DOCSLIB.ORG

Juilliard Orchestra Peter Oundjian , Conductor Tabitha Rhee , Viola

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Juilliard Orchestra Peter Oundjian , Conductor Tabitha Rhee , Viola Thursday Evening, April 11, 2019, at 7:30 The Juilliard School presents Juilliard Orchestra Peter Oundjian , Conductor Tabitha Rhee , Viola ERNEST BLOCH (1880 –1959) Suite for Viola and Orchestra Lento—Allegro—Moderato Allegro ironico Lento Molto vivo TABITHA RHEE, Viola Intermission ANTON BRUCKNER (1824 –96) Symphony No. 4 in E-flat major (“Romantic”) Bewegt, nicht zu schnell (Moving, not too fast) Andante, quasi allegretto Scherzo: Bewegt (Moving) Finale: Bewegt, doch nicht zu schnell (Moving, but not too fast) Performance time: approximately 2 hours, including an intermission The taking of photographs and the use of recording equipment are not permitted in this auditorium. Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving). Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. Notes on the Program countries I so often dreamed of, though never was fortunate enough to visit in any by Frank Villella other way than through my imagination. … From the beginning, I had the idea of an Suite for Viola and Orchestra orchestral version, and took notes to that ERNEST BLOCH effect. The first movement was instru - Born July 24, 1880, in Geneva, mented in June 1919, and the whole score Switzerland was finished in the autumn.” Died July 15, 1959, in Portland, Oregon Louis Bailly, then the violist in the New Barely two months before the armistice York–based Flonzaley Quartet, and pianist was signed to end World War I, the Harold Bauer gave the first performance of Berkshire Festival (billed as the “first the Suite for Viola and Piano at the chamber music festival given in America”) Berkshire Festival on September 27, 1919. was inaugurated on September 16, 1918, One year later the premiere of Bloch’s in Pittsfield, Massachusetts. Elizabeth orchestration of the suite was the vehicle Sprague Coolidge, the festival’s sponsor, for Bailly’s debut at Carnegie Hall, and he offered $1,000 for the best new string performed it with the National Symphony quartet. The prize was awarded to Tadeusz Orchestra (no relation to the present Iarecki, a 19-year-old Polish composer, for Washington, D.C.–based orchestra, founded his Quartet for Strings, which premiered in 1931; in 1921 the earlier ensemble on the festival’s second day. merged with the New York Philharmonic) under the baton of Artur Bodanzky on For the festival the following year, Coolidge November 5 and 7, 1920. announced the competition would be for compositions for viola and piano. Seventy- The instrumentation calls for solo viola, two composers submitted works for con - two flutes, piccolo, two oboes, English sideration, and Ernest Bloch’s Suite for horn, two clarinets, bass clarinet, two bas - Viola and Piano and Rebecca Clarke’s soons, contrabassoon, four horns, three Sonata for Viola and Piano tied for first trumpets, three trombones, tuba, timpani, place, with the prize ultimately awarded to bass drum, side drum, wood block, cym - Bloch (partially because the judges report - bals, triangle, xylophone, gong, campanelli, edly did not believe a woman was capable celesta, two harps, and strings. of composing a work as impressive as Clarke’s sonata). The suite begins with “the impression of a very wild and primitive Nature … a kind of Bloch had composed the suite in New York savage cry, like that of a fierce bird of between February and May 1919 during prey” as described by the composer. A his tenure as the first composition teacher contemplative misterioso leads into the at the Mannes School of Music. In his own allegro and its subsequent development description, he wrote, “my suite does not before returning to the first meditative belong to my so-called ‘Jewish works,’ theme. The second movement, in rondo though perhaps, in spite of myself, one form, is a “curious mixture of grotesque may perceive here and there a few places and fantastic creatures, of sardonic and of certain Jewish inspiration. It is rather a mysterious moods.” A dreamy melody vision of the Far East that inspired me: opens the lento, expressing the “mystery Java, Sumatra, Borneo—those wonderful of tropical nights” and occasionally hinting back to motives from the suite’s opening. could not even bring myself to sit down In the final movement—“probably the most in his presence at first, [and] I did not cheerful thing I ever wrote”—earlier sub - dare show him any compositions of mine jects are hinted at and transformed, be - even then.” fore the first movement is “triumphantly recalled,” as the solo viola evokes the open - This lack of confidence, likely a result of ing mediation, leading into a brief and joyful his humble upbringing, haunted Bruckner allegro vivace to