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The Angel Cried out (1887) | Angel Vopiyashe 2:57
PYOTR ILYICH TCHAIKOVSKY (1840–1893) All-Night Vigil, Op. 52 (1881) An Essay in Harmonizing liturgical chants Vsenoshchnoye bdeniye Opït garmonizatsiy bogosluzehbnïh pesnopeniy 1. Bless the Lord, O My Soul | Blagoslovi, dushe moya, Ghospoda 6:48 2. Kathisma: Blessed is the Man | Kafizma: Blazhen muzh 3:20 3. Lord, I Call | Ghospodi, vozzvah 0:58 4. Gladsome Light | Svete tihiy 2:25 5. Rejoice, O Virgin | Bogoroditse Devo 0:44 6. The Lord is God | Bog Ghospod 1:02 7. Praise the Name of the Lord | Hvalite imia Ghospodne 4:00 8. Blessed Art Thou, O Lord | Blagosloven yesi, Ghospodi 4:29 9. From My Youth | Ot yunosti moyeya 1:42 10. Having Beheld the Resurrection of Christ | Voskreseniye Hristovo videvshe 2:14 11. Common Katavasia: I Shall Open My Lips | Katavasiya raidovaya: Otverzu usta moya 5:17 12. Theotokion: Thou Art Most Blessed | Bogorodichen: Preblagoslovenna yesi 1:21 13. The Great Doxology | Velikoye slavosloviye 6:40 14. To Thee, the Victorious Leader | Vzbrannoy voyevode 0:55 15. Hymn in Honour of Saints Cyril and Methodius (1885) | Gimn v chest Sv. Kirilla i Mefodiya 2:44 16. A Legend, Op. 54 No. 5 (1883) | Legenda 3:12 17. Jurists’ Song (1885) | Pravovedcheskaya pesn 2:02 18. The Angel Cried Out (1887) | Angel vopiyashe 2:57 Latvian Radio Choir SIGVARDS KĻAVA, conductor he Latvian Radio Choir, led by Sigvards Kļava, presents a second album of sacred works by TPeter Tchaikovsky for choir. As with the first, its centrepiece is an extensive multi-movement composition – in this case, the All-Night Vigil. -
ARSC Journal
A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers. -
For All the Attention Paid to the Striking Passage of Thirty-Four
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Humanities Commons for Jane, on our thirty-fourth Accents of Remorse The good has never been perfect. There is always some flaw in it, some defect. First Sightings For all the attention paid to the “interview” scene in Benjamin Britten’s opera Billy Budd, its musical depths have proved remarkably resistant to analysis and have remained unplumbed. This striking passage of thirty-four whole-note chords has probably attracted more comment than any other in the opera since Andrew Porter first spotted shortly after the 1951 premiere that all the chords harmonize members of the F major triad, leading to much discussion over whether or not the passage is “in F major.” 1 Beyond Porter’s perception, the structure was far from obvious, perhaps in some way unprecedented, and has remained mysterious. Indeed, it is the undisputed gnomic power of its strangeness that attracted (and still attracts) most comment. Arnold Whittall has shown that no functional harmonic or contrapuntal explanation of the passage is satisfactory, and proceeded from there to make the interesting assertion that that was the point: The “creative indecision”2 that characterizes the music of the opera was meant to confront the listener with the same sort of difficulty as the layers of irony in Herman Melville’s “inside narrative,” on which the opera is based. To quote a single sentence of the original story that itself contains several layers of ironic ambiguity, a sentence thought by some—I believe mistakenly—to say that Vere felt no remorse: 1. -
Rachmaninoff's Rhapsody on a Theme By
