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Faculty Recital Piano Vs. Viola: a Romantic Duel Jasmin Arakawa, Piano Rudolf Haken, Five-String Viola ______
Faculty Recital Piano vs. Viola: A Romantic Duel Jasmin Arakawa, piano Rudolf Haken, five-string viola ________________________________ Sonata in E-flat Major, op. 120, no. 2 (1894) Johannes Brahms Allegro amabile (1833-1897) Allegro appassionato Andante con moto; Allegro Grandes études de Paganini (1851) Franz Liszt No. 5 (1811-1986) No. 2 No. 3 “La Campanella” Caprices (ca. 1810) Niccolò Paganini (1833-1897) No. 9 arranged by Rudolf Haken No. 17 “La Campanella” from Violin Concerto No.2 (1826) INTERMISSION Concerto in F (2014) Rudolf Haken Possum Trot (b. 1965) Triathlon Hoedown Walpurgisnacht Le Grand Tango (1982) Ástor Piazzolla (1921-1992) ________________________________ The Fourth Concert of Academic Year 2014-2015 Tuesday, September 16, 2014 7:30 p.m. A charismatic and versatile pianist, Jasmin Arakawa has performed widely in North America, Central and South America, Europe, and Japan. Described by critics as a “lyrical” pianist with “impeccable technique” (The Record), she has been heard in prestigious venues worldwide including Carnegie Hall, Salle Gaveau (Paris) and Victoria Hall (Geneva). She has appeared as a concerto soloist with the Philips Symphony Orchestra in Amsterdam, and with the Piracicaba Symphony Orchestra in Brazil. Arakawa’s interest in Spanish repertoire grew out of a series of lessons with Alicia de Larrocha in 2004. She has subsequently recorded solo and chamber pieces by Spanish and Latin American composers (LAMC Record), under the sponsorship of the Spanish Embassy as a prizewinner at the Latin American Music Competition. An avid chamber musician, she has collaborated with such artists as cellists Colin Carr and Gary Hoffman, flutists Jean Ferrandis and Marina Piccinini, clarinetist James Campbell, and the Penderecki Quartet. -
Musica Antigua Para Nuestro Tiempo
Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. TOME NOTA Los conciertos iniciarán exactamente a la hora indicada en los avisos de prensa y en el programa de mano. Llegar con media hora de antelación le permitirá ingresar al concierto con tranquilidad y disfrutarlo en su totalidad. Si al momento de llegar al concierto éste ya ha iniciado, el personal del auditorio le indicará el momento adecuado para ingresar a la sala de acuerdo con las recomendaciones dadas por los artistas que están en escena. Agradecemos se abstenga de consumir comidas y bebidas, o fumar durante el concierto, con el fin de garantizar un ambiente adecuado tanto para el público como para los artistas. Durante el transcurso del concierto por favor mantenga apagados sus equipos electrónicos, incluyendo teléfonos celulares, buscapersonas y alarmas de reloj . Esto ayuda a crear un ambiente propicio para disfrutar la música. Por respeto a los derechos de autor de los compositores e intérpretes, no está permitido realizar grabaciones de audio o video ni tomar fotografías durante el concierto. Foto portada: corresponde a detalle del arpa del clavecin Rainer Schütze donado por Ra fel Puyana. Colección de Arte Banco de la República Los conciertos realizados en la Sala de Conciertos de la Biblioteca Lu1s Angel Arango están autorizados por la Dirección Administrativa de la Secretaria de Gobierno de Bogotá, mediante la Resolución 071 del 14 de febrero de 2014. Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. De Bach a Puyana A comienzos del siglo XIX , tras varios cambios políticos, sociales, culturales y estéticos, la música de Johann Sebastian Bach casi que había sido olvidada. -
2 Fifteenth Berkeley Festival & Exhibition 2
2 FIFTEENTH BERKELEY FESTIVAL & EXHIBITION 2 june 3–10, 2018 Festival Advisory Committee, Board of Directors & Staff ...............................................................................................2 Festival Supporters ...........................................................................................................................................................3 Welcome ..........................................................................................................................................................................6 Festival Calendar .............................................................................................................................................................8 Main Stage Players Sunday, June 3 Seattle Historical Arts for Kids ...............................................................................................................................14 California Bach Society ..........................................................................................................................................17 Monday, June 4 Christine Brandes & Elizabeth Blumenstock ..........................................................................................................23 Tuesday, June 5 San Francisco Conservatory Baroque Ensemble Students and Alumni ...................................................................27 Davis Senior High School Baroque Ensemble ........................................................................................................30 -