bring the suite to its close. throughout his life, and the first symphony that he was willing to acknowledge—No. 1 Symphony No. 4 in E-flat major in C minor—was not completed until 1866. (“Romantic”) Previous (an F minor symphony) and sub - ANTON BRUCKNER sequent (one in D minor, later called No. 0 Born September 4, 1824, in Ansfelden, or Die Nullte ) attempts were not per - near Linz, Austria formed or published in his lifetime. The Died October 11, 1896, in Vienna, Austria second and third were each revised sev - eral times by the composer, as he contin - Anton Bruckner began learning the organ ued to suffer from the criticism of others as a child, and his father, the schoolmaster as well as from his own second thoughts. in Ansfelden, was his first music teacher. After his father’s death in 1837, Bruckner In January 1874 Bruckner began working enrolled as a chorister at Saint Florian, on his Fourth Symphony and completed where he continued his organ studies, also the first version by November. It was sub - adding piano, violin, and music theory. mitted to the Vienna Philharmonic in 1875 After later receiving educational instruction for a trial rehearsal, but only the first move - in Linz, he returned to Saint Florian as a ment was deemed acceptable, and the teacher and organist before continuing his score was rejected. In early 1878 he signif - studies in harmony and counterpoint with icantly revised the first two movements Simon Sechter in Vienna. In 1861 Bruckner and replaced the finale; in December he commenced lessons in form and orches - eliminated the scherzo and added a com - tration from Otto Kitzler in Linz, where he pletely new third movement. The following also had been working as cathedral organ - year he returned to the work, and between ist since 1856. November 1879 and June 1880 he com - posed a third version of the finale. This ver - When a production of Wagner’s Tannhäuser sion premiered on February 20, 1881, in was planned for Linz, Kitzler and his stu - Vienna under the baton of Hans Richter to dent began studying the score together. great acclaim and was the composer’s first The performance in February 1863 had a real success. tremendous impact on Bruckner, expand - ing his concepts of harmony and orchestra - Following the first performance, Bruckner tion, and the following year—at age 40—he made a cut in the slow movement and completed his first mature composition, a again reworked the finale. (Based on the mass in D minor. composer’s manuscript held at the Austrian National Library in Vienna, this edition was In June 1865 he attended the premiere of published by musicologist Robert Haas in Tristan und Isolde in Munich and met the 1936 and is the version we hear tonight.) composer. “I introduced myself to the Master, who proved unusually kind and Bruckner again made a number of changes friendly towards me,” wrote Bruckner. “I in 1886 (later published as the Leopold Nowak edition) to prepare a score for sonata form, alternating and developing Anton Seidl, who gave the first perfor - two ideas, first in the cellos and later in the mance in the U.S. on March 16, 1888, in violas with pizzicato accompaniment. During New York’s Chickering Hall. In 1887 and a greatly extended coda, the music rises to 1888 Bruckner thoroughly revised the a full orchestral climax before dissolving symphony again, and that version was pre - into a pianissimo . miered by the Vienna Philharmonic, again with Hans Richter on the podium, on The third movement begins with exuber - January 20, 1888, and published the fol - ant horn calls and trumpet fanfares. This lowing year by Albert J. Gutman. eventually relaxes into a trio in the style of a ländler, a folk dance in 3/4 time, intro - Even though some of the symphonies duced by the flute and clarinet and ulti - have sobriquets, “Romantic” was the only mately concluding with restatements of one added by the composer himself. After the movement’s opening. For the finale, composing and revising the work, Bruckner Bruckner returns to sonata form, again also provided this description of the first with three themes combined and devel - movement: “Medieval city—dawn—morning oped, eventually followed by an extended calls sound from the towers—the gates and spacious coda. open—on proud steeds, knights ride into the open—woodland magic embraces “Bruckner is lavish with the amount of them—forest murmurs—bird song—and material he presents and uses,” com - thus the romantic picture unfolds.” mented Michael Steinberg. “Many of his abruptions are powerfully eloquent, and The symphony is scored for two flutes, the themes themselves are full of variety two oboes, two clarinets, two bassoons, and character. And he certainly achieves four horns, three trumpets, three trom - here one of his greatest codas, a journey in bone, tuba, timpani, and strings.
