2017/18 Season
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Dame Emma Kirkby Soprano
Dame Emma Kirkby Soprano Originally, Emma Kirkby had no In 2009 BIS issued a compilation entitled expectations of becoming a professional "The Artistry of Emma Kirkby", drawing on singer. As a classics student at Oxford and nine CDs in all. then a schoolteacher she sang for pleasure in choirs and small groups, In 1999 Emma was voted Artist of the Year always feeling most at home in by Classic FM Radio listeners; in 2000 she Renaissance and Baroque repertoire. She received the Order of the British Empire, joined the Taverner Choir in 1971 and in and 2007 saw her appointed a Dame 1973 began her long association with the Commander of the Order of the British Consort of Musicke. Emma took part in the Empire. She was delighted in June 2008 to early Decca Florilegium recordings with return to her alma mater, Oxford both the Consort of Musicke and the University, and receive an Honorary Academy of Ancient Music, at a time when Doctorate of Music. Most surprisingly of most college-trained sopranos were not all, BBC Music Magazine, April 2007, in a seeking a sound appropriate for early survey of critics to find “The twenty instruments. She therefore had to find her greatest sopranos”, placed Emma at own approach, with enormous help from number 10. While such media flurries Jessica Cash in London, and from the can be discounted as parochial, partial, directors, fellow singers and controversial, and outdated as soon as instrumentalists with whom she has they appear, she was pleased at the worked over the years. recognition this implied for an approach to singing where ensemble, clarity and Emma feels privileged to have been able to stillness are valued alongside the more build further long-term relationships with usual features of volume and display. -
Concerts Streaming on Demand
CONCERTS STREAMING ON DEMAND ‘PURE PLEASURE’ THE GUARDIAN | BBC MUSIC MAGAZINE THE INDEPENDENT | THE TIMES INSPIRING AUDIENCES WITH PASSIONATE PERFORMANCES www.armonico.org.uk Registered charity no. 1103159 These recordings were made possible by generous support from the Weston Culture Fund and the Arts Council / DCMS Culture Recovery Fund Streaming VICTORIA REQUIEM on Demand The final work by Tomas Luis de Victoria, and his greatest and final polyphonic work, his requiem or ‘Officium Defunctoum’ is an intensely expressive masterpiece. The mass in six parts was written in 1605 for the funeral of the daughter of Spanish Emperor Charles V and represents the pinnacle BRAND NEW of both Victoria’s art and Spanish Renaissance polyphony. Possibly the STREAMING ON DEMAND most human of all musical settings of the Requiem Mass, the emotional RELEASE DATE: 08 MARCH 21 | £7.50 While we’re waiting in the wings to return to the concert hall, gravitas of the text is communicated www.armonico.org.uk/ondemand Armonico Consort is bringing the music to you and crucially, with profound sensitivity. keeping our musicians in work. Streaming We are launching a brand new series of performances which will be available to on Demand stream on demand for you to enjoy from your own living room. The concerts NAKED BYRD I & II have been beautifully filmed and feature some of the choir’s favourite early music Armonico Consort presents an repertoire, starting on Monday 8 March with the glorious Renaissance masterpiece atmospheric performance of the music Victoria’s Requiem and our hugely successful Naked Byrd I programme. -
Graham Ross Conductor/Composer
Graham Ross Conductor/Composer Ikon Arts Management Ltd “To say he’s impressive would be an understatement” 2-6 Baches Street London N1 6DN The Telegraph +44 (0)20 7354 9199 [email protected] Website www.grahamross.com www.ikonarts-editionpeters.com Contact Hannah Marsden Email [email protected] Graham Ross has established an exceptional reputation as a sought-after conductor and composer of a very broad range of repertoire. His performances around the world and his extensive discography have earned consistently high international praise, including a Diapason d’Or, Le Choix de France Musique and a Gramophone Award nomination. As a guest conductor he has worked with Aalborg Symfoniorkester, Australian