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Grieg & Musical Life in England
Grieg & Musical Life in England LIONEL CARLEY There were, I would prop ose, four cornerstones in Grieg's relationship with English musicallife. The first had been laid long before his work had become familiar to English audiences, and the last was only set in place shortly before his death. My cornerstones are a metaphor for four very diverse and, you might well say, ve ry un-English people: a Bohemian viol inist, a Russian violinist, a composer of German parentage, and an Australian pianist. Were we to take a snapshot of May 1906, when Grieg was last in England, we would find Wilma Neruda, Adolf Brodsky and Percy Grainger all established as significant figures in English musicallife. Frederick Delius, on the other hand, the only one of thi s foursome who had actually been born in England, had long since left the country. These, then, were the four major musical personalities, each having his or her individual and intimate connexion with England, with whom Grieg established lasting friendships. There were, of course, others who com prised - if I may continue and then finally lay to rest my architectural metaphor - major building blocks in the Grieg/England edifice. But this secondary group, people like Francesco Berger, George Augener, Stop ford Augustus Brooke, for all their undoubted human charms, were firs t and foremost representatives of British institutions which in their own turn played an important role in Grieg's life: the musical establishment, publishing, and, perhaps unexpectedly religion. Francesco Berger (1834-1933) was Secretary of the Philharmonic Soci ety between 1884 and 1911, and it was the Philharmonic that had first prevailed upon the mature Grieg to come to London - in May 1888 - and to perform some of his own works in the capital. -
Beyond the Storm
Pamela J. Marshall Beyond the Storm oboe collection of Poetry-Inspired Solos PREVIEWSpindrift Music Company www.spindrift.com Publishing contemporary classical music and promoting its performance and appreciation collection of Poetry-Inspired Solos Beyond the Storm by Pamela J. Marshall for oboe La Mer by Oscar Wilde (1854-1900) From Poems, 1881 A white mist drifts across the shrouds, A wild moon in this wintry sky Gleams like an angry lion's eye Out of a mane of tawny clouds. The muffled steersman at the wheel Is but a shadow in the gloom;-- And in the throbbing engine-room Leap the long rods of polished steel. The shattered storm has left its trace Upon this huge and heaving dome, For the thin threads of yellow foam Float on the waves like ravelled lace. PREVIEWSpindrift Music Company www.spindrift.com aer "La Mer" by Oscar Wilde Beyond the Storm Pamela J. Marshall Andante misterioso, con licenza q = 86 Oboe p p mp pp mp pp 2 p pp mp 4 (like a throbbing engine) 5 (as if two voices, staccato notes extremely clipped) 11 mp pp 15 18 mp pp pp 21 pp mp 26 mp 27 PREVIEW Copyright © 2007 Pamela J. Marshall 28 mf 29 f 33 mf 38 p mp 43 mf 48 mp 51 pp 54 mp p 57 p mf 61 PREVIEWmp 64 p ppp 2 Spindrift Music Company Publishing contemporary classical music and promoting its performance and appreciation 38 Dexter Road Lexington MA 02420-3304 USA 781-862-0884 [email protected] www.spindrift.com Selected Music by Pamela J. -
Christianialiv
Christianialiv Works from Norway’s Golden Age of wind music Christianialiv The Staff Band of the Norwegian Armed Forces The second half of the 19th century is often called the “Golden Age” of Norwegian music. The reason lies partly in the international reputations established by Johan Svendsen and Edvard Grieg, but it also lies in the fact that musical life in Norway, at a time of population growth and economic expansion, enjoyed a period of huge vitality and creativity, responding to a growing demand for music in every genre. The Staff Band of the Norwegian Armed Forces (to use its modern name) played a key role in this burgeoning musical life not just by performing music for all sections of society, but also by discovering and fostering musical talent in performers and