Load more

Recommended publications
  • [email protected] YUJA WANG to Repla
    FOR IMMEDIATE RELEASE ARTIST CHANGE March 21, 2019 Contact: Deirdre Roddin (212) 875-5700; [email protected] YUJA WANG To Replace Maurizio Pollini In One-Night-Only Performance of SCHUMANN’s Piano Concerto Conducted by MUSIC DIRECTOR JAAP VAN ZWEDEN Program Also To Include J. WAGENAAR’s Cyrano de Bergerac Overture BEETHOVEN’s Symphony No. 7 March 27, 2019 Yuja Wang will replace Maurizio Pollini, who has cancelled in order to fully recover from a brief illness, in the one-night-only performance of Schumann’s Piano Concerto with the New York Philharmonic led by Music Director Jaap van Zweden, Wednesday, March 27, 2019, at 7:30 p.m. The program will also include Johan Wagenaar’s Cyrano de Bergerac Overture and Beethoven’s Symphony No. 7. The performance will mark Yuja Wang’s 24th with the New York Philharmonic; she most recently appeared with the Orchestra and Jaap van Zweden in February–March 2018, both in New York and on tour to Asia. She will return next season for performances of Shostakovich’s Concerto No. 1 for Piano, Trumpet, and Strings, June 11–13, 2020, also conducted by Jaap van Zweden and featuring Principal Trumpet Christopher Martin. The Boston Globe wrote of her performance of Schumann’s Piano Concerto last month with the Boston Symphony Orchestra: “Not just a vehicle for virtuosic fireworks, the concerto calls for a keen listening ear and attunement to the larger ensemble… Wang demonstrated all that in spades. Like an elite figure skater or gymnast, the athletic effort she expended was palpable, but if the physical feats took any toll, the audience never saw it.” Biographies Beijing-born pianist Yuja Wang is set to achieve new heights in critical superlatives and audience ovations during the 2018–19 season, through recitals, concert series, season residencies, and extensive tours with some of the world’s most venerated ensembles and conductors.
    [Show full text]
  • ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS from the LEADERSHIP
    ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS FROM THE LEADERSHIP The New York Philharmonic’s 2019–20 season certainly saw it all. We recall the remarkable performances ranging from Berlioz to Beethoven, with special pride in the launch of Project 19 — the single largest commissioning program ever created for women composers — honoring the ratification of the 19th Amendment. Together with Lincoln Center we unveiled specific plans for the renovation and re-opening of David Geffen Hall, which will have both great acoustics and also public spaces that can welcome the community. In March came the shock of a worldwide pandemic hurtling down the tracks at us, and on the 10th we played what was to be our final concert of the season. Like all New Yorkers, we tried to come to grips with the life-changing ramifications The Philharmonic responded quickly and in one week created NY Phil Plays On, a portal to hundreds of hours of past performances, to offer joy, pleasure, solace, and comfort in the only way we could. In August we launched NY Phil Bandwagon, bringing live music back to New York. Bandwagon presented 81 concerts from Chris Lee midtown to the far reaches of every one of the five boroughs. In the wake of the Erin Baiano horrific deaths of Black men and women, and the realization that we must all participate to change society, we began the hard work of self-evaluation to create a Philharmonic that is truly equitable, diverse, and inclusive. The severe financial challenge caused by cancelling fully a third of our 2019–20 concerts resulting in the loss of $10 million is obvious.
