DOCSLIB.ORG

26 NOVEMBER THURSDAY SERIES 3 Helsinki Music Centre at 19

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
26 NOVEMBER THURSDAY SERIES 3 Helsinki Music Centre at 19 26 NOVEMBER THURSDAY SERIES 3 Helsinki Music Centre at 19 Jukka-Pekka Saraste, conductor Kari Kriikku, clarinet Antti Auvinen: Junker Twist, (Yle commission) 10 min Unsuk Chin: Clarinet Concerto, fp in Finland 25 min I Mirage – Fanfare – Ornament II Hymnos III Improvisation on a Groove INTERVAL 20 min Jean Sibelius: Symphony No. 5, early version 31 min I Tempo tranquillo assai II Allegro commodo III Andante mosso IV Allegro commodo – Largamente molto Interval at about 19.50. The concert ends at about 20.55. Broadcast live on Yle Radio 1 and online at yle.fi/rso. PLEASE MAKE SURE THAT YOUR MOBILE PHONE IS SWITCHED OFF! Photographing, video and sound recording are prohibited during the concert. 20 ANTTI AUVINEN and love, for example, are difficult to express in words but can be processed (1974–): JUNKER TWIST in art. Art music can serve as a medium for mirroring disturbing images, in the It snarls and sighs, it twists and strains, case of Junker Twist those of violent, the floorboards thunder and the walls zealous nationalism and intolerance. come tumbling down. Such is Junker Twist: an attempt to rise above and Ville Komppa shake off the prejudices that plague us. But it is also an expression of a de- sire to break free, to establish human relationships based on equality and trust. While we can see what a pitia- UNSUK CHIN (1961–): ble wimp the zealous patriot is, we can CLARINET CONCERTO also catch a glimpse of the dignity to which he aspires in his dance without, however, achieving it. Zealous wimps A former pupil of Sukhi Kang in her na- tend to be locked in their own illusions tive South Korea and of György Ligeti and to build on them: this is reflected in Hamburg, Unsuk Chin nowadays in the rhythms, and the almost mili- lives in Berlin but does not regard her tant-sounding jerking and jarring of compositions as particularly Eastern or the angst that is caused by intolerance. Western. She has been the recipient of On the other hand, Junker Twist also such awards as the Gaudeamus Prize hints at the joy of discovery and even and the Arnold Schönberg Prize in tragicomic farce. Auvinen works with 2005, and she was the focus composer rhythms, with layered and contrasting of the 1999 Musica nova Helsinki festi- timbres. He expands his instruments val of contemporary music. outside the traditional orchestral line- The Clarinet Concerto is possibly the up, and he has studied the use of elec- most impressionistic of her concertos tronics to model potential timbres. to date. The biggest challenge was, she The human voice is filtered in Junker said, combining the inherent nature of Twist through brass instruments or the solo instrument and the orchestra. megaphones. The sounds are often “It was very difficult to create orchestral hybrid ones: hyperventilation, tension, colours that would allow the soloist to sighs. There is an element of the ex- integrate himself into a unified picture. treme in the tempos, for though a cer- If one is not careful, the clarinet occu- tain tempo is given, the piece can be pies a completely different sphere.” played faster. The first movement, the last to be According to Antti Auvinen, art, and completed, bears the title Mirage– especially art music, provides a means Fanfare–Ornament. It emerges out of of addressing fundamental questions silence, trying to coax silvery reactions of existence. Racism, violence, death and movements out of the orchestra 21 by means of multiphonics, glissandos of a surrealistic dance of death. and arabesques. Chin has likened the Before everything gets completely floating, fluttering solo clarinet to a out of hand, the solo clarinet “impro- bird. The tension then builds up to a vises” a vision of the serene bliss of the vision that erupts into fanfares of col- slow movement. The clarinet and per- ourful, solemn gestures. Left twirling cussions grow softer and softer as they in the air after the climax are figures lead the concerto to its conclusion. that are accompanied back to silence The Clarinet Concerto by Unsuk by long, radiant chords until the music Chin was a joint commission from five suddenly comes to a halt. orchestras (Gothenburg, New York, Silence is an even more integral ele- Cologne, London and Barcelona) and is ment of the slow movement, Hymnos. dedicated to Kari Kriikku. The solo clarinet presents a chorale-like theme in a delicate pianissimo, using Antti Häyrynen multiphonics to produce several notes simultaneously. The melody itself is like a message from another time or world, or maybe the subconscious. The theme proceeds like a slow pas- sacaglia and the orchestra – first a cel- JEAN SIBELIUS: