DOCSLIB.ORG

Download Booklet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Booklet ODE 1010-2 1 Arkihuolesi kaikki heitä 2:03 2 En etsi valtaa, loistoa 3:21 3 Jo joutuu ilta 2:32 4 On hanget korkeat, nietokset 2:20 5 Joulun kellot 5:06 6 Suloäänet enkelten 2:51 7 Ave Maria (Schubert) 6:45 8 Oi jouluyö 4:49 9 Jouluyö, juhlayö 4:37 10 Sylvian joululaulu 4:20 11 Varpunen jouluaamuna 4:03 12 Ave Maria (Bach – Gounod) 2:39 13 Maa on niin kaunis 3:43 14 Te lapsoset, lapsoset kiiruhtakaa 3:41 15 Have Yourself a Merry Little Christmas 5:06 16 We Wish You a Merry Christmas 3:15 [62:19] Karita Mattila Turku Philharmonic Orchestra Pertti Pekkanen, conductor Chorus Cathedralis Aboensis Chorus Master: Juha Kuivanen ODE 1010-2 1 Arkihuolesi kaikki heitä 2:03 2 En etsi valtaa, loistoa 3:21 3 Jo joutuu ilta 2:32 4 On hanget korkeat, nietokset 2:20 5 Joulun kellot 5:06 6 Suloäänet enkelten 2:51 7 Ave Maria (Schubert) 6:45 8 Oi jouluyö 4:49 9 Jouluyö, juhlayö 4:37 10 Sylvian joululaulu 4:20 11 Varpunen jouluaamuna 4:03 12 Ave Maria (Bach – Gounod) 2:39 13 Maa on niin kaunis 3:43 14 Te lapsoset, lapsoset kiiruhtakaa 3:41 15 Have Yourself a Merry Little Christmas 5:06 16 We Wish You a Merry Christmas 3:15 [62:19] Karita Mattila Turku Philharmonic Orchestra Pertti Pekkanen, conductor Chorus Cathedralis Aboensis Chorus Master: Juha Kuivanen 1010 booklet 30.9.02 9:51 Sivu 2 1 Arkihuolesi kaikki heitä 2:03 10 Sylvian joululaulu 4:20 Throw Thy Everyday Cares Aside The Nightingale’s Christmas Leevi Madetoja/Alpo Noponen – Arr. Ilkka Kuusisto Karl Collan/Z. Topelius, transl. Matti Korpilahti – Arr. Yrjö Hjelt 2 En etsi valtaa, loistoa 3:21 11 Varpunen jouluaamuna 4:03 Give Me Neither Power Nor Splendour The Sparrow’s Christmas Jean Sibelius/Z. Topelius – Arr. Yrjö Hjelt Otto Kotilainen/Z. Topelius, transl. K. A. Hongberg – Arr. Ilkka Kuusisto 3 Jo joutuu ilta 2:32 12 Ave Maria 2:39 It Is Growing Dark Hail Mary Jean Sibelius/Z. Topelius – /Arr. Yrjö Hjelt J. S. Bach – Charles Gounod – Arr. Yrjö Hjelt 4 On hanget korkeat, nietokset 2:20 13 Maa on niin kaunis 3:43 We Have Snowdrifts Piled High Beauty Around Us 2 Jean Sibelius/Vilkku Joukahainen – Arr. Yrjö Hjelt Trad./B. S. Ingemann, transl. Hilja Haahti – Arr. Yrjö Hjelt 3 5 Joulun kellot 5:06 14 Te lapsoset, lapsoset kiiruhtakaa 3:41 Christmas Bells O Hurry, Ye Children Armas Maasalo/Helmi Auvinen – Arr. Yrjö Hjelt Johann A. P. Schulz/Christoph von Schmid, transl. Kyllikki Solanterä – Arr. Yrjö Hjelt 2:51 6 Suloäänet enkelten 15 Have Yourself a Merry Little Christmas 5:06 Angels We Have Heard on High Ralph Blane/Hugh Martin – Arr. Yrjö Hjelt Trad., transl. R. R. Ryynänen – Arr. Yrjö Hjelt 16 We Wish You a Merry Christmas 3:15 7 Ave Maria 6:45 Trad. – Arr. Yrjö Hjelt Hail Mary Franz Schubert – Arr. Yrjö Hjelt [62:19] 8 Oi jouluyö 4:49 Karita Mattila, soprano O Holy Night Turku Philharmonic Orchestra Adolphe Adam/Transl. Kyllikki Solanterä – Arr. Yrjö Hjelt Pertti Pekkanen, conductor 9 Jouluyö, juhlayö 4:37 Silent Night, Holy Night Chorus Cathedralis Aboensis (5, 6, 9, 13, 14, 16) Franz Gruber/J. Mohr, transl. G.O. Schönemann – Arr. Yrjö Hjelt Chorus Master: Juha Kuivanen 1010 booklet 30.9.02 9:51 Sivu 2 1 Arkihuolesi kaikki heitä 2:03 10 Sylvian joululaulu 4:20 Throw Thy Everyday Cares Aside The Nightingale’s Christmas Leevi Madetoja/Alpo Noponen – Arr. Ilkka Kuusisto Karl Collan/Z. Topelius, transl. Matti Korpilahti – Arr. Yrjö Hjelt 2 En etsi valtaa, loistoa 3:21 11 Varpunen jouluaamuna 4:03 Give Me Neither Power Nor Splendour The Sparrow’s Christmas Jean Sibelius/Z. Topelius – Arr. Yrjö Hjelt Otto Kotilainen/Z. Topelius, transl. K. A. Hongberg – Arr. Ilkka Kuusisto 3 Jo joutuu ilta 