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Elgar, Cello Concerto in E Minor
Cello Concerto in E minor, Op. 85 i. Adagio; Moderato ii. Lento; Allegro molto iii. Adagio iv. Allegro; Moderato; Allegro, ma non troppo; Poco più lento; Adagio Edward Elgar enjoys a curious reputation in his own country. To many, he is the composer of overtly nationalistic music such as Pomp and Circumstance, the musical incarnation of Edwardian imperialism. Although early works such as the Enigma Variations and Imperial March garnered him praise and fame, it is his later works from 1918-1919 that are much more autobiographical in content – none more so than the Cello Concerto in E minor. The Concerto was mostly composed between 1918 and 1919 at Brinkwells, a cottage in the Sussex woods where he wrote three other chamber works – the Violin Sonata, String Quartet and Piano Quintet. Like these other Brinkwells compositions, the Cello Concerto is a deeply introspective work which reveals much about the composer’s state of mind: an aging artist concerned about his waning popularity, his wife’s failing health, and reflecting on the horrors of the First World War. Despite a grossly under-rehearsed première at the Queen’s Hall on 27 October 1919, it has since been established as perhaps the finest cello concerto in the repertoire, alongside Dvořák’s, and the only work of Elgar’s to enjoy regular performances outside the English-speaking world. The Cello Concerto is an emotionally draining work not only for the players but also the listener, its overwhelming mood one of melancholy and autumnal world-weariness. The first movement opens with a declamatory, grandiose statement by the soloist leading, in almost improvisatory style, into a lilting melody; there is a wistfully lyrical middle section before the opening melody returns. -
[email protected] N
FOR IMMEDIATE RELEASE UPDATED May 28, 2015 February 17, 2015 Contact: Katherine E. Johnson (212) 875-5718; [email protected] NEW YORK PHILHARMONIC TO RETURN TO BRAVO! VAIL FOR 13th-ANNUAL SUMMER RESIDENCY, JULY 24–31, 2015 Music Director Alan Gilbert To Lead Three Programs Bramwell Tovey and Joshua Weilerstein Also To Conduct Soloists To Include Violinist Midori, Cellist Alisa Weilerstein, Pianists Jon Kimura Parker and Anne-Marie McDermott, Acting Concertmaster Sheryl Staples, Principal Viola Cynthia Phelps, Soprano Julia Bullock, and Tenor Ben Bliss New York Philharmonic Musicians To Perform Chamber Concert The New York Philharmonic will return to Bravo! Vail in Colorado for the Orchestra’s 13th- annual summer residency there, featuring six concerts July 24–31, 2015, as well as a chamber music concert performed by Philharmonic musicians. Music Director Alan Gilbert will conduct three programs, July 29–31, including an all-American program and works by Mendelssohn, Mahler, Mozart, and Shostakovich. The other Philharmonic concerts, conducted by Bramwell Tovey (July 24 and 26) and former New York Philharmonic Assistant Conductor Joshua Weilerstein (July 25), will feature works by Grieg, Elgar, Tchaikovsky, Rachmaninoff, and Richard Strauss, among others. The soloists appearing during the Orchestra’s residency are pianists Jon Kimura Parker and Anne-Marie McDermott, cellist Alisa Weilerstein, violinist Midori, soprano Julia Bullock and tenor Ben Bliss, and Acting Concertmaster Sheryl Staples and Principal Viola Cynthia Phelps. The New York Philharmonic has performed at Bravo! Vail each summer since 2003. Alan Gilbert will lead the concert on Wednesday, July 29, featuring Mendelssohn’s Violin Concerto, with Midori as soloist, and Mahler’s Symphony No. -
Alisa Weilerstein, Cello Johann Sebastian Bach (1685–1750) E Six Suites for Unaccompanied Cello
