The Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat

Total Page:16

File Type:pdf, Size:1020Kb

The Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat Mon, Jan 25, 2021 - The Classical Station, WCPE 1 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 00:01:30 10:10 Mozart 12 Variations in C on “Twinkle, Lang Lang PV1212 Deutsche 00298060 028947975281 Twinkle”, K 265 Grammaph 2 on 00:12:4046:19 Schubert String Quartet No. 15 in G, D. Tokyo String Quartet 00164 RCA 60199 090266019922 887 01:00:2908:58 Vivaldi Violin Concerto in G minor, RV Standage/English 01136 Musical 11085Z N/A 332 Concert/Pinnock Heritage Society 01:10:27 25:02 Glinka Grand Sextet in E flat Capricorn 00185 hyperion 66163 N/A 01:36:2924:05 Haydn Symphony No. 093 in D Austro-Hungarian 02371 Nimbus 5216 083603521622 Haydn Orch/Fischer 02:02:0408:45 Dvorak Nocturne from String Quintet in Moscow 03913 Dorian 80144 751758014428 G, Op. 77 Symphony/Stratton 02:11:4935:26 Mozart Piano Concerto No. 22 in E flat, Barenboim/Berlin 02160 Teldec 72024 090317202426 K. 482 Philharmonic 02:48:4511:32 Handel Concerto Grosso in B minor, Boston 07750 Telarc 80688 089408068829 Op. 6 No. 12 Baroque/Pearlman 03:01:4710:14 Wagner Prelude to Act 1 from Berlin 00426 EMI 47030 n/a Lohengrin Philharmonic/Tennsted t 03:13:0113:12 Tchaikovsky String Quartet Movement in B New Haydn Quartet, 05703 Naxos 8.550848 730099584821 flat Budapest 03:27:13 32:42 Glazunov Symphony No. 1 in E, Op. 5 USSR Radio and TV 00906 Melodiya 867 015775186729 Orchestra/Fedoseyev 04:01:2516:25 Tchaikovsky Capriccio italien, Op. 45 Saint Louis 02351 RCA 60433 090266043323 Symphony/Slatkin 04:18:50 24:21 Beethoven Violin Sonata No. 6 in A, Op. Wan/Richard-Hamelin 13632 Analekta 8794 774204879428 30 No. 1 04:44:1114:53 Liszt Ballade No. 2 in B minor Jean-Yves Thibaudet 00244 PCM 7050 n/a 05:00:3420:45 Spohr Clarinet Concerto No. 1 in C Leister/Stuttgart Radio 01048 Orfeo 088 101 n/a minor, Op. 26 Symphony Orchestra/Fruhbeck 05:22:19 07:52 Mozart Overture to The Magic Flute, K. Mostly Mozart Festival 04564 Sony 62830 074646283028 620 Orch/Brico 05:31:1110:36 Schubert Concert Piece in D for Violin Kremer/Chamber 02663 DG 437 535 028943753524 and Orchestra, D. 345 Orchestra of Europe 05:42:47 06:13 Telemann Quartet in B flat Academy of Ancient 00409 L'Oiseau 411 949 028941194923 Music/Hogwood Lyre 05:49:55 09:30 Fill Music: announcer selects 06:01:0006:45 Strauss Jr. Fairy Tales from the Orient Czecho-Slovak State 02335 Marco Polo 8.223220 489103023220 (Waltz) Philharmonic/Walter 4 06:08:4503:43 Mozart 3rd mvt (Turkish Rondo) from Jean-Bernard Pommier 09847 Virgin 730756 509997307562 Piano Sonata No. 11 in A, K. Classics 2 331 06:13:2809:47 Beriot Scene de ballet, Op. 100 Perlman/Juilliard 05139 EMI 56750 724355675026 Orchestra/Foster 06:24:15 08:35 Haydn Notturno No. 2 in F Root/Niesemann/Mozz 04779 Sony 62878 074146287828 afiato/L'Archibudelli 06:34:2508:42 Vivaldi Violin Concerto in E, Op. 3 No. Wilcock/Academy of 00894 L'Oiseau-L 414 554 028941455420 12 Ancient yre Music/Hogwood 06:44:0704:53 