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Mahler's Symphony No. 10
SCHEDULE OF EVENTS WEDNESDAY, MAY 17, 7:30PM [Concert] Gordon Gamm Theater at The Dairy Center • G. Kurtág: Signs, Games, Messages (Jelek, Játékok és Üzenetek) • D. Matthews: Romanza for Violin and Piano, op 119a (U.S. Premiere) • G. Mahler/A. Schnittke: Piano Quartet in a (fragments) • F. Schubert: String Quintet in C, D. 956, Op. posth. 163 THURSDAY, MAY 18, 1:30PM [Master Class] Boulder Public Library • The Conducting Fellows, Kenneth Woods, David Matthews and Mahler specialists. • Mahler: Lieder eines fahrenden Gesellen– Chamber version (Schoenberg) FRIDAY, MAY 19, 2:00PM [FILM] BOEDECKER THEATRE AT THE DAIRY CENTER, BOULDER • Ken Russell’s Mahler SATURDAY, MAY 20, [Symposium] (speaker order subject to change) • Morning Session – 8:30am – C-199 – Imig Building, CU Boulder • Frans Bouwman ”Transcribing Mahler 10: what does it show?” • David Matthews ”Mahler’s 10th Symphony – Restored to Life” • Kenneth Woods, Artistic Director and Conductor, Colorado MahlerFest “A Conductor’s Perspective on the Tenth Symphony” • Jerry Bruck assisted by Louise Bloomfield In“ Search of Mahler: A Personal Recollection” • Lunch – Atrium Lobby, ATLAS building, University of Colorado • Afternoon Session – 1:30pm - Rm 102 – ATLAS Building, CU Boulder • Panel Discussion with David Matthews, Kenneth Woods and Donald Fraser • Jason Starr’s “For the Love of Mahler – The Inspired Life of Henry-Louis de La Grange” Presented in Memory of Henry-Louis de La Grange SATURDAY, MAY 20, 7:30 PM [Orchestral Concert] Macky Auditorium, University of Colorado SUNDAY, MAY 21, 3:30 PM [Orchestral Concert] Macky Auditorium, University of Colorado • Sir Edward Elgar (arr. David Matthews): String Quartet in e, opus 83 – arranged for string orchestra (2010) (US Premiere) • Gustav Mahler: Symphony No. -
A Bruckner Odyssey: the Ninth Symphony Sir Simon Rattle Talks
A Bruckner Odyssey: The Ninth Symphony Sir Simon Rattle talks about the four movement version © Aart van der Wal, June 2012 Last month EMI Classics released their CD with Bruckner's Ninth Symphony in the four movement version, a live recording by the Berlin Philharmonic Orchestra conducted by Sir Simon Rattle. Early June, Simon Rattle was here, in Rotterdam, on a European tour with the Orchestra of the Age of Enlightenment and French pianist Pierre-Laurent Aimard. He conducted a programme with music by exclusively French impressionists (Fauré, Ravel and Debussy). Very early in the morning, on the day after the concert I met him in his hotel to talk about his Bruckner recording. (Click also here: Anton Bruckner: Symphony No 9 EMI Classics 9 52969 2 (CD) in D minor WAB 109 - The unfinished Finale) (Also available in SACD format) Live-recording, 7th-9th February 2012, Philharmonie, Berlin Obsession "The first thing I noticed when studying this Bruckner Ninth finale were those strange transition passages you can find in any typical Bruckner finale. But here, in the Ninth, I strongly felt as if Bruckner was obsessed with the last things in life, or maybe even the very last thing he could possibly hold onto this. As if he was thinking that when he could hold onto this, work on this, he could find his way out of this obsession. There is absolutely no doubt in my mind that Bruckner was going through an existential crisis within himself. However, there is also no doubt that he was dealing with a compositional crisis, as many composers do, also composers who are writing finales for their symphonies. -
Boston Symphony Orchestra Archives