    [Show full text]
  • Young New Yorkers Program
    Young New Yorkers Program Go beyond the galas with a Young New Yorkers membership. Contributions directly support the New York Philharmonic’s extraordinary artistic and educational programming and help bring the beauty of classical music to our local and global audiences. New York Philharmonic Membership gifts: David Geffen Hall 10 Lincoln Center Plaza • Provide more than half of the income we New York, NY 10023 need to maintain this great Orchestra • Support the Philharmonic’s extensive Phone (212) 875-5683 educational programing that introduces students to the wonderful world of Email symphonic music [email protected] • Fosters the creation of new music Website nyphil.org/yny Membership provides you with benefits including: Tax Deductibility Federal law requires that only the portion of a gift in excess of the fair-market • Personalized ticketing services value of goods and services may be deducted as a charitable contribution for Federal Income Tax • Waived ticketing fees purposes, subject to provisions of the law. The New York Philharmonic has made a good-faith • Discounts at local restaurants effort, as required by law, to determine the fair-market value of the benefits at various membership levels. • Invitations to membership events that encourage you to engage directly with *Benefits are subject to change and availability. the music, members of the Orchestra, and Photos: Devra Berkowitz and Chris Lee. world-renowned visiting artists $494 non tax-deductible $494 $417 non tax-deductible $417 $285 non tax-deductible $285 $494 non tax-deductible
    [Show full text]
  • EXECUTIVE DIRECTOR of DEVELOPMENT STRATEGY and GROWTH the METROPOLITAN OPERA New York, New York the Metropolitan Opera
    EXECUTIVE DIRECTOR OF DEVELOPMENT STRATEGY AND GROWTH THE METROPOLITAN OPERA New York, New York The Metropolitan Opera The Aspen Leadership Group is proud to partner with The Metropolitan Opera in the search for an Executive Director of Development Strategy and Growth. The Executive Director will work in close partnership with the Assistant General Manager, Development, and will be responsible for identifying and implementing strategies for growth in contributed revenue. Areas of focus in 2019 and 2020 will include national and global corporate partnerships, planned giving, and international fundraising. The Executive Director will manage staff and projects as assigned by the Assistant General Manager and as appropriate to each growth strategy. REPORTING RELATIONSHIPS The Executive Director of Development Strategy and Growth will report to the Assistant General Manager, Development. PRINCIPAL OPPORTUNITIES The Met’s audience is global and includes millions of devoted viewers and listeners. This reach positions the Met for corporate partnerships at the highest levels, with significant growth opportunity. The Met is also uniquely positioned to reach and remain relevant to audience members until the very end of their lives, presenting an extraordinary opportunity for growth in planned giving. This global reach, combined with the growth of philanthropy in other countries, presents an additional opportunity for enhanced revenue from international sources. The Met has one of the strongest individual giving programs in the country, rivaling and surpassing the levels of giving and donor engagement seen in many major universities and health care centers. Its core audience is deeply and passionately devoted to the art form. The Executive Director will have the opportunity to build upon this strong foundation, immediately expanding revenue generation in identified areas with untapped potential.
    [Show full text]
  • Berliner Philharmoniker
    Berliner Philharmoniker Sir Simon Rattle Artistic Director November 12–13, 2016 Hill Auditorium Ann Arbor CONTENT Concert I Saturday, November 12, 8:00 pm 3 Concert II Sunday, November 13, 4:00 pm 15 Artists 31 Berliner Philharmoniker Concert I Sir Simon Rattle Artistic Director Saturday Evening, November 12, 2016 at 8:00 Hill Auditorium Ann Arbor 14th Performance of the 138th Annual Season 138th Annual Choral Union Series This evening’s presenting sponsor is the Eugene and Emily Grant Family Foundation. This evening’s supporting sponsor is the Michigan Economic Development Corporation. This evening’s performance is funded in part by The Andrew W. Mellon Foundation and by the Michigan Council for Arts and Cultural Affairs. Media partnership provided by WGTE 91.3 FM and WRCJ 90.9 FM. The Steinway piano used in this evening’s performance is made possible by William and Mary Palmer. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this evening’s performance. Special thanks to Bill Lutes for speaking at this evening’s Prelude Dinner. Special thanks to Journeys International, sponsor of this evening’s Prelude Dinner. Special thanks to Aaron Dworkin, Melody Racine, Emily Avers, Paul Feeny, Jeffrey Lyman, Danielle Belen, Kenneth Kiesler, Nancy Ambrose King, Richard Aaron, and the U-M School of Music, Theatre & Dance for their support and participation in events surrounding this weekend’s performances. Deutsche Bank is proud to support the Berliner Philharmoniker. Please visit the Digital Concert Hall of the Berliner Philharmoniker at www.digitalconcerthall.com.