Mozart 2nd mvt (Romanza) from Horn Tuckwell/English 08498 Decca 478 1488 028947814849 Concerto No. 4 in E flat, K. 495 Chamber Orchestra 06:50:0009:55 Wassenaer Concerto No. 2 in G Amsterdam 02549 NM 92030 N/A Combattimento Classics Consort/Vriend Mon, Jan 25, 2021 - The Classical Station, WCPE 2 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 07:01:30 02:56 Dvorak Prelude from Czech Suite in D, Scottish Chamber 13267 Linn 614 691062061476 Op. 39 Orchestra/Swensen 07:05:2609:09 Mozart Divertimento No. 8 in F (for Danzi Quintet 04946 Sony 60115 074646011522 winds), K. 213 07:15:35 11:02 Bach Brandenburg Concerto No. 3 in Linde Consort/Linde 00376 EMI 47046 N/A G, BWV 1048 07:27:3707:52 Schubert Entr'acte No. 3 from Minneapolis 05051 Mercury 462 954 028946295427 Rosamunde, D. 797 Symphony/Skrowacze wski 07:37:0408:06 Gluck Dance of the Blessed Spirits Rhine Chamber 00995 Christopho 74507 n/a from Orpheus and Eurydice Orchestra of rus Cologne/Corazolla 07:46:10 03:37 Hummel Finale (Rondo) from Trumpet Smedvig/Scottish 00103 Telarc 80232 089408023224 Concerto Chamber Orchestra/Ling 07:50:4708:55 Wagner Good Friday Music from Chicago 05138 Teldec 3984-242 639842422420 Parsifal Symphony/Barenboim 24 08:01:1705:24 Ravel The Fairy Garden from Mother Berlin 13098 Warner 82564648 825646487332 Goose Suite Philharmonic/Rattle Classics 7332 08:07:4110:52 Mozart Violin Sonata in E flat, K. 302 Stern/Bronfman 02912 Sony 64309 074646430927 08:19:3306:51 Beethoven 4th mvt (Allegro con brio) from Vienna 03472 EMI 67496 724356749627 Symphony No. 7 in A, Op. 92 Philharmonic/Furtwang ler 08:27:2404:54 Elgar March from The Wand of Hallé Orchestra/Elder 13264 Hallé 7548 506500134155 Youth, Suite No. 2 7 08:33:5313:12 Blockx Flemish Dances BRT 01963 Marco Polo 8.223418 73009934182 Philharmonic/Rahbari 08:48:05 11:20 Fill Music: announcer selects 09:01:15 31:24 Mozart Piano Concerto No. 24 in C de Larrocha/English 02467 RCA Red 60989 090266098927 minor, K. 491 Chamber Orch/Davis Seal 09:33:3911:58 Vivaldi Lute Concerto in D, RV 93 P. Romero/I Musici 13613 Decca 478 0219 028947802174 09:46:5212:31 Bach, C.P.E. Berlin Symphony in F, Wq. 181 Lausanne Chamber 11868 MDG 940 1824 760623182469 Orchestra/Zacharias 10:01:1326:03 Mozart Symphony No. 39 in E flat, K. Warsaw 01960 Virgin 91078 075679107824 543 Sinfonia/Menuhin 10:28:3130:03 Massenet Piano Concerto in E flat Ciccolini/Monte Carlo 02123 EMI 64277 077776427720 Philharmonic/Cambreli ng 11:00:24 26:12 Haydn Symphony No. 049 in F minor, L'Estro 01110 Sony 37861 07464378612 "The Passion Symphony" Armonico/Solomons 11:27:5112:57 Schumann, C. Four Fugitive Pieces, Op. 15 Angela Cheng 03630 CBC 1087 059582108727 Records 11:41:48 18:21 Weber Symphony No. 2 in C Academy of St. 00570 ASV 515 501197505152 Martin-in-the-Fields/Ma 7 rriner 12:01:5904:07 Mozart Overture to The Marriage of Scottish Chamber 09177 Telarc 80749 089408074929 Figaro, K. 492 Orchestra/Mackerras 12:07:0609:38 Rossini Overture to The Thieving Philharmonia/Karajan 03019 EMI 63113 077776311326 Magpie 12:17:4414:57 Vanhal