RACHMANINOFF’S RHAPSODY ON A THEME BY PAGANINI, OP. 43: ANALYSIS AND DISCOURSE Heejung Kang, B.A., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2004 APPROVED: Pamela Mia Paul, Major Professor and Program Coordinator Stephen Slottow, Minor Professor Josef Banowetz, Committee Member Steven Harlos, Interim Chair of Piano Jessie Eschbach, Chair of Keyboard Studies James Scott, Dean of the College of Music Sandra L. Terrill, Interim Dean of the Robert B. Toulouse School of Graduate Studies Kang, Heejung, Rachmaninoff’s Rhapsody on a Theme by Paganini, Op.43: Analysis and Discourse. Doctor of Musical Arts (Performance), May 2004, 169 pp., 40 examples, 5 figures, bibliography, 39 titles. This dissertation on Rachmaninoff’s Rhapsody on a Theme by Paganini, Op.43 is divided into four parts: 1) historical background and the state of the sources, 2) analysis, 3) semantic issues related to analysis (discourse), and 4) performance and analysis. The analytical study, which constitutes the main body of this research, demonstrates how Rachmaninoff organically produces the variations in relation to the theme, designs the large-scale tonal and formal organization, and unifies the theme and variations as a whole. The selected analytical approach is linear in orientation - that is, Schenkerian. In the course of the analysis, close attention is paid to motivic detail; the analytical chapter carefully examines how the tonal structure and motivic elements in the theme are transformed, repeated, concealed, and expanded throughout the variations. As documented by a study of the manuscripts, the analysis also facilitates insight into the genesis and structure of the Rhapsody. -
THE ESSENTIAL Yan Pascal Tortelier
CHAN 241-32 THE ESSENTIAL Margaret Fingerhut piano Ulster Orchestra • BBC Philharmonic 32 Yan Pascal Tortelier 33 CCHANHAN 2241-3241-32 BBook.inddook.indd 332-332-33 222/8/062/8/06 110:27:030:27:03 Paul Dukas (1865 –1935) COMPACT DISC ONE 1 Fanfare pour précéder ‘La Péri’ * 1:55 2 La Péri * 17:40 Poème dansé en un tableau 3 Lipnitzki / Lebrecht Music & Arts Lipnitzki / Lebrecht Photo Library L’Apprenti sorcier * 11: 31 Scherzo d’après une ballade de Goethe Symphony in C major † 41: 00 in C-Dur • en ut majeur 4 I Allegro non troppo vivace, ma con fuoco 14:41 5 II Andante espressivo e sostenuto 14:51 6 III Allegro spiritoso 11:18 TT 72:21 COMPACT DISC TWO 1 Polyeucte † 15:03 Overture after Corneille Andante sostenuto – Allegro non troppo vivace – Andante espressivo – Mouvement du 1er allegro – Andante sostenuto Paul Dukas 3 CCHANHAN 2241-3241-32 BBook.inddook.indd 22-3-3 222/8/062/8/06 110:26:530:26:53 The Essential Paul Dukas Sonate ‡ 47:43 ‘A good provision of sunlight’: this was in the rigid Conservatoire mould? Dukas’s in E minor • in e-Moll • en mi mineur how one nineteenth-century French critic offi cial advice to young conductors betrayed 2 I Modérément vif – expressif et marqué 12:04 described the ‘compositional palette’ of not a shred of poetry: 3 II Calme – un peu lent – très soutenu 12:49 Emmanuel Chabrier, and that vivid double There is only one secret in conducting an imagery of light and colour recurs throughout orchestra: the right hand should be raised, 4 III Vivement, avec légèreté 8:38 much writing on French music of the period. -
Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-7-2018 12:30 PM Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse Renee MacKenzie The University of Western Ontario Supervisor Nolan, Catherine The University of Western Ontario Sylvestre, Stéphan The University of Western Ontario Kinton, Leslie The University of Western Ontario Graduate Program in Music A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Musical Arts © Renee MacKenzie 2018 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Music Performance Commons Recommended Citation MacKenzie, Renee, "Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse" (2018). Electronic Thesis and Dissertation Repository. 