DOCSLIB.ORG

Vivaldile Quattro Stagioni IL GROSSO MOGUL | IL RIPOSO | L’AMOROSO

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Vivaldile Quattro Stagioni IL GROSSO MOGUL | IL RIPOSO | L’AMOROSO CHANNEL CLASSICS CCS SA 40318 Rachel Podger Brecon Baroque VIVALDILe Quattro Stagioni IL GROSSO MOGUL | IL RIPOSO | L’AMOROSO Rachel Podger BBC National Orchestra of Wales, festival Baroque violin/director appearances across the world and at venues including Wigmore Hall and Lincoln Center. “There is probably no more inspirational As a director and soloist, Rachel has musician working today than Podger” enjoyed countless collaborations with (Gramophone). Rachel Podger, “the queen of highlights including Robert Levin, Jordi the baroque violin” (Sunday Times), has Savall, Masaaki Suzuki, Kristian Bezuiden- established herself as a leading interpreter hout, Robert Hollingworth & I Fagiolini, of the Baroque and Classical. She was the European Union Baroque Orchestra, English first woman to be awarded the prestigious Concert, The Orchestra of the Age of Royal Academy of Music/Kohn Foundation Enlightenment, The Academy of Ancient Bach Prize in October 2015. A creative Music, Holland Baroque Society, Tafelmusik programmer she is the founder and Artistic (Toronto), and within the USA the Berwick Director of Brecon Baroque Festival and her Academy, the Handel and Haydn Society, ensemble Brecon Baroque. Berkeley Early Music, Oregon Bach Festival, A significant birthday year for Rachel, and Philharmonia Baroque Orchestra. 2018 holds an exciting and innovative Rachel has won numerous awards new collaboration, Guardian Angel, with including two Baroque Instrumental Gramo- world-renowned vocal ensemble VOCES8. phone Awards for La Stravaganza (2003) and Inspired by her BBC Music Magazine Award Biber Rosary Sonatas (2016), the Diapason winning disc and including Biber’s Passa­ d’Or de l’année in the Baroque Ensemble caglia of the same name, Podger’s serene category for La Cetra Vivaldi concertos and beguiling virtuosity is the guiding voice (2012), a BBC Music Magazine Award in the in Guardian Angel amidst choral master- instrumental category for Guardian Angel pieces sung by the ‘impeccable’ (Gramo- (2014), and multiple Diapasons d’Or. The phone) VOCES8. Including a new complete Vivaldi L’Estro Armonico concertos commission by upcoming composer Owain (2015) with Brecon Baroque was Record of Park, and works by VOCES8 composer in the Month for both BBC Music and Gramo- residence Jonathan Dove and Sir James phone Magazines, won the concerto MacMillan. Further treats include a tour with category of the 2016 BBC Music Magazine 3 Award, was awarded a Diapason d’Or and Comberti Chair for Baroque Violin (founded was shortlisted for a Gramophone Award in 2008), and the Royal Welsh College of (2015). Upcoming releases for 2018 further Music and Drama where she holds the to Vivaldi’s Le Quattro Stagioni with Brecon Jane Hodge Foundation International Chair Baroque will include solo Bach Cello Suites in Baroque Violin. Rachel has a developing transposed for the violin. relationship with The Juilliard School in A dedicated educator, she holds an New York. honorary position at both the Royal Academy Rachel Podger is managed worldwide by of Music, where she holds the Micaela Percius. www.percius.co.uk 4 Rachel Podger Month for both the BBC Music Magazine and Brecon Baroque and Gramophone Magazine, was awarded a Diapason d’Or, and won the 2016 BBC “Rachel Podger’s crack team deliver Music Magazine Concerto Award. In 2016, miracles of virtuosity” (The Observer). their disc of Biber Rosary Sonatas won the The dynamic ensemble Brecon Baroque Baroque Instrumental Gramophone Award, consists of an international line-up of some followed by the release of Bach Art of of the leading lights in the period-instrument Fugue. Prior to Le Quattro Stagioni, world, including cellist Alison McGillivray, Brecon Baroque’s latest disc Grandissima violist Jane Rogers, harpsichordist Marcin Gravita was released in September 2017 Świątkiewicz, violinist Johannes Pramsohler, to