lo, then the clarinets – begins to sum- SYMPHONY NO. 5 IN marise, continue and comment on the solo clarinet. The variations on the E-FLAT MAJOR, OP. 86, hymn multiply and grow more aggres- 1915 VERSION sive, as in a fantastic hall of mirrors, un- til the melody returns to float in its in- The fifth symphony of Jean Sibelius itial state. A series of variously-scored has sometimes been described as a orchestral chords accompanies the so- reaction to the fourth, but this does loist at the end in Baroque spirit. not allow for the wealth of material In her Clarinet Concerto Chin points that found its way from the fourth to out the playful and ritualistic properties the fifth and especially the first ver- of her solo instrument, and these again sion of 1915. The process of compos- have a place in the quick, final move- ing his fifth symphony (1914–1919) was ment Improvisation on a Groove that to be the longest and most difficult in continues without a break. The player Sibelius’s whole career. needs to keep a cool head even though He first set to work on the fifth in the the percussions are digging out their most modern of spirits, and the result fishing tackle. The spinning rods reel was less polished than the final ver- out wild displays of virtuosity while the sion. The “leitmotiv” on French horns orchestra whips up to a fiendish whirl- and timpani which Erik Tawaststjerna pool in which Kent Nagano, conducting called a “bucolic signal” is not heard at the premiere, claimed to see features the beginning of the Tempo tranquillo 22 assai. In the final version this informs tere, lacking any nod in the direction of the listener of the two impulses that romantic nostalgia. dominate the work and functions as When Sibelius decided to revise his a sort of question to the woodwinds’ fifth symphony, first in 1916 and again “answer” that begins the 1915 version. in 1917–1919, he said he wanted to The opening is thus purely pastoral and make it more human and down-to- gives no hint of the monumental shape earth. His final solution to the finale of things to come. was longest in the making, and in 1919 The strings’ entry marks a much he confessed to having rewritten it. deeper dip into the shadows and a The finale of the 1915 version is fiercer build-up to the first climax. The much longer than the later one. The tone of the development seems more beginning is familiar, but the wood- enigmatic and mysterious. The transi- wind theme played out against the tion to the bassoon solo accompanied swaying French horn one has still not by pianissimo strings therefore feels acquired its ultimate form. The biggest natural, but the following crescendo difference is, however, the final build- with its ominously wavering chords up, which Sibelius approaches from a ends in pizzicatos that look ahead to far greater distance. It develops more the Scherzo. slowly, at times with shamanistic osti- It may seem to the listener today natos and lonely woodwind solos. that the Scherzo could carry straight The dips into grief and melancholy on from the first movement, but the dive deeper and more discordantly. The 1915 version still lacks the motivic links final climax correspondingly seems to that connect them. The marcato trum- be all the more weighed down by life. pet theme in the final version is as- The symphony ends with five chords, signed to the strings and does not give the first four linked. the Scherzo such a clear turning point. The fugato episode hints at a motivic Antti Häyrynen mosaic and the short final sprint pro- Programme notes translated (abridged) vides a sufficient climax to this sepa- by Susan Sinisalo rate Scherzo movement. The slow movement is more pol- ished and streamlined in the 1919 ver- sion, but the gradual exposition of the Andante mosso theme, the pedal points and echo effects that persist through- out the movement, and the collision with the brass sforzatos reminiscent of the fourth symphony create a more primitive impression. Sibelius later omitted some of the variations of 1915. The end of the movement is more aus- 23 JUKKA-PEKKA SARASTE An artist of exceptional versatility and breadth, Saraste feels a special af- finity with the sound and style of late Jukka-Pekka Saraste has served Romantic music. Equally, he maintains as Chief Conductor of the WDR a strong connection with the music of Symphony Orchestra, Cologne since today. He recently conducted the world 2010. He was Music Director and Chief premiere of Wolfgang Rihm’s Triple Conductor of the Oslo Philharmonic Concerto at the Berlin Philharmonie Orchestra from 2006 to 2013, and at and the world premieres of Friedrich the end of his tenure there was made Cerha’s Drei Orchesterstücke and Conductor Laureate, the very first Pascal Dusapin’s Violin Concerto at the such title bestowed by that orchestra.
