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City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Pace, I. ORCID: 0000-0002-0047-9379 (2021). New Music: Performance Institutions and Practices. In: McPherson, G and Davidson, J (Eds.), The Oxford Handbook of Music Performance. Oxford, UK: Oxford University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/25924/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] New Music: Performance Institutions and Practices Ian Pace For publication in Gary McPherson and Jane Davidson (eds.), The Oxford Handbook of Music Performance (New York: Oxford University Press, 2021), chapter 17. Introduction At the beginning of the twentieth century concert programming had transitioned away from the mid-eighteenth century norm of varied repertoire by (mostly) living composers to become weighted more heavily towards a historical and canonical repertoire of (mostly) dead composers (Weber, 2008). -
Liner Notes, Visit Our Web Site
“Music of Our Time” When I worked at Columbia Records during the second half of the 1960s, the company was run in an enlightened way by its imaginative president, Goddard Lieberson. Himself a composer and a friend to many writers, artists, and musicians, Lieberson believed that a major record company should devote some of its resources to projects that had cultural value even if they didn’t bring in big profits from the marketplace. During those years American society was in crisis and the Vietnam War was raging; musical tastes were changing fast. It was clear to executives who ran record companies that new “hits” appealing to young people were liable to break out from unknown sources—but no one knew in advance what they would be or where they would come from. Columbia, successful and prosperous, was making plenty of money thanks to its Broadway musical and popular music albums. Classical music sold pretty well also. The company could afford to take chances. In that environment, thanks to Lieberson and Masterworks chief John McClure, I was allowed to produce a few recordings of new works that were off the beaten track. John McClure and I came up with the phrase, “Music of Our Time.” The budgets had to be kept small, but that was not a great obstacle because the artists whom I knew and whose work I wanted to produce were used to operating with little money. We wanted to produce the best and most strongly innovative new work that we could find out about. Innovation in those days had partly to do with creative uses of electronics, which had recently begun changing music in ways that would have been unimaginable earlier, and partly with a questioning of basic assumptions. -
Contents Price Code an Introduction to Chandos
CONTENTS AN INTRODUCTION TO CHANDOS RECORDS An Introduction to Chandos Records ... ...2 Harpsichord ... ......................................................... .269 A-Z CD listing by composer ... .5 Guitar ... ..........................................................................271 Chandos Records was founded in 1979 and quickly established itself as one of the world’s leading independent classical labels. The company records all over Collections: Woodwind ... ............................................................ .273 the world and markets its recordings from offices and studios in Colchester, Military ... ...208 Violin ... ...........................................................................277 England. It is distributed worldwide to over forty countries as well as online from Brass ... ..212 Christmas... ........................................................ ..279 its own website and other online suppliers. Concert Band... ..229 Light Music... ..................................................... ...281 Opera in English ... ...231 Various Popular Light... ......................................... ..283 The company has championed rare and neglected repertoire, filling in many Orchestral ... .239 Compilations ... ...................................................... ...287 gaps in the record catalogues. Initially focussing on British composers (Alwyn, Bax, Bliss, Dyson, Moeran, Rubbra et al.), it subsequently embraced a much Chamber ... ...245 Conductor Index ... ............................................... .296 -
