10 March 2017 Page 1 of 13
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Elektra's Mandate Is to Inspire and Lead in the Choral Art Form Through
Elektra’s mandate is to inspire and lead in the choral art form through excellence in performance and the creation, exploration, and celebration of women’s repertoire. I Am in Need of Music Listener's Guide by Morna Edmundson, Artistic Director Saturday, May 4, 2019 Shaughnessy Heights United Church, Vancouver Elektra Women’s Choir Morna Edmundson, Artistic Director Stephen Smith, piano with special guest, Suzie LeBlanc, soprano and with David Greenberg, violin Welcome! This “Listener’s Guide” is meant to give you insight into Elektra’s season programming and to make the concert experience richer and more meaningful. I’ll be sharing my thoughts on the music we’re singing on May 4, 2019 in Vancouver and May 5 at ArtSpring on Salt Spring Island. Here you’ll also find poems and translations. My days are spent either making music or planning for it to be made, and sometimes I forget because I am so close to it what a privilege it is to be surrounded by the beauty of voices, notes, and words on a daily basis.Our May program celebrates the ineffable mystery of music both with brand new pieces and also arrangements of songs that may connect you to past experiences. It is a treat to welcome our special guest, Canadian soprano Suzie LeBlanc, CM. This is our first-ever collaboration with her, although she and I have known each other for a long time. The concert weaves together many of her passions - baroque music, Acadian music, and the poetry of Elizabeth Bishop. It stand to be a rare insight into a consummate performer who was recently made a member of the Order of Canada for "contributing to the development of early-period music and Acadian culture as a singer and teacher". -
Suzie Leblanc O R I P a H S D E E : U O T Q O O H R P
HaGnd elloria Suzie LeBlanc o r i p a h S d E e : u o t q o o h r P Hand el Bach Vivaldi a B ACD2 2215 ATMA Gloria Handel Nous reconnaissons l’aide financière du gouvernement du Canada par l’entremise du Programme d’aide au développement de l’enregistrement sonore. Suzie LeBlanc We acknowledge the financial support of the Government of Canada through soprano the Sound Recording Development Program for this project. Académie Baroque de Montréal Enregistrement et réalisation / Recorded and produced by: Johanne Goyette Eglise St-Augustin, St-Augustin de Mirabel (Québec) 19-21 août 2001 / August 19-21, 2001 Montage numérique / Digital mastering: Studio l’Esplanade Alexander Weimann Adjoints à la production / Production assistants: Valérie Leclair, Jacques-André Houle Graphisme / Graphic design: Diane Lagacé Couverture / Cover art: Le diptyque de Wilton 1395-99 / The Wilton Diptych 1395-99 2 George Frideric Handel (1685-1759) (attribué à… / attributed to… ) George Frideric Handel o Gloria in excelsis Deo (15:43) Sonate en trio op. 5 n 2 en ré majeur • Trio Sonata Op. 5 No. 2 in D major (8:01) 1 Gloria in excelsis Deo (2:27) 9 Adagio – Allegro (2:34) 2 Et in terra (2:45) 10 Musette : Andante – Allegro – Musette : Andante (3:46) 3 Laudamus te (2:06) 11 Marche (1:15) 4 Domine Deus (1:09) 12 Gavotte : Allegro (0:26) Hélène Plouffe, Christopher Verrette – violons / violins ; 5 Qui tollis peccata (4:00) Mathieu Lussier – basson / bassoon ; Alexander Weimann – orgue / organ 6 Quoniam tu solus – Cum Sancto Spiritu (3:16) Suzie LeBlanc – soprano; ABM -
Slch Prog 2019-20 Ang F Nc Low.Pdf