great acclaim, with accolades including and lutenist Daniele Caminiti. The ensemble Gramophone Magazine’s Editor’s Choice specialises in mainly one-to-a-part per- award. formances but also appears as a small Recent highlights include performances baroque orchestra for repertoire including at Edinburgh International Festival, tours Vivaldi, Telemann, Purcell and Handel. of continental Europe, Japan, a UK tour of Rachel and Brecon Baroque’s debut CD, Mid Wales Opera’s Acis and Galatea in a Bach Violin Concertos, attracted universal collaboration with the Royal Welsh College of critical acclaim and was quickly hailed as a Music and Drama, and performances at their benchmark recording of these works. Bach very own Brecon Baroque Festival. Future Double and Triple Concertos was released appearances will feature European and UK to rave reviews in 2013 including CD of tours of Vivaldi L’Estro Armonico Concertos, the week nominations for Classic FM, BBC Bach Art of Fugue, and Vivaldi Le Quattro Radio 3 CD Review, HR2 Kultur (Germany) Stagioni, with concerts in Bath, Oxford, York, and WQXR (New York). The group’s third Aldeburgh, Finland and more. disc, a complete recording of Vivaldi L’Estro Brecon Baroque is managed worldwide Armonico concertos was Record of the by Percius. www.percius.co.uk 5 Brecon Baroque Rachel Podger violin/director Johannes Pramsohler violin Sabine Stoffer violin Jane Rogers viola Alison McGillivray violoncello Jan Spencer violone Daniele Caminiti theorbo Marcin Świątkiewicz harpsichord/ chamber organ 6 Il Grosso Mogul, Il Riposo, trademark. Virtuosity takes part in a larger L’amoroso, and Le Quattro Stagioni social dynamic: it is this that makes Vivaldi’s concertos such joyful music. Vivaldi penned more than 500 concertos. Despite what this recorded collection At least 214 of these are for solo violin and suggests, few of Vivaldi’s instrumental works orchestra, but as Michael Talbot remarks, have programmatic titles. On the whole, titles ‘scarcely a year passes without the gesture towards a general mood. Il Riposo announce ment of some fresh discovery’. and L’amoroso are examples of this indi- So what was the ‘concerto’ to Vivaldi? cation of Affekt – indeed, both are united What about it did he love so much to have in their key of gleaming E major. The case of composed so many? In the decade before Il Grosso Mogul is stranger. There seems to Vivaldi composed Le Quattro Stagioni, be no known link between Vivaldi and the Johann Mattheson described the genre: Indian court of the Grand Mughal, Akbar. The extreme virtuosity required by the soloist “Concertos broadly speaking, are in the outer movements, as well as the long, gatherings and collegia musica … fully written-out cadenzas, suggest a theatri- where among several violins one, cal function. Perhaps Vivaldi performed it as called Violino concertino, stands out on a ‘theatre concerto’ as part of an opera plot account of its especially rapid playing.” set in India. French royalty, however, did play Das neu-eröffnete Orchestre, Hamburg, 1713 a huge role in the reception of Le Quattro Stagione: Perhaps it was this marriage of community and celebrity that was attractive. Vivaldi was The 25th. The Queen walked to the music able to show off – indeed, Talbot describes salon where Mr Guignon played alone that Vivaldi’s reputation as a ‘freakish two sonatas ... the King then asked for violinist’ overshadowed his renown as a Vivaldi’s Spring, which is an excellent composer. Yet Vivaldi could also explore symphony piece, and as the King’s sonorous, rhythmic, and quickly-changing musicians were not present at this orchestral textures. The relationship between concert, the Prince of Dombes, the Count these two levels would become Vivaldi’s d’Èu, and several other Lords of the 8 Le Quattro Stagioni In a letter written to Count Wenzel von Morzin, it is clear that Le Quattro Stagioni had a life before its publication as part of Opus 8 in 1725. Vivaldi writes that he included the Seasons in the new collection as they ‘found generous favour with Your Illustrious