    [Show full text]
  • INFORMATION to USERS This Manuscript Has Been Reproduced
    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 from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken 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 did 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 sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. 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 additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 THE COMPLETED SYMPHONIC COMPOSITIONS OF ALEXANDER ZEMLINSKY DISSERTATION Volume I Presented in Partial Fulfillment of the Requirement for the Degree Doctor of Philosophy In the Graduate School of The Ohio State University By Robert L.
    [Show full text]
  • Chronology 1916-1937 (Vienna Years)
    Chronology 1916-1937 (Vienna Years) 8 Aug 1916 Der Freischütz; LL, Agathe; first regular (not guest) performance with Vienna Opera Wiedemann, Ottokar; Stehmann, Kuno; Kiurina, Aennchen; Moest, Caspar; Miller, Max; Gallos, Kilian; Reichmann (or Hugo Reichenberger??), cond., Vienna Opera 18 Aug 1916 Der Freischütz; LL, Agathe Wiedemann, Ottokar; Stehmann, Kuno; Kiurina, Aennchen; Moest, Caspar; Gallos, Kilian; Betetto, Hermit; Marian, Samiel; Reichwein, cond., Vienna Opera 25 Aug 1916 Die Meistersinger; LL, Eva Weidemann, Sachs; Moest, Pogner; Handtner, Beckmesser; Duhan, Kothner; Miller, Walther; Maikl, David; Kittel, Magdalena; Schalk, cond., Vienna Opera 28 Aug 1916 Der Evangelimann; LL, Martha Stehmann, Friedrich; Paalen, Magdalena; Hofbauer, Johannes; Erik Schmedes, Mathias; Reichenberger, cond., Vienna Opera 30 Aug 1916?? Tannhäuser: LL Elisabeth Schmedes, Tannhäuser; Hans Duhan, Wolfram; ??? cond. Vienna Opera 11 Sep 1916 Tales of Hoffmann; LL, Antonia/Giulietta Hessl, Olympia; Kittel, Niklaus; Hochheim, Hoffmann; Breuer, Cochenille et al; Fischer, Coppelius et al; Reichenberger, cond., Vienna Opera 16 Sep 1916 Carmen; LL, Micaëla Gutheil-Schoder, Carmen; Miller, Don José; Duhan, Escamillo; Tittel, cond., Vienna Opera 23 Sep 1916 Die Jüdin; LL, Recha Lindner, Sigismund; Maikl, Leopold; Elizza, Eudora; Zec, Cardinal Brogni; Miller, Eleazar; Reichenberger, cond., Vienna Opera 26 Sep 1916 Carmen; LL, Micaëla ???, Carmen; Piccaver, Don José; Fischer, Escamillo; Tittel, cond., Vienna Opera 4 Oct 1916 Strauss: Ariadne auf Naxos; Premiere
    [Show full text]
  • Beyond the Machine Photo by Claudio Papapietro
    Beyond The Machine Photo by Claudio Papapietro Juilliard Scholarship Fund The Juilliard School is the vibrant home to more than 800 dancers, actors, and musicians, over 90 percent of whom are eligible for financial aid. With your help, we can offer the scholarship support that makes a world of difference—to them and to the global future of dance, drama, and music. Behind every Juilliard artist is all of Juilliard—including you. For more information please contact Tori Brand at (212) 799-5000, ext. 692, or [email protected]. Give online at giving.juilliard.edu/scholarship. The Juilliard School presents Center for Innovation in the Arts Edward Bilous, Founding Director Beyond the Machine 19.1 InterArts Workshop March 26 and 27, 2019, 7:30pm (Juilliard community only) March 28, 2019, 7pm Conversation with the artists, hosted by William F. Baker 7:30pm Performance Rosemary and Meredith Willson Theater The Man Who Loved the World Treyden Chiaravalloti, Director Eric Swanson, Actor John-Henry Crawford, Composer On film: Jared Brown, Dancer Sean Lammer, Dancer Barry Gans, Dancer Dylan Cory, Dancer Julian Elia, Dancer Javon Jones, Dancer Nicolas Noguera, Dancer Canaries Natasha Warner, Writer, Director, and Choreographer Pablo O'Connell, Composer Esmé Boyce, Choreographer Jasminn Johnson, Actor Gwendolyn Ellis, Actor Victoria Pollack, Actor Jessica Savage, Actor Phoebe Dunn, Actor David Rosenberg, Actor Intermission (Program continues) Please make certain that all electronic devices are turned off during the performance. The taking of photographs