T TABOUT US T Founded in 1904, the Schulich School of Music of McGill University is home to a diverse community of performers, composers, music theorists, educators, scientists, and researchers, and offers more than 45 undergraduate, graduate, and professional programs. In 2018, 513 undergraduate and 375 graduate students were enrolled at Schulich, with a third of that total coming from outside of Canada. This season, Schulich will present over 600 public events at a variety of venues within the School, throughout the City of Montreal, and elsewhere. S SSS S SCHULICH STUDENT POPULATION 63% 37% PERFORMANCE RESEARCH 34% 33% 33% FROM QUEBEC REST OF CANADA INTERNATIONAL S SSS S @schulichmusic INFORMATION S BOX OFFICE 514-398-4547 · mcgill.ca/music T TABLE OF CONTENTS T About Us ..........................................4 Musical Chairs Welcome Message ..........................5 Chamber Music Festival ...........25 McGill Symphony Orchestra........ 6-7 Schulich in Concert .................. 26-28 Opera McGill ................................ 8-9 Schulich in Your Neighbourhood ......28 Baroque Orchestra ........................10 McGill Noon-Hour Organ ..............29 Contemporary Music Ensemble .......11 Intermezzo .....................................29 McGill Choral Ensembles ........ 12-14 Musical 5 à 7 ..................................30 McGill Wind Orchestra ...................15 Schulich@COC ...............................31 McGill Jazz Ensembles ............ 16-17 Schulich@McCord .........................31 2019-2020 Competitions -
Friday 14 February 2020 12:00 Music Through the Night 6:00 Daybreak
Spanish Songs - Alison Balsom (tpt), G450 - Kazuhito Yamashita (gtr), Phil/Daniel Harding (Virgin 5 45480) Gothenburg SO/Edward Gardner Tokyo String Quartet (RCA RD 60421) (EMI 3 53255) CHOPIN: Ballade No 1 in G minor R SMITH: Air Castles - Ryan Smith HILL: String Quartet No 3 in A minor, Op 23 - Krystian Zimerman (pno) (DG (accordian), Robyn Jaquiery (pno) Carnival - Dominion Quartet (Naxos 423 090) 8.570491) PUCCINI: Oh, saro la piu bella! - Tu, VIVALDI: Violin Concerto in G RV310 Friday 14 February 2020 BACH: Keyboard Concerto in G tu, amore? Tu?, from Manon Lescaut - Adrian Chandler (vln/dir), La Wq43/5 - Trevor Pinnock - Kiri Te Kanawa (sop), José Carreras, Serenissima (Avie AV 2106) 12:00 Music Through the (hpschd/dir), English Concert (CRD Orchestra del Teatro Comunale di Night 3311) Bologna/Richard Cheetham (Decca 7.00 ZIPOLI arr Hunt: Elevazione - SZYMANOWSKI: Nocturne & 475 459) Gordon Hunt (ob/dir), Niklass Tarantella Op 28 - Tasmin Little (vln), KOEHNE: Way Out West - Diana HAYDN: Cello Concerto No 2 in D Veltman (cello), Norrköping SO (BIS Piers Lane (pno) (Chandos CHAN Doherty (ob), Sinfonia HobVIIb/2 (3) - Gautier Capuçon CD 5017) 10940) Australis/Mark Summerbell (ABC 980 (cello), Mahler CO/Daniel Harding LISZT transcr Grainger: Hungarian RACHMANINOV: Prelude No 4 in E 046) (Virgin 5 45560) Fantasy S123 - Ivan Hovorun (pno), Minor, Op 32 - Colin Horsley (pno) DUSSEK: Sinfonia in A - Helsinki Royal Northern College of Music (Atoll ACD 442) Baroque Orch/Aapo Häkkinen RACHMANINOV: Symphony No 2 in Wind Orch/Clark Rundell (Chandos -
Download Booklet