5572. https://ir.lib.uwo.ca/etd/5572 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This monograph examines the post-exile, multi-version works of Sergei Rachmaninoff with a view to unravelling the sophisticated web of meanings and values attached to them. Compositional revision is an important and complex aspect of creating musical meaning. Considering revision offers an important perspective on the construction and circulation of meanings and discourses attending Rachmaninoff’s music. While Rachmaninoff achieved international recognition during the 1890s as a distinctively Russian musician, I argue that Rachmaninoff’s return to certain compositions through revision played a crucial role in the creation of a narrative and set of tropes representing “Russian diaspora” following the 1917 Bolshevik Revolution. -
BENJAMIN BRITTEN's USE of the Passacagt.IA Bernadette De Vilxiers a Thesis Submitted to the Faculty of Arts University of the Wi
BENJAMIN BRITTEN'S USE OF THE PASSACAGt.IA Bernadette de VilXiers A Thesis Submitted to the Faculty of Arts University of the Witwatersrand, Johannesburg for the Degree of Doctor of Philosophy Johannesburg 1985 ABSTRACT Benjamin Britten (1913-1976) was perhaps the most prolific cooposer of passaca'?' las in the twentieth century. Die present study of his use of tli? passac^.gl ta font is based on thirteen selected -assacaalias which span hin ire rryi:ivc career and include all genre* of his music. The passacaglia? *r- occur i*' the follovxnc works: - Piano Concerto, Op. 13, III - Violin Concerto, Op. 15, III - "Dirge" from Serenade, op. 31 - Peter Grimes, Op. 33, Interlude IV - "Death, be not proud!1' from The Holy Sonnets o f John Donne, Op. 35 - The Rape o f Lucretia, op. 37, n , ii - Albert Herring, Op. 39, III, Threnody - Billy Budd, op. 50, I, iii - The Turn o f the Screw, op . 54, II, viii - Noye '8 Fludde, O p . 59, Storm - "Agnu Dei" from War Requiem, Op. 66 - Syrrvhony forCello and Orchestra, Op. 68, IV - String Quartet no. 3, Op. 94, V The analysis includes a detailed investigation into the type of ostinato themes used, namely their structure (lengUi, contour, characteristic intervals, tonal centre, metre, rhythm, use of sequence, derivation hod of handling the ostinato (variations in length, tone colouJ -< <>e register, ten$>o, degree of audibility) as well as the influence of the ostinato theme on the conqposition as a whole (effect on length, sectionalization). The accompaniment material is then brought under scrutiny b^th from the point of view of its type (thematic, motivic, unrelated counterpoints) and its importance within the overall frarework of the passacaglia. -
Iolanta Bluebeard's Castle
iolantaPETER TCHAIKOVSKY AND bluebeard’sBÉLA BARTÓK castle conductor Iolanta Valery Gergiev Lyric opera in one act production Libretto by Modest Tchaikovsky, Mariusz Treliński based on the play King René’s Daughter set designer by Henrik Hertz Boris Kudlička costume designer Bluebeard’s Castle Marek Adamski Opera in one act lighting designer Marc Heinz Libretto by Béla Balázs, after a fairy tale by Charles Perrault choreographer Tomasz Wygoda Saturday, February 14, 2015 video projection designer 12:30–3:45 PM Bartek Macias sound designer New Production Mark Grey dramaturg The productions of Iolanta and Bluebeard’s Castle Piotr Gruszczyński were made possible by a generous gift from Ambassador and Mrs. Nicholas F. Taubman general manager Peter Gelb Additional funding was received from Mrs. Veronica Atkins; Dr. Magdalena Berenyi, in memory of Dr. Kalman Berenyi; music director and the National Endowment for the Arts James Levine principal conductor Co-production of the Metropolitan Opera and Fabio Luisi Teatr Wielki–Polish National Opera The 5th