Composers Who Made the 20Th Century

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Composers who Made the 20th Century Session 1: precursors of the 20th century Gesualdo: Dolcissimia mia vita Consort of Musicke l’Oiseau-Lyre 410 128-2 Scriabin: Etude in D Sharp Minor, Op. 8, No. 12 Simon Barere, piano APR CDAPR 7008 Scriabin Sonata No. 5 Sviatoslav Richter, piano Parnassus PACD 96053 Debussy Prelude to the Afternoon of a Faun French National Radio Orchestra; Jean Martinon, conductor EMI 72667 Ravel Jeux d'eau Vlado Perlemuter, piano Nimbus NI 7713/4 (Also recommended: Mahler Symphony No. 10) Session 2: Folk Heroes Stravinsky: Le Sacre du Printemps London Symphony Orchestra; Leonard Bernstein, conductor ICA Classics ICAD 5082 (DVD) Cowell: The Banshee; Advertisement; Anger Dance Henry Cowell, piano Smithsonian/Folkways SF 40801 Session 3: More Folk and Neoclassicism “Coco Chanel & Igor Stravinsky”–opening scene Sony Pictures Classics DVD Bartók: Allegro barbaro; Suite, Op. 14; Burlesque, “A Bit Drunk;” Rumanian Folk Dances Joseph Szigeti, violin (in Dances); Béla Bartók, piano EMI 5 55031 2 (all) Stravinsky: Pulcinella–exc. ensemble conducted by Igor Stravinsky Biddulph WHL 037 Stravinsky: Octet wind ensemble conducted by Stravinsky Sony 88697 103112 (22 discs!) Ravel: Le tombeau de Couperin Vlado Perlemuter, piano Nimbus NI 7713/4 Debussy: Sonata for flute, viola & harp Orpheus Trio Vanguard VBD-25002 Session 4: 12 Tone & Jazz Schoenberg: Piano pieces, Op. 11, No. 3; Op. 19, No. 1 Eduard Steuermann, piano Audite 21.412 Bach-Webern: Musical Offering–Ricercar London Symphony Orchestra; Pierre Boulez, conductor Sony SM3K 45845 Webern: 6 Pieces for Orchestra, Op. 6 S.W. German Radio Orchestra Baden-Baden; Hans Rosbaud, conductor Ades 14.066-2 Gershwin: Rhapsody in Blue George Gershwin, piano; Paul Whiteman, conductor RCA 09026-63276-2 Schulhoff: Etudes de Jazz Erwin Schulhoff, piano Parnassus PACD 96011 Session 5: Jazz in Europe & Charles Ives Milhaud: La création du monde Champs-Élysées Theater Orchestra; Darius Milhaud, conductor Charlin SLC 17-2 Hindemith: 1922 Sviatoslav Richter, piano Decca 480 8745 Ives: The Unanswered Question Czech Philharmonic Orchestra; Aaron Copland, conductor Romantic Robot RR 1973 .

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ARSC Journal, Spring 1992 69 Sound Recording Reviews
SOUND RECORDING REVIEWS Chicago Symphony Orchestra: The First Hundred Years CS090/12 (12 CDs: monaural, stereo; ADD)1 Available only from the Chicago Symphony Orchestra, 220 S. Michigan Ave, Chicago, IL, for $175 plus $5 shipping and handling. The Centennial Collection-Chicago Symphony Orchestra RCA-Victor Gold Seal, GD 600206 (3 CDs; monaural, stereo, ADD and DDD). (total time 3:36:3l2). A "musical trivia" question: "Which American symphony orchestra was the first to record under its own name and conductor?" You will find the answer at the beginning of the 12-CD collection, The Chicago Symphony Orchestra: The First 100 Years, issued by the Chicago Symphony Orchestra (CSO). The date was May 1, 1916, and the conductor was Frederick Stock. 3 This is part of the orchestra's celebration of the hundredth anniversary of its founding by Theodore Thomas in 1891. Thomas is represented here, not as a conductor (he died in 1904) but as the arranger of Wagner's Triiume. But all of the other conductors and music directors are represented, as well as many guests. With one exception, the 3-CD set, The Centennial Collection: Chicago Symphony Orchestra, from RCA-Victor is drawn from the recordings that the Chicago Symphony made for that company. All were released previously, in various formats-mono and stereo, 78 rpm, 45 rpm, LPs, tapes, and CDs-as the technologies evolved. Although the present digital processing varies according to source, the sound is generally clear; the Reiner material is comparable to RCA-Victor's on-going reissues on CD of the legendary recordings produced by Richard Mohr.