thirteen 98th SEASON BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director EXPERIENCE THE 19™CENTURY One of the gifts of the 19th century (along with Tchaikovsky, Tolstoi, others) was the ritual of the "family silver." It was in those elegant times when bringing out the "family silver" came to mean a profound or joyous occasion was at THE ONE hand, one that called for something beyond the ordinary. CONCESS A few of the more hallowed rituals that evolved over the genera- TO MODEF FOR THE tions are shown below. Next time you take out the Smirnoff Silver (it SILVER traces directly back to the original formula) observe the jewel-like DRINK* flash of icy-cold Silver pouring into your glass. Smooth, with a unique YOUR 90.4 proof. Prepare to taste history. FREEfi TAKES 1 PLACE C THF NORTH El WINTER F CHILLING BOTTLE AN GLASSES k X FREEZING SILVER PLUS A THIRD OF A TURN ON THE PEPPER MILL AND YOU SHOULD BE ABLE TO COUNT THE GRAINS THOROUC-->fc_OT & 3NEBLAO )LIVE CHILL CHILL EVEN FURTHER WITH ONEOUNCEOF ~ ^NoilrM V ANNOUNCING RUNE FURNITURE'S ©GREAT WINTEROF 79 SALE Sale now in progress. BOSTON 81 Arlington St. 426-1500 Mon - Sat 930 am - 5:30 pm; Wed 930 am - 830 pm NATICK 323 Speen St. 655-2200 Mon - Fri 930 am - 8:30 pm. Sat 930 am - 530 pm PAINE© HH BSO CHAMBER MUSIC PRELUDES PERNODmade possible by I fi N€W S€RI€S OF PR€-SVMPHONV I CHRMB6R MUSIC RND DINN€RS RVflllflBl€ TO BSO SUBSCRIB€RS 6 PM Concerts (Followed by Dinners at 7 pm) FEBRUARY 1,3 Schubert String Trio #2 Hindemith String Trio #2 FEBRUARY 22, 24 Beethoven Serenade, op. -
The Wagnerian Impulses in James Joyce's
THE WAGNFRIAN IMPULSFS IN JAMFS JOYCE'S UL YSSFS AND A PORTRAIT OF THE ARTIST AS A YOUNG MAN h" l~miA AIAv~nriAr 1\11/"'r-rAnnr - J --·. ··- • ,,_,"_' ·--· ···--· -~-~ SubmittedUniversity in fulfilment ofof the Cape requirements Town for U1e degree of Master oi Arts in u-,e Faculty of Arts, University of Cape Town. Supervisors: Professor A. Brink; Professor j_ Cartwright Co-suoervisor:- . ProfessorS. Reiner Date submitted: 22 September 1999 The financial assistance of the Centre for Science Development, (HSRC, South Africa) towards tfiis research is f;ereby acknowiedged. Opinior;s expressed and conciusior;s arrived at, are ifiose of the author and are not necessarily to be attributed to the Centre for Science Development. The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town CONTENTS Acknowledgements 4 Abstract 5 introduction 7 A Note on Translation 13 Chapter 1: HEROES OF THE WAGNER DRAMA 14 -17 I I The wish to be her knight 20 The end he was bom to serve 23 Tourments of tosend years 26 Mild Aunt Lisa "My favourite Wagner opera" ~1 Guttergioomering 33 Priest of the eternal imagination 36 The musics of the futures 38 Chapter II: WAGNER'S RECEPTION IN ENGLAND AND IN IRELAND 45 46 Wagner in Irish Culture & Politics 49 1"&..--~-~ Ill. -
BERTHOLD GOLDSCHMIDT (Hamburg 1903 - London 1996)
SYMPOSIUM RECORDS CD 1234 BERTHOLD GOLDSCHMIDT (Hamburg 1903 - London 1996) Berthold Goldschmidt's father, a successful merchant, encouraged his interest in music by buying tickets for him for significant musical events in and around Hamburg. From 1922 to 1924 he studied composition under Franz Schreker in Berlin; the class included Jascha Horenstein and Ernst Krenek. As assistant to the celebrated conductor Erich Kleiber he participated in the world première of Berg’s Wozzeck in December 1925. He built an enviable early reputation as composer and conductor, notably with his opera Der gewaltige Hahnrei produced at Mannheim in 1932, and from conducting invitations, including one from the Leningrad Philharmonic Orchestra. The arrival of the Nazis stopped his career abruptly. By 1935 it was clear that he must leave. In October he travelled via Harwich to London and soon found the basement flat in Hampstead, 13B, Belsize Lane, where he spent the rest of his life. The BBC system of an anonymous panel to read and decide the fate of scores submitted to it came as a shock to him. None of his music was accepted until his short overture A Comedy of Errors was broadcast in 1946. Even this was in a European Service programme of music by German émigré composers. Eighteen months later a similar broadcast followed when the suite from his ballet Chronica was also broadcast to Europe. In fact, apart from commissioned incidental music to BBC dramatic productions, he did not enjoy a broadcast of his music in the United Kingdom until 1953, and his works were only very gradually considered sympathetically by the BBC Reading Panel. -
