September 2018
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Britten Spring Symphony Welcome Ode • Psalm 150
BRITTEN SPRING SYMPHONY WELCOME ODE • PSALM 150 Elizabeth Gale soprano London Symphony Chorus Alfreda Hodgson contralto Martyn Hill tenor London Symphony Orchestra Southend Boys’ Choir Richard Hickox Greg Barrett Richard Hickox (1948 – 2008) Benjamin Britten (1913 – 1976) Spring Symphony, Op. 44* 44:44 For Soprano, Alto and Tenor solos, Mixed Chorus, Boys’ Choir and Orchestra Part I 1 Introduction. Lento, senza rigore 10:03 2 The Merry Cuckoo. Vivace 1:57 3 Spring, the Sweet Spring. Allegro con slancio 1:47 4 The Driving Boy. Allegro molto 1:58 5 The Morning Star. Molto moderato ma giocoso 3:07 Part II 6 Welcome Maids of Honour. Allegretto rubato 2:38 7 Waters Above. Molto moderato e tranquillo 2:23 8 Out on the Lawn I lie in Bed. Adagio molto tranquillo 6:37 Part III 9 When will my May come. Allegro impetuoso 2:25 10 Fair and Fair. Allegretto grazioso 2:13 11 Sound the Flute. Allegretto molto mosso 1:24 Part IV 12 Finale. Moderato alla valse – Allegro pesante 7:56 3 Welcome Ode, Op. 95† 8:16 13 1 March. Broad and rhythmic (Maestoso) 1:52 14 2 Jig. Quick 1:20 15 3 Roundel. Slower 2:38 16 4 Modulation 0:39 17 5 Canon. Moving on 1:46 18 Psalm 150, Op. 67‡ 5:31 Kurt-Hans Goedicke, LSO timpani Lively March – Lightly – Very lively TT 58:48 4 Elizabeth Gale soprano* Alfreda Hodgson contralto* Martyn Hill tenor* The Southend Boys’ Choir* Michael Crabb director Senior Choirs of the City of London School for Girls† Maggie Donnelly director Senior Choirs of the City of London School† Anthony Gould director Junior Choirs of the City of London School -
Benjamin Britten: a Catalogue of the Orchestral Music
BENJAMIN BRITTEN: A CATALOGUE OF THE ORCHESTRAL MUSIC 1928: “Quatre Chansons Francaises” for soprano and orchestra: 13 minutes 1930: Two Portraits for string orchestra: 15 minutes 1931: Two Psalms for chorus and orchestra Ballet “Plymouth Town” for small orchestra: 27 minutes 1932: Sinfonietta, op.1: 14 minutes Double Concerto in B minor for Violin, Viola and Orchestra: 21 minutes (unfinished) 1934: “Simple Symphony” for strings, op.4: 14 minutes 1936: “Our Hunting Fathers” for soprano or tenor and orchestra, op. 8: 29 minutes “Soirees musicales” for orchestra, op.9: 11 minutes 1937: Variations on a theme of Frank Bridge for string orchestra, op. 10: 27 minutes “Mont Juic” for orchestra, op.12: 11 minutes (with Sir Lennox Berkeley) “The Company of Heaven” for two speakers, soprano, tenor, chorus, timpani, organ and string orchestra: 49 minutes 1938/45: Piano Concerto in D major, op. 13: 34 minutes 1939: “Ballad of Heroes” for soprano or tenor, chorus and orchestra, op.14: 17 minutes 1939/58: Violin Concerto, op. 15: 34 minutes 1939: “Young Apollo” for Piano and strings, op. 16: 7 minutes (withdrawn) “Les Illuminations” for soprano or tenor and strings, op.18: 22 minutes 1939-40: Overture “Canadian Carnival”, op.19: 14 minutes 1940: “Sinfonia da Requiem”, op.20: 21 minutes 1940/54: Diversions for Piano(Left Hand) and orchestra, op.21: 23 minutes 1941: “Matinees musicales” for orchestra, op. 24: 13 minutes “Scottish Ballad” for Two Pianos and Orchestra, op. 26: 15 minutes “An American Overture”, op. 27: 10 minutes 1943: Prelude and Fugue for eighteen solo strings, op. 29: 8 minutes Serenade for tenor, horn and strings, op. -
Oxford Philharmonic Orchestra and Marios Papadopoulos Launch Their
Oxford Philharmonic Orchestra and Marios Papadopoulos launch their 20th anniversary season with a star-studded line- up: Martha Argerich, Maxim Vengerov, Anne-Sophie Mutter, Rowan Atkinson, Krzysztof Penderecki, and Vadim Repin Oxford Philharmonic Orchestra and Music Director Marios Papadopoulos celebrate their 20th anniversary year with a 2018/19 season featuring top international artists and composers, including Krzysztof Penderecki, Martha Argerich, Vadim Repin, Nicola Benedetti, Angela Gheorghiu and actor Rowan Atkinson. There are four premieres by Krzysztof Penderecki, Giorgos Koumendakis, Manuel Martínez Burgos