Wednesday, May 1, 2019, 8pm First Congregational Church, Berkeley Alisa Weilerstein, cello Johann Sebastian Bach (1685–1750) e Six Suites for Unaccompanied Cello Suite No. 1 in G major, BWV 1007 Prélude Allemande Courante Sarabande Minuet Minuet II Gigue Suite No. 2 in D minor, BWV 1008 Prélude Allemande Courante Sarabande Minuet Minuet II Gigue PAUSE This performance is made possible, in part, by Patron Sponsor Patrick McCabe. Cal Performances’ 2018 –19 season is sponsored by Wells Fargo. 15 Suite No. 3 in C major, BWV 1009 Prélude Allemande Courante Sarabande Bourrée Bourrée Gigue Suite No. 4 in E-flat major, BWV 1010 Prélude Allemande Courante Sarabande Bourrée Bourrée Gigue INTERMISSION Suite No. 5 in C minor, BWV 1011 Prélude Allemande Courante Sarabande Gavotte Gavotte Gigue Suite No. 6 in D major, BWV 1012 Prélude Allemande Courante Sarabande Gavotte Gavotte Gigue Opposite: Photo by Paul Stuart. 16 PROGRAM NOTES A Note from the Artist Johann Sebastian Bach In 1888, a 12-year-old boy in the provinces of e Six Suites for Unaccompanied Cello, Catalonia discovered something on a dusty shelf BWV 1007–1012 of an old music store: a tattered score of the Six In 1713, the frugal Friedrich Wilhelm I of Suites for Vio lon cello Solo by Johann Sebastian Prussia dismissed his household musical estab - Bach. He couldn’t believe what he had found, lishment in Berlin. e young, cultured Prince and immediately recognized it as an invaluable Leopold of Anhalt-Cöthen, 40 miles north of treasure. He bought the score and took it home Leipzig, took the opportunity to engage some with him to practice. -
Czech Philharmonic
Czech Philharmonic Semyon Bychkov Chief Conductor and Music Director Alisa Weilerstein / Cello Thursday Evening, November 1, 2018 at 7:30 Hill Auditorium Ann Arbor 13th Performance of the 140th Annual Season 140th Annual Choral Union Series This evening’s performance is supported by Ken and Penny Fischer and by Martha Krehbiel in memory of David Krehbiel. Media partnership provided by WGTE 91.3 FM and WRCJ 90.9 FM. Special thanks to Matt Albert, Erin Burris, Anthony Elliott, Paul Feeny, and Stephen Shipps for their participation in events surrounding this evening’s performance. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this evening’s performance. The Czech Philharmonic appears by arrangement with Columbia Artists. The Czech Philharmonic’s US tour is sponsored by the Karel Komarek Family Foundation. In consideration for the artists and the audience, please refrain from the use of electronic devices during the performance. The photography, sound recording, or videotaping of this performance is prohibited. PROGRAM Antonín Dvořák Cello Concerto in b minor, Op. 104 Allegro Adagio, ma non troppo Finale: Allegro moderato Ms. Weilerstein Intermission Piotr Ilyich Tchaikovsky Serenade for Strings in C Major, Op. 48 Pezzo in forma di sonatina: Andante non troppo — Allegro moderato Valse: Moderato — Tempo di Valse Élégie: Larghetto elegiaco Finale: Andante — Allegro con spirito Tchaikovsky Francesca da Rimini: Symphonic Fantasia after Dante in e minor, Op. 32 Andante lugubre — Allegro vivo 3 A NOTE FROM THE CONDUCTOR On October 28, 2018 the Czech it remains true today. How fitting Republic celebrated 100 years of is it then, that in the very year that independence. -
String Quartet in E Minor, Op 83
String Quartet in E minor, op 83 A quartet in three movements for two violins, viola and cello: 1 - Allegro moderato; 2 - Piacevole (poco andante); 3 - Allegro molto. Approximate Length: 30 minutes First Performance: Date: 21 May 1919 Venue: Wigmore Hall, London Performed by: Albert Sammons, W H Reed - violins; Raymond Jeremy - viola; Felix Salmond - cello Dedicated to: The Brodsky Quartet Elgar composed two part-quartets in 1878 and a complete one in 1887 but these were set aside and/or destroyed. Years later, the violinist Adolf Brodsky had been urging Elgar to compose a string quartet since 1900 when, as leader of the Hallé Orchestra, he performed several of Elgar's works. Consequently, Elgar first set about composing a String Quartet in 1907 after enjoying a concert in Malvern by the Brodsky Quartet. However, he put it aside when he embarked with determination on his long-delayed First Symphony. It appears that the composer subsequently used themes intended for this earlier quartet in other works, including the symphony. When he eventually returned to the genre, it was to compose an entirely fresh work. It was after enjoying an evening of chamber music in London with Billy Reed’s quartet, just before entering hospital for a tonsillitis operation, that Elgar decided on writing the quartet, and he began it whilst convalescing, completing the first movement by the end of March 1918. He composed that first movement at his home, Severn House, in Hampstead, depressed by the war news and debilitated from his operation. By May, he could move to the peaceful surroundings of Brinkwells, the country cottage that Lady Elgar had found for them in the depth of the Sussex countryside. -
