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Debussy Images For Orchestra mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Images For Orchestra Country: US Released: 1959 Style: Romantic MP3 version RAR size: 1858 mb FLAC version RAR size: 1773 mb WMA version RAR size: 1101 mb Rating: 4.4 Votes: 808 Other Formats: APE RA MMF AIFF DXD DTS TTA Tracklist A1 Gigues A2 Randes De Printemps Iberia B1 Par Les Rues Et Par Les Chemins B2 Les Parfums De La Nuit B3 Les Matin D'Un Juour De Fête Companies, etc. Copyright (c) – Radio Corporation Of America Record Company – Radio Corporation Of America Pressed By – RCA Records Pressing Plant, Indianapolis Credits Composed By – Debussy* Conductor – Charles Munch Directed By [Musical Director] – Richard Mohr Engineer [Recording] – Lewis Layton Illustration – EK* Liner Notes – Charles O'Connell Orchestra – Boston Symphony Orchestra Barcode and Other Identifiers Matrix / Runout (A-Side Label): J2RP-8111 Matrix / Runout (B-Side Label): J2RP-8112 Matrix / Runout (A-Side Runout Etching): I A1 J2 RP8111-1S Matrix / Runout (B-Side Runout Etching): J2RP 8112 1S A1 I Other versions Category Artist Title (Format) Label Category Country Year Images For Orchestra RCA VIC 1162 Claude Debussy VIC 1162 UK 1959 (LP, Mono) Victrola Debussy*, Boston Debussy*, Boston Symphony Orchestra, Symphony JMCXR-0004 Charles Munch - JVC JMCXR-0004 Japan 2000 Orchestra, Images For Orchestra Charles Munch (CD) Images For Orchestra RCA VICS 1162 Claude Debussy VICS 1162 UK 1959 (LP) Victrola Charles Munch Charles Munch Conducts Boston Conducts Boston RCA Gold AGL1-2122 Symphony Orchestra - AGL1-2122 US 1977 Symphony Seal Debussy, Images For Orchestra Orchestra (LP, RE) Boston Symphony Boston Symphony Orchestra Direct By Orchestra Direct Charles Munch / RCA KVS 132 By Charles KVS 132 Italy Unknown Debussy* - Debussy - Victrola Munch / Images Pour Orchestre Debussy* (LP, Album) Related Music albums to Images For Orchestra by Debussy Tchaikovsky, Strings Of The Boston Symphony Orchestra, Charles Munch - Serenade For Strings Debussy, Charles Munch Conducting Boston Symphony - Afternoon Of A Faun Debussy / Ibert, Boston Symphony Orchestra, Charles Munch - The Sea Charles Munch Munch Boston Symphony Orchestra - Schubert/Munch Symphonies Nos 8 & 9 Charles Munch / French National Radio Orchestra, The - Debussy, Albeniz - Iberia Charles Munch, Boston Symphony Orchestra - Brahms: Symphony No. 4 In E Minor, Op. 98 Franck — Munch, Boston Symphony - Symphony In D Minor Beethoven - Heifetz, Munch, Boston Symphony Orchestra - Violin Concerto (in D).