Kalon Kalon I transcribed the simple ostinato patterm, KALON for String Quartet and String Orchestra changed the metre slightly and incorporated a RICHARD BLACKFORD (b. 1954) fast, dance-like drone motif with its exuberant I Lyra mordant decorations. II Beklemmt III Stile Concitato At the beginning of Kalon the string quartet thus becomes a four-part “super-lyra,” featuring Kalon is the Greek word for perfect physical and open strings and fifths like its Cretan model. moral beauty, as conceived by the philosophers The overall structure is ternary, with two fast of Classical Greece. The three movements explore sections based on the lyra motif flanking a different aspects of kalon, also the context in slower, more lyrical section. The entire movement 1 I. Lyra [7.42] which beauty can exist in ugliness and darkness. is based around the lyra motif, but it undergoes 2 II. Beklemmt [9.30] melodic extensions, augmentation, intervallic The two string groups (quartet and orchestra) and rhythmic changes in every section of 3 III. Stile Concitato [6.18] frequently play in different tempi simultaneously, the movement. thereby producing complex and rich sonorities Total timings: [23.32] and textures. Each movement approaches the II Beklemmt combined tempi differently, and each movement explores new antiphonal possibilities, new The title Beklemmt refers to the eight-bar approaches to counterpoint, new definitions of passage in the Cavatina movement of rhythmic consonance and dissonance. Beethoven’s String Quartet No. 13 Op. 130. In that section the first violin becomes I Lyra disassociated from the rest of the quartet, its line is disjointed, syncopated, almost as In 1994 I recorded an old man playing a if the “oppressed, stifled, anguished” melody ALBION QUARTET three-stringed Cretan lyra in Athens during the of its title has become lost, almost in another CZECH PHILHARMONIC filming of Tony Harrison’s Channel 4 film-poem world, another tempo. -
Mendelssohn Originally Composed the Work to a German Text, but Upon
NZ Choral Federation Wellington Region Presents the May Workshop 2018 Concert Mozart & Handel Solemn Vespers & Zadok the Priest featuring Susanna Andersson Alexandra Woodhouse Appleby Luka Venter William King Conductor Tecwyn Evans pianist Mark Dorrell and the May Workshop Choir Saturday 5 May, 7:30 pm Salvation Army Citadel Vivian Street, Wellington PROGRAMME George Frederic Handel Zadok the Priest Choir Dal fulgor di questa spada Will from Giulio Cesare in Egitto Endless pleasure, endless love Susanna & chorus from Semele Wolfgang Amadeus Mozart Que del ciel, che degli dei from La clemenza di Tito Choir Smanie implacabili Alex from Cosi Fan Tutte Deh vieni non tardar Susanna from Le nozze di Figaro Ah grazie, si rendano Luka from La clemenza di Tito Vesperae solennes de confessore dixit; confitebor; beatus vir; laudate pueri; laudate dominum: magnificat SUSANNA ANDERSSON – SOPRANO: ALEXANDRA WOODHOUSE APPLEBY – MEZZO SOPRANO LUKA VENTER – TENOR WILLIAM KING – BASS TECWYN EVANS Conductor New Zealand-born conductor Tecwyn Evans studied composition and conducting at the University of Otago; and under aFulbright Scholarship, at the University of Lawrence, Kansas. He began his professional conducting career as Chorusmaster of the Glyndebourne Festival Opera, making his operatic debut conducting La Bohème for the Glyndebourne Touring Opera. He was a finalist in the 2005 Leeds’ Conducting Competition and established ongoing relationships with the BBC Philharmonic, BBC National Orchestra of Wales, and the BBC Singers alongside varied orchestral, choral, and operatic work across 10 countries. He has conducted the world premieres of works by Sir John Tavener, Anthony Ritchie and Ross Harris, among others. Tecwyn has appeared with all the major NZ orchestras and arts organisations, and is much in demand as both an adjudicator and conducting tutor. -
News Section
