November Christmas Concert & Dinner
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Shining the Spotlight on New Talent Independent Opera
Independent Opera Shining the spotlight on new talent INDEPENDENT OPERA AT SADLER’S WELLS 2005–2020 Introduction Message from Wigmore Hall Thursday 15 October 2020, 7.30pm In this period of uncertainty, Independent Opera at Sadler’s It gives me great pleasure to welcome Independent Opera Wells is grateful to be able to present its annual Scholars’ to Wigmore Hall for its fourth showcase event. Now, more Independent Opera Recital at Wigmore Hall. For this final concert in Independent than ever, such opportunities are vital for young singers. Opera’s 15-year history, we are thrilled to bring together We are immensely grateful to Independent Opera for its four talented singers: tenor Glen Cunningham, soprano pioneering work and for its extraordinary commitment Scholars’ Recital Samantha Quillish, bass William Thomas, mezzo-soprano to young artists when they need it most. Tonight’s concert Lauren Young and renowned pianist Christopher Glynn. is a great example of the spirit of Independent Opera and all that it has represented over so many years. I hope Antonín Dvorˇák The four emerging artists you will hear tonight were Glen Cunningham tenor that you all enjoy this concert. Cigánské melodie, Op. 55 selected from Independent Opera’s partner conservatoires: Royal College of Music No. 1 Má písenˇ zas mi láskou zní Royal College of Music, Royal Academy of Music, Guildhall John Gilhooly Director No. 4 Když mne stará matka zpívat School of Music & Drama and Royal Conservatoire of Samantha Quillish soprano Moravian Duets, Op. 38 Scotland. The Independent Opera Voice Scholarships were Royal Academy of Music No. -
Conducting Studies Conference 2016
Conducting Studies Conference 2016 24th – 26th June St Anne’s College University of Oxford Conducting Studies Conference 2016 24-26 June, St Anne’s College WELCOME It is with great pleasure that we welcome you to St Anne’s College and the Oxford Conducting Institute Conducting Studies Conference 2016. The conference brings together 44 speakers from around the globe presenting on a wide range of topics demonstrating the rich and multifaceted realm of conducting studies. The practice of conducting has significant impact on music-making across a wide variety of ensembles and musical contexts. While professional organizations and educational institutions have worked to develop the field through conducting masterclasses and conferences focused on professional development, and academic researchers have sought to explicate various aspects of conducting through focussed studies, there has yet to be a space where this knowledge has been brought together and explored as a cohesive topic. The OCI Conducting Studies Conference aims to redress this by bringing together practitioners and researchers into productive dialogue, promoting practice as research and raising awareness of the state of research in the field of conducting studies. We hope that this conference will provide a fruitful exchange of ideas and serve as a lightning rod for the further development of conducting studies research. The OCI Conducting Studies Conference Committee, Cayenna Ponchione-Bailey Dr John Traill Dr Benjamin Loeb Dr Anthony Gritten University of Oxford University of -
A Centenary Celebration 100 Years of the London Chamber Orchestra