Symphony in E minor Concerto Cologne 08457 Teldec 13141 706301314128 12:33:56 09:06 Fill Music: announcer selects 12:44:0215:23 Mouquet Flute Sonata, Op. 15 "The Galway/Moll 04957 RCA Victor 68882 090266888221 Flute of Pan" 13:01:1522:04 Mozart Violin Concerto No. 4 in D, K. Kremer/Vienna 04401 DG 453 043 028945304328 218 Philharmonic/Harnonc ourt Mon, Jan 25, 2021 - The Classical Station, WCPE 3 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 13:24:34 16:41 Berlioz Love Scene from Romeo & Baltimore 01468 Telarc 80164 089408016424 Juliet, Op. 17 Symphony/Zinman 13:42:3016:21 Harbach Transformations for String Bratislava Chamber 10471 MSR 1255 681585125526 Orchestra Orchestra/Trevor Classics 14:00:41 19:34 Mozart Piano Sonata No. 12 in F, K. John Browning 00826 Musical 5168803 717794688023 332 Heritage Society 14:21:1520:30 Gade Symphony No. 4 in B flat, Op. Stockholm 00886 BIS 338 N/A 20 Sinfonietta/Jarvi 14:43:0015:19 Schumann Fairy Tales for Clarinet, Viola Bagg/Hawkins/Oehler 06021 Centaur 2581 044747258126 and Piano, Op. 132 15:00:0924:58 Mozart String Quartet No. 17 in B flat, Ciompi Quartet 04913 VAC N/A 702987004827 K. 458 "Hunt" 15:26:2204:49 Liszt Liebestraum No. 3 in A flat Van Cliburn 10734 RCA Red 09585 886970958523 Seal 15:32:1127:30 Berwald Symphony No. 1 in G minor, Royal 06402A EMI 00920 509995009202 "Sinfonie serieuse" Philharmonic/Bjorlin 4 16:00:5606:01 Sibelius Lemminkainen’s Homeward Scottish National 00929 Chandos 8394 N/A Journey Orchestra/Gibson 16:07:5210:16 Mozart Symphony No. 4 in D, K. 19 Academy of St. 12800 Philips 422 601 028942250123 Martin-in-the-Fields/Ma rriner 16:19:0304:57 Brahms Rhapsody in E flat, Op. 119 Mark Anderson 04778 Nimbus 5521 710357552120 No. 4 16:24:55 10:41 Bach, C.P.E. String Symphony in B minor English 00640 Archiv 415 300 028941530028 Concert/Pinnock 16:36:5107:57 Strauss Jr. Overture to Cinderella Johann Strauss 02339 LaserLight 15 619 018111561921 Orchestra Vienna/Francek 16:45:4302:28 Bach Finale from Violin Concerto No. Podger/Brecon 10421 Channel 6212 723385621225 2 in E, BWV 1042 Baroque Classics 16:49:0611:01 Frederick the Symphony in D C.P.E. Bach Chamber 00569 Capriccio 10064 400640810064 Great Orchestra/Haenchen 5 17:01:2208:08 Mozart Rondo in A, K. 386 Ashkenazy/London 07812 London 443 576 028944357622 Symphony/Kertesz 17:10:2509:39 Coates The Three Bears East of England 03718 ASV 2053 743625205329 Orchestra/Nabarro 17:20:5908:13 Beethoven 1st mvt from Symphony No. 1 Revolutionary & 12618 Archiv 477 8643 028947786436 in C, Op. 21 Romantic Producktio Orchestra/Gardiner n 17:30:27 10:12 Waldteufel Waves of Joy, a waltz Slovak State 04125 Marco Polo 8.223684 730099368421 Philharmonic/Walter 17:41:3406:19 Schubert Ballet No. 2 from Rosamunde, New 04819 Opus 111 30-192 709861301928 D. 797 Orchestra/Spering 17:48:48 02:01 Khachaturian Dance of the Rose Maidens Boston Pops/Fiedler 01428 RCA 7734 07863577342 from Gayne 17:51:4408:19 Saint-Saëns Phaeton, Op. 39 Pittsburgh 03953 Sony 53979 074645397924 Symphony/Maazel 18:01:18 10:49 Mozart Flute Quartet No.