Load more

Recommended publications
  • The Sibelius Edition Miscellaneous Works
    THE SIBELIUS EDITION MISCELLANEOUS WORKS BIS-CD-1936-38_booklet-cover_front.indd 1 11-06-22 12.26.02 SIBELIUS, Johan (Jean) Christian Julius (1865–1957) Miscellaneous Works 2 DISC 1 [62'49] Organ Works and Religious Music Two Pieces, Op. 111 11'49 1 a. Intrada (1925) · single pedal version (Westerlund/Fazer 1957 / Fennica Gehrman Oy Ab) 5'55 Largamente molto (poco adagio) 2 b. Surusoitto (1931) · published version (R.E. Westerlund 1955 / Fennica Gehrman Oy Ab) 5'47 (Mournful Music) [No tempo marking] – Grave [Two Pieces], JS 153 (1925/26) (Warner/Chappell Music Finland Oy / Fennica Gehrman Oy Ab) 6'56 3 1. Preludium 3'31 [No tempo marking] 4 2. Postludium 3'20 [No tempo marking] Kolme johdantovuorolaulua, JS 110 (1925) (Werner Söderström Osakeyhtiö) 5'56 (Three Introductory Antiphons) for liturgist [baritone], mixed choir and organ 5 1. Palmusunnuntaina (On Palm Sunday) 1'52 Text: from Psalms 23, 111 & 42 (see page 123) [No tempo marking] 6 2. Pyhäinpäivänä tai hautajaisjumalanpalveluksissa (On All Saints’ Day) 2'29 Text: from Revelations 14 & Psalm 126 (p. 123) Hitaanlaisesti – Vilkkaammin [Slowly – Faster] 7 3. Kristillisissä nuorisojuhlissa (For Christian Youth Ceremonies) 1'26 Text: from Ecclesiastes 12 & Minor Doxology (p. 124) [No tempo marking] 3 DISC 1 8 Herran siunaus, JS 95 (1925) (Werner Söderström Osakeyhtiö / Breitkopf & Härtel) 2'51 (The Lord’s Blessing) for baritone and organ Text: based on Numbers 6:24–26 (p. 125) Hitaasti [Slowly] Musique religieuse (Masonic Ritual Music), Op. 113 (Publisher: Suomi Loosi No. 1, Helsinki) 33'54 for tenor, male voice choir and organ · first recording with original words 9 1.
    [Show full text]
  • 6 DECEMBER Helsinki Music Centre at 15.00
    6 DECEMBER Helsinki Music Centre at 15.00 INDEPENDENCE DAY GALA CONCERT Jukka-Pekka Saraste, conductor Kari Kriikku, clarinet Magnus Lindberg: Clarinet Concerto 25 min INTERVAL 20 min Jean Sibelius: The Oceanides, Op. 73 10 min Leevi Madetoja: Symphony No. 3 in A Major, Op. 55 32 min I Andantino – Allegretto II Adagio III Allegro non troppo IV Pesante, tempo moderato – Allegretto Interval at about 15.35. The concert ends at about 17.00. Broadcast live on Yle Radio 1, Yle Teema (latter half) and the Internet (yle.fi/klassinen). 1 MAGNUS LINDBERG stantly evolving yet always recognisa- ble, also spring straight from the tim- (b. 1958): bre and harmony. The music is, however, CLARINET CONCERTO propelled along not by themes but by eight core characters presented at the The Clarinet Concerto by Magnus beginning and reminiscent of those in a Lindberg well merits its place on the play, behaving differently as the drama gala programme for our Independence proceeds. Day concert. An Yle commission, it was The concerto is in five parts per- premiered by the FRSO at the orches- formed without a break. Beginning with tra’s 75th anniversary concert on 14 pastoral clarinet calls, its aim is dynamic September 2002 and in ten years has evolution, perpetual movement in the become a veritable contemporary clas- course of which the intensity steadily sic. It is probably second only to the rises. The slower second and third parts Sibelius Violin Concerto as the Finnish are also marked by an active ripple ef- instrumental concerto most often per- fect that provokes both musical drama formed.