composers. Johan Svendsen, Adolf Hansen, Ole Olsen and Alfred Evensen, whose music we hear on this album, can therefore be called part of the band’s history. Siste del av 1800-tallet er ofte blitt kalt «gullalderen» i norsk musikk. Det skyldes ikke bare Svendsens og Griegs internasjonale posisjon, men også det faktum at musikklivet i takt med befolkningsøkning og økonomiske oppgangstider gikk inn i en glansperiode med et sterkt behov for musikk i alle sjangre. I denne utviklingen spilte Forsvarets stabsmusikkorps en sentral rolle, ikke bare som formidler av musikkopplevelser til alle lag av befolkningen, men også som talentskole for utøvere og komponister. Johan Svendsen, Adolf Hansen, Ole Olsen og Alfred Evensen er derfor en del av korpsets egen musikkhistorie. The Staff Band of the Norwegian Armed Forces / Ole Kristian Ruud Recorded in DXD 24bit/352.8kHz 5.1 DTS HD MA 24/192kHz 2.0 LPCM 24/192kHz + MP3 and FLAC EAN13: 7041888519027 q e 101 2L-101-SABD made in Norway 20©14 Lindberg Lyd AS 7 041888 519027 Johan Svendsen (1840-1911) Symfoni nr. -
February 07, 2018
February 07, 2018: (Full-page version) Close Window “Work gives you meaning and purpose and life is empty without it.” — Stephen Hawking Start Buy CD Record Program Composer Title Performers Stock Number Barcode Time online Label Sleepers, Rimsky- 00:01 Buy Now! Sadko, Op. 5 (Symphonic Poem) Mexico City Philharmonic/Batiz MHS 512145A N/A Awake! Korsakov 00:16 Buy Now! Bach Sonata No. 3 in C, BWV 1005 Manuel Barrueco EMI 56416 724355641625 00:38 Buy Now! Strauss, R. Suite ~ Der Rosenkavalier Philadelphia Orchestra/Ormandy Sony 88725417202 887254172024 01:02 Buy Now! Puccini Chrysanthemums Quartetto di Cremona Klanglogo 1400 4037408014007 01:10 Buy Now! Wieniawski Violin Concerto No. 1 in F sharp minor, Op.14 Bisengaliev/Polish Nat'l RSO/Wit Naxos 8.553517 730099451727 01:40 Buy Now! Telemann Concerto in F for Recorder & Bassoon Berardi/Godburn/Philomel Baroque Centaur 2366 044747236629 The Chrysanthemum (An Afro-American 02:00 Buy Now! Joplin Roy Eaton Sony 62833 074646283325 Intermezzo) 02:06 Buy Now! Beethoven Piano Concerto No. 3 in C minor, Op. 37 Wass/BBC Philharmonic/Sinaisky BBC MM221 n/a 02:46 Buy Now! Mozart Fantasia in C minor, K. 475 Alfred Brendel Philips 456 727 028945672724 03:00 Buy Now! Grieg The Last Spring ~ Two Elegiac Melodies, Op. 34 Malmö Symphony/Engeset Naxos 8.508015 747313801534 03:06 Buy Now! Prokofiev Overture ~ Semyon Kotko, Op. 81 Russian National Orchestra/Pletnev DG 439 892 028943989220 Widlund/Royal Stockholm 03:11 Buy Now! Stenhammar Piano Concerto No. 1 in B flat minor Chandos 9074 095115907429 Philharmonic/Rozhdestvensky 04:00 Buy Now! Haydn Notturno No. -
Print-At-Home Programme
Wednesday 26 May 2021 Thursday 27 May 2021 Barbican GRIEG, RACHMANINOFF & BEETHOVEN Edvard Grieg The Last Spring Serge Rachmaninoff Piano Concerto No 2 Ludwig van Beethoven Symphony No 5 Michael Tilson Thomas conductor Yuja Wang piano London Symphony Orchestra Welcome A warm welcome to these LSO concerts. After 14 months away, it was wonderful last week to make our long-awaited return to our Barbican home, and to be able to reunite with audiences in person, sharing once again in the joy of live music. Sincere thanks to all of our supporters: your generosity has enabled us to continue sharing music with audiences across the globe through these challenging times, and now continues to assist our return to live performance and our recovery from the pandemic. With these concerts we welcome back LSO Conductor Laureate Michael Tilson Thomas, who has been sorely missed over the past year. Across four concerts at the Barbican and LSO St Luke’s, he conducts music by Grieg and Copland, piano concertos by Rachmaninoff and Shostakovich, and symphonies by Beethoven and Tchaikovsky. It is a pleasure to be joined also by soloist Yuja Wang, who has performed with the Orchestra and Michael Tilson Thomas regularly over the years, most recently in 2017 when she joined the Orchestra on tour in Europe. Following these London performances of Rachmaninoff’s and Shostakovich’s Second Piano Concertos, we look forward to Yuja Wang – and Michael Tilson Thomas – joining us for further concerts at Snape Maltings next week. I hope you enjoy these performances. Our thanks to all of you, our audience members, for your support. -