2:32 12 Ave Maria 2:39 It Is Growing Dark Hail Mary Jean Sibelius/Z. Topelius – /Arr. Yrjö Hjelt J. S. Bach – Charles Gounod – Arr. Yrjö Hjelt 4 On hanget korkeat, nietokset 2:20 13 Maa on niin kaunis 3:43 We Have Snowdrifts Piled High Beauty Around Us 2 Jean Sibelius/Vilkku Joukahainen – Arr. Yrjö Hjelt Trad./B. S. Ingemann, transl. Hilja Haahti – Arr. Yrjö Hjelt 3 5 Joulun kellot 5:06 14 Te lapsoset, lapsoset kiiruhtakaa 3:41 Christmas Bells O Hurry, Ye Children Armas Maasalo/Helmi Auvinen – Arr. Yrjö Hjelt Johann A. P. Schulz/Christoph von Schmid, transl. Kyllikki Solanterä – Arr. Yrjö Hjelt 2:51 6 Suloäänet enkelten 15 Have Yourself a Merry Little Christmas 5:06 Angels We Have Heard on High Ralph Blane/Hugh Martin – Arr. Yrjö Hjelt Trad., transl. R. R. Ryynänen – Arr. Yrjö Hjelt 16 We Wish You a Merry Christmas 3:15 7 Ave Maria 6:45 Trad. – Arr. Yrjö Hjelt Hail Mary Franz Schubert – Arr. Yrjö Hjelt [62:19] 8 Oi jouluyö 4:49 Karita Mattila, soprano O Holy Night Turku Philharmonic Orchestra Adolphe Adam/Transl. Kyllikki Solanterä – Arr. Yrjö Hjelt Pertti Pekkanen, conductor 9 Jouluyö, juhlayö 4:37 Silent Night, Holy Night Chorus Cathedralis Aboensis (5, 6, 9, 13, 14, 16) Franz Gruber/J. Mohr, transl. G.O. Schönemann – Arr. Yrjö Hjelt Chorus Master: Juha Kuivanen 1010 booklet 30.9.02 9:51 Sivu 4 arita Mattila is one of today’s most the Châtelet in Paris, Fidelio with the Munich exciting lyric dramatic sopranos. She is Philharmonic under James Levine, and recitals and recognised as much for the beauty and concerts in Europe, the USA and Canada. versatilityK of her lyric voice as for her In 2001 the New York Times chose Karita Mattila extraordinary stage ability. She studied first at the as the best singer of the year for her performance Sibelius Academy in Helsinki, where her teacher in Fidelio at the Metropolitan Opera, and in the was Liisa Linko-Malmio, and since 1984 she has same year she was nominated for the Laurence been studying with Vera Rózsa. Olivier Award “Outstanding achievement in Opera” Ms Mattila sings in all the major opera houses for both Jenufa and Lisa in Pique Dame at the and major Festivals of the world in repertoire which Royal Opera House. In 1997 she was nominated for encompasses Mozart, Strauss, Tchaikovsky, Verdi, the Laurence Olivier Award for her performance of Puccini and Wagner. Her affinity with the dramatic Elisabeth in Don Carlos at the Royal Opera House; side of opera has produced marvellous results awarded the Evening Standard Ballet, Opera and 4 when working with fine stage directors such as Luc Classical Music Awards for “Outstanding 5 Bondy who helped her to achieve a remarkable performance of the year” in this production; and performance in his highly acclaimed Don Carlos, the Académie du Disque Lyrique awarded the seen in Paris, London and at the Edinburgh Festival. François Reichenbach Prize Orphée du Lyrique Likewise, Lev Dodin in his productions of Elektra when Don Carlos was originally shown at the for the Salzburg Easter Festival and Pique Dame at Châtelet in Paris. In 1998 the recording of Die the Opéra Bastille, Peter Stein for his production Meistersinger von Nürnberg, in which she sings of Simon Boccanegra in Salzburg, Robert Carsen in the role of Eva, won the Best Opera Award at the his production of Lohengrin at the Bastille and Grammy ceremony in New York. Jürgen Flimm for his Fidelio in New York. An essential component of the artist personality Karita Mattila sings regularly with the world’s of Karita Mattila is that she is equally at home great conductors including Abbado, Davis, Gergiev, with performing popular music as with concert Haitink, Levine, Pappano, Salonen, Sawallisch