    [Show full text]
  • Circle Map Program of Contemporary Classical Works by Kaija Saariaho to Feature New York Premieres Performed by the New York Philharmonic
    Circle Map Program of Contemporary Classical Works by Kaija Saariaho to Feature New York Premieres Performed by the New York Philharmonic Site-Specific Realization by Armory Artistic Director Pierre Audi Conducted by Esa-Pekka Salonen Two Performances Only - October 13 and 14, 2016 New York, NY — August 16, 2016 — Park Avenue Armory will present Circle Map, two evenings of immersive spatial works by internationally acclaimed Finnish composer Kaija Saariaho performed by the New York Philharmonic under the baton of its Marie-Josée Kravis Composer-in-Residence Esa-Pekka Salonen on October 13 and 14, 2016. Conceived by Pierre Audi to take full advantage of the Wade Thompson Drill Hall, the engagement marks the orchestra’s first performance at the Armory since 2012’s Philharmonic 360, the acclaimed spatial music program co-produced by the Armory and Philharmonic. A program of four ambitious works that require a massive, open space for their full realization, Circle Map will utilize the vast drill hall in an immersive presentation that continually shifts the relationship between performers and audience. The staging will place the orchestra at the center of the hall, with audience members in a half-round seating arrangement and performances taking place throughout. Longtime Saariaho collaborator Jean-Baptiste Barrière will translate the composer’s soundscapes into projections that include interpretations of literary and visual artworks from which inspiration for specific compositions are drawn. “Our drill hall is an ideal setting and partner for realizing spatial compositions, providing tremendous freedom for composers and performers,” said Rebecca Robertson, President and Executive Producer of Park Avenue Armory.
    [Show full text]
  • Kimmo Hakola's Diamond Street and Loco: a Performance Guide
    UNLV Theses, Dissertations, Professional Papers, and Capstones May 2016 Kimmo Hakola's Diamond Street and Loco: A Performance Guide Erin Elizabeth Vander Wyst University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Fine Arts Commons, Music Commons, and the Theatre and Performance Studies Commons Repository Citation Vander Wyst, Erin Elizabeth, "Kimmo Hakola's Diamond Street and Loco: A Performance Guide" (2016). UNLV Theses, Dissertations, Professional Papers, and Capstones. 2754. http://dx.doi.org/10.34917/9112202 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. KIMMO HAKOLA’S DIAMOND STREET AND LOCO: A PERFORMANCE GUIDE By Erin Elizabeth Vander Wyst Bachelor of Fine Arts University of Wisconsin-Milwaukee 2007 Master of Music in Performance University of Wisconsin-Milwaukee 2009
    [Show full text]
  • Dissertation 3.19.2021
    Cultivating the Contemporary Clarinetist: Pedagogical Materials for Extended Clarinet Techniques Caitlin Beare A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2021 Reading Committee: Timothy Salzman, Chair David Rahbee Benjamin Lulich Program Authorized to Offer Degree: Music © Copyright 2021 Caitlin Beare University of Washington Abstract Cultivating the Contemporary Clarinetist: Pedagogical Materials for Extended Clarinet Techniques Caitlin Beare Chair of the Supervisory Committee: Timothy Salzman School of Music The exploration and implementation of new timbral possibilities and techniques over the past century have redefined approaches to clarinet performance and pedagogy. As the body of repertoire involving nontraditional, or “extended,” clarinet techniques has grown, so too has the pedagogical literature on contemporary clarinet performance, yielding method books, dissertations, articles, and online resources. Despite the wealth of resources on extended clarinet techniques, however, few authors offer accessible pedagogical materials that function as a gateway to learning contemporary clarinet techniques and literature. Consequently, many clarinetists may be deterred from learning a significant portion of the repertoire from the past six decades, impeding their musical development. The purpose of this dissertation is to contribute to the pedagogical literature pertaining to extended clarinet techniques. The document consists of two main sections followed by two appendices. The first section (chapters 1-2) contains an introduction and a literature review of extant resources on extended clarinet techniques published between 1965–2020. This literature review forms the basis of the compendium of materials, found in Appendix A of this document, which aims to assist performers and teachers in searching for and selecting pedagogical materials involving extended clarinet techniques.