and Richard English. Highlights of the season include a birthday concert at the Barbican on 12 January with Martha Argerich, Maxim Vengerov and Anne-Sophie Mutter, and a Remembrance day concert on 11 November with Rowan Atkinson. During his 85th birthday year, Krzysztof Penderecki conducts a programme of his own works on 18 May. The 2018/19 season opens with three outstanding string soloists: cellist Narek Hakhnazaryan and violinists Vadim Repin and Natalia Lomeiko. Music Director Marios Papadopolous opens the season on 6 October, conducting Hakhnazaryan in Dvořák’s Cello Concerto, while Rhodes Scholar Hannah Schneider conducts the world premiere of Richard English’s Into the Void. Vadim Repin continues the season on 25 October with Prokofiev’s Violin Concerto No. 2, while concertmaster Natalia Lomeiko joins the orchestra on 24 November to perform Beethoven’s Violin Concerto in a programme also featuring Mahler’s Symphony No. 4. Oxford Philharmonic Orchestra commemorates Remembrance Day and the centenary of the end of World War One on 11 November with a programme of British and German music, beginning with The Banks of Green Willow by George Butterworth. -
Aram Khachaturian
Boris Berezovsky ARAM KHACHATURIAN Boris Berezovsky has established a great reputation, both as the most powerful of Violin Sonata and Dances from Gayaneh & Spartacus virtuoso pianists and as a musician gifted with a unique insight and a great sensitivity. Born in Moscow, Boris Berezovsky studied at the Moscow Conservatory with Eliso Hideko Udagawa violin Virsaladze and privately with Alexander Satz. Subsequent to his London début at the Wigmore Hall in 1988, The Times described him as "an artist of exceptional promise, a player of dazzling virtuosity and formidable power". Two years later he won the Gold Boris Berezovsky piano Medal at the 1990 International Tchaïkovsky Competition in Moscow. Boris Berezovsky is regularly invited by the most prominent orchestras including the Philharmonia of London/Leonard Slatkin, the New York Philharmonic/Kurt Mazur, the Munich Philharmonic, Oslo Philharmonic, the Danish National Radio Symphony/Leif Segerstam, the Frankfurt Radio Symphony/Dmitri Kitaenko, the Birmingham Sympho- ny, the Berlin Symphonic Orchestra/ Marek Janowski, the Rotterdam Philharmonic, the Orchestre National de France. His partners in Chamber Music include Brigitte Engerer, Vadim Repin, Dmitri Makhtin, and Alexander Kniazev. Boris Berezovsky is often invited to the most prestigious international recitals series: The Berlin Philharmonic Piano serie, Concertgebouw International piano serie and the Royal Festival Hall Internatinal Piano series in London and to the great stages as the Théâtre des Champs-Elysées in Paris, the Palace of fine Arts in Brussells, the Konzerthaus of Vienna, the Megaron in Athena. 12 NI 6269 NI 6269 1 Her recent CD with the Philharmonia Orchestra was released by Signum Records in 2010 to coincide with her recital in Cadogan Hall. -
Toccata Classics Cds Are Also Available in the Shops and Can Be Ordered from Our Distributors Around the World, a List of Whom Can Be Found At
Recorded in the Great Hall of the Moscow Conservatoire on 25–27 June 2013 Recording engineers: Maria Soboleva (Piano Concerto) and Pavel Lavrenenkov (Cello Concerto) Booklet essays by Anastasia Belina and Malcolm MacDonald Design and layout: Paul Brooks, [email protected] Executive producer: Martin Anderson TOCC 0219 © 2014, Toccata Classics, London P 2014, Toccata Classics, London Come and explore unknown music with us by joining the Toccata Discovery Club. Membership brings you two free CDs, big discounts on all Toccata Classics recordings and Toccata Press books, early ordering on all Toccata releases and a host of other benefits, for a modest annual fee of £20. You start saving as soon as you join. You can sign up online at the Toccata Classics website at www.toccataclassics.com. Toccata Classics CDs are also available in the shops and can be ordered from our distributors around the world, a list of whom can be found at