Program No / Eng Sommer / Summer 2014 Komponisthjemmene / the Composers’ Homes
PROGRAM NO / ENG SOMMER / SUMMER 2014 KOMPONISTHJEMMENE / THE COMPOSERS’ HOMES LYSØEN OLE BULL MUSEUM TROLDHAUGEN EDVARD GRIEG MUSEUM SILJUSTØL HARALD SÆVERUD MUSEUM Innhold Velkommen 3 Velkommen / Velcome Troldhaugen, Lysøen og Siljustøl er Norges mest betydningsfulle musikkhistoriske kulturminner. De er også noen av Vestlandets 4 Lysøen Ole Bull Museum mest naturskjønne og inspirerende eiendommer. Ole Bull, Edvard 6 Troldhaugen Edvard Grieg Museum Grieg og Harald Sæverud skapte hjem der kunsten, naturen og fantasien kunne møtes. I dag representerer Lysøen, Troldhaugen 8 Siljustøl Harald Sæverud Museum og Siljustøl et unikt musikalsk landskap med til sammen nesten 10 Program Lysøen sommer /summer 2014 1000 mål norsk natur, fascinerende arkitektur og minner om musikerne som erobret verden. 14 Fødselsdagskonsert og hagefest / Birtday concert and garden party at Troldhaugen 16 Konserter på Troldhaugen 2014 / Concerts at Troldhaugen 2014 Velkommen! 18 Konsertbuss til lunsjkonsertene / Concert bus to the lunchtime concerts Sigurd Sandmo 20 Program Troldhaugen: Ukens pianist / Pianist of the week Direktør 33 Grieg in a nutshell – Talks on Grieg Welcome Troldhaugen, Lysøen and Siljustøl are the most significant cultu- ral heritage sites in the history of Norwegian music. They are also perhaps Western Norway’s most scenic and inspirational esta- tes. Ole Bull, Edvard Grieg and Harald Sæverud created homes where art, nature and fantasy came together. Today, Troldhaugen, Lysøen and Siljustøl represent a unique musical landscape with a grand total -
Program Summer 2015 the Composers’ Homes
NO / ENG PROGRAM SUMMER 2015 THE COMPOSERS’ HOMES A PART OF EDVARD GRIEG MUSEUM TROLDHAUGEN HARALD SÆVERUD MUSEUM SILJUSTØL OLE BULL MUSEUM LYSØEN Index 4 Velkommen / Welcome 6 Edvard Grieg Museum Troldhaugen 8 Ole Bull Museum Lysøen 10 Harald Sæverud Museum Siljustøl 14 Program Lysøen 16 Fødselsdagskonsert og hagefest / Birthday concert and garden party at Troldhaugen 18 Konserter / Concerts Troldhaugen 20 Konsertbuss til lunsjkonsertene / Concert bus to the lunchtime concerts 22 Program Troldhaugen 37 My favorite Grieg Troldhaugen, Lysøen og Siljustøl er en del av KODE – Kunstmuseene i Bergen Lysøen Troldhaugen, Lysøen and Siljustøl is part of KODE – Art Museums of Bergen Sigurd Sandmo Siljustøl Museum Velkommen Welcome Bergen er en by full av musikkhistorie, og kunstnerhjemmene til Edvard Grieg, Ole Bull og Bergen is a city steeped in music history, and the homes of the composers Edvard Grieg, Harald Sæverud er en viktig del av byens kunst- og kulturliv. De er også historiske monumenter Ole Bull and Harald Sæverud are a vital part of the city’s artistic and cultural scenes. They are med fascinerende arkitektur og natur. Hagene og skogsområdene har historiske dimensjoner also historical monuments with their fascinating architecture and nature. The gardens and og byr på rike opplevelser for alle som tar seg tid. surrounding woods have historical dimensions that offer a wealth of nature experiences for those who take the time to explore them. I mai gjenåpnet vi Troldsalen, konsertsalen på Troldhaugen, etter en storstilt oppgradering. Beliggenheten, lyset og nærheten til Griegs eget landskap får mange til å mene at Troldsalen er In May we reopened Troldsalen, the concert hall at Troldhaugen, after comprehensive reno- verdens vakreste kammermusikksal. -
Copyright by Cheryl Ann Christensen 2003