100 Tempo 63 (249) 100–104 © 2009 Cambridge University Press doi:10.1017/S0040298209000291 Printed in the United Kingdom news section Composers diana burrell Concerto for Violin with Singer Notes of premières of new works run from three months and Three Ensembles (première) – 15 June London, before to three months following publication of this issue, Christ Church, Spitalfields (Spitalfields Festival)/ i.e. from 1 April to 30 September 2009. There is therefore Trinity College of Music Contemporary Music a three-month overlap between issues, and omissions and Group. late news for the three ‘following’ months of the current issue will be picked up in the three ‘prior’ months of the jonathan dove There Was a Child (première) – next. News of more distant forthcoming premières is given 2 May Norwich, St Andrew’s Hall / Mary Plazas more briefly; full details will be found in subsequent issues. (sop), Toby Spence (ten), City of Birmingham thomas adès Symphony Orchestra, Norwich Festival Chorus, Lieux Retrouvés (première) – 21 June Hewett School Choir c. David Parry. Piano Quintet Snape Maltings, Aldeburgh Festival / Steven Isserlis (première) – 13 June London, Wilton’s Music Hall (vlc), composer (pno). (Spitalfields Festival) Schubert Ensemble. kalevi aho The Bells, Concerto for saxophone quar- tet and orchestra (première) – 23 April Helsinki / brian elias Doubles (première) – 16 May London, Rascher Quartet, Helsinki PO c. John Storgårds. Barbican / BBC Symphony Orchestra c. Jirˇi Beˇlohlávek. julian anderson Fantasia (UK première) – 19 June Aldeburgh Festival / Pierre-Laurent Aimard (pno), anders eliasson Quo Vadis (première) – 15 May BBC Symphony Orchestra c. George Benjamin. Stockholm / Michael Weinius (ten), Swedish Radio Shir Hashirim (première) – 10 August Tanglewood Choir, Swedish Radio SO c. -
1Ere De Couv Mise En Page 1
Nouveautés Juillet/Août 2017 Labels distribués: Acousence, Amati, Ambitus, Ars Producktion, ATMA Classique, AVID, Bayer Records, Black Line/StarsLine, Budapest Music Center, Champs Hill Records, Charade, Choc Classica Collection, Classiquez !, Compass, Continuo Classics, Coviello Classics, Cyclone Production, Daphne, Delphian, Discamera, Doremi, Doron music, ES-Dur, Euphonia, Europ&Art, Farao Classics, Feel Good Music, FLORA, Fra Bernardo, Harp&Co, Hello Stage, Hortus, ICA CLassics, Jazzwerkstatt, Jean- Tél.: 01 42 59 33 28 François Production, Leman Classics, Lodia, MA Recordings, Maguelone, Marcal classics, Maxanter, Melba Recordings, Membran, Meridian, Metronome, Odradek records, OUR Recordings, Phaia music, Premiers Horizons, Printemps des Arts Fax : 09 72 47 72 96 de Monte Carlo, PROFIL, Prova Records, Recart, Relief, Scoville, Signum Classics, Skarbo, STUNT/Sundance, Storyville, Suoni e Colori, Sonarti, Toccata Classics, Troba Vox, Tudor, Tuxedo, Urtext, VLF Productions, West Wind, WW1 Music [email protected] En magasin le : 21 Juillet 2017 Wagner : L’Anneau du Nibelung (Intégrale) 12 Albums Originaux sur 10 CD // Richard Wagner (1813- 1883) : L’Anneau du Nibelung, intégrale (Der Ring des Ni- belungen), cycle de quatre opéras : L'Or du Rhin, La Walkyrie, Siegfried, Le Crépuscule des dieux Enregistrement de 1953 Joseph Keilberth Orchestre du Festival de Bayreuth Martha Mödl / Ira Malaniuk / Regina Resnik Hans Hotter / Gerhard Stolze / Hermann Uhde Gustav Neidlinger / Wolfgang Windgassen L'histoire des débuts du "New Bayreuth", en substance, la résurgence du célèbre festival de Wagner après le règne Nazi, ne peut être racontée sans mentionner le nom de Joseph Keilberth. Avec le cycle du Ring qu'il dirigea, il a mené le projet le plus vaste de Wieland Wagner de 1952 à 1956, ainsi que Lohengrin en 1953 et Le Hollandais volant en 1955, tous deux mis en scène par Wolfgang Wagner. -