www.toccataclassics.com. If we have no representation in your country, please contact: Toccata Classics, 16 Dalkeith Court, Vincent Street, London SW1P 4HH, UK Tel: +44/0 207 821 5020 E-mail: [email protected] A student of Ferdinand Leitner in Salzburg and Leonard Bernstein and Seiji Ozawa at Tanglewood, Hobart Earle studied conducting at the Academy of Music in Vienna; received a performer’s diploma in IGOR RAYKHELSON: clarinet from Trinity College of Music, London; and is a magna cum laude graduate of Princeton University, where he studied composition with Milton Babbitt, Edward Cone, Paul Lansky and Claudio Spies. In 2007 ORCHESTRAL MUSIC, VOLUME THREE he was awarded the title of Honorary Professor of the Academy of Music in Odessa. -
There's a Real Buzz and Sense of Purpose About What This Company Is Doing
15 FEBRUARY 7.15PM & 17 FEBRUARY 2PM “There’s a real buzz and sense of purpose about what this company is doing” ~ The Guardian www.niopera.com Grand Opera House, Belfast Welcome to The Grand Opera House for this new production of The Flying Dutchman. This is, by some way, NI Opera’s biggest production to date. Our very first opera (Menotti’s The Medium, coincidentally staged two years ago this month) utilised just five singers and a chamber band, and to go from this to a grand opera demanding 50 singers and a full symphony orchestra in such a short space of time indicates impressive progress. Similarly, our performances of Noye’s Fludde at the Beijing Music Festival in October, and our recent Irish Times Theatre Award nominations for The Turn of the Screw, demonstrate that our focus on bringing high quality, innovative opera to the widest possible audience continues to bear fruit. It feels appropriate for us to be staging our first Wagner opera in the bicentenary of the composer’s birth, but this production marks more than just a historical anniversary. Unsurprisingly, given the cost and complexities involved in performing Wagner, this will be the first fully staged Dutchman to be seen in Northern Ireland for generations. More unexpectedly, perhaps, this is the first ever new production of a Wagner opera by a Northern Irish company. Northern Ireland features heavily in this production. The opera begins and ends with ships and the sea, and it does not take too much imagination to link this back to Belfast’s industrial heritage and the recent Titanic commemorations. -
BENJAMIN BRITTEN's USE of the Passacagt.IA Bernadette De Vilxiers a Thesis Submitted to the Faculty of Arts University of the Wi
BENJAMIN BRITTEN'S USE OF THE PASSACAGt.IA Bernadette de VilXiers A Thesis Submitted to the Faculty of Arts University of the Witwatersrand, Johannesburg for the Degree of Doctor of Philosophy Johannesburg 1985 ABSTRACT Benjamin Britten (1913-1976) was perhaps the most prolific cooposer of passaca'?' las in the twentieth century. Die present study of his use of tli? passac^.gl ta font is based on thirteen selected -assacaalias which span hin ire rryi:ivc career and include all genre* of his music. The passacaglia? *r- occur i*' the follovxnc works: - Piano Concerto, Op. 13, III - Violin Concerto, Op. 15, III - "Dirge" from Serenade, op. 31 - Peter Grimes, Op. 33, Interlude IV - "Death, be not proud!1' from The Holy Sonnets o f John Donne, Op. 35 - The Rape o f Lucretia, op. 37, n , ii - Albert Herring, Op. 39, III, Threnody - Billy Budd, op. 50, I, iii - The Turn o f the Screw, op . 54, II, viii - Noye '8 Fludde, O p . 59, Storm - "Agnu Dei" from War Requiem, Op. 66 - Syrrvhony forCello and Orchestra, Op. 68, IV - String Quartet no. 3, Op. 94, V The analysis includes a detailed investigation into the type of ostinato themes used, namely their structure (lengUi, contour, characteristic intervals, tonal centre, metre, rhythm, use of sequence, derivation hod of handling the ostinato (variations in length, tone colouJ -< <>e register, ten$>o, degree of audibility) as well as the influence of the ostinato theme on the conqposition as a whole (effect on length, sectionalization). The accompaniment material is then brought under scrutiny b^th from the point of view of its type (thematic, motivic, unrelated counterpoints) and its importance within the overall frarework of the passacaglia. -