Lordship quite a long time ago’. Vivaldi claims that he has improved the concertos. He has also adorned them with sonnets and a ‘clear de- scription of all the things that unfold in them’. And so we come to our first problem. We learn that the four concertos existed in an court, agreed to play along with Mr earlier form without the sonnets. Yet the Guignon, not to deny S.M of hearing this centrality of poetic presentation has become beautiful piece of symphony that was the work’s very ‘meaning’ – after all, King beautifully performed. Louis did not ask for the Concerto in E major, Mercure de France, December 1730. Op. 8 No.1, but La Primavera . Did Vivaldi considerably alter the original concertos to The popularity of Vivaldi’s Opus 8 in France match the narratives of the new sonnets? can be attributed to its programmatic Or perhaps a specific poetic narrative was content. Along with the Seasons, Il cimento already implied by the original version? dell’armonia e dell’inventione (‘The Trial of Does it even matter? As Carolyn Abbate Harmony and Invention’), Op. 8 included puts it, writings about music become ‘part concertos entitled “La tempesta di mare”, of that work as it travels through history’. “Il piacere” and “La caccia”. What was it By embracing the poetry as ‘part’ of the about La Primavera that made King Louis music, we as listeners can rejoice in birdsong, XV demand its performance there and shelter from storm, dance, snooze, skate then, scrambling together an orchestra and shiver in the thrilling strangeness of that included nobility? Why Spring? Vivaldi’s score. 9 La Primavera is a ‘persona’. Lost in melancholic thought, The arrival of Spring – set in the same bright the voice is interrupted by thunderous E major as Il Riposo and L’amoroso – is semiquavers – the depiction of looming announced with joy. Violins engage in bad weather. Through dynamics and the birdsong, trilling to one another. Vivaldi was alternating Adagio-Presto scheme, Vivaldi drawing on a long-established tradition of creates a landscape with a horizon: the birdcall in violin music in idiosyncratic voices.
Load more

Recommended publications
  • Concert Season 34
    Concert Season 34 REVISED CALENDAR 2020 2021 Note from the Maestro eAfter an abbreviated Season 33, VoxAmaDeus returns for its 34th year with a renewed dedication to bringing you a diverse array of extraordinary concerts. It is with real pleasure that we look forward, once again, to returning to the stage and regaling our audiences with the fabulous programs that have been prepared for our three VoxAmaDeus performing groups. (Note that all fall concerts will be of shortened duration in light of current guidelines.) In this year of necessary breaks from tradition, our season opener in mid- September will be an intimate Maestro & Guests concert, September Soirée, featuring delightful solo works for piano, violin and oboe, in the spacious and acoustically superb St. Katharine of Siena Church in Wayne. Vox Renaissance Consort will continue with its trio of traditional Renaissance Noël concerts (including return to St. Katharine of Siena Church) that bring you back in time to the glory of Old Europe, with lavish costumes and period instruments, and heavenly music of Italian, English and German masters. Ama Deus Ensemble will perform five fascinating concerts. First is the traditional December Handel Messiah on Baroque instruments, but for this year shortened to 80 minutes and consisting of highlights from all three parts. Then, for our Good Friday concert in April, a program of sublime music, Bach Easter Oratorio & Rossini Stabat Mater; in May, two glorious Beethoven works, the Fifth Symphony and the Missa solemnis; and, lastly, two programs in June: Bach & Vivaldi Festival, as well as our Season 34 Grand Finale Gershwin & More (transplanted from January to June, as a temporary break from tradition), an exhilarating concert featuring favorite works by Gershwin, with the amazing Peter Donohoe as piano soloist, and also including rousing movie themes by Hans Zimmer and John Williams.