Recommended publications
  • Music of Samuel Barber
    July 24, 2016 :: Las Puertas :: Albuquerque :: #418 Music of Samuel Barber (1910–1981) 6-year-old Moxie is attending her A performance to share the music of Samuel Barber, composer of the opera very first Chatter concert. Vanessa, performed for the first time this summer at The Santa Fe Opera. G-Ma and Poppa love Moxie. Rebecca Krynski Cox soprano | Jarrett Ott baritone Robert Tweten piano Del Sol String Quartet featuring Benjamin Kreith, Rick Shinozaki violin Charlton Lee viola | Kathryn Bates cello CHATTER SUNDAY Three Songs Opus 10 (1936) Sunday, July 31 @ 10:30am III I Hear an Army Peter Gilbert Intermezzi, world premiere Love at the Door (1934) Philip Glass Etudes No. 3, 2, 8, and 9 Four Songs Opus 13 (1940) III Sure on this Shining Night Aaron Jay Kernis Air for Violin and Piano Frederic Rzewski ABQ Slam Team poets Winnsboro Cotton Mill Blues Emanuele Arciuli piano Dover Beach Opus 3 (1931) David Felberg violin String Quartet Opus 11 (1936) Rich Boucher poet I Molto allegro e appassionata II Molto adagio (attacca) CHATTER SUNDAY III Molto allegro (come prima) 50 weeks every year at 10:30am Las Puertas, 1512 1st St NW, Abq Celebration of Silence :: Two Minutes Subscribe to eNEWS at ChatterABQ.org Videos at YouTube.com/ChatterABQ Share/follow us on social media: Hermit Songs Opus 29 (1953) · facebook.com/ChatterABQ I At Saint Patrick’s Purgatory VI Sea-Snatch · twitter.com/ChatterABQ II Church Bells at Night VII Promiscuity · instagram.com/ChatterABQ III St. Ita’s Vision VIII The Monk and His Cat Tix at ChatterABQ.org/boxoffice IV The Heavenly Banquet IX The Praises of God V The Crucifixion X The Desire of Hermitage Chatter is grateful for the support of the National Endowment for the Arts About Vanessa by Samuel Barber :: A Company Premiere Sung in English with Opera Titles in English and Spanish.
    [Show full text]
  • Barber–String Quartet
    Samuel Barber (b. West Chester, PA, March 9, 1910; d. New York, NY, January 23, 1981) String Quartet, op. 11 (1936) Composed: 1936 Approximate duration: 16 minutes Since accompanying the radio announcement of President Franklin Roosevelt’s death in 1945, Samuel Barber’s Adagio for Strings has stood as arguably the most iconic work of American classical repertoire. As a compositional feat, the Adagio is nothing short of a minor miracle: melodically and harmonically concise, emotionally devastating. It epitomizes the fervent lyricism and expressive immediacy that have established Barber among the twentieth century’s most venerated American musical figures. While frequently performed in Barber’s version for string orchestra, the Adagio less often appears in its original form, as the second movement (marked Molto adagio) of his String Quartet, op. 11, composed in 1936. (Barber, nota bene, recognized what he had accomplished; on September 19 of that year, he wrote to the cellist Orlando Cole, “I have just finished the slow movement of my quartet today—it is a knockout! Now for a Finale.”) Yet its presentation in the context of the three-movement Quartet affords the listener a special opportunity. Played by just two violins, viola, and cello, the Adagio’s breathless lines burn with an intimate intensity muted by the quiet army of orchestral strings. Furthermore, framed by the Quartet’s outer movements—the angular Molto allegro e appassionato, and the concluding reprise of the first movement’s material—the ubiquitous slow movement takes on a more nuanced significance. For prefaced by the angular dissonance of the opening movement, the Adagio emerges as a response to worldly strife.