Bruckner ~ Journal
Bruckner ~ journal ISSUED THREE TIMES A YEAR AND SOLD BY SUBSCRIPTION Editorial and Advertising: [email protected] 23 Mornington Grove, Bow, London, E3 4NS Subscriptions and Mailing: .. 01384 566 383 4 Lulworth Close, Halesowen, B63 2UJ VOlUME EIGHT, NUMBER THREE, NOVEMBER 2004 Editor: Peter Palmer Editor-Designate: Ken Ward Managing Editor: Raymond Cox Associate Editors: Crawford Howie [email protected] Nicholas Attfield In This Issue page Concerts in Vienna and London 2 Compact Discs by Colin Anderson 5 Publications 8 Interview with Arthur Walker 14 Bruckner'. Eighth: Ybe 1890 Veraion by Derllot GaUlt 17 1 9 0 4 28 Letters 30 Editorial 31 Cal8Ddar 32 Bruckner and the Critics: contemporary drawing by Theodor Zasche I (1862-1922) Copyright In all pieces remains with the author Hamburg concertgoers nickname Bruckner's Ninth Symphony die Verworrene [the muddle-headed] I Silhouette by Otto Bohler --see 1 9 0 4 on page 28 ! ~ I ! I 2 Concerts THREE BRUCKNER CONCERTS within three weeks In Vienna's Musikverein: a far cry from my first experience of a Bruckner symphony (No.4) in Manchester's Albert Hall, with Josef Krips conducting the Halle Orchestra. I was fifteen, it was one of the first orchestral concerts I had been to, and I had never heard of Anton Bruckner. Except for Brahms' Fourth, my symphonic knowledge stopped at Beethoven, Schubert and Mendelssohn. I remember how I thrilled at the glorious, rich sounds, and up to a point that concert has Influenced the way in which I listen to Bruckner's music. As a student of plano and organ, I studied harmony and counterpoint, and I love the way he utilizes both to create wonderful sound. -
Mahler Transcending London Symphony Orchestra Simon Rattle , Conductor
Friday–Monday, May 4–7, 2018 Mahler Transcending London Symphony Orchestra Simon Rattle , Conductor Friday, May 4, 2018 at 8:00 pm Symphony No. 9 Sunday, May 6, 2018 at 3:00 pm Das Lied von der Erde Monday, May 7, 2018 at 8:00 pm Symphony No. 10 (completed by Deryck Cooke) Please make certain all your electronic devices are switched off. These programs are supported by the Leon Levy Fund for Symphonic Masters. Symphonic Masters is made possible in part by endowment support from UBS. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. David Geffen Hall Great Performers Support is provided by Rita E. and Gustave M. Hauser, Audrey Love Charitable Foundation, Great Performers Circle, Chairman’s Council, and Friends of Lincoln Center. Public support is provided by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. Endowment support for Symphonic Masters is provided by the Leon Levy Fund. Endowment support is also provided by UBS. Nespresso is the Official Coffee of Lincoln Center NewYork-Presbyterian is the Official Hospital of Lincoln Center We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members. In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces . The taking of photographs and the use of recording equipment are not allowed in the building. -
Argento Chamber Ensemble