Copyright by Cheryl Ann Christensen 2003 The Dissertation Committee for Cheryl Ann Christensen certifies that this is the approved version of the following dissertation: Music and Text: Interpretation, Melodic Motive, and the Narrative Path in Edvard Grieg’s Haugtussa, Op. 67 Committee: ____________________________________ David Neumeyer, Supervisor ____________________________________ John Weinstock, Co-Supervisor ____________________________________ Byron Almén ____________________________________ Stefan Kostka ____________________________________ Edward Pearsall Music and Text: Interpretation, Melodic Motive, and the Narrative Path in Edvard Grieg’s Haugtussa, Op. 67 by Cheryl Ann Christensen, B.Mus., M.Mus. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2003 Acknowledgements I would like, first and foremost, to express my gratitude to Dr. David Neumeyer, who has spent countless hours advising me, directing my research and writing, and helping me to bring this project to completion. I express appreciation also to Dr. John Weinstock, who has worked closely with me on this dissertation and provided valuable assistance, particularly with my translations of the Norwegian texts. Thanks also to the other members of my dissertation committee, Dr. Byron Almén, Dr. Stefan Kostka, and Dr. Edward Pearsall, for their input. Many thanks to Karen Falch Johannessen of the Edvard Grieg Archive in Bergen, Norway, who assisted me in my research with professionalism and enthusiasm, and who has become a valued friend. Above all, I want to thank my parents, Darol and Marjorie Christensen for unwavering support. They have encouraged and cheered me at every stage of this long project. -
Quattro Stazioni Vertavo | Björn Nyman | Sveinung Bjelland Quattro Stazioni
Kjell Habbestad Quattro stazioni Vertavo | Björn Nyman | Sveinung Bjelland Quattro stazioni Tittelen på denne utgjevinga refererer til Strykekvar- Berlioz, Smetana og R. Strauss i nemningar som 'pro- Strykekvartett nr. 1 – –.) Dei synte òg fram gjestebøker og bilete av andre tett nr. 1, med same namn. Men den kan òg stå som grammatiske symfoniar’, ‘symfoniske dikt’, eller ‘songar Quattro stazioni, op. 21 (1989) komponistar og musikkforskarar som hadde vitja dei, ei overordna nemning på dei fire verka representerte utan ord’.3 og synt interesse for tradisjonen deira, m.a. Krzysztof på plata, fire stasjonar i komposisjonsverksemda, fire Reisa finn sin utgangsstasjon i Midtausten, og endar Penderecki og John Paynter. Eg hadde ein god samtale ulike tilnærmingar til musikalsk uttrykk i tid og rom/ Siste verket på plata, Divertimento, er derimot ‘fritt’ opp i det høge nord, og fylgjer soleis ei mogleg rute med dei, og gjorde ei mengd opptak av songen deira. stad. Reisa startar i 1989 med Strykekvartett nr. 1 frå både musikalsk og tekstleg opphavsmateriale, men for utviklinga av vår eigen musikktradisjon. Å notera den ned, var ei større utfordring. Herverande – Quattro stazioni, og endar i 2013, med Strykekvar- opptek seg til ein viss grad av klassiske formprinsipp; i sats tek difor utgangspunkt i ei nedteikning gjort av tett nr. 2. Mellom desse stasjonane (om enn i omskift dette tilfellet sonatesatsforma.4 1. stazione: Samaria (Impetuoso) den israelske musikkforskaren Ruth Katz.5 rekkjefølgje på CD’en) kjem så Air d’été suedois for Den første stasjonen hentar sitt musikalske materiale klarinettkvintett (2009) og Divertimento for klarinett Desse fire stasjonane har vore særs aktive igangsetjarar frå ei lita folkegruppe, samaritanane, som lever i to Songen Kal tab var opphavleg sungen på den tredje og piano (2010). -
Music Center, Dinkelspiel Audi- MUSIC Torium, and the Knoll, Including Two Theaters for Concert and Recital Productions, Two Rehearsal Halls, and a Small Chamber Hall
The department is housed in Braun Music Center, Dinkelspiel Audi- MUSIC torium, and The Knoll, including two theaters for concert and recital productions, two rehearsal halls, and a small chamber hall. Pianos, or- Emeriti: (Professors) John M. Chowning, Albert Cohen, George Houle, gans, harpsichords, and a variety of early stringed and wind instruments William H. Ramsey, Leonard G. Ratner, Sandor Salgo, Leland C. are available for student use. In addition, advanced students may use fine Smith; (Professors, Performance) Arthur P. Barnes, Marie Gibson, old stringed instruments and bows from the Harry R. Lange Historical Andor Toth Collection (http://www.stanford.edu/group/Music/Langecol.html). Chair: Stephen Hinton The Music