Halloween-Themed “Haunted Hearts” Features Bach’S Brandenburg Concerto No
Contact: Stefan Scherer-Emunds [email protected] (312) 957-0000 FOR IMMEDIATE RELEASE: Halloween-Themed “Haunted Hearts” Features Bach’s Brandenburg Concerto No. 5, Piazzolla’s Oblivion, Herrmann’s Psycho Score & More Alongside Bone-Chilling Narration Chicago, IL – (September 21, 2016) Just in time for Halloween, the Chicago Philharmonic’s 2016-17 season dedicated to love continues October 30 with Haunted Hearts, conjuring up bittersweet past loves, nightmarish scenes, and the bug that got away. C.P.E. Bach’s Symphony No. 5, a devilishly difficult showpiece, sets the tone with its careening runs and shocking use of harmony. Piazzolla’s tango-infused Oblivion, Michael Nyman’s minimalistic Concerto for Amplified Harpsichord and Strings, and a suite from Bernard Herrmann’s cataclysmic Psycho score follow. Next, the orchestra performs Woolf’s evocative tonal soundscape, My Insect Bride. Bach’s Brandenburg Concerto No. 5 – with its treacherous but beloved harpsichord cadenza – reminds the audience that it’s all in good fun after all. Tim Hopper of the Steppenwolf Theatre provides bone-chilling narration, and expert theremin player Mysterion performs eerie pre-concert music. Audience members are invited to come in costume. Haunted Hearts Sunday, October 30, 2016, 3 pm Harris Theater for Music and Dance (205 E Randolph St, Chicago) Scott Speck, conductor Jory Vinikour, harpsichord Marie Tachouet, flute David Perry, violin Tim Hopper of Steppenwolf Theatre, narrator NEXT! foyer music: Mysterion, theremin Carl Philipp Emanuel Bach: Symphony No. 5 Astor Piazzolla: Oblivion Michael Nyman: Concerto for Amplified Harpsichord and Strings Bernard Herrmann: Suite from Psycho Randall Woolf: My Insect Bride Johann Sebastian Bach: Brandenburg Concerto No. -
Maud Powell As an Advocate for Violinists, Women, and American Music Catherine C
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 "The Solution Lies with the American Women": Maud Powell as an Advocate for Violinists, Women, and American Music Catherine C. Williams Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC “THE SOLUTION LIES WITH THE AMERICAN WOMEN”: MAUD POWELL AS AN ADVOCATE FOR VIOLINISTS, WOMEN, AND AMERICAN MUSIC By CATHERINE C. WILLIAMS A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Summer Semester, 2012 Catherine C. Williams defended this thesis on May 9th, 2012. The members of the supervisory committee were: Denise Von Glahn Professor Directing Thesis Michael Broyles Committee Member Douglass Seaton Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii For Maud iii ACKNOWLEDGMENTS I would like to thank my parents and my brother, Mary Ann, Geoff, and Grant, for their unceasing support and endless love. My entire family deserves recognition, for giving encouragement, assistance, and comic relief when I needed it most. I am in great debt to Tristan, who provided comfort, strength, physics references, and a bottomless coffee mug. I would be remiss to exclude my colleagues in the musicology program here at The Florida State University. The environment we have created is incomparable. To Matt DelCiampo, Lindsey Macchiarella, and Heather Paudler: thank you for your reassurance, understanding, and great friendship. -
2021 WFMT Opera Series Broadcast Schedule & Cast Information —Spring/Summer 2021
2021 WFMT Opera Series Broadcast Schedule & Cast Information —Spring/Summer 2021 Please Note: due to production considerations, duration for each production is subject to change. Please consult associated cue sheet for final cast list, timings, and more details. Please contact [email protected] for more information. PROGRAM #: OS 21-01 RELEASE: June 12, 2021 OPERA: Handel Double-Bill: Acis and Galatea & Apollo e Dafne COMPOSER: George Frideric Handel LIBRETTO: John Gay (Acis and Galatea) G.F. Handel (Apollo e Dafne) PRESENTING COMPANY: Haymarket Opera Company CAST: Acis and Galatea Acis Michael St. Peter Galatea Kimberly Jones Polyphemus David Govertsen Damon Kaitlin Foley Chorus Kaitlin Foley, Mallory Harding, Ryan Townsend Strand, Jianghai Ho, Dorian McCall CAST: Apollo e Dafne Apollo Ryan de Ryke Dafne Erica Schuller ENSEMBLE: Haymarket Ensemble CONDUCTOR: Craig Trompeter CREATIVE DIRECTOR: Chase Hopkins FILM DIRECTOR: Garry Grasinski LIGHTING DESIGNER: Lindsey Lyddan AUDIO ENGINEER: Mary Mazurek COVID COMPLIANCE OFFICER: Kait Samuels ORIGINAL ART: Zuleyka V. Benitez Approx. Length: 2 hours, 48 minutes PROGRAM #: OS 21-02 RELEASE: June 19, 2021 OPERA: Tosca (in Italian) COMPOSER: Giacomo Puccini LIBRETTO: Luigi Illica & Giuseppe Giacosa VENUE: Royal Opera House PRESENTING COMPANY: Royal Opera CAST: Tosca Angela Gheorghiu Cavaradossi Jonas Kaufmann Scarpia Sir Bryn Terfel Spoletta Hubert Francis Angelotti Lukas Jakobski Sacristan Jeremy White Sciarrone Zheng Zhou Shepherd Boy William Payne ENSEMBLE: Orchestra of the Royal Opera House, -