Czech Portraits Friday, Mar
Czech Portraits Friday, Mar. 4 10:30am Vítězslav NovákNovák, Czech composer (1870-1949) Vítězslav Novák held an almost “cult status” popu- larity among his native Czech people. Like his mentor Antonín Dvořák, he used thematic mate- rial from Czech folk melodies in his music and was inspired by the landscape of his native country in South Bohemia. In 1908 he succeeded Dvořák as professor of composition at the Prague Conserva- tory and helped lead the next generation of Czech composers into the new age. Lady Godiva Overture Composed in 1907, duration is 15 minutes This piece was commissioned to open a Czech play of the same name and is taken from a 13th century story about the noble-hearted and beautiful Lady REPERTOIRE Godiva. It tells the story of the Lady’s efforts to end the suffering and oppression of the people in Coventry under her husband’s rule, Count Leofric. After multiple pleas to ask the Count to lower the • NOVÁK taxes, Leofric finally offers her a deal. Lady Godiva Overture The terms, which she ultimately ac- cepts, require her to ride through • ELGAR town naked in exchange for an end to Concerto in E Minor for the heavy taxation. The piece portrays Cello and Orchestra the characters, Count Leofric and • NOVÁK Lady Godiva through contrasting Eternal Longing Op. 33 melodies. Count Leofric has a very fierce motif in C minor while Lady • SMETANA Godiva is delicately portrayed in Eb Moldau from Má Vlast major. The music moves back in forth Coventry painted by Herbert Edward Cox, United Kingdom between the two as if in argument. -
The Bayreuth Festspielhaus: the Metaphysical Manifestation of Wagner's Der Ring Des Nibelungen Matthew Timmermans University of Ottawa
Nota Bene: Canadian Undergraduate Journal of Musicology Volume 8 | Issue 1 Article 6 The Bayreuth Festspielhaus: The Metaphysical Manifestation of Wagner's Der Ring des Nibelungen Matthew Timmermans University of Ottawa Recommended Citation Timmermans, Matthew (2015) "The Bayreuth Festspielhaus: The Metaphysical Manifestation of Wagner's Der Ring des Nibelungen," Nota Bene: Canadian Undergraduate Journal of Musicology: Vol. 8: Iss. 1, Article 6. The Bayreuth Festspielhaus: The Metaphysical Manifestation of Wagner's Der Ring des Nibelungen Abstract This essay explores how the architectural design of the Bayreuth Festspielhaus effects the performance of Wagner’s later operas, specifically Der Ring des Nibelungen. Contrary to Wagner’s theoretical writings, which advocate equality among the various facets of operatic production (Gesamtkuntswerk), I argue that Wagner’s architectural design elevates music above these other art forms. The evidence lies within the unique architecture of the house, which Wagner constructed to realize his operatic vision. An old conception of Wagnerian performance advocated by Cosima Wagner—in interviews and letters—was consciously left by Richard Wagner. However, I juxtapose this with Daniel Barenboim’s modern interpretation, which suggests that Wagner unconsciously, or by a Will beyond himself, created Bayreuth as more than the legacy he passed on. The juxtaposition parallels the revolutionary nature of Wagner’s ideas embedded in Bayreuth’s architecture. To underscore this revolution, I briefly outline Wagner’s philosophical development, specifically the ideas he extracted from the works of Ludwig Feuerbach and Arthur Schopenhauer, further defining the focus of Wagner’s composition and performance of the music. The analysis thereby challenges the prevailing belief that Wagner intended Bayreuth and Der Ring des Nibelungen, the opera which inspired the house’s inception, to embody Gesamtkunstwerk; instead, these creations internalize the drama, allowing the music to reign supreme. -
ONYX4206.Pdf