CHAN 0691 BOOK.Qxd 9/2/07 2:58 Pm Page 2
CHAN 0691 Front.qxd 9/2/07 2:55 pm Page 1 CHAN 0691 CHACONNE CHANDOS early music CHAN 0691 BOOK.qxd 9/2/07 2:58 pm Page 2 Dietrich Buxtehude (c. 1637–1707) Sacred Cantatas Ich habe Lust abzuscheiden, BuxWV 47 10:10 for two sopranos, bass, two violins, violone and basso continuo 1 [Sonata] 0:58 Lebrecht Music Collection Music Lebrecht 2 Ich habe Lust abzuscheiden 2:23 3 Spann aus, spann aus, ach frommer Gott 1:33 4 Dann was ist doch die schnöde Welt 1:30 5 Wie einer, welcher auf dem Meer 1:53 6 So spann doch aus, ach frommer Gott 1:51 Salve, Jesu, Patris gnate unigenite, BuxWV 94 9:55 for two sopranos, two violins and basso continuo 7 Sonata 0:44 8 Salve, Jesu, Patris gnate unigenite 1:42 9 O vis amoris tui, Jesu, maxima! 2:21 10 Cur fasciis te involvis laceris, Jesule 1:21 11 Cur alges, qui fulmina dira vibras 1:00 12 O suavis, o grandis amor, o fortis amor 1:56 13 Jesu, opstupesco, in quem amorem tui colliquesco 0:47 The Marienkirche in Lübeck where Buxtehude was organist from 1668 until his death in 1707 3 CHAN 0691 BOOK.qxd 9/2/07 2:58 pm Page 4 Jesu dulcis memoria, BuxWV 56 9:19 32 …in omnibus populis mirabilia ejus 0:23 for two sopranos, two violins, violone and basso continuo 33 …quoniam magnus Dominus et laudabilis nimis 1:05 14 Jesu dulcis memoria 1:08 34 Gloria Patri et Filio et Spiritui Sancto 1:35 15 Nil canitur suavius 0:42 16 Jesu, spes poenitentibus 1:00 Ich halte es dafür, BuxWV 48† 11:27 17 Jesu, dulcedo cordium 0:32 for soprano, bass, violin, viola, violone and basso continuo 18 Nec lingua valet dicere 0:49 35 Sonata 1:40 -
Download Booklet
660185-86bk Gluck US 11/01/2005 03:04pm Page 28 ORPHÉE ORPHEUS Ah, justes dieux! Ah, just gods! Quelle est notre reconnaissance! How grateful we are! GLUCK L’AMOUR LOVE Ne doutez plus de ma puissance. No longer doubt my power. Orphée et Euridice Je viens vous retirer de cet affreux séjour. I have come to take you from this dreary abode. Jouissez désormais des faveurs de l’amour. Enjoy henceforth the favour of love. (1774 Paris Version) SCÈNE III SCENE III Fouchécourt • Dubosc • Le Blanc Temple magnifique dédié à l’Amour. Orphée, Magnificent temple dedicated to Love. Orpheus, Euridice et l’Amour, précédés de bergers et de Euridice and Love, preceded by shepherds and Opera Lafayette Orchestra and Chorus nymphes qui viennent fêter le retour d’Euridice. nymphs coming to celebrate Euridice’s return. Ryan Brown ORPHÉE ORPHEUS L’Amour triomphe, Love is triumphant, Et tout ce qui respire and all living things Sert l’empire de la beauté. are servants of beauty. Sa chaîne agréable Its pleasant bonds Est préférable à la liberté. are preferable to liberty. LE CHOEUR CHORUS L’Amour triomphe, etc. Love is triumphant, etc. L’AMOUR LOVE Dans les peines, dans les alarmes In pain and in worry Je fais souvent languir les coeurs. I often cause hearts to languish. Mais, dans un instant, mes charmes But, in an instant, my magic Font pour jamais oublier mes rigueurs. causes my severity to be forgotten forever. LE CHOEUR CHORUS L’Amour triomphe, etc. Love is triumphant, etc. EURIDICE EURIDICE Si la cruelle jalousie If cruel jealousy A troublé mes tendres désirs, troubled my tender desires, Les douceurs dont elle est suivie the joys which followed it Sont des chaînes de plaisirs. -
David POPPER
