Friday, October 6, Concert Hall, 7:30 pm SHSU Symphony Orchestra Concert with guest soloist Daniel Saenz (cello) VENUE CHANGE! • Saturday, October 7, Recital Hall, 7:30 pm University Heights Baptist Church Guest Artist Recital 2400 Sycamore Ave, Huntsville, TX 77340 Dylana Jenson, (violin) with Josu de Solaun (piano) •Sunday, October 8, Recital Hall, 3:30 pm Guest Artist Recital The Solera String Quartet with Josu de Solaun (piano) • Monday, October 9, Recital Hall, 7:30 pm The Kolonneh String Quartet www.shsu.edu/music/events Sam Houston State University Festival of Strings 2017 Guest Artists DYLANA JENSON Dylana Jenson has performed with most major orchestras in the United States and traveled to Europe, Australia, Japan and Latin America for concerts, recitals and recordings. After her triumphant success at the Tchaikovsky Competi- tion, where she became the youngest and first American woman to win the Silver Medal, she made her Carnegie Hall debut playing the Sibelius Concerto with Eugene Ormandy and the Philadelphia Orchestra. Following her most recent Carnegie Hall performance, Jenson again electrified both audience and critics in her per- formance of Karl Goldmark's violin concerto. According to Strad Magazine, "In Jenson's hands, even lyrical passages had an intense, tremulous quality..
    [Show full text]
  • N E W S R E L E A
    N E W S R E L E A S E CONTACT: Katherine Blodgett Vice President of Public Relations and Communications Phone: 215.893.1939 E-mail: [email protected] Jesson Geipel Public Relations Manager FOR IMMEDIATE RELEASE Phone: 215.893.3136 DATE: October 18, 2012 E-mail: [email protected] YANNICK NÉZET-SÉGUIN’S INAUGURAL SEASON AS MUSIC DIRECTOR OF THE PHILADELPHIA ORCHESTRA BEGINS THURSDAY, OCTOBER 18, 2012, WITH A GALA CONCERT FEATURING THE INCOMPARABLE RENÉE FLEMING Opening Weeks of Nézet-Séguin’s Tenure to Feature Verdi’s Requiem, His Carnegie Hall Debut, and Concerts with Violinist Joshua Bell (Philadelphia, October 18, 2012)—Yannick Nézet-Séguin officially begins his tenure as The Philadelphia Orchestra’s eighth music director with a gala Opening Concert on October 18, 2012, two weeks of subscription concerts at the Orchestra’s home in Verizon Hall at the Kimmel Center, and with his Carnegie Hall debut on October 23 in New York City. Nézet-Séguin was named music director designate of the legendary ensemble in 2010. The gala concert, featuring soprano Renée Fleming, includes Ravel’s Shéhérazade, Brahms’s Symphony No. 4, and “Mein Elemer!” from Arabella by Richard Strauss. For the Orchestra’s first subscription series at the Kimmel Center and for his Carnegie Hall debut, Nézet-Séguin has chosen Verdi’s Requiem, featuring soprano Marina Poplavskaya, mezzo-soprano Christine Rice, tenor Rolando Villazón, bass Mikhail Petrenko, and the Westminster Symphonic Choir. Philadelphia Orchestra Association President and CEO Allison Vulgamore said, “This is the launch of a new chapter for The Philadelphia Orchestra. We have been anticipating this moment for what seems a very long time, and the entire organization couldn’t be more thrilled that it is finally upon us.
    [Show full text]
  • THE KOSCIUSZKO FOUNDATION CHOPIN PIANO COMPETITION HISTORICAL OVERVIEW in 1949, to Mark the Centennial of the Death of Fryderyk
    THE KOSCIUSZKO FOUNDATION CHOPIN PIANO COMPETITION HISTORICAL OVERVIEW In 1949, to mark the centennial of the death of Fryderyk Chopin, the Kosciuszko Foundation’s Board of Trustees authorized a National Committee to encourage observance of the anniversary through concerts and programs throughout the United States. Howard Hansen, then Director of the Eastman School of Music, headed this Committee, which included, among others, Claudio Arrau, Vladimir Horowitz, Serge Koussevitzky, Claire Booth Luce, Eugene Ormandy, Artur Rodzinski, George Szell, and Bruno Walter. The Chopin Centennial was inaugurated by Witold Malcuzynski at Carnegie Hall on February 14, 1949. A repeat performance was presented by Malcuzynski eight days later, on Chopin’s birthday, in the Kosciuszko Foundation Gallery. Abram Chasins, composer, pianist, and music director of the New York Times radio stations WQXR and WQWQ, presided at the evening and opened it with the following remarks: In seeking to do justice to the memory of a musical genius, nothing is so eloquent as a presentation of the works through which he enriched our musical heritage. … In his greatest work, Chopin stands alone … Throughout the chaos, the dissonance of the world, Chopin’s music has been for many of us a sanctuary … It is entirely fitting that this event should take place at the Kosciuszko Foundation House. This Foundation is the only institution which we have in America which promotes cultural relations between Poland and America on a non-political basis. It has helped to understand the debt which mankind owes to Poland’s men of genius. At the Chopin evening at the Foundation, two contributions were made.