    [Show full text]
  • Program Notes
    with the NASHVILLESYMPHONY CLASSICAL SERIES THURSDAY, FEBRUARY 21, AT 7 PM | FRIDAY & SATURDAY, FEBRUARY 22 & 23, AT 8 PM NASHVILLE SYMPHONY GIANCARLO GUERRERO, conductor CONCERT PARTNER ALBAN GERHARDT, cello AARON JAY KERNIS Symphony No. 4, “Chromelodeon” Out of Silence Thorn, Rose | Weep, Freedom (after Handel) Fanfare Chromelodia SAMUEL BARBER This weekend's performances are made Concerto for Cello and Orchestra, Op. 22 possible through the generosity of Allegro moderato Drs. Mark & Nancy Peacock. Andante sostenuto Molto allegro ed appassionato Alban Gerhardt, cello – INTERMISSION – LUDWIG VAN BEETHOVEN Symphony No. 7 in A Major, Op. 92 Poco sostenuto – Vivace Allegretto Presto Allegro con brio This concert will last 1 hour and 55 miutes, including a 20-minute intermission. INCONCERT 33 TONIGHT’S CONCERT AT A GLANCE AARON JAY KERNIS Symphony No. 4, “Chromelodeon” • New York City-based composer Kernis has earned the Pulitzer Prize in Music and the prestigious Grawemeyer Award, as well a 2019 GRAMMY® nomination for Best Contemporary Classical Composition. (Winners had not yet been announced at the time of the program guide’s printing.) He also serves as workshop director for the Nashville Symphony’s Composer Lab & Workshop. • The title of his latest symphony, “Chromelodeon,” comes from an unusual word previously used by maverick American composer Harry Partch to describe one of his musical inventions. As defined by the composer, this word aptly describes his own creation here: “chromatic, colorful, melodic music performed by an orchestra.” • The idea of color is especially significant in Kernis’ work, as the composer has synesthesia, a condition that associates specific notes and chords and with distinct colors.
    [Show full text]
  • ALBAN Gerhardt ANNE-Marie Mcdermott
    THE KINDLER FOUNDATION TRUST FUND iN tHE LIBRARY oF CONGRESS ALBAN GERHARDT ANNE-MARIE MCDERMOTT Saturday, January 16, 2016 ~ 2 pm Coolidge Auditorium Library of Congress, Thomas Jefferson Building In 1983 the KINDLER FOUNDATION TRUST FUND in the Library of Congress was established to honor cellist Hans Kindler, founder and first director of the National Symphony Orchestra, through concert presentations and commissioning of new works. Please request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 or [email protected]. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the concerts. Other events are open to all ages. • Please take note: Unauthorized use of photographic and sound recording equipment is strictly prohibited. Patrons are requested to turn off their cellular phones, alarm watches, and any other noise-making devices that would disrupt the performance. Reserved tickets not claimed by five minutes before the beginning of the event will be distributed to stand-by patrons. Please recycle your programs at the conclusion of the concert. The Library of Congress Coolidge Auditorium Saturday, January 16, 2016 — 2 pm THE KINDLER FOUNDATION TRUST FUND iN tHE LIBRARY oF CONGRESS ALBAN GERHARDT, CELLO ANNE-MARIE MCDERMOTT, PIANO • Program SAMUEL BARBER (1910-1981) Sonata for cello and piano, op. 6 (1932) Allegro ma non troppo Adagio—Presto—Adagio Allegro appassionato BENJAMIN BRITTEN (1913-1976) Sonata in C major for cello and piano, op. 65 (1960-1961) Dialogo Scherzo-pizzicato Elegia Marcia Moto perpetuo LUKAS FOSS (1922-2009) Capriccio (1946) iNtermission 1 LEONARD BERNSTEIN (1918-1990) Three Meditations from Mass for cello and piano (1971) Meditation no.
    [Show full text]
  • PROGRAM NOTES Masterworks II: Conflict
    Quad City Symphony Orchestra PROGRAM NOTES Masterworks II: Conflict By Jacob Bancks Associate Professor of Music Augustana College SAMUEL BARBER (1910-1981) electronic remixes. Whatever the context, Adagio for Strings Barber’s endless staircases of melody, his weighty and inconclusive harmonic progres- Instrumentation: String orchestra. sions, and the intense pathos of a room full Premiere: Adagio for Strings was first performed as of vibrato never fail to elicit a highly emo- the third movement of Barber’s String Quartet tional audience response. in B minor, Op. 11, on December 14, 1936 in Rome. As a stand-alone arrangement for string The work is an arrangement of the slow orchestra, the work premiered just under two years later, on November 5, 1938, in a radio movement of Barber’s String Quartet in B broadcast by the NBC Symphony Orchestra, minor, written when the composer was 25 conducted by Arturo Toscanini. and already a rising star in the American QCSO Performance History: The QCSO has per- classical scene. Since its premiere, the Ada- formed Adagio for Strings four times previously: gio has appeared in a seemingly infinite in 1956, 1961, 1979, and 2008. number of arrangements, including a choral setting by the composer himself, using the In classical music, we have warhorses (e.g., text of the Agnus Dei. His own reaction to Beethoven’s Symphony No. 5), tear-jerkers the work’s infamy was apparently somewhat (e.g., Rachmaninoff’s Symphony No. 2), and ambivalent. “They always play that piece,” even a few warhorse tear-jerkers (e.g., he said in a radio interview.