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Claude Debussy Orchestral Works Dirk Altmann · Daniel Gauthier Radio-Sinfonieorchester Stuttgart Des SWR · Heinz Holliger 02 CLAUDE DEBUSSY (1862 – 1918) 03
Claude Debussy Orchestral Works Dirk Altmann · Daniel Gauthier Radio-Sinfonieorchester Stuttgart des SWR · Heinz Holliger 02 CLAUDE DEBUSSY (1862 – 1918) 03 1 Première Rapsodie pour orchestre 7 Prélude à L’après-midi d’un faune [11:35] Diese wesensmäßige Fertigkeit hatte schon in den Chemie“, an der er sich selbst immer neu ergötzen avec clarinette principale [08:15] flûte solo: Tatjana Ruhland frühen Neunzigern die Bedenken des Dichters konnte, und die aus sich selbst erwachsenden For- Stéphane Mallarmé zerstreut, der zunächst von men in Regelwerke zu zwängen, sich im Geflecht Images pour orchestre 8 Rapsodie pour Debussys Ansinnen, die Ekloge vom Après-midi des Gefundenen, bereits „Gehabten“ zu verhed- Deutsch 2 Rondes de Printemps [08:29] orchestre et saxophone [09:45] d’un faune mit Musik zu umgeben, nicht begeis- dern. Vielleicht wurde daher auch nur das Prélude 3 Gigues [08:38] tert war. Er fürchtete eine bloße „Verdopplung“ zum „Faun“ vollendet, während das Interlude und Iberia [19:48] TOTAL TIME [67:04] seiner musikalisch-erotischen Alexandriner, sah die abschließende Paraphrase nie über die Idee 4 I. Par les rues et par les chemins [07:09] sich aber, kaum dass er das Resultat zu hören be- hinausgelangten. Es war schon alles gesagt. 5 II. Les parfums de la nuit [08:10] 1 Dirk Altmann Klarinette | clarinet kam, ebenso bezwungen wie die Besucher der 6 III. Le matin d'un jour de fête [04:28] 8 Daniel Gauthier Saxophon | saxophone Société Nationale, die am 22. Dezember 1894 die Wer weiß, ob nicht aus just diesem Grunde auch Uraufführung des Prélude „zum Nachmittag eines die Rapsodie arabe im Sande verlief, die sich der Fauns“ miterleben durften.
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Four-Hand Piano Music • 2
DEBUSSY Four-Hand Piano Music • 2 Prélude à l’Après-midi d’un faune La Mer • Images Jean-Pierre Armengaud Olivier Chauzu Claude Debussy (1862–1918) undulating arabesques complemented by an expressive Written between 1905 and December 1908, Ibéria was Music for Piano Four Hands • 2 theme which is followed by a new, melancholy figure treated the first of the Images to be completed. Debussyʼs only visit contrapuntally in the upper register; the second is to Spain consisted of a single afternoon spent in San Symbolist poet Stéphane Mallarméʼs eclogue, or pastoral is impassioned, almost Wagnerian in tone. The central dominated by dotted rhythms and sees the reappearance Sebastián, just across the border. There are no quotations poem, LʼAprès-midi dʼun faune (The Afternoon of the Faun; section introduces the third theme, which is marked of the cyclical theme. The music then becomes more or borrowings from pre-existing music here, the work pub. 1876) was quick to capture the imagination of expressif et très soutenu and wreathed in arabesques, serene, ending with a solemn, chorale-like theme. drawing instead on a kind of imagined folk tradition in which Debussy, who even gave a copy of its second edition to triplets and arpeggios. Jeux de vagues (Play of the waves) acts as the scherzo all the melodies stem from the composerʼs own mind, fellow composer Paul Dukas in May 1887. Mallarmé, who in This arrangement was made by Ravel in early 1910, in here, with a central episode whose main function is that of although they are based on modal or ornamental cellular 1885 had written a prose article entitled Richard Wagner, response to a commission from the publisher Fromont.