THE ELIZABETH SPRAGUE COOLIDGE FOUNDATION IN THE LIBRARY oF CONGRESS FOUNDER'S DAY ARGENTO CHAMBER ENSEMBLE Saturday, October 29, 2016 ~ 8:00 pm Coolidge Auditorium Library of Congress, Thomas Jefferson Building In 1925 ELIZABETH SPRAGUE COOLIDGE (1864-1953) established the foundation bearing her name in the Library of Congress for the promotion and advancement of chamber music through commissions, public concerts and festivals; to purchase music manuscripts; and to support music scholarship. With an additional gift, Mrs. Coolidge financed the construction of the Coolidge Auditorium, which has become world famous for its magnificent acoustics and for the caliber of artists and ensembles who have played there. The Library of Congress observes the date of her birth, October 30th, as Founder’s Day, and around that day regularly presents a concert in her honor. Tonight's Pre-concert Conversation: Members of Argento Chamber Ensemble Whittall Pavilion, 6:30 pm (No tickets required) 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. -
The First Movements of Bruckner's Third, Sixth and Seventh Symphonies
THE FIRST MOVEMENTS OF BRUCKNER’S THIRD, SIXTH AND SEVENTH SYMPHONIES: A MOMENT-BY-MOMENT APPROACH TO FORM by NICHOLAS ROBERT STEINWAND A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Music) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2015 © Nicholas Robert Steinwand, 2015 Abstract To date, there has been mixed success in explaining Bruckner’s idiosyncratic style, and new methods are needed to explore his compositional techniques. This dissertation proposes an alternative way of studying the music, by examining the small, moment-to- moment gestures and changes in three first movements from his symphonies. The primary focus is on Bruckner’s manipulation of individual motivic, rhythmic, textural, and harmonic elements that create continuous shifts of tensions at the small-scale level, which sustain the expressive impact of the music. Instead of the teleology of traditional sonata form, these individual moments combine to create an overall dynamic flow in a larger, coherent structure described by Ernst Kurth’s theory of symphonic waves. Additionally, the phrase numbers Bruckner inserted in the autograph scores provide evidence of his organizational intentions. Of the works examined, the first movement of the Third Symphony (chapter 2) comes closest to a standard sonata form, but still displays Bruckner’s unique voice. The movement does not follow Hegelian conceptions common to symphonies by composers like Beethoven, but rather unfolds according to its own devices; the rhetoric is instead one of ebb and flow. The Seventh Symphony (chapter 3) moves further away from sonata form, with the tonal shifts in the first movement not creating drama as typically expected. -
Meaning in the Motives: an Analysis of the Leitmotifs of Wagner's Ring
Brian Carter Weinstock, MUS 376J Fall, 2002 Meaning in the Motives: an Analysis of the Leitmotifs of Wagner’s Ring Among the many great developments in opera fostered by Richard Wagner, none is more challenging than the leitmotif. These small, distinctive snatches of music, often no more than one or two measures long, are the bricks with which Wagner built his operas, including the massive sixteen-hour cycle Der Ring des Niblungen. By establishing and subsequently layering these motives, Wagner devised a way for the listener to recall certain characters or plot points. Furthermore, Wagner directly commented on the action in the opera through the use of his leitmotifs. One method of commentary was to show characters’ hidden intentions and thoughts by juxtaposing two or three motives at the same time in both the vocal lines and in the orchestra. But what do the leitmotifs actually contain? How are they constructed? How are they able to convey so much powerful emotion in so very few notes? In this paper, I will examine some of the key leitmotifs from Wagner’s Der Ring des Niblungen in order to more deeply understand Wagner’s intent, and how Wagner is able to be so effective in their communication. In performing my analysis, I turned to one of the great Wagnerian scholars—Deryck Cooke. In addition to his landmark analyses of Das Rheingold and Die Walküre in I Saw the World End, Cooke is also the author of an influential book on musical analysis called The Language of Music. In this book, Cooke argues that tonal music is literally a language of the emotions; the emotions conveyed being those of the composer. -