20 November 2009 Page 1 of 42 SATURDAY 14 NOVEMBER 2009 Colin Tilney (Harpsichord)
Radio 3 Listings for 14 – 20 November 2009 Page 1 of 42 SATURDAY 14 NOVEMBER 2009 Colin Tilney (harpsichord) SAT 01:00 Through the Night (b00nppmv) 4.49am Including: Handel, George Frideric (1685-1759): Cara sposa, amante cara (Rinaldo, Act 1, Sc 7) 1.00am Graham Pushee (countertenor) Mozart, Wolfgang Amadeus (1756-1791): Mass in C minor, K427 Australian Brandenburg Orchestra (Grosse Messe) Paul Dyer (artistic director) Marita Solberg (soprano) Marianne Beate Kielland (mezzo-soprano) 5.01am Fredrik Akselberg (tenor) Le Concert Brise: Improvisation on La Monica Trond Gudevold (bass) Le Concert Brise Norwegian National Opera Choir Oslo Philharmonic 5.08am Arvid Engegard (conductor) Bach, Johann Sebastian (1685-1750): Contrapunctus 1 and 2 (The Art of Fugue) 2.20am Young Danish String Quartet Bach, Johann Sebastian (1685-1750): Fantasia and Fugue in G minor for organ, BWV542 (Great) 5.15am Ligita Sneibe (organ) Ravel, Maurice (1875-1937): Piano Concerto in G Alwin Bar (piano) 2.32am Netherlands Radio Symphony Orchestra Schumann, Robert (1810-1856): String Quartet in A, Op 41 No 3 Bernhard Klee (conductor) Faust Quartet 5.38am 3.01am Sullivan, Arthur (1842-1900): Symphony in E (Irish) Goldmark, Karoly (1830-1915): Overture (In Italien, Op 49) BBC Philharmonic Hungarian Radio Orchestra Richard Hickox (conductor) Geza Oberfrank (conductor) 6.14am 3.13am Trad, arr. Kreisler, Fritz (1875-1962): Farewell to Cucullain Moniuszko, Stanislaw (1819-1872): Triolet (Triolet); Dumka; Londonderry Air - an old Irish melody (orig for violin and piano) Przyczyna -
No. 90, December 2002
No. 90, December 2002 PRESIDENT'S REPORT Dear Members For many of us, this Newsletter and Barbara McNulty's President's Reports have long been synonymous. Only now, writing my first report as president, do I realise how much of Barbara's personality was infused in her reports, making them much more than a hard act to follow. Those of you who were lucky enough to attend our AGM in July will remember the warmth and affection of the spontaneous ovation we gave Barbara when she stepped down as president. This expressed more than words could our gratitude for her tireless work on our behalf over many years on the committee, which Barbara continues in the role of secretary and as vice president "ex officio". Most of you, I suspect, think of AGMs as events you're lucky to avoid, but ours in July was very different. Our Society makes regular donations to support young talented Australians studying overseas, such as our support of the Bayreuth Scholarship, and we sponsor artists in local productions. Prior to the AGM, we had the chance to hear, in the glorious and intimate setting of the Paddington Uniting Church, the depth of talent we have helped in a small way to foster, when Lisa Harper-Brown and Stuart Skelton gave a recital, with Francis Greep and Michael Black. It was a delight to hear and see such bright, young talent, and the committee will be looking over the next few months at other ways we may be able to help singers and musicians starting out in their careers. -
CHAN 9836 Front.Qxd 30/8/07 1:02 Pm Page 1