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LOS ANGELES PHILHARMONIC and ESA-PEKKA SALONEN Discography
LOS ANGELES PHILHARMONIC and ESA-PEKKA SALONEN Discography DEUTSCHE GRAMMOPHON SALONEN: Piano Concerto; Helix; Dichotomie (Yefim Bronfman, piano) STRAVINSKY: The Rite of Spring; MUSSORGSKY: Night on Bald Mountain (original version); BARTÓK: The Miraculous Mandarin Suite NONESUCH ADAMS: Naive and Sentimental Music ONDINE SAARIAHO: Du cristal ... à la fumée (Petri Alanko, alto flute; Anssi Karttunen, cello) PHILIPS CLASSICS BARTÓK: Violin Concerto No. 2; STRAVINSKY: Violin Concerto (Viktoria Mullova, violin) SONY CLASSICAL BACH: Transcriptions for Orchestra (by Elgar, Mahler, Schoenberg, Stokowski, Webern) BARTÓK: Concerto for Orchestra; Music for Strings, Percussion, and Celesta BARTÓK: Piano Concertos Nos. 1, 2, and 3 (Yefim Bronfman, piano) BRUCKNER: Symphony No. 4, “Romantic” DEBUSSY: Prélude à l’après-midi d’un faune; La mer; Images pour orchestre DEBUSSY: Trois nocturnes (Women of the Los Angeles Master Chorale); Le martyre de St. Sébastien (Fragments symphoniques); La damoiselle élue (Dawn Upshaw, soprano; Paula Rasmussen, mezzo-soprano; Women of the Los Angeles Master Chorale) HERRMANN: Suites from Psycho, Marnie, Vertigo, Fahrenheit 451, and Taxi Driver; Prelude to The Man Who Knew Too Much; Overture to North by Northwest; excerpts from Torn Curtain HINDEMITH: Mathis der Maler Symphony; Symphonic Metamorphosis on Themes by Carl Maria von Weber; Four Temperaments (Emanuel Ax, piano) LUTOSLAWSKI: Symphony No. 2; Piano Concerto (Paul Crossley, piano); Chantefleurs et Chantefables (Dawn Upshaw, soprano); Fanfare for Los Angeles Philharmonic LUTOSLAWSKI: Symphony No. 3; Les espaces du sommeil (John Shirley-Quirk, baritone); Symphony No. 4 MAHLER: Symphony No. 3 (Anna Larsson, contralto; Paulist Boy Choristers of California) MAHLER: Symphony No. 4 (Barbara Hendricks, soprano) MAHLER: Das Lied von der Erde (Plácido Domingo, tenor; Bo Skovhus, baritone) MARSALIS: All Rise (Wynton Marsalis, trumpet; Lincoln Center Jazz Orchestra; singers) PROKOFIEV: Violin Concertos Nos.
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Michael Tilson Thomas and the San Francisco Symphony Release All-Debussy Album on Sfs Media October 28, 2016
Press Contacts: Public Relations National Press Representation: San Francisco Symphony Shuman Associates (415) 503-5474 (212) 315-1300 [email protected] [email protected] www.sfsymphony.org/press FOR IMMEDIATE RELEASE / SEPTEMBER 27, 2016 (High resolution images available for download from the SFS Media’s Online Press Kit) MICHAEL TILSON THOMAS AND THE SAN FRANCISCO SYMPHONY RELEASE ALL-DEBUSSY ALBUM ON SFS MEDIA OCTOBER 28, 2016 Album Includes Images pour orchestre, Jeux, and La plus que lente Pre-order September 27 on iTunes.com/SFSymphony and SFSymphony.org/Debussy SAN FRANCISCO, September 27, 2016 – Music Director Michael Tilson Thomas (MTT) and the San Francisco Symphony (SFS) will release an all-Debussy album featuring three works that illustrate the French composer’s mastery with orchestration including Images pour orchestre, Jeux, and La plus que lente, on the Orchestra’s Grammy Award- winning SFS Media label on Friday, October 28, 2016. The recording will be available for pre-order on iTunes.com/SFSymphony and SFSymphony.org/Debussy on Tuesday, September 27, 2016. This recording is presented by SFS Media in premium audio hybrid SACD as well as studio master-quality download. Michael Tilson Thomas comments, “Right from the start of my musical life, Debussy’s music captivated me. He had a genius for sensing the essential quality of a particular instrument’s voice and creating for it evocative solos that have become emblematic. His sense of unusual blends of different instruments was also original and highly