    [Show full text]
  • A Career Filled with High Notes
    A Career Filled With High Notes Michael Tilson Thomas, now in the final season of his 25 years at the helm of the San Francisco Symphony, has left a profound imprint on both the orchestra and the city. By David Mermelstein March 3, 2020 Michael Tilson Thomas, music director of the San Francisco Symphony, in 2018 When Michael Tilson Thomas became music director of this city’s estimable but not very exciting or forward-looking symphony orchestra in 1995, he had been working in London and needed an American career boost, and the ensemble was looking for an energetic maestro who would elevate its profile and maybe even lend it “buzz.” A quarter-century later, their partnership stands as one of the great success stories in U.S. musical history, thanks in large part to Mr. Thomas’s searching intellect, fierce curiosity, and supreme repertorial fluency. His direct connection to musical history, unmatched in our time, hasn’t hurt, either. As a result, the 109-year-old San Francisco Symphony is now widely regarded as among this country’s finest orchestras—right up there with East Coast titans like the New York Philharmonic, the Boston Symphony Orchestra and the Philadelphia Orchestra. West of Chicago, only the Los Angeles Philharmonic challenges San Francisco’s dominance. But nothing lasts forever, and Mr. Thomas, who turned 75 just before Christmas, is midway through his last season at the helm. Fittingly, the exit music, as it were, hearkens back to past triumphs. On Friday, Mr. Thomas and the orchestra will perform Mahler’s Symphony No.
    [Show full text]
  • A Listening Guide for the Indispensable Composers by Anthony Tommasini
    A Listening Guide for The Indispensable Composers by Anthony Tommasini 1 The Indispensable Composers: A Personal Guide Anthony Tommasini A listening guide INTRODUCTION: The Greatness Complex Bach, Mass in B Minor I: Kyrie I begin the book with my recollection of being about thirteen and putting on a recording of Bach’s Mass in B Minor for the first time. I remember being immediately struck by the austere intensity of the opening choral singing of the word “Kyrie.” But I also remember feeling surprised by a melodic/harmonic shift in the opening moments that didn’t do what I thought it would. I guess I was already a musician wanting to know more, to know why the music was the way it was. Here’s the grave, stirring performance of the Kyrie from the 1952 recording I listened to, with Herbert von Karajan conducting the Vienna Philharmonic. Though, as I grew to realize, it’s a very old-school approach to Bach. Herbert von Karajan, conductor; Vienna Philharmonic (12:17) Today I much prefer more vibrant and transparent accounts, like this great performance from Philippe Herreweghe’s 1996 recording with the chorus and orchestra of the Collegium Vocale, which is almost three minutes shorter. Philippe Herreweghe, conductor; Collegium Vocale Gent (9:29) Grieg, “Shepherd Boy” Arthur Rubinstein, piano Album: “Rubinstein Plays Grieg” (3:26) As a child I loved “Rubinstein Plays Grieg,” an album featuring the great pianist Arthur Rubinstein playing piano works by Grieg, including several selections from the composer’s volumes of short, imaginative “Lyrical Pieces.” My favorite was “The Shepherd Boy,” a wistful piece with an intense middle section.