CHAN 9836 Front.qxd 30/8/07 1:02 pm Page 1 CHAN 9836 CHANDOS MAHLER Symphony No. 4 Eva Johansson soprano Danish National Radio Symphony Orchestra Leif Segerstam CHAN 9836 BOOK.qxd 30/8/07 1:03 pm Page 2 Gustav Mahler (1860–1911) AKG Symphony No. 4 in G major . G-Dur . sol majeur 1 I Bedächtig 18:11 2 II In gemächlicher Bewegung. Ohne Hast 10:34 3 III Ruhevoll 22:39 4 IV Sehr behaglich 10:10 TT 61:42 Eva Johansson soprano Danish National Radio Symphony Orchestra Leif Segerstam Gustav Mahler 2 3 CHAN 9836 BOOK.qxd 30/8/07 1:03 pm Page 4 begun until mid-July of 1899, shortly after St John’s lamb is chased by Herod and Mahler: Symphony No. 4 the composition of the song Revelge slaughtered for the celestial banquet, while (Reveille). Much changed in appearance, it St Luke kills the oxen. The pathos of was completed in draft the following summer Mahler’s music at this point is hardly In his Fourth Symphony Mahler returned to 5 Die Welt ohne Schwere (The world without (on 5 August) but in neither year was its oppressive, although the cries of the animals the scale of the First and to the conventional weight) composition easy. Mahler continued to revise are distinctly heard in the orchestra. But he scheme of four movements. From the epic 6 Das himmlische Leben (Heavenly life) it in the winter of 1900–01 and worked on introduced a darker note in his ghostly world of the Second and Third Mahler That Mahler may have first imagined the aspects of its orchestration long after the first scherzo, which at the Amsterdam retained a single soprano soloist for the finale. -
919X Auto Reverse Stereo Cassette Deck PEMOTE SENSOR Marlboro Red Or Longhorn 1110'S- You Get a Lot to Like
MARCH 1S90 --''-I.- IC-I i-o-o-o 4- 0- o - ê I I -I INCORPORATING HIGH FlOILITY' 0-.1.-1,.0 1.0 0.0.-1.,1, 0041 r- ti 61 1'8 4-.41 4-11 4.14 if 0.1..1,1,0, 0,1.-1 I 0. 4 00 4 4 4 1 I 8 , 1 1 - 2-111 C.1.1-111-11 0.444-4,110,411.11,11.-108-1.-1.1- 4111-14 C-0t,11 4 .`,1 4 .1, 1,9 +.1,0..1,1.10 o -o- I p 4 0 40040-40-4 1.'0 t-4.-$--I.-I- 1-4,10.401000.11.-1.-1.11, 140.40,4041.-4,4,11.-1...0,1,101 N1,011-4'10-1,8 I- 8,1.-1-1,1,1 Nq 0.4 t4o e-s.a r a .1I .-4,40,11,110.11.1,-8,1.0.1..-1.-11I r-ro vie too ,oo .^4^0.-4.-1...5.1,1,-4,1,1,1-A Id OILL11 0.1 - .40-0041.-4,1,1-4,6.4.1,1-1,-1, 1,1 CHOOSING A CUSTOM INSTALLER J"410.1.1-4.-4.8.-1,11.11.- I -411, # I 4"..0 I .11, -1,..11.1,1..0 -10.0,10.1.1.- 414.41-.1...4.-1,14.1,4,1.........8..8...p 4.0 1.4 0.4 -4 .4 0'.I ...11.4 I 10. a - I TEST REPORTS: YAMAHA RECEIVER, .5,5 0,4 0-1..0,.8.8..10-1,11-0,...0.1. -
The Glimmerglass Festival
A 2017 Guide FEATURE ARTICLE Training Opera’s Next Generation A Tale of Two Festivals April 2017 Festivals Editor’s Note In our largest and most varied Guide to Summer Festivals yet, we focus on a common thread: training the next generation of performers and the artistic personnel who support them. At many festivals, young artists receive private lessons, coaching sessions, master classes, or all of the above during the day. By night they are either performing, observing the seasoned pros who train them by day, or a combination of the two. But honing or developing the skills of tomorrow’s generation of musicians is only part of the equation. It’s summertime, after all, and while the living may not exactly be “easy,” it’s certainly a lot more relaxed than during the season or school year. Consider the difference between waiting in the green-room line post-concert A 2017 Guide to shake the maestro’s hand vs. running into him in the festival cafeteria line, or at the local pub after the concert, or on a morning jog. Such is the kind of cross-fertilization for which festivals are known, and one of the reasons they are such ideal settings for rising artists. Sometimes the trainees are fully integrated into the schedule, such as at the Santa Fe Opera, where young artists are featured, often in leading roles. Sometimes they work independently of the main event, such as at Tanglewood, where the Tanglewood Music Center Orchestra, for instance, is comprised entirely of TMC Fellows and plays its own concerts, alongside the center-stage Boston Symphony Orchestra (whose members form much of the faculty). -