Available to stream online from 7:30pm, 7 May 2021 until midnight, 16 May 2021 A Centenary Celebration 100 years of the London Chamber Orchestra Programme With Christopher Warren-Green, conductor Handel Arrival of the Queen of Sheba Jess Gillam, presenter Mozart Divertimento in D Major, K205, I. Largo – Allegro Debussy Danses Sacrée et Profane Maconchy Concertino for Clarinet and Orchestra, III. Allegro Soloists Mozart Eine Kleine Nachtmusik, I. Allegro Anne Denholm, harp Britten Courtly Dance No. 5 Mark van de Wiel, clarinet Maxwell Davies Farewell to Stromness Various A Century of Music (premiere) Soloists, A Century of Music Elgar Introduction and Allegro Mary Bevan, soprano Pekka Kuusisto, violin London Chamber Orchestra Alison Balsom, trumpet Ksenija Sidorova, accordion Violin 1 Viola Flute & Piccolo Benjamin Beilman, violin Clio Gould Rosemary Warren-Green Harry Winstanley Jess Gillam, saxophone Manon Derome Kate Musker Gina McCormack Becky Low Oboe Sophie Lockett Jenny Coombes Gordon Hunt Imogen East Alison Alty Composers, A Century of Music Eunsley Park Cello Rob Yeomans Robert Max Clarinet & Bass Clarinet John Rutter Edward Bale Joely Koos Mark van de Wiel Freya Waley-Cohen Julia Graham Violin 2 Rachael Lander Bassoon Paul Max Edlin Charles Sewart Meyrick Alexander George Morton Anna Harpham Bass Alexandra Caldon Andy Marshall Horn Tim Jackson Guy Button Ben Daniel-Greep Richard Watkins Jo Godden Michael Thompson Gabriel Prokofiev Harriet Murray Percussion Cheryl Frances-Hoad Julian Poole Trumpet Ross Brown If you’re joining us in the virtual concert hall, we’d love to know about it! Tag us on your social media using the hashtag #LCOTogether George Frideric Handel Wolfgang Amadeus Mozart Arrival of the Queen of Sheba Divertimento in D Major, K205 I. -
Download Booklet
2CD THE VEIL OF The temple Cycle IV john tavener (1944-2013) t Primordial Call [1.55] y Mystery of the Nothingness of God [2.15] Cycle V CD1 u Primordial Call [1.51] Cycle I i You Mantle Yourself in Light [3.42] 1 Mystical Love Song of the Sufis [5.06] o Jesus Prayer [1.14] 2 Primordial Call [2.42] p The Lord’s Prayer [6.58] Cycle II Cycle VI 3 Primordial Call [0.31] a Primordial Call [2.08] 4 God’s Creation [5.40] s What God is, we do not know [2.34] 5 Outside the Gates of Paradise [2.51] d God of Strength [2.45] 6 Our Father [2.58] f Kyrie Eleison - Chant [2.18] 7 Holy Mary [3.00] g Te Re Rem – Ecstatic Chant [3.31] 8 Alleluia, Theos Erastos [1.44] h Jesus Having Risen from the Tomb [2.22] 9 Gospel of St John [4.23] 0 Thrice-Holy Hymn - Resurrection [2.59] CD2 q Beatitudes of St Isaac the Syrian [4.37] Cycle VII 1 Apocalyptic Primordial Call [1.26] Cycle III 2 Absolved in the Mirror [2.05] w Primordial Call [1.18] 3 Jesus Prayer [1.37] e Psalm of Creation [1.49] 4 Hesychast Meditation [4.17] r O Blessed Paradise, Pray for Me [3.13] 5 Mary Theotokos [2.57] The Veil of the Temple: Journey to the Centre We know, then, only too well the enmities of the 6 Hail, Veil of the Temple [1.21] past. All the more precious, therefore, will be 7 Mother of God [5.06] ‘Oh what was there in that candle’s light? ‘ – ‘What any bridge that we can throw from the Temple 8 Alleluia [4.58] God is we do not know’ – ‘Lord Jesus Christ, have across the chasms that divide the great faiths of 9 The Gospel of St John [13.47] mercy on me’ – ‘Our Father which art in heaven’ the world. -
Ergo Music Collection
M. Bertsch ERGO Collection for Musicians A collection of ergonomical gadgets, physiological tools and instruments to support Music Performance. Keywords: physical therapy | ergonomic instrument | carrying aids | gripping aid | ear protection | footrest | support | seat | shoulder rests | chin Rest | accessory | cases | cold protection | rehabilitation | lips and teeth | breathing | sleep and relaxation | lighting | nails | hearing device | physical handicap | sight | prothesis or dysmelia | prevention Feedback to: [email protected] version of 01.04.2019 For all musical instruments, there are many options for specific accessories or optional gadgets. And there are plenty of physiotherapeutic tools. In fact, for most of all things it is unknown if they are beneficial for practising or useful during performances. Anyway, it is interesting to get an overview of the many options. It always needs individual judgement if specific things can be of any use. All products are presented without any recommendation and no support for purchases can be offered. breathing Ultrabreathe ASI7492 Compact Breathing Exerciser | For breathing control | breathing | wind instrument 182 Angel Sales [see amazon] https://www.amazon.com/Ultrabreathe-ASI7492-Compact-Breathing-Exerciser/dp/B0000E2PBX/ref=pd_bxgy_MI_img_c Breathing Control Trainer | Breathing resistance with grip holes | breathing | wind instrument 700 Storz [see shop.musik-alexander.de/] https://shop.musik-alexander.de/Blasinstrumente/Zubehoer-Blasinstrumente/Zubehoer-fuer-Blasinstrumente/Storz- Atemtrainer::348.html -