Chamber Orchestra, Aurora Orchestra, European Union Baroque Orchestra, Orchestra of the Age of Enlightenment, Royal College of Music Symphony Orchestra, and Salomon Orchestra, making his debuts in recent seasons with the BBC Concert Orchestra, BBC Singers, DR Vokal Ensemblet (Danish National Vocal Ensemble), London Mozart Players, London Philharmonic Orchestra and Malaysian Philharmonic Orchestra. He is co-founder and Principal Conductor of The Dmitri Ensemble, and, since 2010, Fellow and Director of Music at Clare College, Cambridge, where he directs the internationally-renown Choir. Highlights in the 2019/20 season include concerts with the Choir of Clare College in Shanghai, Hong Kong, Macau, the Netherlands, Germany, and across the UK, and return engagements to BBC Singers, Aalborg Symfoniorkester and DR Vokal Ensemblet. In recent seasons Graham Ross's work has taken him to Sydney Opera House, Hong Kong, Malaysia, Singapore and across the USA, Canada and Europe. At the age of 25 he made his BBC Proms and Glyndebourne debuts, with other opera work taking him to Jerusalem, London, Aldeburgh and Provence. -
May 2018 List
May 2018 Catalogue Issue 25 Prices valid until Wednesday 27 June 2018 unless stated otherwise 0115 982 7500 [email protected] Your Account Number: {MM:Account Number} {MM:Postcode} {MM:Address5} {MM:Address4} {MM:Address3} {MM:Address2} {MM:Address1} {MM:Name} 1 Welcome! Dear Customer, Glorious sunshine and summer temperatures prevail as this foreword is being written, but we suspect it will all be over by the time you are reading it! On the plus side, at least that means we might be able to tempt you into investing in a little more listening material before the outside weather arrives for real… We were pleasantly surprised by the number of new releases appearing late April and into May, as you may be able to tell by the slightly-longer-than-usual new release portion of this catalogue. Warner & Erato certainly have plenty to offer us, taking up a page and half of the ‘priorities’ with new recordings from Nigel Kennedy, Philippe Jaroussky, Emmanuel Pahud, David Aaron Carpenter and others, alongside some superbly compiled boxsets including a Massenet Opera Collection, performances from Joseph Keilberth (in the ICON series), and two interesting looking Debussy collections: ‘Centenary Discoveries’ and ‘His First Performers’. Rachel Podger revisits Vivaldi’s Four Seasons for Channel Classics (already garnering strong reviews), Hyperion offer us five new titles including Schubert from Marc-Andre Hamelin and Berlioz from Lawrence Power and Andrew Manze (see ‘Disc of the Month’ below), plus we have strong releases from Sandrine Piau (Alpha), the Belcea Quartet joined by Piotr Anderszewski (also Alpha), Magdalena Kozena (Supraphon), Osmo Vanska (BIS), Boris Giltberg (Naxos) and Paul McCreesh (Signum). -
Greensleeves
GREENSLEEVES INTRODUCTION Shortly after this introduction, I studied nationalism in music with Robin Holloway, an FOLK MUSIC OF THE BRITISH ISLES In its very early days, the singers of Armonico eminent composer. Robin encouraged us to Consort travelled the length and breadth of understand how deeply rooted in other countries the UK performing small scale programmes was their folk music heritage. From this for Festivals and Music Clubs – it was during heritage, music from countries such as Russia 1 Lisa Lân Traditional, arr. Geoffrey Webber [2.49] the second half of these concerts (Glory of and Czechoslovakia have an easily identifiable 2 The Blue Bird Charles Villiers Stanford [3.59] Old England/Magic of Madrid/There’s Something colour, emotion and musical language. 3 The Banks of my own Lovely Lee Traditional, arr. Geoffrey Webber [5.50] about Mary etc) that we developed our love Countries across the globe, from Germany to 4 She Moved Through the Fair Traditional, arr. Toby Young [3.23] for singing arrangements of folk songs from Italy, and Spain to France all had their own 5 Lay a Garland Robert Pearsall [4.38] the British Isles. The audience reactions have language. Following the death of Purcell, 6 Sweet Kitty Traditional, arr. Geoffrey Webber [3.20] always been so striking, and when asked why this was not the case with music from the UK, 7 Suo Gân Traditional, arr. Toby Young [3.11] we have not developed a programme of folk that is not until Vaughan Williams and 8 I Love my Love Traditional, arr. Gustav Holst [4.29] music in its own strength, we have never had a Elgar began their work. -