    [Show full text]
  • Narrating the Lives of Saints and Sinners in Samuel Barber's Hermit
    1 NARRATING THE LIVES OF SAINTS AND SINNERS IN SAMUEL BARBER’S HERMIT SONGS Jennifer A. Konowal Honors Thesis Dr. Daniel Kazez May 13, 2015 2 The solitary, peaceful life of a hermit resonated with Samuel Barber. The theme of solitude appears in some of his works, including the Hermit Songs and Despite and Still, and many of the places where he gathered inspiration or retreated to for comfort were removed from society.1 A cottage in the Pocono Lake Reserve provided Barber with a sanctuary, a home of rest, during the mid-1900s, and it was called The Hermit.2 Even though Barber told his uncle in a letter that he was not actually a hermit, the concept of hermitage clearly appealed to the quieter part of his mind and soul.3 In November of 1952, Samuel Barber wrote to his uncle and role model Sidney Homer to announce that he had found a few early Irish poems that he planned to set to music.4 His interest in these poems was the result of a recent trip to Donegal, Ireland, which he had taken to explore some of the places associated with his favorite Irish authors, such as William Butler Yeats and James Joyce.5 An admirer of Irish poetry since his childhood, Barber told his uncle that he found the poems he had discovered to be “very direct, unspoiled and often curiously contemporaneous in feeling.”6 They were written by Irish monks and scholars in the 8th through 13th centuries in the margins of various types of manuscripts that were being illuminated or copied, and, because they were in Gaelic, Barber had to locate—and, in a few cases, commission—translations into English that he found suitable for his work.7 These poems represented a wide variety of subjects, 1 Barbara Heyman, Samuel Barber: The Composer and His Music (New York: Oxford University Press), 335.
    [Show full text]
  • Chambermusic
    American Masterpieces Chamber Music Samuel Barber, circa 1960 The Some of the composer’s best-known Chamber works for small ensemble, written in his youth, entered the repertoire early and remained there. Music of by Barbara Heyman oncert audiences know Samuel Barber for his large-scale orchestral works—the Overture to The School for Scandal, Cthe violin and cello concertos, Knoxville: Summer of 1915, the symphonies, and the three Essays. His chamber music oeuvre is small, but some of these works remain favorites in the repertoire. String players revere the String Quartet in B Minor, Dover Beach, and the Cello Sonata. And wind players know that Barber’s penchant for writing solos for flute, clarinet, and oboe (his signature instrument) Samuel in orchestral works also expresses itself in such small-scale works as Summer Music, Capricorn Concerto, and the 1959 Elegy for Flute and Piano. In recent years I have been assembling a complete thematic catalog of Barber’s works, and in the process have come across some early, unpublished ensemble works that few are familiar with. Among these, the most important is certainly the third movement of Barber’s Sonata in F minor for Violin and Piano, rediscovered in 2006. Masquerading under the title page Sonata for Violoncello and Piano, the music turned up in the estate of the Barber Pennsylvania artist Tom Bostell, who had been a boarder in the Barber family’s West Chester, Pennsylvania, home. When asked to view the 17 pages of manuscript, I recognized the first three pages as those that were missing from the autograph manuscript of the Cello Sonata at the Library of Congress.