EDWARD ELGAR (1857–1934) Sea Pictures Op.37 The Music Makers Op.69 (words by Alfred O’Shaughnessy) 1 Sea Slumber Song 5.13 (words by Roden Noel) 6 Introduction 3.19 2 In Haven (Capri) 1.52 7 We are the music makers 3.56 (words by Alice Elgar) 8 We, in the ages lying 3.59 3 Sabbath Morning at Sea 5.24 (words by Elizabeth Barrett Browning) 9 A breath of our inspiration 4.18 4 Where Corals Lie 3.43 10 They had no vision amazing 7.41 (words by Richard Garnett) 11 But we, with our dreaming 5 The Swimmer 5.50 and singing 3.27 (words by Adam Lindsay Gordon) 12 For we are afar with the dawning 2.25 Kathryn Rudge mezzo-soprano 13 All hail! we cry to Royal Liverpool Philharmonic the corners 9.11 Orchestra & Choir Vasily Petrenko Pomp & Circumstance 14 March No.1 Op.39/1 5.40 Total timing: 66.07 Artist biographies can be found at onyxclassics.com EDWARD ELGAR Nowadays any listener can make their own analysis as the Second Symphony, Violin Sea Pictures Op.37 · The Music Makers Op.69 Concerto and a brief quotation from The Apostles are subtly used by Elgar to point a few words in the text. Otherwise, the most powerful quotations are from The Dream On 5 October 1899, the first performance of Elgar’s song cycle Sea Pictures took place in of Gerontius, the Enigma Variations and his First Symphony. The orchestral introduction Norwich. With the exception of Elizabeth Barrett Browning, all the poets whose texts Elgar begins in F minor before the ‘Enigma’ theme emphasises, as Elgar explained to Newman, set in the works on this album would be considered obscure -
ARPCD 0403 Elgar
EDWARD ELGAR THE DREAM OF GERONTIUS JON VICKERS CONSTANCE SHACKLOCK MARIAN NOWAKOWSKI ORCHESTRA SINFONICA E CORO DI ROMA DELLA RAI SIR JOHN BARBIROLLI ROMA, 20.11.1957 ARCHIPEL DESERT ISLAND COLLECTION Edward Elgar (1857-1934) The Dream of Gerontius Op. 38 Oratorio for mezzo-soprano, tenor, bass, full choir and orchestra, based on the poem by Cardinal John Newman CD 1 74:54 CD 2 73:21 Part One Part Two (Cont.) [1] Prelude 10:27 [1] Thy judgment is now near (Angel, Soul of Gerontius) 3:26 [2] Jesu, Maria - I am near to death (Gerontius) 3:23 [2] Jesu! By that shuddering dread (Angel of Agony, Soul of Ger.) 6:07 [3] Kyrie eleison. Holy Mary, pray for him (Chorus) 2:34 [3] Praise to His Name! (Angel) 1:38 [4] Rouse thee, my fainting soul (Gerontius) 0:44 [4] Take me away (Soul of Gerontius) 3:38 [5] Be merciful, be gracious (Chorus) 3:29 [5] Lord, Thou hast been our refuge (Chorus) 1:11 [6] Sanctus fortis, Sanctus Deus (Gerontius) 5:10 [6] Softly and gently, dearly-ransomed soul (Angel, Chorus) 6:22 [7] I can no more (Gerontius) 2:00 [8] Rescue him, O Lord (Gerontius, Chorus) 2:27 [9] Novissima hora est (Gerontius) 1:31 [10] Profisciscere, anima Christiana (Priest) 1:45 BONUS: Hector Berlioz (1803-1869) [11] Go, in the name of Angels and Archangels (Chorus, Priest) 4:44 Symphonie fantastique Op. 14 Part Two [12] Prelude 1:57 [7] Rêveries - Passions 14:04 [13] I went to sleep (Soul of Gerontius) 4:11 [8] Un Bal 6:32 [14] My work is done (Angel, Soul of Gerontius) 8:53 [9] Scène aux Champs 16:04 [15] Low-born clods of brute earth (Chorus, Angel) 2:06 [10] Marche au supplice 4:36 [16] The mind bold and independent (Chorus) 2:37 [11] Songe d’une Nuit de Sabbat 9:38 [17] I see not those false spirits (Soul of Gerontius, Angel) 3:19 [18] Praise to the Holiest (Angel, Chorus) 3:28 The Hallé Orchestra [19] Glory to him (Chorus, Angel, Soul of Gerontius) 2:46 Sir John Barbirolli [20] Praise to the Holiest in the height (Chorus) 7:14 Recording: 02.01.1947. -
Jason Flemyng Maybe I Was Russian in My Former Life…