St John's Smith Square Our History
St John’s Smith Square © Matthew Andrews Square Smith John’s St THANK YOU! ST JOHN’S SMITH SQUARE St John’s Smith Square is very grateful to all the Friends, —— Companies and Trusts and Foundations who have generously supported our work during the 2015/16 Season. “Just to come across it in —— that quiet square is an event. J Allen W Halon P Privitera C J Apperley Angela and David Harvey Kenneth Robbie To enter it, to enjoy its spaces, Michael Archer Hay Kenelm Robert Alain Aubry A Herrero-Ducloux The RVW Trust to listen to fine music within its Anonymous Dr S Hill Chris Saunders Dr J Baker Prof Sean Hilton Donna Schofield walls is an experience not to be Dennis Baldry The Hinrischen Foundation Philip Searl Hannah Baldwin A L Hoile Baroness Sharples matched in conventional concert David Ballance Colin Howard E Siebert Mr and Mrs Dickie S Hughes B W Silverman halls and is a lasting tribute to Bannenberg Ingenious Lynne Simmons M Barrell J A James B Singleton the man who designed it.” Dr Desmond Bermingham G Jenkins Judy Skelton B Bezant Glenn Jessee L A Skilton Sir Hugh Casson Michel-Yves Bolloré M Joekes Sarah-Jane Sklaroff Antoine Bommelaer Christopher Jones Dr Martin Smith Michael Bowen Jacqueline Kilgour Philip and Wendy Spink P Bowman Jocelyn Knight Steinway & Sons Sir Alan and Lady Bowness R Lab Daniel Stephens Clare Bowring Andrew Langley Samuel D P Stewart Joanna Brendon Jane Law Marilyn Stock Ian Brown In memory of J.P Legrand Ilona Storey C Brunell Alan Leibowitz D Sugden Burberry Adrian Lewis John Taylor Inside cover & page 1 -
Morning Heroes Blissmorning Heroes
SUPER AUDIO CD MORNING HEROES BLISS Hymn to Apollo (original version) Samuel West orator BBC Symphony Chorus BBC Symphony Orchestra SIR ANDREW DaVIS Arthur Bliss,1923 Arthur Photograph by Herbert Lambert (1881 – 1936) / Mary Evans Picture Library Sir Arthur Bliss (1891 – 1975) Morning Heroes, F 32 (1930)* 55:33 A Symphony for Orator, Chorus, and Orchestra To the memory of my brother FRANCIS KENNARD BLISS and all other comrades killed in battle 1 I Hector’s Farewell to Andromache. Maestoso – L’istesso tempo – L’istesso tempo – 13:00 2 II The City Arming. Allegro alla marcia (with great spirit and elation) – Poco meno – Più mosso – Meno mosso (Moderato) – Alla marcia – Più mosso – Pochissimo meno – Andante moderato 11:14 3 III Vigil. Andante sostenuto – L’istesso tempo (Tranquillo) – Agitato – Tempo I – 7:53 4 The Bivouac’s Flame. Adagio maestoso – Più mosso – A tempo maestoso – Tempo I – Largamente 4:26 5 IV Achilles Goes Forth to Battle. Allegro con fuoco – Tranquillo – 6:45 6 The Heroes. Allegro con fuoco – Molto animato 1:38 V Now, Trumpeter, for thy Close 7 Spring Offensive. Andante maestoso – Più animato – Andante molto tranquillo – 5:32 8 Dawn on the Somme. Grave (quasi chorale) – Andante tranquillo – Pochissimo più mosso – Più mosso – Maestoso – Molto tranquillo 5:02 3 premiere recording 9 Hymn to Apollo, F 116 (1926) 9:26 for Orchestra Original version Moderato maestoso – Più mosso (assai allegro) – A tempo I (moderato) – Più mosso – Tranquillo, ma non meno mosso – A tempo I meno mosso TT 65:12 Samuel West orator* BBC Symphony Chorus* Stephen Jackson chorus master BBC Symphony Orchestra Laura Samuel leader Sir Andrew Davis 4 Sir Andrew Davis Andrew Sir © Dario Acosta Photography Bliss: Morning Heroes / Hymn to Apollo Morning Heroes by machine gun fire near barrier.. -
Classical Era, 99 Then Got His Amanuensis to Make a Clear Version, Which Was A-R Editions, Inc