    [Show full text]
  • Season 2015-2016 the Philadelphia Orchestra Thursday, February 18, At
    Season 2015-2016 The Philadelphia Orchestra Thursday, February 18, at 8:00 Friday, February 19, at 2:00 Saturday, February 20, at 8:00 Michael Tilson Thomas Conductor Ives “Decoration Day,” from A Symphony: New England Holidays Brahms Serenade No. 2 in A major, Op. 16 I. Allegro moderato II. Scherzo: Vivace III. Adagio non troppo IV. Quasi menuetto V. Rondo: Allegro Intermission Tchaikovsky Symphony No. 2 in C minor, Op. 17 (“Little Russian”) I. Andante sostenuto—Allegro vivo II. Andantino marziale, quasi moderato III. Scherzo and Trio: Allegro molto vivace IV. Finale: Moderato assai—Allegro—Presto This program runs approximately 1 hour, 45 minutes. The February 18 concert is sponsored by Daniel K. Meyer, M.D. The February 19 concert is sponsored by Peter A. Benoliel and Willo Carey. The February 20 concert is sponsored by Judy and Peter Leone. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit www.wrti.org to listen live or for more details. Michael Tilson Thomas is music director of the San Francisco Symphony, founder and artistic director of the New World Symphony, and principal guest conductor of the London Symphony. He made his Philadelphia Orchestra debut in 1971 and returns to lead the ensemble in March 2017. Born in Los Angeles, he is the third generation of his family to follow an artistic career. He began his formal studies at USC where he studied piano and conducting and composition. At 19 he was named music director of the Young Musicians Foundation Debut Orchestra. During this same period he was pianist and conductor for Gregor Piatigorsky and Jascha Heifetz.
    [Show full text]
  • The Humanities in Western Tradition Volume Ii the Humanities in Western Tradition Volume Ii
    AUDIO COMPACT DISC TO ACCOMPANY The HumanitieIN THE WESTERNs TRADITION VOLUME II: RENAISSANCE TO PRESENT 3-44278 A 61336 Perry | Baker | Hollinger Perry Perry AUDIO COMPACT DISC TO ACCOMPANY | | Baker Baker ISBN 0-395-84818-0 | | Hollinger Hollinger ,!7IA3J5-ieibia!:m;k;k;K;K The HumanitieIN THE WESTERN TRADITIONs VOLUME II: RENAISSANCE TO PRESENT A 61336 3-44278 THE HUMANITIES IN WESTERN TRADITION VOLUME II THE HUMANITIES IN WESTERN TRADITION VOLUME II 1 (15.1) Weelkes: As Vesta Was From 14 (19.4) Beethoven: Symphony No. 5, I 27 (22.6) Mussorgsky: Pictures at an Latmos Hill Descending Exhibition, “Great Gate of Kiev” 15 (19.4) Beethoven: Symphony No. 5, 2 (15.2) Giovanni da Palestrina: Pope III/IV 28/29(22.7) Tchaikovsky: 1812 Overture Marcellus Mass, Credo 16 (19.5) Beethoven: Symphony No. 9, IV 30 (22.8) Debussy: La Mer, II Jeux de 3 (15.3) Monteverdi: L’Orfeo, Lasciete I Vagues 17 (20.1) Schubert: Erlkönig Monti 31 (23.1) Shoenberg: Variations, Theme 18 (20.2) Mendelssohn: Midsummer 4 (16.1) Vivaldi: Four Seasons, Spring, I and Variation IV Night’s Dream, Wedding March 5 (16.2) Handel: Messiah, “All We Like 32 (23.2) Ives: Fourth of July 19/20 (20.3) Berlioz: Symphonie Fantastique, Sheep” IV (23. 3) Stravinsky: The Rite of Spring 6/7 (16.3) Bach: Passacaglia in C Minor 33 Augers of Spring 21 (20.4) Chopin: Polonaise in A Flat 34 Mock Abduction 8 (16.4) Bach: Brandenburg Concerto No. Major 35 Rounds 2, II 22 (22.1) Verdi: Nabucco, “Coro di Schiavi 36 (24.1) Joplin: Maple Leaf Rag 9(16.5) Bach: St.
    [Show full text]
  • 2018-2019 Mostly Music: Franz Schubert
    Mostly Music Franz Schubert (1797-1828) Mostly Music Franz Schubert Thursday, March 14th at 7:30 p.m. Amarnick-Goldstein Concert Hall Dr. Thomas L. McKinley, Host Sonata in a minor D. 821 “Arpeggione” I. Allegro moderato II. Adagio III. Allegretto Eric Varner, bassoon Lisa Leonard, piano Fantasy in f minor, Op. 103, D. 940 for piano four-hands I. Allegro Molto moderato II. Largo III. Scherzo: Allegro vivace IV. Finale: Allegro molto moderato Roberta Rust & Sheng-Yuan Kuan, pianists Intermission Trio No. 2 in E-flat Major Op. 100, D. 929 I. Allegro II. Andante con moto III. Scherzando- allegro moderato IV. Allegro moderato Carol Cole, violin David Cole, cello Sheng-Yuan Kuan, piano Please silence or turn off all electronic devices, including cell phones, beepers, and watch alarms. Unauthorized recording or photography is strictly prohibited Carol Cole’s appearances in the United States, Canada, South America, North Africa, China, and throughout Europe have brought unanimous critical praise for her musical artistry, flawless technique and beautiful tone. “She knows how to capture the hearts of her listeners,” writes the Messaggero of Venice, Italy; “Passionate violin playing, carefully sculpted and crafted,” notes The Pocono Record in Pennsylvania. From Saratoga, New York, the Post Star described her playing as “brilliant, focused and impassioned – exceptional.” The Philadelphia Inquirer reviewed Ms. Cole’s performance at the Mozart- on-the-Square Chamber Music Series as “providing firm, accurate and spirited leadership – her sense of timing and sound (are) musical indeed.” Equally at home as a soloist, chamber musician and orchestra leader, Cole has appeared at major music centers in more than 22 countries and 25 U.S.