and music. She has recorded several successful discs Dohnanyi. Her 40th birthday concert, in front of of popular music for Ondine. nearly 12,000 people in Helsinki, has been released on disc by Ondine. Engagements in the season 2002/03 include Elektra and Jenufa at the Metropolitan Opera, New York, Katya Kabanova in San Francisco, Jenufa at 1010 booklet 30.9.02 9:51 Sivu 4 arita Mattila is one of today’s most the Châtelet in Paris, Fidelio with the Munich exciting lyric dramatic sopranos. She is Philharmonic under James Levine, and recitals and recognised as much for the beauty and concerts in Europe, the USA and Canada. versatilityK of her lyric voice as for her In 2001 the New York Times chose Karita Mattila extraordinary stage ability. She studied first at the as the best singer of the year for her performance Sibelius Academy in Helsinki, where her teacher in Fidelio at the Metropolitan Opera, and in the was Liisa Linko-Malmio, and since 1984 she has same year she was nominated for the Laurence been studying with Vera Rózsa. Olivier Award “Outstanding achievement in Opera” Ms Mattila sings in all the major opera houses for both Jenufa and Lisa in Pique Dame at the and major Festivals of the world in repertoire which Royal Opera House. In 1997 she was nominated for encompasses Mozart, Strauss, Tchaikovsky, Verdi, the Laurence Olivier Award for her performance of Puccini and Wagner. Her affinity with the dramatic Elisabeth in Don Carlos at the Royal Opera House; side of opera has produced marvellous results awarded the Evening Standard Ballet, Opera and 4 when working with fine stage directors such as Luc Classical Music Awards for “Outstanding 5 Bondy who helped her to achieve a remarkable performance of the year” in this production; and performance in his highly acclaimed Don Carlos, the Académie du Disque Lyrique awarded the seen in Paris, London and at the Edinburgh Festival.
Load more

Recommended publications
  • Leevi Madetoja (1887–1947) Symphony No
    Leevi Madetoja (1887–1947) Symphony No. 2 / Kullervo / Elegy 1. Kullervo, Symphonic Poem, Op. 15 14:13 Symphony No. 2, Op. 35 2. I. Allegro moderato – 13:23 LEEVI MADETOJA II. Andante 13:36 SYMPHONY NO. 2 III. Allegro non troppo – 9:39 KULLERVO IV. Andantino 4:53 ELEGY 3. Elegy, Op. 4/1 (First movement from the Symphonic Suite, Op. 4) 5:53 –2– Leevi Madetoja To be an orchestral composer in Finland as a contemporary of Sibelius and nevertheless create an independent composer profile was no mean feat, but Leevi Madetoja managed it. Though even he was not LEEVI MADETOJA completely immune to the influence of SYMPHONY NO. 2 his great colleague, he did find a voice for KULLERVO ELEGY himself where the elegiac nature of the landscape and folk songs of his native province of Ostrobothnia merged with a French elegance. Madetoja’s three symphonies did not follow the trail blazed by Sibelius, and another mark of his independence as a composer is that his principal works include two operas, Pohjalaisia (The Ostrobothnians, 1924) and Juha (1935), a genre that Sibelius never embraced. Madetoja emerged as a composer while still a student at the Helsinki Music Institute, when Robert Kajanus conducted his first orchestral work, elegy (1909) for strings, in January 1910. The work was favourably received and was given four further performances in Helsinki that spring. It is a melodically charming and harmonically nuanced miniature that betrays the influence of Tchaikovsky in its achingly tender tones. Later, Madetoja incorporated Elegia into his four-movement Sinfoninen sarja (Symphonic Suite, 1910), but even so it is better known as a separate number.