Berio Morton Feldman
NEWS AND IMUSIKNFORMATION FROM UNIVERSAL EDITIOBLATTERN 4 Umberto Eco on LuCIANO BERIO MORTON “American Sublime” FELDMAN ARNOLD 100th anniversary of the “scandal concert” SCHÖnbERG JAY “Metamorphosis of sound” SCHWARTZ Kim Kowalke on KURT WEILL JANUARY SUNDAY 14; 18:00 Sunday 28; 18:00 • OMAGGIO A BERIO IV OMAGGIO A BERIO VII FRIDAY 18; 21:30 ANDREA LUCCHESINI piano REMIX ENSEMBLE CASA DA MÚSICA OMAGGIO A BERIO I Programme: Jonathan Stockhammer conductor ORQUESTRA SINFÓNICA DO PORTO CASA DA MÚSICA Luciano Berio: 2 Encores: Brin, Leaf Programme: Christoph König conductor Luciano Berio: 2 Encores: Erdenklavier, Luciano Berio: Tempi Concertati Programme: Wasserklavier Luciano Berio: 4 Dédicaces Luciano Berio: 1 Encore: Luftklavier Luciano Berio: 1 Encore: Feuerklavier SATURDAY 19; 18:00 JUNE OMAGGIO A BERIO II FRIDAY 26; 21:00 • REMIX ENSEMBLE CASA DA MÚSICA OMAGGIO A BERIO V TUESDAY 11; 21:00 Peter Rundel conductor 1st part OMAGGIO A BERIO VIII Lise Milne voice REMIX ENSEMBLE CASA DA MÚSICA REMIX ENSEMBLE CASA DA MÚSICA Programme: Jonathan Stockhammer conductor Emilio Pomàrico conductor Luciano Berio: Recital for Cathy Jonathan Ayerst piano Stephanie Wagner flute Programme: Programme: Luciano Berio: Points on the curve to find… Luciano Berio: Serenata for flute 2nd part and 14 instruments ORQUESTRA SINFÓNICA DO PORTO CASA DA MÚSICA APRIL THEATRE OF VOICES • Lothar Zagrosek conductor SATURDAY 13; 18:00 Programme: OMAGGIO A BERIO III Luciano Berio: Sinfonia OCTOBER ORQUESTRA SINFÓNICA DO PORTO CASA DA MÚSICA • Olari Elts conductor SATURDAY -
Sæson 2006 2007
SÆSON TORSDAGSKONCERT – SÆSONÅBNING FREDAGSKONCERTTorsdagskoncert 2.10. september maj 2007 kl. 2004 20 kL. 20 3.Radiohusets september Koncertsal2004 kl. 20 Radiohusets Koncertsal 2006 2007 TORSDAGSKONCERT – SÆSONAFSLUTNING Torsdagskoncert – Sæsonafslutning DR Radiosymfoniorkestret Torsdag 10. maj kl. 20 Radiohusets Koncertsal Dirigent: Marc Albrecht Solister: Eva Johansson, Isolde John Treleaven, Tristan Randi Stene, Brangäne / Wesendonk Lieder Attila Jun, kong Marke Poul Elming, Kurvenal / Melot Koncertmester: Christina Åstrand Richard Wagner (1813-1883) Richard Wagner Tristan og Isolde, forspil (1857-59) Tristan og Isolde, 2. akt (1857-59) Varighed: ca. 10’ Varighed: ca. 86’ Richard Wagner Torsdagskoncerten sendes direkte i P2 og Wesendonk Lieder (1857-58) genudsendes i P2 søndag 13. maj kl. 10. Koncerten sendes desuden til Estland og 1. Der Engel (instrumenteret af F. Mottl) via EBUs Natradio. 2. Stehe still (instrumenteret af F. Mottl) 3. Im Treibhaus (instrumenteret af F. Mottl) 4. Schmerzen (instrumenteret af F. Mottl) 5. Träume (instrumenteret af R. Wagner) Varighed: ca. 21’ Pause ca. 20.35 Redaktion og opsætning: Line Breuning. Korrektur og sangtekster: Magna Blanke. Tryk: Rek-Art Offset. Producent: Per Holst. Producer: Ivar Munk. Teknik: Jan Oldrup Regissør: Morten Danvad Foto: Marco Borggreve Marc Albrecht Den tyske dirigent Marc Albrecht er i dag chef for Strasbourg Filharmonikerne og en af de mest efter- spurgte yngre Wagner-dirigenter. Efternavnet får sikkert nogen til at tænke på DR Radiosymfoniorkestrets tidligere chefdirigent, Gerd Albrecht, men de to er ikke i familie. Det måtte Marc Albrecht fortælle mange gange, da han som 24-årig fik en af sine første stillinger på Operaen i Hamborg – som assistent for Gerd Albrecht! Derimod er Marc Albrecht søn af en anden tysk dirigent, George Alexander Albrecht, der også var hans første lærer. -