    [Show full text]
  • PROGRAM on 1 January 2018 – New Year Concert Antonio Vivaldi
    PROGRAM on 1 January 2018 – New Year Concert Antonio Vivaldi Le Quattro Stagioni for violin, strings and harpsichord Georg Friedrich Händel Arrival of the Queen of Sheba for strings and harpsichord Antonio Vivaldi La Follia for strings and harpsichord RV. 63 Antonio Bazzini La Ronde des Lutins for violin and strings op. 25 ______________________________________________ PROGRAM on 2 - 4 - 6 - 9 - 13 - 16 - 20 January 2018 Antonio Vivaldi Le Quattro Stagioni for violin, strings and harpsichord Johann Adolf Hasse Sinfonia for strings and harpsichord op. 5 n. 6 Johann Sebastian Bach Concerto for violin, strings and harpsichord BWV 1041 ______________________________________________ PROGRAM on 3 - 5 - 11 - 18 - 25 January 2018 Arcangelo Corelli Concerto Grosso for 2 violins, cello, strings and harpsichord op. 6 n. 9 Antonio Vivaldi Concerto for strings and harpsichord RV. 118 Antonio Vivaldi Concerto for violin, strings and harpsichord RV. 308 Antonio Vivaldi Concerto for 2 violins, strings and harpsichord RV. 512 Antonio Vivaldi Concerto for strings and harpsichord RV. 137 Niccolò Paganini Tarantella for violin and strings op. 33 ______________________________________________ PROGRAM on 23 - 27 - 30 January and 3 - 6 - 8 - 10 February 2018 Antonio Vivaldi Le Quattro Stagioni for violin, strings and harpsichord Luigi Boccherini Fandango for strings and harpsichord Marin Marais Suite for cello and strings Manuel De Falla Danza from La Vida Breve for violin and strings ______________________________________________ PROGRAM on 29 January and 2 - 5 - 7 - 9 February 2018 Antonio Vivaldi Concerto for violin, strings and harpsichord op. 4 n. 10 la Stravaganza Antonio Vivaldi Concerto for strings and harpsichord RV. 158 Antonio Vivaldi Concerto for violin, strings and harpsichord op.
    [Show full text]
  • Thirty Years of BBS Performances 1990 - 2020
    Thirty Years of BBS Performances 1990 - 2020 Composer Nationality Composition Performed on Principal Performer/Conductor Andres, Timothy American Thrive on Routine 8/13/2010 American Contemporary Music Ensemble Anonymous Anonymous Anglicus-Praeambulum-Iag Bari 10/9/2010 Ensemble Caprice Anonymous Anonymous Balletti di Venezia 10/9/2010 Ensemble Caprice Anonymous Anonymous Hungaricus 12, 53, and 23 ("Les sept 10/9/2010 Ensemble Caprice sauts") Anonymous (aft Verdi) NA Il Trovatore Quadrilles (c. 1853) 10/19/2013 Cooper, Kenneth arr Robinson English All Ye Who Music Love 5/14/1998 Loder, Nancy Ascher, Joseph Dutch Sans Souci - Galop de bravoure (1858) 10/19/2013 Cooper, Kenneth Bach, C.P.E. German Quartetto for Flute, Viola, Cello, and 5/24/2014 Cooper, Kenneth Harpsichord, Wq 95 Bach, C.P.E. German Quartetto for Flute, Viola, Cello, and 10/7/1994 Cooper, Kenneth Harpsichord, Wq 95 Bach, C.P.E. German Sinfonia No. 3 in C Major, Wq 182, No. 3 8/26/2006 Cooper, Kenneth Bach, C.P.E. German Sinfonia No. 3 in C Major, Wq 182, No. 3 10/18/1996 Cooper, Kenneth 10/19/1996 Bach, C.P.E. German Sonata II in g minor, Wq. 70/4 4/9/2016 Sykes, Peter Bach, J.C. German Centone No.XII for Brass: Andante, 2/14/2010 Sykes, Peter Presto Bach, J.C. German Es ist nun aus mit meinem Leben (My life 2/20/2000 Metcalfe, Scott is now at an end) Bach, J.C. German Quintetto in D Major, Op. 22, No. 1 5/24/2014 Cooper, Kenneth Bach, J.C.F.