COLIN MATTHEWS List of Works CONTENTS
COLIN MATTHEWS List of Works CONTENTS page Biographical notes 3 The Music of Colin Matthews 4 List of works Orchestral 5 Choral 9 Chamber Ensemble 10 Chamber 13 Instrumental 15 Symphonic Wind Band 17 Vocal 18 Arrangements and Orchestrations 19 Works with other publishers 21 Discography 22 Index 23 Contact details 24 denotes a commerical recording is available for this work, see p. 22 for full details Abbreviations WOODWIND picc piccolo; fl flute; afl alto flute; bfl bass flute; ob oboe; bob bass oboe; ca cor anglais; acl alto clarinet; Ebcl clarinet (Eb); cl clarinet; bcl bass clarinet; cbcl contra bass clarinet; bsn bassoon; cbsn contra bassoon; ssax soprano saxophone; asax alto saxophone; tsax tenor saxophone; bsax baritone saxophone BRASS hn horn; fl.hn flugel horn; ptpt piccolo trumpet; (Bb) tpt trumpet; trbn trombone; btrbn bass trombone; scrt soprano cornet; crt cornet; rcrt repiano cornet; btuba bass tuba; euph euphonium; bar baritone PERCUSSION ant.cym antique cymbals; BD bass drum; c.bell cow bell; cast castanets; ch.bl chinese block; chin.cym chinese cymbal; ch.dr chinese drum; chtpl.bl chinese temple block; chi.ba chime bars; crot crotales; cyms pair of cymbals; glsp glockenspiel; mcas maracas; mar marimba; met.bl metal block; mil.glsp military glockenspiel; riv.cym rivet cymbal; SD side drum; siz.cym sizzle cymbal; susp.cym suspended cymbal; t.bells tubular bells; t.mil tambour militaire; tab tabor; tam-t tam-tam; tamb tambourine; TD tenor drum; tgl triangle; timb timbale; tpl.bl temple block; vib vibraphone; wdbl wood block; xyl xylophone; xylrim xylorimba STRINGS vln violin; vla viola; vlc cello; db double bass KEYBOARDS pno piano; cel celesta; synth synthesizer OTHERS gtr guitar; bgtr bass guitar All other instrument names are given in full. -
Program Book for the 1995 Mahler Festival (Mahlerfeest) Started to Compile a in Amsterdam
Colorado MahlerFest Mahler was the first composer to shatter the fin-de-siBcle intellectual tradition of bland rationality and blind optimism. His vision of the world, so clearly mirrored in his works, reflected the problems of life, of love, of achievement and failure, of happiness and fame from the viewpoint of death. Predictably, audiences then were utterly perplexed by both the emotional honesty and emotional complexity of this approach. However, today's generation of listeners finds itself increasingly in accord with a composer who does not spare them the trouble of stretching their emotional range. TheAmerican critic David Hall eloquenfly summarized the whole history of public reaction to Mahler: "For the audiences of Mahler's own day, and perhaps even for those between the two world wars, his musical message was too strong a dose of bitter medicine. ... Today, what were once Mahler's private anxieties and aspirations ... now find an echo in the experiences of many hundreds of thousands. They are those for whom the circumstances of war, of overdeveloped technology and underdeveloped humanity, ... have posed the hard core questions of faith in human destiny that Mahler, as a solitary individual, tried to answer. Now that his problems have, in a sense, become common to all of us, his music has begun to find a home throughout the world." His music may reach contemporary ears, but contemporary budgets do not promote frequent performances of the great symphonies of Mahler, other than the popular First and Fourth Symphonies. Complete works for hundred piece orchestras and multiple choirs, lasting nearly two hours and demanding extraordinary performance skills still find only periodic inclusion in orchestra seasons, and then only with major, professional orchestras.