Metropolitan Opera performance of PETER TCHAIKOVSKY’S This performance iolanta is being broadcast live over The Toll Brothers– Metropolitan Opera International Radio Network, sponsored conductor by Toll Brothers, Valery Gergiev America’s luxury in order of vocal appearance homebuilder®, with generous long-term marta duke robert support from Mzia Nioradze Aleksei Markov The Annenberg iol anta vaudémont Foundation, The Anna Netrebko Piotr Beczala Neubauer Family Foundation, the brigit te Vincent A. Stabile Katherine Whyte Endowment for Broadcast Media, l aur a and contributions Cassandra Zoé Velasco from listeners bertr and worldwide. Matt Boehler There is no alméric Toll Brothers– Keith Jameson Metropolitan Opera Quiz in List Hall today. -
View List (.Pdf)
Symphony Society of New York Stadium Concert United States Premieres New York Philharmonic Commission as of November 30, 2020 NY PHIL Biennial Members of / musicians from the New York Philharmonic Click to jump to decade 1842-49 | 1850-59 | 1860-69 | 1870-79 | 1880-89 | 1890-99 | 1900-09 | 1910-19 | 1920-29 | 1930-39 1940-49 | 1950-59 | 1960-69 | 1970-79 | 1980-89 | 1990-99 | 2000-09 | 2010-19 | 2020 Composer Work Date Conductor 1842 – 1849 Beethoven Symphony No. 3, Sinfonia Eroica 18-Feb 1843 Hill Beethoven Symphony No. 7 18-Nov 1843 Hill Vieuxtemps Fantasia pour le Violon sur la quatrième corde 18-May 1844 Alpers Lindpaintner War Jubilee Overture 16-Nov 1844 Loder Mendelssohn The Hebrides Overture (Fingal's Cave) 16-Nov 1844 Loder Beethoven Symphony No. 8 16-Nov 1844 Loder Bennett Die Najaden (The Naiades) 1-Mar 1845 Wiegers Mendelssohn Symphony No. 3, Scottish 22-Nov 1845 Loder Mendelssohn Piano Concerto No. 1 17-Jan 1846 Hill Kalliwoda Symphony No. 1 7-Mar 1846 Boucher Furstenau Flute Concerto No. 5 7-Mar 1846 Boucher Donizetti "Tutto or Morte" from Faliero 20-May 1846 Hill Beethoven Symphony No. 9, Choral 20-May 1846 Loder Gade Grand Symphony 2-Dec 1848 Loder Mendelssohn Violin Concerto in E minor 24-Nov 1849 Eisfeld Beethoven Symphony No. 4 24-Nov 1849 Eisfeld 1850 – 1859 Schubert Symphony in C major, Great 11-Jan 1851 Eisfeld R. Schumann Introduction and Allegro appassionato for Piano and 25-Apr 1857 Eisfeld Orchestra Litolff Chant des belges 25-Apr 1857 Eisfeld R. Schumann Overture to the Incidental Music to Byron's Dramatic 21-Nov 1857 Eisfeld Poem, Manfred 1860 - 1869 Brahms Serenade No. -
RIMSKY-KORSAKOV Orchestral Works Including SHEHERAZADE
Kees Bakels RIMSKY-KORSAKOV Orchestral works including SHEHERAZADE BIS-CD-1667/68 MALAYSIAN PHILHARMONIC ORCHESTRA / KEES BAKELS BIS-CD-1667/68 RK:booklet 15/6/07 11:48 Page 2 RIMSKY-KORSAKOV, Nikolai (1844–1908) Disc 1 [74'34] Sheherazade 43'28 Symphonic Suite after the ‘Thousand and One Nights’, Op. 35 (1888) 1 I. The Sea and Sinbad’s Ship 9'02 2 II. The Tale of the Kalender Prince 12'00 3 III. The Young Prince and the Young Princess 10'22 4 IV. Festival in Baghdad – The Sea – The Ship Goes to Pieces on a Rock Surmounted by a Bronze Warrior – Conclusion 11'50 Markus Gundermann violin solo Symphony No. 2 (Symphonic Suite), ‘Antar’ 30'01 Op. 9 (1868/75/97) 5 I. Largo – Allegro – Allegretto – Largo 11'29 6 II. Allegro 4'38 7 III. Allegro risoluto 5'22 8 IV. Allegretto – Adagio 8'09 2 BIS-CD-1667/68 RK:booklet 15/6/07 11:48 Page 3 Disc 2 [76'42] Capriccio espagnol, Op. 34 (1887) 15'00 1 I. Alborada. Vivo e strepitoso 1'12 2 II. Variazioni. Andante con moto 4'38 3 III. Alborada. Vivo e strepitoso 1'14 4 IV. Scena e canto gitano. Allegretto 4'39 5 V. Fandango asturiano – Coda. Vivace assai – Presto 3'15 6 Piano Concerto in C sharp minor, Op.30 (1882–83) 14'06 Noriko Ogawa piano The Tale of Tsar Saltan, Suite, Op. 57 (1899–1900) 19'49 7 I. The Tsar’s Farewell and Departure. Allegro – Allegretto alla Marcia 4'44 8 II. -