    [Show full text]
  • Michael Talbot Sommario Il Concerto Per Violino in La Maggiore, Rv 335
    Michael talbot MIGrazIonI dI un CuCulo e dI un usIGnolo : Il ConCerto rV 335 dI VIValdI e nuoVe ConsIderazIonI suI ConCertI rV 335 a e rV a nH . 14 sommario Il Concerto per violino in la maggiore, rV 335, di antonio Vivaldi, intitolato The Cuckow , godette di una straordinaria popolarità sul suolo britannico durante il diciottesimo secolo. Il brano si caratterizza per l’ampio uso del registro sovra - cuto, gli effetti onomatopeici che richiamano il canto degli uccelli e un tessuto orchestrale semplice e omofonico. Conosciuto in Inghilterra fin dal 1717, questo concerto rimase un vero e proprio cavallo di battaglia per molte generazioni di virtuosi, continuando a essere riproposto, sia pur attraverso versioni sempre più lontane dal testo originale, fino al secolo successivo. a prima vista, non sembra affatto che venga imitato il verso del cuculo, dal momento che l’intervallo discendente che ne imita il richiamo è una quarta anzi - ché una terza: questo ci spinge a ritenere spurio il titolo del brano. all’inizio della primavera, tuttavia, il verso del cuculo descrive un intervallo più ampio di una terza, ragion per cui la sua autenticità non può essere del tutto scartata, anche se Vivaldi, altrove, rappresenta il cuculo con un intervallo di terza. Il modello del movimento lento di rV 335 – otto battute il cui organico pre - vede solamente il solista sostenuto dal basso continuo – è uno dei prediletti da Vivaldi. l’influente musicista di origine tedesca J. C. Pepusch lo prese a prestito in un suo concerto per violino in la maggiore, integrando l’accompagnamento orchestrale con delle parti aggiuntive per gli strumenti ad arco mancanti.
    [Show full text]
  • Fünf Geistertrompeten Und Eine Nähmaschine
    26 Interview Fünf Geistertrompeten und eine Nähmaschine Im Gespräch: Peter Ryom Die Fragen stellte Johannes Jansen CONCERTO: Woran hat sich Ihr ganz persönliches Interesse für Antonio Vivaldi entzündet? RYOM: Mein Interesse an der Barockmusik ganz allgemein ist bei einer Vorlesung über die h-Moll-Messe von Bach an der Universi- tät von Kopenhagen erwacht, als der Professor die Anfangstakte des ›Gloria‹ vorspielte. Das war so fabelhaft schön und für mich eine solche Offenbarung, dass ich in diesem Moment beschloss, mich weiterhin mit Barockmusik zu befassen. Da ich als Kind dänischer Eltern in Paris aufgewachsen war, wo ich auch fast meine gesamte Schulzeit verbrachte, waren meine deutschen Sprachkenntnisse allerdings noch so gering, dass ein Bach- Thema für mich nicht in Frage kam. So kam ich zu Vivaldi, über den es bereits französische Literatur gab. Ich hatte mir das kleine Buch von Marc Pincherle ausgeliehen, das zu der Entscheidung ebenso beigetragen hat wie ein Konzertbesuch Anfang der sech- ziger Jahre in Kopenhagen. Meine Eltern hatten es mir und mei- ner Schwester ermöglicht, I Musici mit den ›Vier Jahreszeiten‹ zu hören – das war ein wunderschönes Erlebnis –, außerdem brachte mein Vater, der beruflich viel in Italien zu tun hatte, von dort viele Schallplatten mit. CONCERTO: Die erste Stereo-Aufnahme der ›Vier Jahreszeiten‹ mit dem Ensemble I Musici aus dem Jahr 1959 steht mit mehr als 10 Mio. Exemplaren unverrückbar auf einem Platz unter den Top Peter Ryom auf der Frankfurter Buchmesse bei der Entgegennahme seines Ten der meistverkauften Platten aller Zeiten. Insgesamt sollen bis frisch gedruckten Vivaldi-Verzeichnisses (Fotos: Ilse Ryom) heute mehr als 400 Aufnahmen allein mit diesen vier Konzerten aus Vivaldis Opus VIII entstanden sein.