Britten Connections a Guide for Performers and Programmers
Britten Connections A guide for performers and programmers by Paul Kildea Britten –Pears Foundation Telephone 01728 451 700 The Red House, Golf Lane, [email protected] Aldeburgh, Suffolk, IP15 5PZ www.brittenpears.org Britten Connections A guide for performers and programmers by Paul Kildea Contents The twentieth century’s Programming tips for 03 consummate musician 07 13 selected Britten works Britten connected 20 26 Timeline CD sampler tracks The Britten-Pears Foundation is grateful to Orchestra, Naxos, Nimbus Records, NMC the following for permission to use the Recordings, Onyx Classics. EMI recordings recordings featured on the CD sampler: BBC, are licensed courtesy of EMI Classics, Decca Classics, EMI Classics, Hyperion Records, www.emiclassics.com For full track details, 28 Lammas Records, London Philharmonic and all label websites, see pages 26-27. Index of featured works Front cover : Britten in 1938. Photo: Howard Coster © National Portrait Gallery, London. Above: Britten in his composition studio at The Red House, c1958. Photo: Kurt Hutton . 29 Further information Opposite left : Conducting a rehearsal, early 1950s. Opposite right : Demonstrating how to make 'slung mugs' sound like raindrops for Noye's Fludde , 1958. Photo: Kurt Hutton. Britten Connections A guide for performers and programmers 03 The twentieth century's consummate musician In his tweed jackets and woollen ties, and When asked as a boy what he planned to be He had, of course, a great guide and mentor. with his plummy accent, country houses and when he grew up, Britten confidently The English composer Frank Bridge began royal connections, Benjamin Britten looked replied: ‘A composer.’ ‘But what else ?’ was the teaching composition to the teenage Britten every inch the English gentleman. -
The Four Seasons I
27 Season 2013-2014 Friday, November 29, at 8:00 The Philadelphia Orchestra Saturday, November 30, at 8:00 Sunday, December 1, at 2:00 Richard Egarr Conductor and Harpsichord Giuliano Carmignola Violin Vivaldi The Four Seasons I. Spring, Concerto in E major, RV 269 a. Allegro b. Largo c. Allegro II. Summer, Concerto in G minor, RV 315 a. Allegro non molto b. Adagio alternating with Presto c. Presto III. Autumn, Concerto in F major, RV 293 a. Allegro b. Adagio molto c. Allegro IV. Winter, Concerto in F minor, RV 297 a. Allegro non molto b. Largo c. Allegro Intermission 28 Purcell Suite No. 1 from The Fairy Queen I. Prelude II. Rondeau III. Jig IV. Hornpipe V. Dance for the Fairies Haydn Symphony No. 101 in D major (“The Clock”) I. Adagio—Presto II. Andante III. Menuetto (Allegretto)—Trio—Menuetto da capo IV. Vivace This program runs approximately 1 hour, 40 minutes. The November 29 concert is sponsored by Medcomp. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit www.wrti.org to listen live or for more details. 3 Story Title 29 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra community itself. His concerts to perform in China, in 1973 is one of the preeminent of diverse repertoire attract at the request of President orchestras in the world, sold-out houses, and he has Nixon, today The Philadelphia renowned for its distinctive established a regular forum Orchestra boasts a new sound, desired for its for connecting with concert- partnership with the National keen ability to capture the goers through Post-Concert Centre for the Performing hearts and imaginations of Conversations. -
Prokofiev Violin Concerto No