    [Show full text]
  • ODE 1211-2 BOOKLET.Indd
    ODE 1211-2 HELSINKI PHILHARMONIC ORCHESTRA JOHN STORGÅRDS LEEVI MADETOJA SYMPHONIES 1 & 3 OKON FUOKO SUITE John Storgårds20 ALSO AVAILABLE ODE 1212-2 For more information please visit www.ondine.net LEEVI MADETOJA (1887–1947) Symphony No. 1 in F Major, Op. 29 21:13 1 I Allegro 6:39 2 II Lento misterioso 8:07 3 III Finale (Allegro vivace) 6:27 Publisher: Fennica Gehrman Symphony No. 3 in A Major, Op. 55 31:24 4 I Andantino-Allegretto 7:22 Recordings: Helsinki Music Centre, 19, 22-23.4.2013 5 II Adagio 8:03 A 24-bit recording in DXD (Digital eXtreme Definition) Executive producer: Reijo Kiilunen 6 III Allegro (non troppo) 9:00 Recording producer: Seppo Siirala 7 IV Pesante, tempo moderato-Allegretto 7:00 Recording and mastering: Enno Mäemets – Editroom Oy ℗ 2013 Ondine OY, Helsinki Okon Fuoko Suite, Op. 58 13:40 © 2013 Ondine Oy, Helsinki 8 I Okon Fuoko, the Dream Sorcerer 4:26 Photos: Heikki Tuuli (John Storgårds, Helsinki Philharmonic Orchestra), Atelier Universal, c. 1930 (Leevi Madetoja) 9 II The Guests Arrive 2:30 Cover: Lampi, Vilho: Silta/Bridge, 1928. The Aine Art Foundation, Aine Art Museum, Tornio, Finland. 10 III Dance of the Puppets 2:31 Design: Armand Alcazar 11 IV Dance of the Man and the Woman: Dance Grotesque 4:14 This recording was produced with support from The Finnish Music Foundation (MES). HELSINKI PHILHARMONIC ORCHESTRA JOHN STORGÅRDS, conductor 18 3 LEEVI MADETOJA (1887–1947): SYMPHONIES NOS. 1 AND 3; OKON FUOKO SUITE Helsingin kaupunginorkesteri (HKO) on Pohjoismaiden pitkäikäisin ammattimainen sinfoniaorkesteri. Sen alkuituna oli Robert Kajanuksen vuonna 1882 perustama Helsingin “What you wrote about your symphonic business delights me exceedingly.
    [Show full text]
  • Sasha Mäkilä Conducting Madetoja Discoveries About the Art and Profession of Conducting
    Estonian Academy of Music and Theatre Sasha Mäkilä Conducting Madetoja Discoveries About the Art and Profession of Conducting A Thesis Submitted in Partial Fulfilment of the Requirements for the Degree of Doctor of Philosophy (Music) Supervisor: Prof. Mart Humal Tallinn 2018 ABSTRACT Conducting Madetoja. Discoveries About the Art and Profession of Conducting For the material of my doctoral project, I have chosen the three symphonies of the Finnish composer Leevi Madetoja (1887–1947), all of which I have performed in my doctoral concerts during years 2012–2017. In my doctoral thesis, I concentrate on his first symphony, Op. 29, but to fully understand the context it would be beneficial to familiarize oneself with my doctoral concerts on the accompanying DVDs, as well as with the available commercial and archival recordings of Madetoja’s three symphonies. The aim of this thesis is to understand the effect of scholarly activity (in this case working with manuscripts and recordings) on the artistic and practical aspects of a conductor’s work; this is not a study on the music of Madetoja per se, but I am using these hitherto unknown symphonies as a case study for my research inquiries. My main research inquiry could be formulated as: What kind of added value the study of composer’s manuscripts and other contemporary sources, the analysis of the existing recordings of the work by other performers, and the experience gained during repeated performances of the work, bring to performing (conducting) the work, as opposed to working straightforwardly using only the readily available published edition(s)? My methods are the analysis of musical scores, manuscripts and recordings, critical reflection on my own artistic practices, and two semi-structured interviews with conductor colleagues.