    [Show full text]
  • Vivaldi Antonio
    VIVALDI ANTONIO Violinista e compositore italiano (Venezia 4 III 1678 - Vienna 26 o 28 VII 1741) 1 Detto il "prete rosso", dal colore dei suoi capelli, secondo la testimonianza di Goldoni, nacque da una famiglia veneziana benestante, d'origine genovese, come denuncia il nome. Il padre, Giovanni Battista, era violinista "professionista" nel senso che aveva la parola in Venezia nel XVI sec., ed esercitava la professione suonando il violino, forse, componendo nella Ducale cappella di San Marco. La madre si chiamava Camilla Calicchio. Il bambino, al quale furono imposti i nomi di Antonio Lucio, fu battezzato in San Giovanni in Bràgora il 6 maggio. Cagionevole di salute fin dalla nascita, soffrì sempre, come egli stesso farà sapere in una lettera del 1737, di una malattia congenita alle vie respiratorie: "ristrettezza del petto" egli la chiamava, lasciandoci in dubbio tra l'asma e la tisi. Ebbe tre fratelli, tutti nati dopo di lui, di nome Iseppo, Francesco, Bonaventura, i quali condussero una vita precaria e non sempre onorata. Il padre volle per il suo primogenito Antonio la carriera ecclesiastica, sollecitato in ciò dalla madre che pensava, così facendo, di proteggere la salute del fanciullo. Perciò percorse regolarmente e superò tutti i gradi per giungere all'ordinazione: fu tonsurato il 18 IX 1693 e ricevette i voti della sacra ordinazione, al termine del diacononato, il 23 III 1703: in questo stesso anno ebbe anche il notevole privilegio di entrare presso il Pio Ospitale della Pietà come insegnante di violino. La Pietà era il più in vista ed il meglio frequentato dei quattro ospizi di carità (La Pietà, Gl'Incurabili, L'Ospedaletto, I Mendicanti) che, in Venezia, possedessero anche attigui istituti musicali perfettamente attrezzati e cospiquamente finanziati dallo Stato e da privati.
    [Show full text]
  • Folia Vivaldi Full Score and Parts Original Sheet Music
    Folia Vivaldi Full Score And Parts Original Sheet Music Download folia vivaldi full score and parts original sheet music pdf now available in our library. We give you 6 pages partial preview of folia vivaldi full score and parts original sheet music that you can try for free. This music notes has been read 3708 times and last read at 2021-09-25 23:24:44. In order to continue read the entire sheet music of folia vivaldi full score and parts original you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Cello, Double Bass, Harpsichord, Organ, Violin Ensemble: Mixed Level: Intermediate [ READ SHEET MUSIC ] Other Sheet Music Folia Vivaldi Full Score Original Folia Vivaldi Full Score Original sheet music has been read 3983 times. Folia vivaldi full score original arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-25 22:42:40. [ Read More ] Folia Vivaldi Complete Set Of Parts Original Folia Vivaldi Complete Set Of Parts Original sheet music has been read 2751 times. Folia vivaldi complete set of parts original arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-26 08:27:09. [ Read More ] Vivaldi Folia Violin 2 Part Original Vivaldi Folia Violin 2 Part Original sheet music has been read 2520 times. Vivaldi folia violin 2 part original arrangement is for level. The music notes has 1 preview and last read at 2021-09-24 20:07:49. [ Read More ] Vivaldi Folia Violin 1 Part Original Vivaldi Folia Violin 1 Part Original sheet music has been read 2674 times.
    [Show full text]
  • 573899 Itunes Grand Mogul
    THE GRAND MOGUL Virtuosic Baroque Flute Concertos Blavet Leclair Pergolesi Telemann Vivaldi Barthold Kuijken, Baroque Flute Indianapolis Baroque Orchestra The Grand Mogul The Grand Mogul Virtuosic Baroque Flute Concertos The solo concerto as an instrumental genre emerged in this can be partially borrowed from RV 431 , but at some Virtuosic Baroque Flute Concertos Northern Italy in the first quarter of the 18th century, not places (and in the complete second movement) it needs to long after the concerto grosso, in which several be newly composed. This is not such a difficult task, when all Antonio Vivaldi (1678–1741) instruments, typically two violins and violoncello, take the other parts are extant. We want to thank the publisher, 1Flute Concerto in D minor ‘Il Gran Mogol’, RV 431a xx:xx solo roles. Antonio Vivaldi (1678–1741) was one of the Edition HH (Launton, United Kingdom), to have granted us 2 Allegro non molto x:xx most influential composers of concertos. Most of his the permission to make use of their reconstruction. In the Larghetto x:xx concertos feature the violin as a solo instrument, no doubt Larghetto , Vivaldi lets the flute float over a simple chordal 3 because he was a great violin virtuoso himself. However, accompaniment of the strings. This is the type of writing that Allegro x:xx he also wrote a fair number of concertos for other strongly invites the soloist to add a layer of ornamentation Giovanni Battista Pergolesi (1710–1736) instruments: violoncello, oboe, recorder, bassoon, flute, onto the quite bare melody. I do hope that Vivaldi would have viola d’amore, mandolin, and harpsichord.