    [Show full text]
  • GUEST ARTIST RECITAL KEYBOARD CONVERSATIONS? With
    GUEST ARTIST RECITAL KEYBOARD CONVERSATIONS® with JEFFREY SIEGEL Franz Schubert in the Age of the Sound Bite Tuesday, October 29, 2013 8:00 p.m. Lillian H. Duncan Recital Hall PROGRAM Three Waltzes Franz Schubert (1797-1828) Impromptu in E-flat Major, Op. 90, No. 2 (D. 899) Impromptu in F Minor, Op. 142, No. 4 (D. 935) INTERMISSION Sonata in B-flat, Op. Posthumous (D. 960) Molto moderato Andante sostenuto Scherzo: Allegro vivace con delicatezza Allegro, ma non troppo Questions and Answers Please join us for a reception in the Grand Foyer immediately following the concert. BIOGRAPHY American pianist JEFFREY SIEGEL returns to the Shepherd School for the third consecutive season to present Keyboard Conversations®. Jeffrey Siegel has been soloist with the world’s great orchestras. Abroad, these include the Berlin Philharmonic, London Symphony, Philharmonic and Philharmonia, Moscow State Symphony, Munich’s Bayerischer Rund- funk, the Amsterdam, Oslo and Stockholm Philharmonic, Orchestra of La Scala and NHK Symphony of Japan. In the United States, engagements include the New York Philharmonic, Los Angeles Philharmonic, The Phila- delphia Orchestra, The Cleveland Orchestra, Boston Symphony Orches- tra and Chicago Symphony Orchestra. Mr. Siegel has collaborated with many of the pre-eminent conductors of our time: Claudio Abbado, Pierre Boulez, Charles Dutoit, Neeme Järvi, James Levine, Lorin Maazel, Zubin Mehta, Leonard Slatkin, Michael Tilson Thomas, and David Zinman, as well as legendary maestros of the past, including Eugene Ormandy, Sir George Solti, William Steinberg, Klaus Tennstedt and Yevgeny Svetlanov. In addition to his solo appearances, Jeffrey Siegel presents Keyboard Conversations®, a brilliantly polished concert-with-commentary format in which captivating remarks precede virtuoso performances of piano masterpieces.
    [Show full text]
  • A CONCERT with COMMENTARY, JEFFREY SIEGEL to PRESENT MOZART and HAYDN “The Leonard Bernstein of the Piano” Returns for His Ninth Season
    Contact: Dave Webb Phone: 530-400-1253 E-mail: [email protected] Web: harriscenter.net/about/press-room A CONCERT WITH COMMENTARY, JEFFREY SIEGEL TO PRESENT MOZART AND HAYDN “The Leonard Bernstein of the piano” returns for his ninth season (August 2, 2019, Folsom, CA) Hailed as “an artist who means every note he plays” (New York Times), internationally acclaimed pianist Jeffrey Siegel brings power and passion to his celebrated Keyboard Conversations — returning to Folsom for his ninth season. He has been called “the Leonard Bernstein of the piano” (Chicago Tribune); "Jeffrey Siegel has everything: massive technique, musical sensitivity and character, wide tonal resources, immense reserves of power, and the ability to communicate" (Los Angeles Times). In presenting these “concerts with lively commentary” Mr. Siegel offers comments on the work, the composer, even the times in which the work was composed and then gives a virtuosic performance of a piano masterpiece. A lively Q&A concludes the concert. His presentations enrich the listening experience for the avid music lover as well as provide an inviting, instantly accessible introduction to great music for those new to classical music. "Siegel's programs strengthen the fragile bonds of communication between composer and listener and are as welcome as they are rare." (Chicago Tribune). For his concert on Saturday, August 24, Mr. Siegel will perform MOZART AND HAYDN – HUMOR AND HEARTACHE, an evening of irresistible charm and wit – and deep anguish and sadness. Haydn’s exuberant “Gypsy Rondo” and melancholy “F Minor Variations,” Mozart’s passionate “A Minor Sonata.” The inaugural Keyboard Conversations® With Jeffrey Siegel commences on Saturday, August 24 at 7:30 pm.