    [Show full text]
  • ODE 1212-2 DIGITAL.Indd
    HELSINKI PHILHARMONIC ORCHESTRA JOHN STORGÅRDS LEEVI MADETOJA SYMPHONY NO. 2 KULLERVO · ELEGY Composing the Second Symphony in Oulunsalo in summer 1918. Toista sinfoniaa kirjoittamassa Oulunsalossa kesällä 1918. LEEVI MADETOJA (1887–1947) 1 Kullervo, Symphonic Poem, Op. 15 14’13 Symphony No. 2, Op. 35 41’33 2 I. Allegro moderato – 13’23 3 II. Andante 13’36 4 III. Allegro non troppo – 9’39 5 IV. Andantino 4’53 6 Elegy, Op. 4/1 (First movement from the Symphonic Suite, Op. 4) 5’53 Helsinki Philharmonic Orchestra JOHN STORGÅRDS, conductor Publishers: Suomen Säveltaiteilijain Liitto (Kullervo), Edition Fazer (Symphony No. 2), Fennica Gehrman (Elegy) Recordings: Helsinki Music Centre, 29–30.5.2012 A 24-bit recording in DXD (Digital eXtreme Defnition) Executive Producer: Reijo Kiilunen Recording Producer: Seppo Siirala Recording and mastering: Enno Mäemets – Editroom Oy ℗ 2013 Ondine Oy, Helsinki © 2013 Ondine Oy, Helsinki Booklet Editor: Elke Albrecht Photos: Finnish National Library (Leevi Madetoja), Heikki Tuuli (Helsinki Philharmonic Orchestra, John Storgårds) Cover: Auringonlasku (Sunset, 1930) by Vilho Lampi (1898–1936), from the Liminka Landscapes series, Oulu Museum of Arts Design: Armand Alcazar 3 o be an orchestral composer in Finland as a contemporary of Sibelius and nevertheless create an Tindependent composer profile was no mean feat, but Leevi Madetoja managed it. Though even he was not completely immune to the influence of his great colleague, he did find a voice for himself where the elegiac nature of the landscape and folk songs of his native province of Ostrobothnia merged with a French elegance. Madetoja’s three symphonies did not follow the trail blazed by Sibelius, and another mark of his independence as a composer is that his principal works include two operas, Pohjalaisia (The Ostrobothnians, 1924) and Juha (1935), a genre that Sibelius never embraced.
    [Show full text]
  • Ma Chère Petite Aïno». the Role of a Paris
    УДК 78.03 «Ma chère petite Aïno». The Role of a Paris Conservatoire Singing Professor as Architect of an Opera Singer’s Career, as Seen through Letters of Edmond Duvernoy and Aïno Ackté Helena Tyrväinen (Helsinki) «Моя милая Айно». Роль профессора пения Парижской консерватории в создании карьеры оперной певицы (по материалам переписки Эдмона Дювернуа и Айно Акте) Хелена Тюрвяйнен (Хельсинки) Аннотация. Собрание рукописей оперной певицы Айны Акте-Яландер (Aino /Aïno Ackté-Jalander; 1876– 1944) в Национальной библиотеке Финляндии (Хель- синки) содержит одну из самых обширных и интерна- ционально ориентированных эпистолярных коллекций в архивах финских музыкантов- профессионалов. Кол- лекция не только проливает свет на солидную между- народную репутацию талантливой представитель- ницы Великого княжества Финляндского в поздний период истории Российской империи, но и свидетель- ствует о динамичном процессе интернационализации финской музыкальной жизни. В настоящей статье рассматриваются этапы про- фессионального становления певицы в связи с дина- мичным, постоянно менявшимся полем воздействия существовавших одновременно культурных столиц. Основу публикации составляют 117 писем, почтовых открыток, записок, которые преподаватель по классу пения Эдмон Дювернуа (1844–1927) писал Айно Акте в течение тридцати лет. Письма Дювернуа дают пред- ставление о карьерной стратегии оперной певицы прежде всего в Париже; раскрывают вопросы взаи- модействия Парижской оперы с другими оперными театрами того времени, в частности Метрополитен- 226 опера Нью-Йорка. Письма же самой Акте к Дювернуа неизвестны. Представленная переписка свидетельствует о ключе- вой роли преподавателя вокала в Париже как учителя пения, репетитора, опекуна и посредника между уча- щимся и оперным учреждением на протяжении всей профессиональной жизни певца. Учитель договари- вался с оперными режиссерами об ангажементах, ко- торые давали бывшему ученику роли, подходившие ему по типу.