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Boston Symphony Orchestra Concert Programs, Season 90, 1970-1971
BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON FRIDAY -SATURDAY 12 TUESDAY A 6 1970-1971 NINETIETH ANNIVERSARY SEASON ADIVARI created for all time a perfect marriage of precision and beauty for both the eye and the ear. He had the unique genius to combine a thorough knowledge of the acoustical values of wood with a fine artist's sense of the good and the beautiful. Unexcelled by anything before or after, his violins have such purity of tone, they are said to speak with the voice of a lovely soul within. In business, as in the arts, experience and ability are invaluable. We suggest you take advantage of our extensive insurance background by letting us review your needs either business or personal and counsel you to an intelligent program. We respectfully invite your inquiry. CHARLES H. WATKINS & CO., INC. Richard P. Nyquist, President Charles G. Carleton, Vice President 147 Milk Street Boston, Massachusetts 02109 542-1250 OBRION, RUSSELL & CO Insurance of Every Description BOSTON SYMPHONY ORCHESTRA WILLIAM STEINBERG Music Director MICHAEL TILSON THOMAS Associate Conductor NINETIETH ANNIVERSARY SEASON 1970-1971 THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. TALCOTT M. BANKS President FRANCIS W. HATCH PHILIP K. ALLEN Vice-President HAROLD D. HODGKINSON ROBERT H. GARDINER Vice-President E. MORTON JENNINGS JR JOHN L. THORNDIKE Treasurer EDWARD M. KENNEDY ALLEN G. BARRY HENRY A. LAUGHLIN RICHARD P. CHAPMAN EDWARD G. MURRAY ABRAM T. COLLIER JOHN T. NOONAN MRS HARRIS FAHNESTOCK MRS JAMES H. PERKINS THEODORE P. FERRIS IRVING W. RABB SIDNEYS. STONEMAN TRUSTEES EMERITUS HENRY B. CABOT EDWARD A.
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Stéphane Denève Conducts DEBUSSY
Stéphane Denève conducts DEBUSSY Royal Scottish National Orchestra Achille-Claude Debussy, early 1900s Achille-Claude Debussy, Photograph by Henri Manuel / AKG Images, London Achille-Claude Debussy (1862 – 1918) COMPACT DISC ONE Images (1905 – 12) 35:55 pour Orchestre 1 1 Gigues 7:33 Katherine MacKintosh oboe d’amore Modéré – Un peu plus ‘allant’ – Même mouvement (plus exactement rythmé) – En animant – En cédant et en diminuant – Moins vîte – En retenant un peu jusqu’à la fin 2 Ibéria 2 I. Par les rues et par les chemins 7:22 Assez animé (dans un rythme alerte, mais précis) – Meno mosso, poco a poco – Librement expressif – Animez peu à peu – Modéré bien rythmé – A Tempo [moins vîte] – Expressif et souple – Tempo I – En animant 3 II. Les parfums de la nuit – 8:28 Lent et rêveur – Sans rigueur – Un peu plus allant – En animant peu à peu – Tempo (sans traîner) – En animant avec une grande intensité dans l’expression – Tempo I – En retenant 3 4 III. Le matin d’un jour de fête 4:22 Dans un rythme de Marche lointaine, alerte et joyeuse – Mouvement précédent – Animez peu à peu – A Tempo (Mouvement de marche joyeuse et alerte) – En cédant et plus libre – Modéré (sans lenteur) – Commencez à animer peu à peu – En animant toujours – Mouvement de la Marche – Au Mouvement (Modéré, sans lenteur) – En serrant le mouvement – Vif et nerveux – Premier Mouvement 5 3 Rondes de printemps 7:54 À Emma Claude Debussy… p.m. son mari C.D. (1909). ‘Vive le Mai, bienvenu soit le Mai Avec son gonfalon sauvage.’ (La Maggiolata) Modérément animé – Un peu plus mouvementé – Premier Tempo – Le double plus lent – Tempo – Au [second] Mouvement – Conserver le rythme, mais plus assoupli – Poco a poco accelerando 4 Jeux (1912 – 13) 17:32 Poème dansé À Madame Jacques Durand Homage respectueux Claude Debussy Distribution: Première Jeune Fille Seconde Jeune Fille Un Jeune Homme 6 Prélude.