Guy Johnston Cello
Guy Johnston Cello Ikon Arts Management Ltd 2-6 Baches Street +44 (0)20 7354 9199 [email protected] www.ikonarts.com Website guy-johnston.com Contact Nicola Semple Email [email protected] Guy Johnston is one of the most exciting British cellists of his generation. His early successes included winning the BBC Young Musician of the Year, the Shell London Symphony Orchestra Gerald MacDonald Award and a Classical Brit. He has performed with many leading international orchestras including the London Philharmonic, Philharmonia Orchestra, Ulster Orchestra, BBC Philharmonic, NHK Symphony Orchestra, BBC Symphony, Britten Sinfonia, Deutsches Symphonie-Orchester Berlin, Orquestra Sinfônica do Estado de São Paulo, Moscow Philharmonic and St Petersburg Symphony. Recent and forthcoming seasons have included concertos with Philharmonia Orchestra, BBC Philharmonic (Ilan Volkov), BBC Symphony Orchestra (Sakari Oramo), Aurora Orchestra, Royal Northern Sinfonia and Staatsorchester Rheinische Philharmonie. Guy continues to play chamber music and recitals at prestigious venues and festivals across Europe including Wigmore Hall, Queen Elisabeth Hall, Louvre Museum, the Moscow Tchaikovsky Conservatory, Three Choirs Festival and MusicFest Aberystwyth. He is also presenting programmes with Sheku Kanneh-Mason and Melvyn Tan. Guy was privileged to perform as part of the Wigmore Hall and BBC Radio 3 special series of concerts, livestreamed during the COVID-19 pandemic. He gave weekly outdoor impromptu recitals in his home village in Dorset, which was featured by BBC during the UK lockdown. A prolific recording artist, Guy’s recent recordings include Howells’ Cello Concerto with Britten Sinfonia (a piece he also gave the premiere of) and a celebration disc of the tricentenary of his David Tecchler cello, collaborating with the acclaimed Orchestra dell’Accademia Nazionale di Santa Cecilia in Rome, where the cello was made. -
'Colloquy' CD Booklet.Indd
Colloquy WORKS FOR GUITAR DUO BY PURCELL · PHILIPS · JOHNSON · VAUGHAN WILLIAMS DODGSON · PHIBBS · DOWLAND · MAXWELL DAVIES DUO GUITARTES RALPH VAUGHAN WILLIAMS (1872–1958) COLLOQUY 10. Fantasia on Greensleeves [5.54] JOSEPH PHIBBS (b.1974) Serenade HENRY PURCELL (1659–1695) 11. I. Dialogue [3.54] Suite, Z.661 (arr. Duo Guitartes) 12. II. Corrente [1.03] 1. I. Prelude [1.18] 13. III. Liberamente [2.48] 2. II. Almand [4.14] WORLD PREMIÈRE RECORDING 3. III. Corant [1.30] 4. IV. Saraband [2.47] PETER MAXWELL DAVIES (1934–2016) Three Sanday Places (2009) PETER PHILIPS (c.1561–1628) 14. I. Knowes o’ Yarrow [3.03] 5. Pauana dolorosa Tregian (arr. Duo Guitartes) [6.04] 15. II. Waters of Woo [1.49] JOHN DOWLAND (1563–1626) 16. III. Kettletoft Pier [2.23] 6. Lachrimae antiquae (arr. Duo Guitartes) [1.56] STEPHEN DODGSON (1924–2013) 7. Lachrimae antiquae novae (arr. Duo Guitartes) [1.50] 17. Promenade I [10.04] JOHN JOHNSON (c.1540–1594) TOTAL TIME: [57.15] 8. The Flatt Pavin (arr. Duo Guitartes) [2.08] 9. Variations on Greensleeves (arr. Duo Guitartes) [4.22] DUO GUITARTES STEPHEN DODGSON (1924–2013) Dodgson studied horn and, more importantly to him, composition at the Royal College of Music under Patrick Hadley, R.O. Morris and Anthony Hopkins. He then began teaching music in schools and colleges until 1956 when he returned to the Royal College to teach theory and composition. He was rewarded by the institution in 1981 when he was made a fellow of the College. In the 1950s his music was performed by, amongst others, Evelyn Barbirolli, Neville Marriner, the Philip Jones Brass Ensemble and the composer Gerald Finzi. -