POPPER Cello Concertos Martin Rummel, Cello Mari Kato, Piano Czech Chamber Philharmonic Orchestra Pardubice Tecwyn Evans David Popper (1843–1913) Cello Concertos The cellist David Popper was born in Prague in 1843, the element in the repertoire of aspirant cellists, while his and recorded here with piano accompaniment, a medium followed by the inevitable dotted rhythms of the rapid final son of the Prague Cantor. He studied the cello there other works include compositions that give an opportunity to which it is well suited. It is introduced by the piano, with movement, recalling elements of the opening. Suggesting under the Hamburg cellist Julius Goltermann, who had for virtuoso display. dotted rhythms that have a continuing part to play in the chamber music rather than a concerto, the work adds to taken up an appointment at the Prague Conservatory in Popper’s Cello Concerto No. 1 in D minor, Op. 8, whole work. The cello enters with a display of double- the series of four concertos that reflect Popper’s growing 1850. It was through Liszt’s then son-in-law, the pianist was published in Mainz in 1871 and dedicated to his stopping and is later to introduce a secondary lyrical maturity as a composer, with music rather than technical and conductor Hans von Bülow, that Popper was former teacher, Julius Goltermann. After two bars of theme. The following short Lento assai , starts in a sombre virtuosity at the heart of the final concerto. recommended in 1863 to a position as Chamber Virtuoso orchestral introduction, the soloist enters with an F major F minor, gradually assuming a more lyrical mood, as it at the court of the Prince Friedrich Wilhelm Konstantin ascending arpeggio, an indication of some harmonic leads, through a short cadenza, to a third movement, Keith Anderson von Hohenzollern, who had had a new residence with a ambiguity. -
NMC232-Flux New Music Booklet Itunes.Indd
new music · new dance Gavin Higgins Atomic Café Mark Bowden Airs No Oceans Keep Cheryl Frances-Hoad The Madness Industry Kate Whitley Duo for Violin and Viola Quinta Themistocles is Captured Flux 1 Gavin Higgins Atomic Café 11’16 Rambert Orchestra · Paul Hoskins conductor 2 Mark Bowden Airs No Oceans Keep 14’28 Fidelio Trio 3 Cheryl Frances-Hoad The Madness Industry 9’36 Onyx Brass 4 Kate Whitley Duo for Violin and Viola 11’04 Eloisa-Fleur Thom violin · Asher Zaccardelli viola Quinta Themistocles is Captured 5 I A Ship for Asia Minor 3’14 6 II I have with me two Gods 2’08 7 III The Likely and the Rich 3’27 Quinta violin, magnetic resonator piano, electronics Total timing: 55’46 photo © Johan Persson Introduction from Paul Hoskins Rambert Music Director When I thought up the idea of a Rambert Music Fellowship in 2009, I had nothing more than a hunch that Rambert could be an interesting and inspiring place for a composer to be for a year. Since then, the fi ve composers featured on this album have helped to make the fellowship what it is today: a scheme widely admired for the way it supports new music and new dance, and facilitates connections between artists in different fi elds. Mini-residencies and associated projects have also proliferated under Rambert’s fellowship umbrella. Dozens of brilliant ideas have been brought in through the doors of our studios, collided with the people there, and allowed to bubble away. Some of the results have disappeared into the ether, some have had short lives in studio performances, others have been immortalised in established dance works or musical scores and recordings.