PROKOFIEV VIOLIN CONCERTO NO. 1 SYMPHONY NO. 3 CHOUT RÊVES ALEXANDER LAZAREV conductor VADIM REPIN violin SIMON CALLOW narrator LONDON PHILHARMONIC ORCHESTRA SERGEI PROKOFIEV The First World War and its aftermath played I represented in the past and what I have now havoc with the hopes and dreams of the young become.’ Prokofiev. Up to 1915, his path seemed easy and assured: from the creation of snappy piano Perhaps Prokofiev did not revise the miniatures and an early symphony in 1908 to work simply because it represents that the one-act ballet commissioned by Diaghilev impressionistic, late-romantic vein so well, and several weeks before war broke out, all went because the orchestration – including triple well. It was with incredible confidence, not woodwind, six horns and two harps – is, for to say clairvoyance, that Prokofiev declared in the piece in question, unimprovable. In his that year, ‘I am in no doubt that given time my autobiography, hardly less blunt than the more classic status will be beyond contention’. immediate 1927 diary, Prokofiev admits that the dedication of Dreams to Scriabin – clearly Undeniably true, but Prokofiev was destined there in the manuscripts to ‘the composer who to see many important projects fall by the began with Reverie’ – shows more resolve to wayside, productions cancelled – including the follow in the footsteps of his then-idol than original operatic settings of Dostoyevsky’s The the music itself. Indeed, the obsessive opening Gambler and Bryusov’s The Fiery Angel, stalling figurations on muted second violas and violins over which led him to rework the material into bring us closer to a work he mentions in his third symphony – and much else turn to connection with Autumnal, Rachmaninoff’s dust and ashes in the years following his return haunting The Isle of the Dead. -
Proquest Dissertations
Benjamin Britten's Nocturnal, Op. 70 for guitar: A novel approach to program music and variation structure Item Type text; Dissertation-Reproduction (electronic) Authors Alcaraz, Roberto 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 02/10/2021 13:06:08 Link to Item http://hdl.handle.net/10150/279989 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be f^ any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitlsd. Brolcen or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author dkl not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectk)ning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6' x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additkxial charge. -
Mischa Maisky, Cello
MISCHA MAISKY, CELLO Mischa Maisky has the distinction of being the only cellist in the world to have studied with both Mstislav Rostropovich and Gregor Piatigorsky. Rostropovich has lauded Mischa Maisky as "... one of the most outstanding talents of the younger generation of cellists. His playing combines poetry and exquisite delicacy with great temperament and brilliant technique." Born in Latvia, educated in Russia, after his repatriation to Israel, Mischa Maisky has been enthusiastically received in London, Paris, Berlin, Vienna, New York and Tokyo, along with the rest of the major music centers. He considers himself as a citizen of the world: „I’m playing an Italian cello, with French and German bows, Austrian and German strings, my 6 children were born in 4 different countries, my second wife is half Sri Lankan – half Italian, I’m driving a Japanese car, wear a Swiss watch, an Indian necklace and I feel at home everywhere where people appreciate and enjoy classical music.“ As an exclusive Deutsche Grammophon artist during the last 30 years he made well over 35 recordings with such orchestras as Vienna, Israel and Berlin Philharmonic, London Symphony, Orchestre de Paris, Orpheus und Chamber Orchestra of Europe and others. His recordings have enjoyed world-wide critical acclaim and have been awarded five times the prestigious Record Academy Prize in Tokyo, three times Echo Deutscher Schallplattenpreis, Grand Prix du Disque in Paris and Diapason d’Or of the Year as well as the coveted Grammy nominations. One of the highlights in his career was the year 2000 - it was mainly devoted to a world-wide Bach tour which included over 100 concerts! In order to express his deep admiration for this great composer, Mischa Nordic Artists Management / Denmark VAT number: DK29514143 http://nordicartistsmanagement.com Maisky has recorded Bach's Solo Suites three times.