Works Performed on Musical Club of Hartfort Programs by Musical Club of Hartford Members
WORKS PERFORMED ON MUSICAL CLUB OF HARTFORT PROGRAMS BY MUSICAL CLUB OF HARTFORD MEMBERS - SEPT 2014 thur MAR 2, 2017 ARRANGED ALPHABETICALLY BY COMPOSER, TITLE OF WORK 2017 2-Mar Guitar, Mandolin Acevedo Basileirinho Handler, Levesque 2017 2-Mar Guitar, Mandolin Acevedo Pedacinhos do Ceu Handler, Levesque 2016 28-Apr Guitar, Mandolin Acquavella Yutuma Handler, Levesque 2015 5-Nov Piano Albeniz Almeria (from the Rose Iberian Suite) 2015 24-Sep Piano Albeniz Suite Iberia, Book I III. Fete a Dieu en Garrido-Cid Seville (Corpus Christi en Sevilla) 2015 24-Sep Soprano, Piano, Allen, Virginia Fanfare to the Matteson, Garrido-Cid, 4 hands, Violin, Musical Club Duffy, V. Allen, *Gene Viola, Cello Chen, H. Walker 2016 8-Dec Mezzo-soprano, Andersson, Rice, I Know Him So Well, Fitzgerald, Matteson, Soprano, Piano Ulvaeus from Chess Gariddo-Cid 2017 12-Jan Hammer Anon., Spanish, Romanza Monstream, Mazza- Dulcimer, Guitar 19th cent. Dixon 2014 23-Oct Piano Trio Arensky Piano Trio No. 1 in D Cahoon, L. Kugelman, Minor Bard 2016 20-Mar 1 Piano, 4 Hands Arensky Six Children's 4. Waltz; 6. Fugue Switaj, Tan Pieces, Op. 34 on a Russian Theme 2015 22-Mar 2 Pianos, 4 Arensky Suite for Two Pianos, II. Valse Cahoon, D. Day Hands Op. 15 2016 14-Jan Contralto, Piano Arien Stormy Weather Girard, D. Fine 2016 20-Mar 1 Piano, 4 Hands Auric Five Bagatelles Switaj, Tan 2016 7-Apr Soprano, Piano Austin, Elizabeth A Birthday Bouquet 1. for your birthday M. Kennedy, E. Austin (1990) for high voice (e.e. commings) 2016 7-Apr Piano Austin, Elizabeth A Child's Garden of [12 pieces] Woodard (1-6), E. -
Passion and Resurrection of Christ Are Years, That Should Come As No Surprise, for He Is Born of Re-Enacted and Re-Experienced by Christians Every Week
EŠENVALDS CAROLYN SAMPSON · POLYPHONY · BRITTEN SINFONIA · STEPHEN LAYTON _ RIKS EŠENVALDS is a pragmatic composer— of the choral repertoire from the inside, as he is also_ a Epragmatic in the sense that he is always the tenor in the professional State Choir Latvija. Yes, Eriks conscientious professional, tailoring each new work Ešenvalds is a pragmatic composer, embracing a medium to the requirements of the occasion, the forces available, he knows he has much to offer, and a truly modern one, and the abilities (and priorities) of the performers; creating opportunities for himself by reaching out to the pragmatic, too, is his tendency to set English texts, mindful world from his tiny country, researching his texts on the of the needs of an international audience; but also prag- internet, and taking his inspiration from such diverse matic is his use of whatever techniques, whatever degree sources as the Jan Garbarek/Hilliard Ensemble Officium of dissonance or consonance, of rhythmic and textural CD on the ECM label, or a French recording of Albanian complexity, suit his expressive purposes at any point. The folk music. result might seem to be wilful eclecticism, but like many Before realizing his true vocation lay in music, Baltic composers, his work is characterized by a lack Ešenvalds studied for two years in a Baptist seminary, and of self-consciousness, a directness of expression that is he remains deeply committed to the church, serving as _ disarming in its sincerity. Coming to maturity in a newly director of music for the Vllande Baptist Congregation in independent Latvia, he is not subject to the confining Riga. -
Guitarist Paul Galbraith to Present Recital Featuring Works by Bach and Mozart (May 30) by Mike Telin