Early Music Review EDITIONS OF MUSIC of Music. André published parts in 1800 in Offenbach and two years later Breitkopf produced a set in Leipzig. Handel: Neun deutsche Arien... Nine As usual, it seems pointless to add fingering, since anyone reaching the ability of playing it ought to know how his/ German Arias for Soprano, Solo her fingers work – and if you are sight-reading it for fun, Instrument and Basso continuo... fingering is a superfluous requirement. The score and parts Edited by Ullrich Scheideler are available from Breitkopf – not the 1802 version but the G. Henle Verlag (968). new edition (EB 10787). ix +42pp +parts for solo instrument, basso and continuo €16.00 Clifford Bartlett he ‘German Arias’ were intended to be published Emanuel Aloys Förster: Six String in vol. 49 of Chrysander’s complete edition in Quartets. Op. 7 Tthe 1890s. Henle has now produced a cheap but Edited by Nancy November thoroughly edited version. Normally Handel wrote quickly Recent Researches in Music of the Classical Era, 99 then got his amanuensis to make a clear version, which was A-R Editions, Inc. then reproduced several times and sometimes he had it xx+226pp printed. In this case, it seems that Handel sent his only $240.00 copy to Germany. The Henle edition certainly looks better than the ones hese six four-movement works (in A, F, D, B flat, I have (or rather, used to have). It consists of a score and G and E flat major respectively) were dedicated separate booklets for the solo instrument (not specified, Tto Friedrich Wilhelm, the cello-playing Prussian though ad lib for violin, recorder or oboe) with smaller- king who had inspired Mozart and Haydn to write music stave for voice, basso (single stave), and continuo with the for him. -
Vaughan Williams (1872–1958) Ashok Gupta a Vision of Aeroplanes • Mass in G Minor • Motets Ashok Gupta Is in His Final Year at Clare College Reading Music
572465bk RVW US 2/12/09 13:20 Page 8 Timothy Brown Timothy Brown, who has been Director of Music at Clare College, Cambridge since 1979, began his musical career as a chorister at Westminster Abbey. This was followed by membership of King’s College Choir, Cambridge, under the legendary Sir David Willcocks, and by some years as a professional counter-tenor, including a spell as a founding member of The Scholars Vocal Ensemble. His work with the choir of Clare College, Cambridge, and with his professional VAUGHAN chorus English Voices (of which he is the founder/director) has earned him an international reputation as a choral director, renowned both for his attention to technical detail and for the breadth of his WILLIAMS musical interpretations. With Clare College Choir he has toured extensively and has constructed an extensive discography. He is much in demand as a chorus master around Europe, and has worked on a number of opera projects with René Jacobs and Ivor Bolton, in Germany, Austria, Holland and Belgium. In 2008 he assisted René Jacobs in a production of Handel’s Belshazzar in Berlin, Aix-en- Sacred Choral Music Provence and Innsbruck. He is a popular choral clinician, leading workshops around the United States and Europe. He is an Affiliated Lecturer in the Music Faculty at Cambridge, and is a contributing A Vision of Aeroplanes editor to the William Walton Edition, published by OUP. Mass in G minor Photograph: Jet Photographic The Voice out of the Whirlwind The Choir of Clare College, Cambridge James McVinnie and Ashok Gupta, Organ Timothy Brown 8.572465 8 572465bk RVW US 2/12/09 13:20 Page 2 Ralph Vaughan Williams (1872–1958) Ashok Gupta A Vision of Aeroplanes • Mass in G minor • Motets Ashok Gupta is in his final year at Clare College reading Music. -
Disc A: Miniaturised Concertos (Total Duration 58:48)
disc A: Miniaturised Concertos (total duration 58:48) 1 Swimming with the Stone Book (Andrew Poppy) 15:43 Kate Halsall, Fumiko Miyachii: pianos F Andrew Poppy: keyboard Joel Bell: electric guitar F Ruth Goller: electric bass F Lucy Shaw: upright bass Robert Millett & Jeremy Barnett: percussion 2 Always again (Naomi Pinnock) 13:48 Kate Halsall, Fumiko Miyachi: pianos F Delia Stevens: percussion 3 Furor (Philip Cashian) 9:14 Kate Halsall, Fumiko Miyachi: pianos Ensemble Dark Inventions, conductor Chris Leedham 4 Hanging in the Balance (Colin Riley) 19:54 I Ritual Groove II Break, Tackle and Bowl III Scent of an Ending Kate Halsall, Fumiko Miyachi: pianos James Waterworth: electronics, sound design video track not on album: Katharine Norman: Making Place 16:15 Kate Halsall (pianos) Buy the download (£2.00 or $3.50) at http://www.divineartrecords.com/CD/makingplace.htm Stream video on YouTube at https://youtu.be/RZLwjCh6j5E in case of difficulty accessing video contact [email protected] disc B: Maché (total duration 39:39) 1 Maché 1 16:20 Duncan MacLeod: Cut, Strike, Grip, Throw * Kate Halsall, Fumiko Miyachi: keyboards F Duncan MacLeod: electronics Simon Vincent: Study No. 3 * Kate Halsall, Martin Butler:pianos F Simon Vincent: electronic soundtrack Joel Bell: bell-like * Kate Halsall, Martin Butler: pianos F Joel Bell: e.guitar Ryoko Akama: an.dt.wo * Kate Halsall, Fumiko Miyachi: pianos 2 Maché 2 5:38 Dominic Murcott: Time and Place* Kate Halsall: pianos F Sounds of Chatham Historic Dockyard recorded by Chris Lewis 3 Maché 3 12:45 -