    [Show full text]
  • The Brass Band Tradition in Finland
    KARJALAINEN 83 THE BRASS BAND TRADITION IN FINLAND Kauko Karjalainen Introduction The oldest continuously functioning Finnish amateur bands are now 125 years old. All were originally brass bands. To be more precise, all have their roots in the brass septet, a specifi c and typical ensemble in Finland since the 1870s. One can say that the period encompassing the end of nineteenth century and the fi rst decade of twentieth was the golden age of Finnish brass bands. In order to understand the development of the relatively young band tradition in Fin- land it is necessary to examine Finland’s history, fi rst as a dependency of her neighboring countries and later as an independent nation. Important phases can be clearly identifi ed, primarily by following the models established for military bands. Parts of Finland belonged to the kingdom of Sweden as early the thirteenth century. Historical documents reveal that Finland and especially the town of Turku (Åbo in Swedish) experienced their initial contacts with Renaissance music when Gustaf Wasa was King of Sweden (1523-1560). He maintained a royal corps of trumpeters, who accompanied him when he visited Finland. Gustaf Wasa began to establish a national army, and the fi rst military trumpeters are documented in the 1540s. It is known that there were some trumpeters in the Finnish cavalry at least by the 1550s. In addition, the King mentioned in a letter in autumn 1555 that there were all kinds of large and small wind instruments in Finland.1 Gustaf Wasa’s favorite son, John, was named Duke of Finland in 1556.
    [Show full text]
  • Hannu Lintu, Conductor Juha Uusitalo, Baritone Uuno Klami
    Hannu Lintu, conductor Juha Uusitalo, baritone Uuno Klami: Laulu Kuujärvestä (Song of Lake Kuujärvi) 16 min Bohuslav Martinu: Pamatnik Lidicim (Memorial to Lidice) 9 min INTERVAL 20 MIN Gustav Mahler: Der Tamboursg’sell (The Little Drummer Boy) 6 min Gustav Mahler: Der Schildwache Nachtlied 6 min (The Sentry’s Night Song) Paul Hindemith: Mathis der Maler 26 min I Engelkonzert (Concert of Angels) (Ruhig bewegt) II Grablegung (Entombment) (Sehr langsam) III Versuchung des heiligen Antonius (The Temptation of St Anthony) (Sehr langsam, frei im Zeitmass – Sehr lebhaft) Interval at about 7.35 pm. Th e concert ends at about 8.40 pm. Broadcast live on YLE Radio 1 and the Internet (www.yle.fi /rso). Th e concert will be televised and broadcast on YLE Teema Kausikortti in spring 2010. 1 Uuno Klami (1900–1961): Song of Lake Kuujärvi (1956) Yrjö Jylhä (1903-1956) is mainly remembered Th e Song of Lake Kuujärvi was composed in in Finland for one particular type of poetry. His 1956 for a competition arranged by the Finn- great opus magnum was Kiirastuli (1941), a col- ish Cultural Foundation and won third prize. It lection based on and processing Finland’s ex- is Klami’s only large-scale work for solo voice, perience of its Winter War (1939-40) with the an epic for baritone and orchestra about men Soviet Union, and even in later years neither caught up in war and their desire to fi nd greater the man nor the artist ever broke free from substance and meaning in life. Klami’s Song be- thoughts of war.