    [Show full text]
  • Blueprint for the Arts N Music Letter from the Chancellor
    Grades PreK - 12 - PreK Grades For Teaching and Learning in Learning and Teaching For Office of Arts and Special Projects New York City Department of Education 52 Chambers Street, Room 205 New York, New York 10007 Phone: 212.374.0300 Fax: 212.374.5598 Email: [email protected] website: schools.nyc.gov/artseducation New York City Department of Education © 2005 Carmen Fariña, Chancellor Second Edition (2008) Contributors Third Edition (2015) Contributors Dorita Gibson, Senior Deputy Chancellor Phil Weinberg, Deputy Chancellor of Teaching Music Curriculum Development Co-Chairs Music Educators, Music Curriculum Development Co-Chairs New York City Department of Education and Learning Barbara Murray, Director of Music Programs Barbara Murray, Director of Music Anna Commitante, Senior Executive Director, Office of Arts and Special Projects, Donald Christiansen Robert Lamont, Music Consultant Curriculum, Instruction & Professional Learning New York City Department of Education Roberta Feldhusen Paul King, Executive Director, Office of Arts and Shellie Bransford, Music Consultant Janet Grice Special Projects Elizabeth Norman, Director of Education, Elizabeth Guglielmo Music Educators, St. Luke’s Orchestra New York City Department of Education First Edition (2004) Contributors Jaime Jacobs Gregory Pierson, Director of Education, Maria Schwab Eric Dalio Music Curriculum Development Co-Chairs Brooklyn Philharmonic Thomas Toriello Elaine Fauria Nancy Shankman, Director of Music/ George Wanat Ian Kanakaris Deputy Senior Instructional Manager for Arts Education Moishe Weidenfeld Music from the Inside Out Contributors Portia Lagares Thomas Cabaniss, Director of Education, Jerome Korman, Project Director, Music Consultant, New York Philharmonic Office of Arts and Special Projects Cultural and University Community Music Educators, Nancy Shankman, Director of Music, Deputy Senior Dr.
    [Show full text]
  • T H E P Ro G
    Sunday, April 29, 2018 at 3:00 pm m a Symphonic Masters r g o Los Angeles Philharmonic r Gustavo Dudamel, Conductor P John Holiday , Countertenor Julianna Di Giacomo , Soprano e Jennifer Johnson Cano , Mezzo-Soprano h Michael König , Tenor T Davóne Tines , Bass-Baritone Concert Chorale of New York James Bagwell , Choral Director BERNSTEIN Chichester Psalms (1965) Part I: Psalm 108:2—Psalm 100 Part II: Psalm 23—Psalm 2:1-4 Part III: Psalm 131—Psalm 133:1 Intermission BEETHOVEN Symphony No. 9 in D minor (1822–24) Allegro ma non troppo, un poco maestoso Scherzo: Molto vivace Adagio molto e cantabile— Presto—Allegro ma non troppo—Allegro assai (Choral finale) Please make certain all your electronic devices are switched off. This afternoon’s performance is dedicated to the memory of Paul Milstein, philanthropist and builder. These programs are supported by the Leon Levy Fund for Symphonic Masters. Symphonic Masters is made possible in part by endowment support from UBS. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. David Geffen Hall Great Performers Support is provided by Rita E. and Gustave M. Hauser, Audrey Love Charitable Foundation, Great Performers Circle, Chairman’s Council, and Friends of Lincoln Center. Public support is provided by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. Endowment support for Symphonic Masters is provided by the Leon Levy Fund. Endowment support is also provided by UBS. Nespresso is the Official Coffee of Lincoln Center NewYork-Presbyterian is the Official Hospital of Lincoln Center UPCOMING GREAT PERFORMERS EVENTS: Wednesday, May 2 at 7:30 pm in Alice Tully Hall Gerald Finley, bass-baritone Julius Drake, piano Songs by BEETHOVEN, SCHUBERT, TCHAIKOVSKY, and RACHMANINOFF Selection of favorite folk songs Friday, May 4 at 8:00 pm in David Geffen Hall London Symphony Orchestra Simon Rattle, conductor MAHLER: Symphony No.