    [Show full text]
  • The Blake Collection Click on Item Titles Or in Memory of Nancy M
    (Scroll to the end of this document for an Index to all items. Please note that this Archive contains Live Links: The Blake Collection click on item titles or pictures to go to the In Memory of Nancy M. Blake Library’s catalog, and click on citations to see full articles.) BELLINI’S NORMA featuring CECILIA BARTOLI This tragic opera is set in Roman-occupied, first-century Gaul, features a title character, who although a Druid priestess, is in many ways a modern woman. Norma has secretly taken the Roman proconsul Pollione as her lover and had two children with him. Political and personal crises arise when the locals turn against the occupiers and Pollione turns to a new paramour. Norma “is a role with emotions ranging from haughty and demanding, to desperately passionate, to vengeful and defiant. And the singer must convey all of this while confronting some of the most vocally challenging music ever composed. And if that weren't intimidating enough for any singer, Norma and its composer have become almost synonymous with the specific and notoriously torturous style of opera known as bel canto — literally, ‘beautiful singing’” (“Love Among the Druids: Bellini's Norma,” NPR World of Opera, May 16, 2008). And Bartoli, one of the greatest living opera divas, is up to the challenges the role brings. (New York Public Radio’s WQXR’s “OperaVore” declared that “Bartoli is Fierce and Mercurial in Bellini's Norma,” Marion Lignana Rosenberg, June 09, 2013.) If you’re already a fan of this opera, you’ve no doubt heard a recording spotlighting the great soprano Maria Callas (and we have such a recording, too), but as the notes with the Bartoli recording point out, “The role of Norma was written for Giuditta Pasta, who sang what today’s listeners would consider to be mezzo-soprano roles,” making Bartoli more appropriate than Callas as Norma.
    [Show full text]
  • Programme Officiel Chant 2018
    PAGE 3 SGT JOHANIE MAHEU MESSAGE DE LA MESSAGE FROM GOUVERNEURE THE GOVERNOR GÉNÉRALE DU CANADA GENERAL OF CANADA La musique est à la fois un art rassembleur et un Music is both a unifying art and a means of escape. It moyen de s’évader. Elle dépasse les frontières lin- trans cends linguistic, cultural and temporal borders guistiques, culturelles et temporelles et elle donne and takes us on the most beautiful voyages. Stimulating lieu aux plus beaux voyages. Stimulant les esprits et minds and capturing the imagination, it resonates even suscitant l’imaginaire, elle résonne même dans les in the most distant lands. contrées les plus lointaines. Mastering the complex art of singing requires great MESSAGES Maîtriser cet art complexe qu’est le chant requiert discipline and perseverance, and more than a little 2018 passion. The incredible musicians taking part in the beaucoup de rigueur et de persévérance, sans ou- Concours musical international de Montréal (CMIM) blier de la passion. Les musiciens exceptionnels qui understand this and have devoted a significant part of prennent part au Concours musical international de their lives to cultivating their talent in the hope of one Montréal (CMIM) en savent quelque chose, eux qui day making their dreams come true. While spectators ont consacré une bonne partie de leur vie à cultiver can expect to witness breathtaking performances, the leur talent pour, un jour, concrétiser leurs rêves. Si participants themselves will have an experience like no les spectateurs peuvent s’attendre à assister à des other. performances à couper le souffle, les participants vivront quant à eux des expériences uniques.