    [Show full text]
  • 574077 Itunes Beethoven
    BEETHOVEN Cantata on the Death of Emperor Joseph II Cantata on the Accession of Leopold II Soloists Chorus Cathedralis Aboensis Key Ensemble Turku Philharmonic Orchestra Leif Segerstam Ludwig van Ludwig van Beethoven (1770 –1827) Cantatas BEETHOVEN The Empress Maria Theresa took good care of her visit to England, winning the older composer’s approval. (1770–1827) children, those of the 16 that had survived. The youngest, Haydn’s visits to Bonn took place in 1790, on his way to Maximilian Franz, was born in 1756 and was appointed London, and on his return in 1792. Haydn’s approval on Kantate auf den Tod Kaiser Josephs II, WoO 87 ‘Trauerkantate’ Archbishop-Elector of Cologne in 1784, his court in Bonn either occasion may be questioned, but Wegeler goes on an important cultural centre. Beethoven had been born in to tell of a later attempt to play one or other of the (‘Cantata on the Death of Emperor Joseph II’) (1790) Bonn in 1770, during the reign of the Archbishop-Elector cantatas at Mergentheim, a favourite resort of the (Text: Severin Anton Averdonk, 1768–1817) Maximilian Friedrich, but the new Archbishop-Elector Archbisop-Elector, where some of the wind-players found shared with many members of his family an interest in the the work too difficult for them. The cantatas, it seems, 1 Chorus: Tot, stöhnt es durch die öde Nacht! (‘Death, groan it through the barren night!’) 8:30 arts. The Hapsburgs had had the problem of a paucity of were never performed. The words set are by Severin 2 male heirs.
    [Show full text]
  • Ooppera Suomalaisen Kulttuuri-Identiteetin Rakentajana
    JYVÄSKYLÄ STUDIES IN THE ARTS 68 Pentti Savolainen Ooppera suomalaisen kulttuuri-identiteetin rakentajana Fredrik Paciuksen, Kaarlo Bergbomin, Aino Ackten ja Martti Talvelan vaikutus suomalaiseen oopperataiteeseen ja kulttuuri-identiteettiin Esitetään Jyväskylän yliopiston humanistisen tiedekunnan suostumuksella julkisesti tarkastettavaksi yliopiston päärakennuksen salissa Cl maaliskuun 6. päivänä 1999 kello 12. JYVÄSKYLÄN � YLIOPISTO JYVÄSKYLÄ 1999 Ooppera suomalaisen kulttuuri-identiteetin rakentajana Fredrik Paciuksen, Kaarlo Bergbomin, Aino Ackten ja Martti Talvelan vaikutus suomalaiseen oopperataiteeseen ja kulttuuri-identiteettiin JYVÄSKYLÄ STUDIES IN THE ARTS 68 Pentti Savolainen Ooppera suomalaisen kulttuuri-identiteetin rakentajana Fredrik Paciuksen, Kaarlo Bergbomin, Aino Ackten ja Martti Talvelan vaikutus suomalaiseen oopperataiteeseen ja kulttuuri-identiteettiin JYVÄSKYLÄN � YLIOPISTO JYVÄSKYLÄ 1999 Editors Matti Vainio Department of Musicology, University of Jyväskylä Kaarina Nieminen Publishing Unit, University Library of Jyväskylä Cover picture Aulis Sallisen ooppera "Ratsumies" Savonlinnan oopperajuhlat, Kari Hakli ISBN 951-39-0396-6 ISSN 0075-4633 Copyright© 1999, by University of Jyväskylä Jyväskylä University Printing House, Jyväskylä and ER-Paino Ky, Lievestuore 1999 ABSTRACT Savolainen, Pentti Opera as a creator of the Finnish cultural identity. The influence of Fredrik Pacius, Kaarlo Bergbom, Aino Ackte and Martti Talvela on Finnish opera and cultural identity. Jyväskylä: University of Jyväskylä, 1999, 280 p. Oyväskylä Studies in the Arts, ISSN 0075-4633; 68) ISBN 951-39-0396-6 Deutsche Zusammenfassung Diss. The purpose of this study was to show how opera as an art has influenced the development of theFinnish national identity. Two themeswere chosen to define this problem. The main theme deals with the activities of Fredrik Pacius, Kaarlo Bergbom, Aino Ackte and Martti Talvela as developers of Finnish opera. The study covers the time period from the early 19th century to the 1990's.