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Debussy La Mer Images Pour Orchestre Prélude À L’Après-Midi D’Un Faune Singapore Symphony Orchestra Lan Shui
Lan Shui DEBUSSY LA MER IMAGES POUR ORCHESTRE PRÉLUDE À L’APRÈS-MIDI D’UN FAUNE SINGAPORE SYMPHONY ORCHESTRA LAN SHUI BIS-1837 BIS-1837_f-b.indd 1 2014-05-27 13:30 DEBUSSY, Claude (1862–1918) Images pour orchestre, L 118 (1905–12) 38'36 1 I. Gigues 8'40 II. Ibéria 21'35 2 Par les rues et par les chemins 7'10 3 Les parfums de la nuit 9'40 4 Le matin d’un jour de fête 4'38 5 III. Rondes de printemps 8'02 6 Prélude à l’après-midi d’un faune, L 87 (1891–94) 11'23 Très modéré La Mer, trois esquisses symphoniques, L 111 (1903–05) 25'50 7 I. De l’aube à midi sur la mer. Très lent 9'23 8 II. Jeux de vagues. Allegro 6'51 9 III. Dialogue du vent et de la mer. Animé et tumultueux 9'14 TT: 76'48 Singapore Symphony Orchestra Lan Shui conductor 3 ‘I wanted for music a freedom which is in her more perhaps than in any art, since she is limited not to a more or less exact reproduction of nature, but to the mysterious correspondences between Nature and the Imagination.’ Claude Debussy, April 1902 Each of the three works on this recording represents one period in the work of Claude Debussy, and together they permit us to observe the stylistic develop - ment – from a composer born in the nineteenth century and initially influenced by his contemporaries into an innovator, one of a kind, who contributed to the profound changes that affected the way in which music was conceived in the early twentieth century and whose impact is still being felt today.
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Boston Symphony Orchestra Concert Programs, Season 31,1911-1912, Trip
PARSONS THEATRE . HARTFORD Thirty-first Season, J9U-19J2 X MAX FIEDLER, Conductor flrogramm? of tip SECOND CONCERT WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE MONDAY EVENING, JANUARY 15 AT 8.15 COPYRIGHT, 1911, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER Pianos that Appeal to Musicians UR pianos have the very highest reputation with musical people, for every piano, from the highest-priced to the least ex- U pensive we offer, has not merely the essentials of tone and touch, but also exquisite refinements of quality which delight the musician. We invite you to inspect our stocks, which are at once the largest, the most varied, and most interesting to be found in New England. We call particular attention to the following pianos: STEINWAY pianos, the instruments of highest prestige among music lovers everywhere—through their incomparable tone the choice of royalty and of all connoisseurs. In all regular styles and also in special art cases exhibiting the perfection of artistry. HUME pianos, the best made in New England—distinguished by wonderful richness and nobility of tone. JEWETT pianos, the favorite pianos of New England, where more are sold each year than of any other make of equal cost. THE PIANOLA PI ANOS,—the complete line of-five pianos. The Steinway, the Weber, and the Steck Pianola Pianos are shown in both grand and upright forms. M. STEINERT & SONS CO. STEINERT HALL, 162 BOYLSTON STREET, BOSTON 313 MAIN STREET, SPRINGFIELD 777 CHAPEL STREET, NEW HAVEN Stores in all Principal Cities of New England P^PSPW^ 5 " PARSONS THEATRE .