    [Show full text]
  • Závěrečné Práce
    JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra dechových nástrojů Hra na klarinet Umělec pedagog Charles Neidich a jeho vliv na vývoj americké klarinetové školy Diplomová práce Autor práce: Jakub Hrdlička Vedoucí práce: doc. Milan Polák Oponent práce: doc. Vít Spilka Brno 2015 Bibliografický záznam HRDLIČKA, Jakub. Umělec a pedagog Charles Neidich a jeho vliv na vývoj americké klarinetové školy [Artist educator Charles Neidich and his influence on the American Clarinet school] Brno: Janáčkova akademie múzických umění v Brně, Hudební fakulta, Katedra dechových nástrojů, 2015 doc. Milan Polák s. [69] Anotace Diplomová práce Umělec a pedagog Charles Neidich a jeho vliv na vývoj americké klarinetové školy pojednává o osobnosti Charlese Neidicha. Práce je rozdělena do několika částí, ve kterých se zaměřuji na americkou klarinetovou školu, Ch. N. jako umělce a pedagoga a v další fázi analýzu a popis jeho metodiky a rozhovor s nejúspěšnějšími žáky. Annotation Diploma thesis „Artist educator Charles Neidich and his influence on the American Clarinet school” deals with personality of Charles Neidich. The work is divided into several sections in which I focus on American Clarinet school, Ch. N. as an artist and educator and in the next phase analyze and description of his pedagogical methods and interview with the most renowned students. Klíčová slova Americká klarinetová škola, Charles Neidich, umělec, pedagog Keywords American clarinet school, Charles Neidich, artist, educator Prohlášení Prohlašuji, že jsem předkládanou práci zpracoval samostatně a použil jen uvedené prameny a literaturu. Jakub Hrdlička V Brně dne 14. 8. 2015 Poděkování Na tomto místě bych rád poděkoval docentu Milanu Polákovi za laskavou spolupráci při tvorbě této práce a také umělcům Mate Bekavac, Sharon Kam, Kari Kriikku za poskytnutí rozhovorů.
    [Show full text]
  • Reinterpreting the Concerto Three Finnish Clarinet Concertos Written For
    Reinterpreting the Concerto Three Finnish clarinet concertos written for Kari Kriikku Sapphire Clare Littler MA by Research University of York Music December 2018 Reinterpreting the Concerto: Three Finnish clarinet concertos written for Kari Kriikku Abstract The origins of the word concerto can be traced to two different sources: the first is the Italian translation, to mean ‘agreement’, and the other stems from the Latin concertare, which means ‘to compete’. Ironically, the duality presented by these two translations encapsulates the true meaning of the concerto: opposition and resolution. This thesis focuses on Finnish works for clarinet and orchestra composed for Kari Kriikku in the last forty years, and seeks to analyse three in depth: Jukka Tiensuu’s Puro (1989); Magnus Lindberg’s Clarinet Concerto (2002); and Kaija Saariaho’s D’OM LE VRAI SENS (2010). The works have been chosen as these composers were all born around a similar time in Finland, and all worked with the same clarinettist, whom they all know personally. Through analysis, Reinterpreting the Concerto seeks to discover how each of these composers tackled the pre- existing model of the concerto, and suggest reasons for compositional decisions. The thesis will end with a discussion of clarinet technique, and how much writing for Kriikku in particular may have influenced the works. This essay will be formed of several sections, with the first examining the traits which could be considered important to each of the pieces: form, and how this results in the linear progression of the work; continuity and discontinuity created through melodic treatment, and how the soloist interacts with the ensemble.
    [Show full text]
  • Jean SIBELIUS
    SIBELIUS Jedermann Two Serious Melodies In memoriam Pia Pajala, Soprano Tuomas Katajala, Tenor Nicholas Söderlund, Bass Mikaela Palmu, Violin Cathedralis Aboensis Choir Turku Philharmonic Orchestra Leif Segerstam Jean Sibelius (1865-1957) Jedermann • Two Serious Melodies • In memoriam Jean Sibelius was the most significant figure in the music had to follow the text precisely to the beat, since the his last journey, but he is left deserted. Only an old for a church concert, and ever the pragmatist, pointed out formation of national identity in Finnish music, to the musical phrases reflected the words. There were to be no woman – the personification of Good Works – is willing to that the accompanying orchestra would be small enough extent that since 2011 Finland has celebrated a Flag Day exceptions. The text had to be adapted to the notes; this help @, and Sibelius accompanies their interaction with to be placed in an organ loft. He initially planned to pair on 8th December (the composer’s birthday), also known had to be strictly adhered to.” Sibelius made the same ascending and descending chromatic lines on muted Cantique with the Romance in F major (later included in as the ‘Day of Finnish Music’. The seven symphonies and demands on himself that would later be made on film strings, coupled with booming timpani to produce an his Op. 78) but eventually chose Devotion as its earthly Violin Concerto lie at the centre of Sibelius’ oeuvre, composers: the music should be synchronised with the eerie, unsettled atmosphere. Good Works suggests her counterpart: if the Cantique expresses the joy of spiritual surrounded by tone poems often based on a Finnish words and action, down to the last second.