    [Show full text]
  • Leevi Madetojan Varhaisten Mieskuorolaulujen Julkaisuhistoria
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Helsingin yliopiston digitaalinen arkisto LEEVI MADETOJAN VARHAISTEN MIESKUOROLAULUJEN JULKAISUHISTORIA Päälähteen määritteleminen uutta kriittistä editiota varten Tuomas Niemelä Pro gradu -tutkielma Helsingin yliopisto Humanistinen tiedekunta Filosofian, historian, kulttuurin ja taiteiden tutkimuksen laitos Musiikkitiede Marraskuu 2017 Tiedekunta/Osasto – Fakultet/Sektion – Faculty Laitos – Institution – Department Humanistinen tiedekunta Filosofian, historian, kulttuurin ja taiteiden tutkimuksen laitos Tekijä – Författare – Author Tuomas Niemelä Työn nimi – Arbetets titel – Title Leevi Madetojan varhaisten mieskuorolaulujen julkaisuhistoria – päälähteen määritteleminen uutta kriittistä editiota varten Oppiaine – Läroämne – Subject Musiikkitiede Työn laji – Arbetets art – Level Aika – Datum – Month and year Sivumäärä– Sidoantal – Number of pages Pro gradu -tutkielma marraskuu 2017 57 Tiivistelmä – Referat – Abstract Leevi Madetoja (1887–1947) sävelsi oopperoiden ja orkesterimusiikin ohessa miltei 50 säestyksetöntä mieskuorolaulua. Niistä valtaosa syntyi ennen vuotta 1933, jolloin mieskuoro Ylioppilaskunnan Laulajat (YL) julkaisi Madetojan 34 teosta yhtenäisenä kokoelmana. Säveltäjä oli itse mukana toimitustyössä muokaten ja korjaten teoksiaan kokoelmaa varten. Vuoden 1933 julkaisusta tuli myöhempiäkin painoksia ja nuottikokoelmia määrittelevä kokonaisuus, niin että 2000-luvulle asti Madetojan mieskuoromusiikin julkaisut ovat suurelta osin pohjautuneet
    [Show full text]
  • Proquest Dissertations
    Finnish art song for the American singer Item Type text; Dissertation-Reproduction (electronic) Authors Tuomi, Scott Lawrence Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 27/09/2021 10:24:07 Link to Item http://hdl.handle.net/10150/289889 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMl films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMl a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing In this copy for an additional charge.
    [Show full text]
  • FRIDAY SERIES 1 Hannu Lintu, Conductor James Sherlock
    14.9. FRIDAY SERIES 1 Helsinki Music Centre at 19:00 Hannu Lintu, conductor James Sherlock, assistant conductor Anu Komsi, soprano (Marie) Jeni Packalen, alto (Wesener’s Mother) Hilary Summers, contralto (Stolzius’s Mother) Juha Uusitalo, bass (Wesener) Peter Tantsits, tenor (Desportes) Ville Rusanen, baritone (Stolzius) Bernd Alois Zimmermann: Die Soldaten – Vocal Symphony, fpF 30 min Preludio Introduzione. Act 1, Scene 3 (Ricercari 1) Act 1, Scene 5 (Notturno 1) Act 2 Intermezzo and Scene 2 (Capriccio, corale e ciacona 2) INTERVAL 20 min Einojuhani Rautavaara: Symphony No. 6 “Vincentiana” 42 min I Starry Night II The Crows III Saint-Rémy IV Apotheosis Interval at about 19:45. The concert will end at about 21:00. Broadcast live on Yle Radio 1 and Yle Areena. The concert will be shown in two parts in the Yle Teema programme “RSO Musiikkitalossa” (The FRSO at the Helsinki Music Centre) on 23.9. and 30.9. with repeats on Yle TV 1 on 29.9. and 6.10. 1 BERND ALOIS jazz allusions and references to Bach’s St. Matthew Passion (1729). In its overall ZIMMERMANN: DIE sound, the Vocal Symphony represents SOLDATEN – VOCAL post-war modernism at its most typical, SYMPHONY except that it makes versatile use of the human voice. It is noisy and cacophonic, thus underlining its anti-war nature. Bernd Alois Zimmermann (1918–1970) According to Zimmermann, the opera wrote his Vocal Symphony under very is about “the fateful constellation of so- unusual circumstances. In 1957, Cologne cial classes, conditions, and characters”, Opera had commissioned him to write and in this respect it is reminiscent of the opera Die Soldaten (The Soldiers), the operas of Berg.
    [Show full text]