Library contains a comprehensive collection of scores, Professors: Karol Berger (on leave), Chris Chafe, Brian Ferneyhough books, and recordings with an emphasis on Western art music. In addition, Associate Professors: Jonathan Berger, Thomas Grey, Stephen Hinton, the Department of Special Collections holds an invaluable collection of William P. Mahrt, Julius O. Smith musical manuscripts and first and early editions, and the Archive of Re- Assistant Professors: Mark Applebaum, Heather Hadlock (on leave corded Sound has a superb collection of historical recordings of all types. Spring), Melissa Hui, Tobias Plebuch (on leave Autumn) For more information on the Department of Music, see the Music Professor (Research): Max V. Mathews Department home page at http://music.stanford.edu. Associate Professors (Teaching): George Barth (Piano), Stephen Sano The Stanford Center for Computer Research in Music and Acoustics (Director of Choral Studies) (CCRMA) is a multi-disciplinary facility where composers and research- Music Senior Lecturers: Stephen Harrison (Violoncello), Gennady Kleyman ers work together using computer-based technology both as an artistic (Violin, Viola), Jennifer Lane (Voice), Thomas Schultz (Piano), medium and as a research tool. -
BIS-CD-1585 Inlay
BIS-CD-1626/68 Grieg:booklet 7/9/06 16:28 Page 2 GRIEG, Edvard Hagerup (1843-1907) Disc 1 [65'21] Lyriske stykker I (Lyric Pieces I), Op . 12 12'23 1 I. Arietta 0'59 2 II. Vals (Waltz) 1'47 3 III. Vektersang (Watchman’s Song) 2'32 4 IV. Alfedans (Fairy Dance) 0'48 5 V. Folkevise (Folk-song) 1'48 6 VI. Norsk (Norwegian) 0'59 7 VII. Albumblad (Album Leaf) 1'32 8 VIII. Fedrelandssang (National Song) 1'36 Lyriske stykker II (Lyric Pieces I I), Op . 38 16'50 9 I. Berceuse 2'27 10 II. Folkevise (Folk-song) 1'40 11 III. Melodi (Melody) 2'01 12 IV. Halling 0'48 13 V. Springdans 1'20 14 VI. Elegi (Elegy) 2'47 15 VII. Vals (Waltz) 1'01 16 VIII. Kanon (Canon) 4'21 2 BIS-CD-1626/68 Grieg:booklet 7/9/06 16:28 Page 3 Lyriske stykker III (Lyric Pieces II I), Op . 43 14'25 17 I. Sommerfugl (Butterfly) 1'47 18 II. Ensom vandrer (Solitary Traveller) 2'38 19 III. I hjemmet (In my Native Country) 2'02 20 IV. Småfugl (Little Bird) 2'04 21 V. Erotikk (Erotikon) 2'50 22 VI. Til våren (To Spring) 2'44 Lyriske stykker IV (Lyric Pieces I V), Op . 47 20'39 23 I. Valse-Impromptu 3'28 24 II. Albumblad (Album Leaf) 3'52 25 III. Melodi (Melody) 2'55 26 IV. Halling 1'27 27 V. Melankoli (Melancholy) 3'43 28 VI. Springdans 1'20 29 VII. -
Grieg: Piano Works
griEg: PianO WOrKS Grieg’s composing hut fOrEWOrd from the Piano concerto and the Lyric Pieces , his piano repertoire is rarely heard on the concert platforms outside Scandinavia. On this album, i have sought to present the more familiar Lyric Pieces alongside the less well-known works: the Sonata, the Ballade (his most substantial solo piano work and a favourite of Brahms), and a selection of the wonderfully intriguing Slåtter . The Slåtter , grieg’s arrangements of Hardanger fiddle melodies, are for me the most interesting works of all. Written relatively late, they show grieg experimenting with bold harmonic clashes that foreshadow Bartók’s language. i am delighted to be able to conclude the album with an epilogue, a Lyric Piece by the acclaimed composer cheryl frances-Hoad. This is the first of a set of four Lyric Pieces cheryl will write for me, each inspired by a composer i feel a close connection to: grieg, Janáček, Schubert and ravel. We are grateful to the rvW Trust for their support of this commission. in preparation for this recording, i decided to visit norway again. i had the invaluable experience of hearing the Slåtter melodies in their original setting, as i was able to listen to and perform to the leading norwegian Hardanger fiddlers Knut Hamre and frank rolland. i am grateful to Eilif Løtveit for his historical insights on grieg and to the Troldhaugen Museum. none of this would have been possible without Laila nordø. The idea for this cd came after an invitation to give a recital in the concert hall next to grieg’s home, Troldhaugen, in Bergen two years ago.