    [Show full text]
  • Allen, Vice-President Sidney Stoneman, Vice-President
    4 !» A* CT -AC V.S.OJL, 7V£CHAM^° 7 1** J »««, VSlQP COGNAC ^c^ FRANCE »M> nn-». ... iff* BY v „,,MY martwjl! 'NE CHAMPAGNK C(H" THE FIRST N AMF. IN COGNAC SINCE 17 2 -" — ' — — • 1 __————— ,,...,,,,. ,, i t ,-m ri:t cni.V.U' RF.( , ' THE C OGNAC us.vm ;NAC: FROM IMF IUO PREMIER5CRUS Ol BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director ,£s , \\t life/-*- ^ I Seiji Ozawa, Music Director Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Ninety-Ninth Season, 1979-80 Trustees of the Boston Symphony Orchestra, Inc. Talcott M. Banks, Chairman Nelson J. Darling, Jr., President Philip K. Allen, Vice-President Sidney Stoneman, Vice-President Mrs. Harris Fahnestock, Vice-President John L. Thorndike, Vice-President Roderick M. MacDougall, Treasurer Vernon R. Alden Archie C. Epps III Thomas D. Perry, Jr. Allen G. Barry E. Morton Jennings, Jr. Irving W. Rabb Leo L. Beranek Edward M. Kennedy Paul C. Reardon Mrs. John M. Bradley George H. Kidder David Rockefeller, Jr. George H.A. Clowes, Jr. Edward G. Murray Mrs. George Lee Sargent Abram T. Collier Albert L. Nickerson John Hoyt Stookey Trustees Emeriti Richard P. Chapman John T. Noonan Mrs. James H. Perkins Administration of the Boston Symphony Orchestra, Inc. Thomas W. Morris General Manager Peter Gelb Gideon Toeplitz Daniel R. Gustin Assistant Manager Orchestra Manager Assistant Manager Joseph M. Hobbs Walter D. Hill William Bernell Director of Director of Assistant to the Development Business Affairs General Manager Caroline E. Hessberg Dorothy Sullivan Anita R. Kurland Promotion Administrator Controller of Coordinator Youth Activities Joyce M.
    [Show full text]
  • Consmupa Conservatorio Superior De Música
    CONSMUPA CONSERVATORIO SUPERIOR DE MÚSICA “EDUARDO MARTÍNEZ TORNER” Departamento de Cuerda !Disertación sobre la Sonata para Violonchelo solo de György Ligeti: un enfoque tanto armónico y estructural como interpretativo” Santiago Ruiz de la Peña García Oviedo, mayo 2021 CONSMUPA CONSERVATORIO SUPERIOR DE MÚSICA “EDUARDO MARTÍNEZ TORNER” Departamento de Cuerda !Disertación sobre la Sonata para Violonchelo solo de György Ligeti: un enfoque tanto armónico y estructural como interpretativo” Trabajo Fin de Estudios realizado por Santiago Ruiz de la Peña García Bajo la dirección del Dr. Miguel Ángel Cuesta González Oviedo, mayo 2021 ! AGRADECIMIENTOS En primer lugar, quiero agradecer a mi tutor, D. Miguel Ángel Cuesta González, por su dirección, orientación metodológica y constantes palabras de ánimo y apoyo en la elaboración de este trabajo. A mi profesor de violonchelo, D. Viguen Sarkissov Sarkissov, agradecerle su inestimable enseñanza en cuestiones interpretativas y aspectos técnicos sobre el instrumento que tanto me han ayudado a comprender mejor esta sonata. Al profesor D. Jorge Carrillo Fernández, por el tiempo dedicado a mis consultas y su inestimable orientación en la apreciación de la música del siglo XX. 3 RESUMEN El presente trabajo final de carrera analiza la Sonata para Violonchelo solo del compositor húngaro, nacionalizado austriaco, György Ligeti (1923-2006). Construida en dos movimientos, Dialogo y Capriccio, compuestos en 1948 y 1953 respectivamente, pertenece a la época húngara del compositor, marcada por la influencia de Béla Bartók y su maestro Zoltán Kodály. A diferencia de las obras corales compuestas en esa época, que siguen la estética oficial, la Sonata para Violonchelo solo muestra un lenguaje más evolucionado y transgresor.
    [Show full text]