    [Show full text]
  • London's Symphony Orchestra
    London Symphony Orchestra Living Music Thursday 12 May 2016 7.30pm Barbican Hall LSO ARTIST PORTRAIT: LEIF OVE ANDSNES Schumann Piano Concerto INTERVAL Beethoven Symphony No 9 (‘Choral’) Michael Tilson Thomas conductor Leif Ove Andsnes piano Lucy Crowe soprano London’s Symphony Orchestra Christine Rice mezzo-soprano Toby Spence tenor Iain Paterson bass London Symphony Chorus Simon Halsey chorus director Concert finishes approx 9.50pm Supported by Baker & McKenzie 2 Welcome 12 May 2016 Welcome Living Music Kathryn McDowell In Brief A very warm welcome to tonight’s LSO performance BMW LSO OPEN AIR CLASSICS 2016 at the Barbican. This evening we are joined by Michael Tilson Thomas for his first concert since the The fifth annual BMW LSO Open Air Classics announcement of his appointment as LSO Conductor concert will take place on Sunday 22 May at 6.30pm. Laureate from September 2016, in recognition of Conducted by Valery Gergiev, the LSO will perform his wonderful music-making with the LSO and his an all-Tchaikovsky programme in London’s Trafalgar extraordinary commitment to the Orchestra. We are Square, free and open to all. delighted that his relationship with the LSO will go from strength to strength. lso.co.uk/openair This evening is the second concert in our LSO Artist Portrait series, focusing on pianist Leif Ove Andsnes. LSO AT THE BBC PROMS 2016 Following his performance of Mozart’s Piano Concerto No 20 on Sunday, he returns to play Schumann’s The LSO will be returning to this year’s BBC Proms at Piano Concerto. The Orchestra is also joined this the Royal Albert Hall for a performance of Mahler’s evening by the London Symphony Chorus, led by Symphony No 3 on 29 July.
    [Show full text]
  • Minnesota Orchestra
    MINNESOTA ORCHESTRA I Sponsoring assistance by I\!iP Wednesday, May 7, 1986 Orchestra Hall Thursday, May 8, 1986 Ordway Music Theatre Friday, May 9, 1986 Orchestra Hall *Saturday, May 10, 1986 Orchestra Hall 8:00 p.m, SIR NEVILLE MARRINER conducting SUSAN DUNN, soprano JOANNA SIMON, mezzo-soprano KEITH LEWIS, tenor STEPHEN DUPONT, bass DALE WARLAND SYMPHONIC CHORUS Dale Warland, music director Sir Neville Marriner Sigrid Johnson, assistant conductor (Biography appears on page 22.) WAGNER Prelude and Liebestod, from Tristan and Isolde Intermission BEETHOVEN Symphony No. 9 in D minor, Opus 125 (Choral) I. Allegro rna non troppo, un poco maestoso II. Molto vivace- Presto III. Adagio molto e cantabile-Andante moderato IV. Finale: Presto-Allegro; Allegro assai; Presto Susan Dunn Soprano Susan Dunn is remembered by Twin Cities audiences for a variety of per- formances with the Minnesota Orchestra, particularly last Sommerfest's concert presentation of Turandot, when her creation of the role of Uti drew thunder- ous applause. Dunn, an Arkansas native, gained the attention of the music world by winning three prestigious competitions in 1983: the Richard Tucker Award, Chi- Performance time, including intermission, is approximately one hour and 55 minutes. cago's WGN-Illinois Opera Competition *A pension benefit concert. and Dallas' Dealey Competition. She has The Friday evening concert is broadcast livethroughout the region on Minnesota Public subsequently made debuts with such emi- Radio stations, including KSJN-FM (91.1) in the Twin Cities. The H. B. Fuller nent ensembles as the Chicago Lyric Company underwrites the broadcast, which is also heard throughout the country on Opera, as Leonora in La Forza del stations of the American Public Radio Network.
    [Show full text]