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Boston Symphony Orchestra Concert Programs, Season 47,1927-1928, Trip
ALUMNAE BUILDING . WELLESLEY COLLEGE Wednesday Evening, October 19, 1927, at 8.00 PRSGRsnnc r? i & " . the mechanism is so perfect as to respond to any demand and, in fact, your piano ceases to be a thing of iv oo d and ivires, but becomes a sympathetic friend" Wilhelm BachaiXS, most exacting of pianists, finds in the Baldwin the perfect medium of musical ex- pression. Acclaimed the pianist of pianists, beloved by an ever-growing public, Bachaus has played the Baldwin exclusively for twelve years, in his home and on all his American tours. That loveliness and purity of tone which appeals to Bachaus and to every exacting musician is found in all Baldwins; alike in the Concert Grand, in the smaller Grands, in the Uprights. The history of the Baldwin is the history of an ideal. Itattomn A. M. Hume Co. 196 Boylston Street Boston ALUMNAE BUILDING WELLESLEY FORTY-SEVENTH SEASON 1927-1928 '-./ iA _i ^J> ! \^s ii —i INC. SERGE KOUSSEVITZKY, Conductor WEDNESDAY EVENING, OCTOBER 19, at 8.00 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1927, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President BENTLEY W. WARREN Vice-President ERNEST B. DANE Treasurer FREDERICK P. CABOT FREDERICK E. LOWELL ERNEST B. DANE ARTHUR LYMAN N. PENROSE HALLOWELL EDWARD M. PICKMAN M. A. DE WOLFE HOWE HENRY B. SAWYER JOHN ELLERTON LODGE BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager Zm 1 STEIN WAY the instrument of the immortals Not only the best piano, but the best piano value It is possible to build a piano to beauty of line and tone, it is the sell at any given price, but it is not greatest piano value ever offered! often possible to build a good .
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Inconstant Tonality in Debussy's La
INCONSTANT TONALITY IN DEBUSSY‘S LA MER by DAVID JONATHAN MARCUS (Under the Direction of Adrian Childs) ABSTRACT: This study is an original harmonic and tonal analysis of Debussy‘s orchestral masterpiece La mer: trois esquisses symphoniques. Based on Debussy‘s praise of freedom and critique of ―overprecise forms,‖ the author undertakes to explain harmony and tonicity in the music afresh, thoroughly adjusting traditional concepts of tonality. He shows that Debussy‘s harmonic originality lies close to the musical surface, and analytical reductions, particularly to familiar tonal objects, tend to conceal its harmonic methods.These methods include the use of whole-step/half-step scales as harmonic regions, the use of maximally intersecting scales for smooth modulation, and the use of invariant pitch classes as organizing agents over long spans of musical time. The auther then replaces the old concept of harmonic function, conceived as a consistent hierarchy centered on tonic and dominant, with a constantly evolving presentation of tonicity. The final portion of the study considers the metaphorical fit of all these techniques for La mer‘s oceanic imagery. KEYWORDS: Debussy, La mer, scale theory, parsimony, post-tonal tonicity, pitch-class invariance INCONSTANT TONALITY IN DEBUSSY‘S LA MER by DAVID JONATHAN MARCUS B.A., University of California, Berkeley, 1983 M.A., Georgetown University, 1991 M.M., Georgia State University, 1996 A Dissertation Submitted to the Graduate Faculty of the University of Georgia in Partial Fulfillment of the Requirements
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ARSC Journal