Pdf May 2010, "Dvoinaia Pererabotka Otkhodov V Sovetskoi [3] ‘New Beginnings
Advances in Social Science, Education and Humanities Research, volume 368 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019) Multifaceted Creativity: Legacy of Alexander Ivashkin Based on Archival Materials and Publications Elena Artamonova Doctor of Philosophy University of Central Lancashire Preston, United Kingdom E-mail: [email protected] Abstract—Professor Alexander Vasilievich Ivashkin (1948- numerous successful international academic and research 2014) was one of the internationally eminent musicians and projects, symposia and competitions, concerts and festivals. researchers at the turn of the most recent century. His From 1999 until his death in 2014, as the Head of the Centre dedication, willpower and wisdom in pioneering the music of for Russian Music at Goldsmiths, he generated and promoted his contemporaries as a performer and academic were the interdisciplinary events based on research and archival driving force behind his numerous successful international collections. The Centre was bursting with concert and accomplishments. This paper focuses on Ivashkin’s profound research life, vivacity and activities of high calibre attracting knowledge of twentieth-century music and contemporary international attention and interest among students and analysis in a crossover of cultural-philosophical contexts, scholars, professionals and music lovers, thus bringing together with his rare ability to combine everything in cultural dialogue across generations and boarders to the retrospect and make his own conclusions. His understanding of inner meaning and symbolism bring new conceptions to wider world. His prolific collaborations, including with the Russian music, when the irrational becomes a new stimulus for London Philharmonic Orchestra, the Southbank Centre, the rational ideas. The discussion of these subjects relies heavily on BBC Symphony Orchestra, the Barbican Centre and unpublished archival and little-explored publications of Wigmore Hall, St. -
12 August 2021
12 August 2021 12:01 AM Franz Berwald (1796-1868) Fantasia on 2 Swedish Folksongs for piano (1850-59) Lucia Negro (piano) SESR 12:10 AM Giacomo Puccini (1858-1924) Intermezzo (excerpt from 'Manon Lescaut' between Acts 2 and 3) BBC Philharmonic, Gianandrea Noseda (conductor) GBBBC 12:15 AM Ludwig van Beethoven (1770 - 1827) Romance in F major Op 50 (orig. for violin and orchestra) Taik-Ju Lee (violin), Young-Lan Han (piano) KRKBS 12:25 AM Richard Wagner (1813-1883), Mathilde Wesendonck (author) Wesendonck-Lieder for voice and orchestra Jane Eaglen (soprano), Bergen Philharmonic Orchestra, Juanjo Mena (conductor) NONRK 12:47 AM Marin Marais (1656-1728) Les Folies d'Espagne Lise Daoust (flute) CACBC 12:57 AM Anonymous Yo me soy la morenica Olga Pitarch (soprano), Accentus Austria, Thomas Wimmer (director) DEWDR 01:00 AM Joseph Bologne Chevalier de Saint-Georges (1745-1799) Violin Concerto in D major (Op 3 no 1) (1774) Linda Melsted (violin), Tafelmusik Orchestra, Jeanne Lamon (conductor) CACBC 01:22 AM Jean Sibelius (1865-1957) 6 Impromptus, Op 5 Juhani Lagerspetz (piano) FIYLE 01:38 AM Heikki Suolahti (1920-1936) Sinfonia Piccola (1935) Finnish Radio Symphony Orchestra, Kari Tikka (conductor) FIYLE 02:01 AM Wolfgang Amadeus Mozart (1756-1791) Overture to The Marriage of Figaro, K.492 Swedish Radio Symphony Orchestra, Patrik Ringborg (conductor) SESR 02:05 AM Wolfgang Amadeus Mozart (1756-1791), Lorenzo Da Ponte (librettist) 'Dove sono i bei momenti' - Countess' aria from The Marriage of Figaro. K.492 Christina Nilsson (soprano), Swedish