we have only fresh and savory news! March 2014 | № 03 (126) DO NOT MISS: March 22 — Birthday of Korchma in Krasnokazarmennaya Street March 25 — Birthday of Korchma in Petrovka Street More news and photos at www.tarasbulba.us e U v o [email protected] k l r a h Project manager – Yuri Beloyvan i it n [email protected] i w an e c ad uisine – m Jason Flemyng Maybe I was RussIan In My foRMeR lIfe… 15 yEarS of SuccESS korchma ‘taraS BulBa’ cElEBratES itS BirthDay! GooD nEWS for thE GourmEtS! in march your faVoritE chain of ukrainian rEStaurantS korchma ‘taraS BulBa’ cElEBratES itS 15th anniVErSary. on our BirthDay WE not juSt SErhiy Prytula: rEcEiVE But alSo GiVE out PrESEntS. our motto: 15 yEarS – 25th of march – you’re going to laugh, but i am not a big fan of salo 15% off to Each GuESt. Exotic collEction: indian conch Shell, Wooden Drymba and corn Violin… taraS ShEVchEnko: the 200th anniversary of the birth of the genius’ DELIVERY OF HOMEMADE UKRAINIAN FOOD AND HOTLINE 6+ www.tarasbulba.us (212) 510-75-10 2 | guest guest | 3 ImpressIve settIngs, uneclIpsed actors’ performances, and box offIce records – thIs Is what accompanIed the trIumph of the hIghly – What will be your next project after antIcIpated new versIon of the fIlm vIy. that the fIlm was hIghly successful Is proved by the fact that In russIa oleg stepchenko’s pIcture Viy? Or will you take a break from filming? became the fIrst multI-mIllIon fIlm In 2014 and left the new leodardo dI caprIo fIlm the wolf of wall street far behInd. -
Solving Elgar's Enigma
Solving Elgar's Enigma Charles Richard Santa and Matthew Santa On June 19, 1899, Elgar's opus 36, Variations on a Theme, was introduced to the public for the first time. It was accompanied by an unusual program note: It is true that I have sketched for their amusement and mine, the idiosyn crasies of fourteen of my friends, not necessarily musicians; but this is a personal matter, and need not have been mentioned publicly. The Varia tions should stand simply as a "piece" of music. The Enigma I will not explain-its "dark saying" must be left unguessed, and I warn you that the connexion between the Variations and the Theme is often of the slightest texture; further, through and over the whole set [of variations 1 another and larger theme "goes" but is not played ... So the principal Theme never appears, even as in some late dramas-e.g., Maeterlinck's "L'Intruse" and "Les sept Princesses" -the chief character is never on the stage. (Burley and Carruthers 1972:119) After this premier Elgar give hints about the piece's "Enigma;' but he never gave the solution outright and took the secret to his grave. Since that time scholars, music lovers, and cryptologists have been trying to solve the Enigma. Because the solution has not been discovered in spite of over 108 years of searching, many people have assumed that it would never be found. In fact, some have speculated that there is no solution, and that the promise of an Enigma was Elgar's rather shrewd way of garnering publicity for the piece. -
The Revenge of Geography: What the Map Tells Us About Coming
Copyright © 2012 by Robert D. Kaplan Maps copyright © 2012 by David Lindroth, Inc. All rights reserved. Published in the United States by Random House, an imprint of The Random House Publishing Group, a division of Random House, Inc., New York. RANDOM HOUSE and colophon are registered trademarks of Random House, Inc. The preface contains material from four earlier titles by Robert D. Kaplan: Soldiers of God (New York: Houghton Mifflin Harcourt Publishing Company, 1990), An Empire Wilderness (New York: Random House, Inc., 1998), Eastward to Tartary (New York: Random House, Inc., 2000), and Hog Pilots, Blue Water Grunts (New York: Random House, Inc., 2007). LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Kaplan, Robert D. The revenge of geography : what the map tells us about coming conflicts and the battle against fate / by Robert D. Kaplan. p. cm. eISBN: 978-0-679-60483-9 1. Political geography. I. Title. JC319.K335 2012 320.1′2—dc23 2012000655 www.atrandom.com Title-spread image: © iStockphoto Jacket design: Greg Mollica Front-jacket illustrations (top to bottom): Gerardus Mercator, double hemisphere world map, 1587 (Bridgeman Art Library); Joan Blaeu, view of antique Thessaly, from the Atlas Maior, 1662 (Bridgeman Art Library); Robert Wilkinson, “A New and Correct Map v3.1_r1 But precisely because I expect little of the human condition, man’s periods of felicity, his partial progress, his efforts to begin over again and to continue, all seem to me like so many prodigies which nearly compensate for the monstrous mass of ills and defeats, of indifference and error. Catastrophe and ruin will come; disorder will triumph, but order will too, from time to time.