Sæson 2010-11 (Pdf)
201011 Nikolaj Lund: sort-hvide fotos s. 1, 2, 3, s. 4 øverst, s. 6-7 (fire solister), s. 8, s. 12-13, s. 14-15, små fotos s. 16, s. 20, s. 23, s. 24, s. 27., s. 29 og s. 36 samt farve fotos s. 3 (Kjeldgaard), s. 5 (Busk Sørensen), s. 15 (Møldrup) · Anders Bach: s. 9, 11, 13, 16, 22 (Andretta) · Serge Derossi/Naïve: s. 6 (Antonacci) Bemærk: Alle henvendelser angående billetter og abonnementer, kontakt · Søren Svendsen: s. 7 (Trio con Brio) · Stephen Walthew: s. 10 (Iorio) · Andrew Eccles/DECCA: s. 10 (Fleming) · Sylviane Falcinelli: s. 11 (Guillou) · Jakob Boserup: s. 13 (DR Pigekoret) · Anders venligst Musikhusets billetsalg, tlf: 8940 4040. Online abonnements- og Herming: s. 15 (Shirinyan) · Henrik Stenberg: s. 14 (Christensen) · Peter Riagud: s. 17 (Järvi) · Lisa Marie Mazzucco: s. 17 (Simonyan) · Tor Løkken: s. 17 (Johansson) · Roger Matroianni: s. 17 (Ogren) billetbestilling på www.musikhusetaarhus.dk eller www.aarhussymfoni.dk. · Thomas A.: s. 25 (Brüel) · DG Photography: s. 15 og 22 (Urbanski) Mediesponsor: Tryksponsor: Programredaktion: Per Weile Bak, Palle Kjeldgaard og Mariann Sejer Nielsen. Design: Waypoint Communication Oplag: 100.000 stk. - Papir: Satimat fra Arjowiggins PAPIR: SATIMAT FRA ARJOWIGGINS Sommerkoncerter 4-5 Festuge Classic 2010 6 Symfonikoncerter 7-23 Familiekoncerter 24-25 Aarhus Symfoniorkester ansatte 26 Kammerkoncerter 27 Aarhus Symfoniorkesters faddere 29 Mere om dit orkester 30 Billetpriser, abonnement og bestillingskupon 31-34 Velkommen Jubilæumsfesten med dit symfoniorkester fortsætter i denne sæson nr. 76. Den 14. januar 1935 var dagen for det stiftende møde, som førte til oprettelsen af Aarhus By-Orkester, og den 28. -
FLUX Quartet Concerts, June 2021
CONCERTS FROM THE LIBRARY OF CONGRESS 2020-2021 The McKim Fund in the Library of Congress FLUX QUARTET WITH CORY SMYTHE & OLIVER LAKE IN TWO CONCERTS Thursday & Friday, June 10 & 11, 2021 ~ 8:00 pm The Library of Congress Virtual Events The MCKIM FUND in the Library of Congress was created in 1970 through a bequest of Mrs. W. Duncan McKim, concert violinist, who won international prominence under her maiden name, Leonora Jackson; the fund supports the commissioning and performance of chamber music for violin and piano. Conversation with the Artists Join us online at https://loc.gov/concerts/flux-quartet-june10. html and https://loc.gov/concerts/flux-quartet-june11.html for two conversation with the artists, available starting at 10am on Thursday, June 10, 2021 & Friday, June 11, 2021, respectively. Facebook During-concert Chat Want more? Join other concert goers and Music Division curators during the concert for a chat that may include the artists, depending on availability. You can access this during the premiere and for a few minutes after by going to facebook.com/pg/libraryofcongressperformingarts/videos How to Watch Concerts from the Library of Congress Virtual Events 1) See each individual event page at loc.gov/concerts 2) Watch on the Library's YouTube channel: youtube.com/loc 3) Watch the premiere of the concert on Facebook: facebook.com/libraryofcongressperformingarts/videos Videos may not be available on all three platforms, and some videos will only be accessible for a limited period of time. The Library of Congress Virtual Event Thursday, June 10, 2021 — 8:00 pm The McKim Fund in the Library of Congress FLUX QUARTET TOM CHIU & CONRAD HARRIS, VIOLINS MAX MANDEL, VIOLA FELIX FAN, CELLO WITH OLIVER LAKE, Saxophone & CORY SMYTHE, Piano Program I 1 Program I Oliver Lake Hey Now, Hey Roscoe Mitchell 9/9/99, With CARDS (2009/2011, rev.