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Spring/Summer 2016
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Czech Philharmonic
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Alexander Glazunov
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Ziering-Conlon Initiative for Recovered Voices Showcase and Competition Spring 2019
Ziering-Conlon Initiative for Recovered Voices Showcase and Competition Spring 2019 The competition is open to all Colburn School students enrolled for the Spring 2019 semester in the Conservatory, Music Academy, and Community School of Performing Arts. Divisions Prizes Pre-college (Music Academy and Community All finalists will receive a cash award (minimum School) $150 for each student). Solo musicians or College (Conservatory) members of a group judged by the adjudicating panel to be the most outstanding in the pre- Accompanists college and college divisions will receive a Pre-college entrants performing solo repertoire minimum of $1,500 each. with piano may engage a professional accompanist. Pianists in chamber ensembles About the Initiative must be students. All college entrants must LA Opera Music Director James Conlon formed be students in the Conservatory (this includes the groundbreaking Recovered Voices project collaborating pianists). to shine a spotlight on the music by composers suppressed by the Nazi regime. In honor of Deadline his efforts, the Ziering-Conlon Initiative for Entries to be submitted no later than March Recovered Voices sponsors seminars, academic 11, 2019 via YouTube video. Those selected conferences, and competitions in an effort to for the live, public finals on Monday evening, present a deeper understanding of the history March 25, will be notified no later than 9 pm of the music from the first half of the 20th on Tuesday, March 19. All entrants must be century. available to perform at the March 25 finals. Ziering-Conlon Initiative for Recovered Voices Showcase and Competition Spring 2019 List of Repertoire Submitting Your Video Performance The works on the provided list were selected When recording your performances, place as representative, and all are approved for this the video-recording device in such a way that showcase competition.
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Focus 2020 Pioneering Women Composers of the 20Th Century
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Benjamin Britten in the Music Culture of the Soviet Union in the 1960S (To the 100Th Anniversary of the Composer's Birth)
International Journal of Humanities and Social Science Vol. 3 No. 14 [Special Issue - July 2013] Benjamin Britten in the Music Culture of the Soviet Union in the 1960s (to the 100th Anniversary of the Composer's Birth) Alexander Rossinsky Department of Art Altai State University Russia Ekaterina Vorontsova Department of History Altai State University Russia Abstract The period of the 1960-s was difficult and controversial. Former allies of the anti-Hitler coalition turned to be on different sides of the acute ideological struggle which nearly led to the world war. Tremendous work was carried by artists, musicians who united disparate peoples into the community calling for the universal values. The central place in such the sphere of music belongs to one of the greatest composers of the 20th century, Benjamin Britten. Together with the Soviet musicians he pushed the world back from the sharp ideological confrontation. Keywords: B.Brittten, P.Pears, USSR, M.Rostropovich, G.Vishnevskaya, D.Shostakovich, symphonic and chamber music. The events unfolding in the world, which had survived the most destructive war in the history of human civilization, were dramatic and characterised by multi-vector directions of their development. The countries that joined the anti-Hitler coalition in the 40s, in the 60s were experiencing the peak of their ideological hostility, teetering on the verge of unleashing the third world war. At the same time, the Soviet Union, headed the unpredictable and highly controversial leader Nikita Khrushchev, pursued a policy of flirtations with liberalism in an attempt to overcome the cult of personality of Joseph Stalin and remove the notorious “Iron Curtain”, which for decades had protected the USSR from Western influence.
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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.
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ABSTRACT Title of Dissertation: A SURVEY OF CZECH PIANO CYCLES: FROM NATIONALISM TO MODERNISM (1877-1930) Florence Ahn, Doctor of Musical Arts, 2018 Dissertation directed by: Professor Larissa Dedova Piano Department The piano music of the Bohemian lands from the Romantic era to post World War I has been largely neglected by pianists and is not frequently heard in public performances. However, given an opportunity, one gains insight into the unique sound of the Czech piano repertoire and its contributions to the Western tradition of piano music. Nationalist Czech composers were inspired by the Bohemian landscape, folklore and historical events, and brought their sentiments to life in their symphonies, operas and chamber works, but little is known about the history of Czech piano literature. The purpose of this project is to demonstrate the unique sentimentality, sensuality and expression in the piano literature of Czech composers whose style can be traced from the solo piano cycles of Bedřich Smetana (1824-1884), Antonín Dvořák (1841-1904), Leoš Janáček (1854-1928), Josef Suk (1874-1935), Bohuslav Martinů (1890-1935) to Erwin Schulhoff (1894-1942). A SURVEY OF CZECH PIANO CYCLES: FROM ROMANTICISM TO MODERNISM (1877-1930) by Florence Ahn Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Musical Arts 2018 Advisory Committee: Professor Larissa Dedova, Chair Professor Bradford Gowen Professor Donald Manildi Professor
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The Rite of Spring
The Rite of Spring This weekend we’re afforded the opportunity to experience two seldom-heard works: Dvořák’s piano concerto and Lili Boulanger’s dark-night-of-the-soul set to music, D’un soir triste. Stravinsky’s The Rite of Spring — a watershed in the history of Western classical music — comprises the second half. ILI BOULANGER Born 21 August 1893; Paris, France Died 15 March 1918; Mézy-sur-Seine, France D’un soir triste Composed: 1918 First performance: 6 March 1921; Paris, France (chamber work), 9 May 1992; San Francisco, California (orchestral work) Last MSO performance: MSO premiere Instrumentation: 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, suspended cymbals, tam tam), harp, celeste, strings Approximate duration: 9 minutes Lili Boulanger was the younger sister of the noted teacher, conductor, and composer Nadia Boulanger (1887-1979). As a child, she accompanied Nadia to classes at the Paris Conserva- toire. She later studied organ with Louis Vierne. Lili also sang and played piano, violin, cel- lo, and harp. The first woman to receive the Prix de Rome — in 1913, for her cantata Faust et Hélène — her composing life was brief but productive. Her most important works are her psalm settings and other large-scale choral pieces. Fauré admired and promoted her music. D’un soir triste (On a Sad Evening) was written in the final months of her life (often beset by illness, she died at the early age of 24), along with a shorter companion piece, D’un matin de printemps (On a Morning in Spring).
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