    [Show full text]
  • Long Biography
    OLIVER NEUBAUER Violin Praised for his sensitive and uniquely beautiful playing, violinist Oliver Neubauer is establishing himself as an artist of great emotional depth and maturity beyond his years. This past season, Oliver appeared with the Jupiter Chamber Players, performed as guest concertmaster with the Adelphi Orchestra (as winner of their 2020 competition), and performed virtual concerts for Music@Menlo and String Theory at the Hunter. Oliver will attend the Perlman Music Program Chamber Workshop and Verbier Festival Academy in the summer of 2021. He will also give numerous performances at Bravo! Vail Music Festival and Music from Angel Fire. Past seasons have included appearances at the Four Seasons Winter Workshop, Palm Beach Chamber Music Society, Bravo! Vail, YoungArts Miami, Parlance Chamber Concerts, If Music Be the Food NYC, Mostly Music Series, Summerfest La Jolla, Music@Menlo, Lake Champlain Music Festival, OKM Music Festival, Chamber Music Northwest, Music in the Vineyards, Art in Avila in Curaçao, and Music from Angel Fire. Oliver has performed at Carnegie’s Weill Recital Hall on numerous occasions as well as Symphony Space, the American Museum of Natural History, Neue Gallery, Alice Tully Hall, and David Geffen Hall. Oliver also performed with his sister Clara at the Waldorf Astoria for a 9/11 Memorial and Museum Benefit Dinner, where they shared the stage with Robert De Niro and Bernadette Peters. At the age of twelve years old, Oliver attended the Music@Menlo program for the first time and played Mozart’s E-flat Piano Quartet, an experience that sparked a deep passion for chamber music that remains with him to this day.
    [Show full text]
  • Tristan Und Isolde - Wikipedia, the Free Encyclopedia
    איזולדה Isolde – garland of flowers in her blonde hair, which has thin plaits falling down her face from her forehead. Identify your Ascended Master إيزولدى http://www.egyptianoasis.net/showthread.php?t=8350 ِاي ُزول ِدِ Ιζόλδη ISOLDE …. The origins of this name are uncertain, though some Celtic roots have been suggested. It is possible that the name is ultimately Germanic, perhaps from a hypothetic name like Ishild, composed of the elements is "ice" and hild "battle". http://www.behindthename.com/name/isolde Tristan und Isolde - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Tristan_und_Isolde Tristan und Isolde From Wikipedia, the free encyclopedia Tristan und Isolde ( Tristan and Isolde , or Tristan and Isolda , or Tristran and Ysolt ) is an opera, or music drama, in three acts by Richard Wagner to a German libretto by the composer, based largely on the romance by Gottfried von Strassburg. It was composed between 1857 and 1859 and premiered at the Königliches Hof- und Nationaltheater in Munich on 10 June 1865 with Hans von Bülow conducting. Wagner referred to the work not as an opera, but called it "eine Handlung" (literally a drama , a plot or an action ), which was the equivalent of the term used by the Spanish playwright Calderón for his dramas. Wagner's composition of Tristan und Isolde was inspired by the philosophy of Arthur Schopenhauer (particularly The World as Will and Representation ) and Wagner's affair with Mathilde Wesendonck. Widely acknowledged as one of the peaks of the operatic repertoire, Tristan was notable for Wagner's unprecedented use of chromaticism, tonality, orchestral colour and harmonic suspension.
    [Show full text]