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557595bk Hummel US 13/6/05 4:20 pm Page 4 Conservatory Special Lyceum and St Petersburg Conservatory with Marina Volf. At the age of nine she performed in one evening’s programme Schumann’s Piano Concerto and Beethoven’s Emperor Concerto, a feat still unprecedented for a child of that age and recognised as a milestone in the history of piano performances. Two years later she performed HUMMEL Mozart’s Piano Concerto No. 24 in Moscow Conservatory’s Great Hall with the Moscow Chamber Orchestra. Polina Osetinskaya attracted major television companies which filmed documentaries of her with two live televised appearances in the United States and Russia in 1985 and 1986, seen by millions on both sides of the Atlantic. At the Violin Concerto ages of eighteen and nineteen she completed two Japanese concert tours, also performing Tchaikovsky’s Concerto No. 1 with the Tokyo Philharmonic. She has appeared as a soloist with the world’s most prestigious orchestras, and in 2002 was a Triumph Award recipient for her outstanding contribution to Russian culture. Her international career brings a Piano and Violin Concerto large repertoire including the most complicated solo, chamber and orchestral programmes, from the early Baroque to the contemporary. She has recorded with the Naxos, Sony, and Bel Air labels. Alexander Trostiansky, Violin • Polina Osetinskaya, Piano Russian Philharmonic Orchestra The Russian Philharmonic Orchestra is firmly rooted in Russia’s rich musical traditions, and has achieved an Russian Philharmonic Orchestra impressive and outstanding musical quality by drawing its musicians from the highest ranks of Russia’s most famous orchestras such as the Moscow Radio Symphony Orchestra, the Russian National Orchestra and the State Symphony Gregory Rose Orchestra.The Russian Philharmonic Orchestra was originally formed as a recording ensemble and has gone on to receive high acclaim also for its concert performances. -
Composer Brochure
CARTER lliott E composer_2006_01_04_cvr_v01.indd 2 4/30/2008 11:32:05 AM Elliott Carter Introduction English 1 Deutsch 4 Français 7 Abbreviations 10 Works Operas 12 Full Orchestra 13 Chamber Orchestra 18 Solo Instrument(s) and Orchestra 19 TABLE TABLE OF CONTENTS Ensemble and Chamber without Voice(s) 23 Ensemble and Chamber with Voice(s) 30 Piano(s) 32 Instrumental 34 Choral 39 Recordings 40 Chronological List of Works 46 Boosey & Hawkes Addresses 51 Cover photo: Meredith Heuer © 2000 Carter_2008_TOC.indd 3 4/30/2008 11:34:15 AM An introduction to the music of Carter by Jonathan Bernard Any composer whose career extends through eight decades—and still counting—has already demonstrated a remarkable staying power. But there are reasons far more compelling than mere longevity to regard Elliott Carter as the most eminent of living American composers, and as one of the foremost composers in the world at large. His name has come to be synonymous with music that is at once structurally formidable, expressively extraordinary, and virtuosically dazzling: music that asks much of listener and performer INTRODUCTION alike but gives far more in return. Carter was born in New York and, except during the later years of his education, has always lived there. After college and some postgraduate study at Harvard, like many an aspiring American composer of his generation who did not find the training he sought at home, Carter went off to Paris to study with Nadia Boulanger, an experience which, while enabling a necessary development of technique, also lent his work a conservative, neoclassical style for a time.