    [Show full text]
  • Blazing Baroque
    BLAZING BAROQUE Sydney, Melbourne and Brisbane July/August 2016 Paul Dyer AO Artistic Director Shaun Lee-Chen Baroque Violin Australian Brandenburg Orchestra PROGRAM Sammartini Overture to the opera Memet, J-C 88 Vivaldi Concerto for violin in D major, RV 208, Grosso mogul Telemann Grand Concerto in D major, TWV deest Interval Vivaldi Concerto for several instruments in F major, RV 569 Telemann Concerto for flute & recorder in E minor, TWV 52:e1 Fasch Concerto in D major, FWV L:D4a Sydney Melbourne Brisbane City Recital Hall Melbourne Recital Centre Queensland Performing Arts Centre Wednesday 27 July, 7pm Saturday 30 July, 7pm Monday 8 August, 7:30pm Friday 29 July, 7pm Sunday 31 July, 5pm Wednesday 3 August, 7pm Friday 5 August, 7pm Saturday 6 August, 7pm Matinee Saturday 6 August, 2pm Chairman’s 11 Proudly supporting our guest artists The duration of this concert is approximately 2 hours including interval. We kindly request that you switch off all electronic devices during the performance. This concert will be broadcast on ABC Classic FM on Thursday 11 August, 1pm. SERIES PARTNER PRINCIPAL PARTNER 1 SHARED Artistic DIRECTOR'S VISIONS MESSAGE Macquarie Group is proud to continue its It’s pretty rare in our performing calendar to be able to enjoy the stage all by partnership with one of Australia’s foremost ourselves, and so I have assembled a dream team of Brandenburg artists for cultural treasures, the Australian Brandenburg this Blazing Baroque concert. The stars of the Australian Baroque scene! – Orchestra. and playing on period instruments of the eighteenth century. This is Macquarie Group’s ninth year as the Recently Shaun Lee-Chen (our concertmaster) and I performed with the Brandenburg’s principal partner and what West Australian Symphony Orchestra.
    [Show full text]
  • Concert Reviews (2011–2017)
    Concert Reviews (2011–2017) From 2011 through 2017 I occasionally reviewed concerts for the online Boston Musical Intelligencer, imagining that by offering commentary on local performances I might provide information about the music for listeners and helpful suggestions for performers and presenters. But of course this was quixotic, not to say presumptuous, and on the rare occasions when my reviews solicited comments these were usually to complain about their length or my criticisms of anachronistic performance practices and inaccurate claims in program notes. I discovered, too, that as a performer myself, and one who knew and has worked with and even taught some of those I found myself reviewing, it could be difficult to preserve my objectivity or to avoid offending people. An additional frustration was that many of my reviews appeared with editorial changes that introduced not only grammatical errors and misspellings but sometimes misstatements of fact, even altering the views I had expressed. I know that few things are as stale as old reviews, but for the record I include below all these reviews as I wrote them, arranged by date of publication from the most recent to the earliest. At some point I learned that it was preferable to invent a cute-sounding headline than to have one foisted on my review, and where I did this I’ve included it together with my byline. A few of these are accompanied by my photos, although the only one of these that ran originally was the one of the Resistance protest in Copley Square in January 2017. David Schulenberg December 19, 2017 American Modern Opera Company (December 17, 2017) A Night Out With AMOC David Schulenberg The new American Modern Opera Company was unveiled this week in a series of three events billed as the AMOC! Festival, sponsored by the American Repertory Theater.