Guitarist Paul Galbraith to present recital featuring works by Bach and Mozart (May 30) by Mike Telin On Saturday, May 30 at 4:00 pm in Mixon Hall at the Cleveland Institute of Music, Paul Galbraith (Scotland) will present a recital as part of the Cleveland International Classical Guitar Festival. Galbraith’s program will feature Bach’s “Allemande” from the Lute Suite in E minor, BWV 996 and Cello Suite No. 5, BWV 1011 and No. 1, BWV 1007. The program also includes Mozart’s “Allemande” from the unfinished Suite in C, K. 399 and the Piano Sonata in F, K. 570. Due to Paul Galbraith’s touring schedule, we were unable to speak to him by telephone, although he graciously agreed to answer some questions via e-mail. Mike Telin: Why did you choose these specific pieces? Paul Galbraith: This program came about through an open invitation from the National Gallery of Art in Washington DC. They had asked for Bach/Mozart programs to be submitted by musicians for their approval, with a view to presenting a program consisting solely of those two composers. I submitted a group of pieces which was a kind of idealized program, showing links between Bach and Mozart, and presenting as a centre- piece a very demanding transcription of Mozart's K. 570 piano sonata. In fact, I hadn’t yet learnt it when I sent the program to Washington, but as I was fairly convinced they wouldn't select a guitarist for such an event, I must admit I wasn’t overly concerned. -
DARREN Final Lecture Document D3
Bach Transcription for Marimba: Creating an Authentic Performance Edition of Johann Sebastian Bach's Sonata no. 1 for Violin Solo, BWV 1001, and Sonata no. 2: Grave, BWV 1003, Using Guitar and Lute Transcriptions as Models Item Type text; Electronic Dissertation Authors Bastian, Darren Bruce Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 22:36:15 Link to Item http://hdl.handle.net/10150/194020 BACH TRANSCRIPTION FOR MARIMBA: CREATING AN AUTHENTIC PERFORMANCE EDITION OF JOHANN SEBASTIAN BACH’S SONATA NO. 1 FOR VIOLIN SOLO, BWV 1001, AND SONATA NO. 2: GRAVE, BWV 1003, USING GUITAR AND LUTE TRANSCRIPTIONS AS MODELS by Darren Bruce Bastian ____________________ Copyright © Darren Bruce Bastian 2009 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2009 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Darren Bastian entitled Bach Transcription for Marimba: Creating an Authentic Performance Edition of Johann Sebastian Bach’s Sonata no. 1 for Violin Solo, BWV 1001, and Sonata no. 2: Grave, BWV 1003, Using -
Collaborations the Listening Gallery Upbeat Reports on a Unique Venture with the Victoria and Albert Museum
The Magazine for the Royal College of Music I Spring 2009 Collaborations The Listening Gallery Upbeat reports on a unique venture with the Victoria and Albert museum .......................................... Operatic Collaborations How RCM students are benefiting from our close connections with leading opera companies .......................................... Music and Science Can the science of music be divided into four areas? RCM Chairman Professor Lord Winston discusses What’s inside... Welcome to upbeat... Welcome to the first upbeat of 2009, which as you will see, sports a new look. We’ve listened to your comments and refreshed the magazine by Contents including more pictures and making the text easier to read. As always, we’d love to know what you think of it, so please write to us at [email protected] 4 In the news with any of your comments. Updating you on the recent goings on of the College including the world of performance, It seems appropriate to be refreshing upbeat at the same time as one our composition and research much-loved Concert Hall is also re-opening after transformation into a world-class venue fit for the twenty-first century. At the time of writing, 9 Upcoming events upbeat has been able to sneak in to hear the first orchestral rehearsals, A taster of some of the which have sounded thrilling and whetted the appetite for our special performances, masterclasses summer series of events (p.9). The next issue of upbeat will feature a special and other activities taking place focus on the venue’s extraordinary transformation, including photos of our during the Summer term opening performances of Britten’s War Requiem.