    [Show full text]
  • SHANGHAI Qljartet WEIGANG LI, VIOLIN YI-WEN JIANG, VIOLIN HONGGANG LI, VIOLA NICHOLAS TZAVARAS, CELLO
    SHANGHAI QlJARTET WEIGANG LI, VIOLIN YI-WEN JIANG, VIOLIN HONGGANG LI, VIOLA NICHOLAS TZAVARAS, CELLO WITH SPECIAL GUEST PERFORMER, w ANG GuowEI, ERHU Tuesday, January 13, 2009 -PROGRAM- String Quartet, Op. 11 SAMUEL BARBER Molto allegro e appassionato (1910 -1981) Adagio Molto adagio-presto Listening to the Pines HUA YANJUN Erhu solo performed by Wang Guowei (1893-1950) Fiddle Suite for Erhu and String Quartet CHEN YI Singing (b. 1953) Reciting Dancing -1 NT ERM ISSI ON - String Quartet in F Major MAURICE RAVEL Allegro moderato (tres doux) (1875-1937) Assez vif - (tres rythme) - Lent - Tempo 1 Tres lent Vif et agite The Shanghai Quartet is represented exclusively in North America by California Artists Management. On the World Wide Web: www.calartists.com KUHF and the Asian Society are promotional partners for this concert. ~(;JD mmakuhf.fm Asia I I SAMUEL BARBER (1910-1981) String Quartet in b minor, Op.JI (1936) Samuel Barber was born in the quiet town ofWestchester, Pennsylvania, in 1910. His early childhood corresponded in uncanny ways to that of his British contemporary, composer Benjamin Britten. Both grew up in well­ to-do families who were eventually supportive of their musical talents, with V mothers who were amateur musicians themselves and fathers who were in the field of medicine. Both boys received early piano lessons, and created their own compositions by the time they started to school. Barber's maternal aunt was the Metropolitan Opera contralto Louise Homer. His uncle, the composer Sidney Homer, primarily a songwriter, served as Barber's mentor for many years. At the age of fourteen, Barber entered the Curtis Institute in its inaugural year (1924).
    [Show full text]
  • Fulfillment of the Requirements
    /Yo. 366o THE HERMIT SONGS OF SAMUEL BARBER THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Julia Ann Lansford, B. M. E. Denton, Texas May, 1964 TABLE OP CONTENTS Page LIST OF ILLUSTRATIONS . iv Chapter I. BIOGRAPHICAL BACKGROUND . M. 0,9 !99 09. !9. * 9 f99 w.9 1 II. BARBERS SONGFORM . 14 III. BARBER'S ACCOMPANIMENTS . 30 IV. BARBER'S MELODY .-. -. - - 53 APPBNDIR- . 9 9 . 9 9 9 9 9 . 69 BIBIOGRAPH -.--. ... .. 9. 9 . .0 . .9 72 iii LIST OF ILLUSTRATIONS Figure Page 1. At Saint Patrick's Purgatory, mm. 3-5 . 18 2. The Heavenly Banquet, mm. 1-3---. .. 21 3. The Crucifixion, mm. 1-9 . 22 Promiscuity, 4. m. 1-3- . t. t. 9 . 24 5, The Monk and His Cat, mm. 6-8". .. « . 9 . .9 26 6. The Praises of God, mm. 21-26 . 28 7. At Saint Patrick's Purgatory, mm. 1-3 * . 9 9 . 32 8. At Saint Patrick's Purgatory, mm. 27-28-- 33 At . 9. Saint Patrick's Purgator, mm. 31-32 . 34 . 10. Church Bell at iht, mm. 1-2 -t * - . 35 . .9 11. St. Ita's Vision, Recitative Accompaniment 35 9 . .9 12. St.. Ita's Vision, mm. 16-17 . 36 St. 9 . 13. Ita's Vision, mm. 26-27 . 37 The 14. Heave.LBanque t, mm. 1-3 . 39 . 9 . 15. The Crucifixion, mm. 3-4 .. ... 41 16. The Praises of God, mm. 1-2 . .. 48 The Praises of . .9 17.