HOMMAGE AANDRE CLUYTENS -- BERLIOZ: Symphonie Fantastique, Op. 14. (a) rec. 1955. FRANCK: Symphony in D Minor (a); Variations symphoniques (with Aldo Ciccolini, piano) (b) rec. 1953. FRANCK: Psych~ - Le Sommeil de Psyche, Psych{ enleveepar les Zephyrs, Le Jardin d'Eros, Psyche et Eros· Le Chasseur maudit· Redemption - Symphonic Interlude (b) rec. 1954-55.' SAINT-SAENS: Symphony' No. 3 in C Minor, Op. 78 ("Organ ") ( wi t h Henriette Puig-Roget, organ; Monique Mercier, Andr6 Collard, piano) (b) rec. 1955. DELIBES: Ballet Suites - Coppelia - Prelude to Act I & Mazurka, Valse, Ballade de Epi, Theme slave vari~, Valse de la poupee, Csardas; Sylvia - Prelude, Les Chasseresses, Intermezzo, Valse lente, Pizzicati, Marche et Cortege de Bacchus (c) rec. 1956. BIZET: L'Arlesienne - Suites 1 & 2; La jolie fille de Perth - Suite; Patrie Over ture (a) rec. 1953-54. BIZET: Symphony in C Major (a) rec. 1953; d'Indy: Symphonie sur un chant montagnard Franrais, Op. 25 (with Aldo Ciccolini, piano) (b) rec. 1953. MASSENET: Les Erinnyes - Incidental Music for the Play by Leconte de Lisle (c) rec. 1953. MASSENET: Scenes Alsaciennes; Sc~nes Pittoresques; Phedre Overture (with Henri Dionet, clarinet; Gaston Marchesini, 'cello) (d) rec. 1953. FAURE: Requiem, Op. 48 (with Louis Noguera, baritone; Martha Angelici, soprano; Maurice Durufl{, organ; Chanteurs de Saint Eustache) (e) rec. 1951. DEBUSSY: La Boite a joujoux (arr. Caplet); The Children's Corner (arr. Caplet) (a) rec. 1954. DEBUSSY: Le Martyre de Saint Sebastian (With Martha Angelici, Mattiwilda Dobbs, Jacqueline Jourfier, Jacqueline Brumaire, sopranos; Rita Gorr, Solange Michel, contraltos) (a) rec. 1953-54. RAVEL: Daphnis et Chloe - Suites 1 & 2; Rapsodie espagnole; Alborada del gracioso (with Chorale Marcel Briclot, in Daphnis) (a) rec.
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Edward Gardner Vilde Frang
Edward Gardner und Vilde Frang Donnerstag, 05.12.19 — 20 Uhr Sonntag, 08.12.19 — 11 Uhr Elbphilharmonie Hamburg, Großer Saal Samstag, 07.12.19 — 19.30 Uhr Musik- und Kongresshalle Lübeck EDWARD GARDNER Dirigent VILDE FRANG Violine NDR ELBPHILHARMONIE ORCHESTER Einführungsveranstaltungen mit Julius Heile am 05.12. und 08.12. jeweils eine Stunde vor Konzertbeginn im Großen Saal der Elbphilharmonie; am 07.12. um 18.30 Uhr auf der „Galerie Wasserseite“ der Musik- und Kongresshalle Das Konzert am 08.12.19 ist live zu hören auf NDR Kultur. HENRI DUTILLEUX (1916 – 2013) Métaboles Entstehung: 1962 – 64 | Uraufführung: Cleveland, 14. Januar 1965 | Dauer: ca. 17 Min. I. Incantatoire – II. Linéaire – III. Obsessionnel – IV. Torpide – V. Flamboyant IGOR STRAWINKSY (1882 – 1971) Konzert in D („Concerto en ré“) für Violine und Orchester Entstehung: 1931 | Uraufführung: Berlin, 23. Oktober 1931 | Dauer: ca. 22 Min. I. Toccata II. Aria I III. Aria II IV. Capriccio P a u se CLAUDE DEBUSSY (1862 – 1918) Images pour orchestre Entstehung: 1905 – 12 | Uraufführung: Paris, 20. Februar 1910 (Nr. 2); 2. März 1910 (Nr. 3); 26. Januar 1913 (vollständiger Zyklus) | Dauer: ca. 35 Min. Nr. 1: Gigues. Modéré Nr. 2: Ibéria I. Par les rues et par les chemins. Assez animé II. Les parfums de la nuit. Lent et rêveur III. Le matin d’un jour de fête. Dans un rhythme de Marche lointaine, alerte et joyeuse Nr. 3: Rondes de printemps. Modérément animé Dauer des Konzerts einschließlich Pause: ca. 1 ¾ Stunden HENRI DUTILLEUX Métaboles Fremdartige Traumwelt In mir reifte diese Während in der älteren Musikgeschichte Schlagworte fast intuitive wie „Barock“ oder „Romantik“ zwar vereinfachend, aber nicht ganz unzutreffend einen Stil und zugleich Tendenz, ein Thema auch eine Epoche bezeichnen, sind in der Musik des nicht von Anfang 20.
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