    [Show full text]
  • PDF Version of June 2020 Patterns
    FRIENDS OF WILL MEMBERSHIP MAGAZINE June 2020 WILL presents a virtual concert in Allerton Park Membership Hotline: 800-898-1065 June 2020 Volume XLVII, Number 12 WILL AM-FM-TV: 217-333-7300 Campbell Hall 300 N. Goodwin Ave., Urbana, IL 61801-2316 Mailing List Exchange Donor records are proprietary and confidential. WILL does not sell, rent or trade its donor lists. Patterns Friends of WILL Membership Magazine Editor/Art Designer: Sarah Whittington Art Director: Kurt Bielema Printed by Premier Print Group. Printed with SOY INK on RECYCLED, RECYCLABLE paper. RADIO 90.9 FM: A mix of classical music and NPR information programs, including local news. (Also with live streaming on will.illinois.edu.) See pages 4-5. Our fiscal year ends at the end of this month and, though our operations have recently changed 101.1 FM and 90.9 FM HD2: Locally produced dramatically, I am incredibly proud of what our station music programs and classical music from C24. has still accomplished over the entirety of the last (101.1 is available in the Champaign-Urbana area.) See page 6. 12 months. We debuted a new documentary and related live performance series with Illinois Country, 580 AM: News and information, NPR, BBC, we introduced Brian Mackey as the new host for news, agriculture, talk shows. (Also heard The 21st, our education team quickly created at on 90.9 FM HD3 with live streaming on will.illinois.edu.) See page 7. home learning curriculum for local students, Vic Di Geronimo celebrated his tenth year hosting Classic TELEVISION Mornings, our Illinois Newsroom revamped its WILL-HD coverage around coronavirus’s local impact, and there All your favorite PBS and local programming, was so much more.
    [Show full text]
  • PROGRAM for 1St January 2017 – New Year Concert Antonio Vivaldi
    PROGRAM for 1st January 2017 – New Year Concert Antonio Vivaldi Le Quattro Stagioni for violin, strings and harpsichord Antonio Vivaldi Concerto for strings and harpsichord RV. 167 Luigi Boccherini Fandango for strings and harpsichord Giuseppe Tartini Il trillo del diavolo for violin and strings ______________________________________________ PROGRAM for 2 - 4 - 6 January 2017 Arcangelo Corelli Concerto Grosso for 2 violins, cello, strings and harpsichord op. 6 n. 9 Antonio Vivaldi Concerto for strings and harpsichord RV. 118 Antonio Vivaldi Concert for 2 violins, strings and harpsichord RV. 510 Antonio Vivaldi Concerto for violin, strings and harpsichord op. 7 n. 11 Antonio Vivaldi Concerto for strings and harpsichord RV. 137 Johann Sebastian Bach Concerto for violin, strings and harpsichord BWV. 1041 ______________________________________________ PROGRAM for 3 - 5 - 7 January 2017 Antonio Vivaldi Le Quattro Stagioni for violin, strings and harpsichord Johann Adolf Hasse Simphony for strings and harpsichord op. 5 n. 6 Giambattista Pergolesi Concerto for violin, strings and harpsichord ______________________________________________ PROGRAM for 10 - 14 - 17 - 21 - 24 - 28 January 2017 Antonio Vivaldi Le Quattro Stagioni for violin, strings and harpsichord Antonio Vivaldi Concerto for strings and harpsichord RV. 157 Antonio Vivaldi Concerto for violin, strings and harpsichord op. 6 n. 4 Antonio Vivaldi Concerto for 2 violins, strings and harpsichord RV. 523 ______________________________________________ PROGRAM for 12 - 19 - 26 January 2017 Antonio Vivaldi Concerto for violin, strings and harpsichord op. 4 n. 10 la Stravaganza Antonio Vivaldi Concerto for strings and harpsichord RV. 158 Antonio Vivaldi Concerto for violin, strings and harpsichord RV. 234 Inquietudine Johann Sebastian Bach Ciaccona for violin and strings BWV.
    [Show full text]