    [Show full text]
  • A Comparative Study of the Solo, Duet, and Orchestral Versions
    UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE SAMUEL BARBER’S SOUVENIRS: A COMPARATIVE STUDY OF THE SOLO, DUET, AND ORCHESTRAL VERSIONS A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS ADELAIDE LEUNG Norman, Oklahoma 2010 SAMUEL BARBER’S SOUVENIRS: A COMPARATIVE STUDY OF THE SOLO, DUET, AND ORCHESTRAL VERSIONS A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY ___________________________________ Dr. Edward Gates, chair ___________________________________ Dr. Jane Magrath ___________________________________ Dr. Sanna Pederson ___________________________________ Dr. Frank Riddick ___________________________________ Dr. John Fagan © Copyright by ADELAIDE LEUNG 2010 All Rights Reserved. TABLE OF CONTENTS TABLE OF CONTENTS iv LIST OF FIGURES v ABSTRACT viii CHAPTER ONE: INTRODUCTION AND RELATED LITERATURE 1 Purpose of the Study 3 Need for the Study 3 Procedures for the Study 3 Organization of the Study 4 Limitations of Study 4 Related Literature 5 CHAPTER TWO: BARBER’S LIFE AND MUSIC 13 Biography 13 Compositional Style 17 Piano Music 20 CHAPTER THREE: OVERVIEW OF SOUVENIRS 24 Timeline of Souvenirs 25 The Context of Souvenirs 29 CHAPTER FOUR: COMPARING THE VERSIONS OF SOUVENIRS 31 Waltz 31 Schottische 47 Pas de Deux 54 Two-Step 62 Hesitation-Tango 68 Galop 75 CHAPTER FIVE: SUMMARY AND CONCLUSIONS 84 BIBLIOGRAPHY 88 iv LIST OF FIGURES Figure 1a—Souvenirs, “Waltz” (solo version), mm.7-12 33 Figure 1b—Souvenirs, “Waltz” (duet version, primo), mm. 7-12 33 Figure 2a—Souvenirs, “Waltz” (solo version), mm. 57-60 34 Figure 2b—Souvenirs, “Waltz” (duet version, secondo), mm. 57-60 34 Figure 3a—Souvenirs, “Waltz” (solo version), mm.
    [Show full text]
  • Sample Chapter
    LISTEN TO THIS © 2009 Mark Evan Bonds, Ph.D. ISBN 10: 0131838253 ISBN-13: 9780131838253 Visit www.pearsonhighered.com/replocator to contact your local Pearson representative. Chapter begins on next page >> SAMPLE CHAPTER www.pearsonhighered.com M19_BONDS8253_01_SE_C19.QXD 9/29/08 8:10 PM Page 171 PART 4 The Classical Era classic is something that endures, and the music of what The eighteenth century as a whole, but particularly the we now call the Classical Era—a period extending from period between about 1720 and 1790, is known as the Age of Aroughly 1750 to 1800—was the first to thrive without inter- Enlightenment. Enlightenment thought held that reason could ruption long after its composers had died. Joseph Haydn bring humankind to a new age of splendor, freed from the (1732–1809) and Wolfgang Amadeus Mozart (1756–1791), dark superstitions of the past (hence “enlightenment”). For the two leading composers of this era, wrote music that has Enlightenment artists and thinkers, the power to convince lay never really gone out of fashion. The term “classical” also not in overwhelming displays of opulence, or in larger-than- refers to Greek and Roman antiquity, which strongly influ- life drama, or in the expression of a particular effect—all of enced the arts and architecture of this period. As a new kind which aimed to influence the emotions—but rather in critical of thinking took hold, the Baroque love of ornamentation, thinking and reasoned discussion, which aimed to persuade virtuosity, and expressive extremes gave way to more classi- the mind. cal ideals of balance, clarity, and naturalness.
    [Show full text]
  • Agency and the Adagio: Mimetic Engagement in Barber's Op. 11 Quartet
    Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic Volume 5 Issue 1 Article 3 August 2012 Agency and the Adagio: Mimetic Engagement in Barber's Op. 11 Quartet Matthew Baileyshea University of Rochester, [email protected] Follow this and additional works at: https://trace.tennessee.edu/gamut Part of the Music Commons Recommended Citation Baileyshea, Matthew (2012) "Agency and the Adagio: Mimetic Engagement in Barber's Op. 11 Quartet," Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic: Vol. 5 : Iss. 1 , Article 3. Available at: https://trace.tennessee.edu/gamut/vol5/iss1/3 This Article is brought to you for free and open access by Volunteer, Open Access, Library Journals (VOL Journals), published in partnership with The University of Tennessee (UT) University Libraries. This article has been accepted for inclusion in Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic by an authorized editor. For more information, please visit https://trace.tennessee.edu/gamut. AGENCY AND THE ADAGIO: MIMETIC ENGAGEMENT IN BARBER’S OP. 11 QUARTET* MATTHEW BAILEYSHEA amuel Barber’s Adagio for Strings (1936) is undoubtedly the best-known elegiac work of S the twentieth century. It was an immediate hit with its first performance by Toscanini in 1938 and its fame has grown ever since. We know it from movies, television, state funerals, and highly publicized memorial services.1 It is, quite simply, Barber’s most enduring music.2 It goes without saying, then, that the Adagio works as a stand-alone piece; nobody could deny that it presents a complete, coherent artistic statement.
    [Show full text]