Newsletter 1
The instruments of choice for the best players in the world... MARK WOOD MARK WOOD, award winning composer, interna- Magazine, among others. tional recording artist, and electric violinist, is widely Mark is currently starring in a national TV ad campaign acknowledged as the premier electric rock violinist of for Pepsi. The music track is a Kanye West produced his generation. Mark studied under maestro Leonard hip hop version of “The Devil Went Down to Georgia” Bernstein at Tanglewood and attended the Juilliard (featuring the rapper Nas). School of Music on full scholarship, which he left Mark won an Emmy award for his music for the Tour to pursue his vision of bringing rock violin into the De France bike race on CBS-TV and received three mainstream. His first release “Voodoo Violince” is widely additional Emmy nominations. As an inventor, Mark hailed as the quintessential rock violin record. In addi- established Wood Violins, a company whose mission is tion to his own band, The Mark Wood Experience, he to make Mark’s incredible instruments available to the has received two platinum and gold records from his general public. work with Trans-Siberian Orchestra, and has toured Mark’s Electrify Your Strings!™ series of music educa- and performed with Dee Snider’s Van Helsing’s tion programs have become enormously successful Curse, Celine Dion, Billy Joel, Lenny Kravitz, and and in demand with hundreds of schools participating Jewel. Mark has been a featured guest on The Tonight around the country. Show with Jay Leno, and has had articles written His definitive electric violin method book by the about him in the New York Times, USA Today, and Time same name is a must-have for all string players. -
Le Temple De La Gloire
april insert 4.qxp_Layout 1 5/10/17 7:08 AM Page 15 A co-production of Cal Performances, Philharmonia Baroque Orchestra & Chorale, and Centre de musique baroque de Versailles Friday and Saturday, April 28 –29, 2017, 8pm Sunday, April 30, 2017, 3pm Zellerbach Hall Jean-Philippe Rameau Le Temple de la Gloire (The Temple of Glory) Opera in three acts with a prologue Libretto by Voltaire featuring Nicholas McGegan, conductor Marc Labonnette Camille Ortiz-Lafont Philippe-Nicolas Martin Gabrielle Philiponet Chantal Santon-Jeffery Artavazd Sargsyan Aaron Sheehan New York Baroque Dance Company Catherine Turocy, artistic director Brynt Beitman Caroline Copeland Carly Fox Horton Olsi Gjeci Alexis Silver Meggi Sweeney Smith Matthew Ting Andrew Trego Philharmonia Baroque Orchestra & Chorale Bruce Lamott, chorale director Catherine Turocy, stage director and choreographer Scott Blake, set designer Marie Anne Chiment, costume designer Pierre Dupouey, lighting designer Sarah Edgar, assistant director Cath Brittan, production director Major support for Le Temple de la Gloire is generously provided by Philharmonia Baroque Orchestra & Chorale supporters: David Low & Dominique Lahaussois, The Waverley Fund, Mark Perry & Melanie Peña, PBO’s Board of Directors, and The Bernard Osher Foundation. Cal Performances and Philharmonia Baroque Orchestra & Chorale dedicate Le Temple de la Gloire to Ross E. Armstrong for his extraordinary leadership in both our organizations, his friendship, and his great passion for music. This performance is made possible, in part, by Patron Sponsors Susan Graham Harrison and Michael A. Harrison, and Francoise Stone. Additional support made possible, in part, by Corporate Sponsor U.S. Bank. april insert 4.qxp_Layout 1 5/10/17 7:08 AM Page 16 Title page of the original 1745 libretto of Le Temple de la Gloire . -
Rachel Barton Pine
Rachel Barton Pine Heralded as a leading interpreter of the great classical masterworks, international concert violinist Rachel Barton Pine thrills audiences with her dazzling technique, lustrous tone and emotional honesty. With an infectious joy in music-making and a passion for connecting historical research to performance, Pine transforms audiences’ experiences of classical music. During the 2015-16 season, Pine will perform concertos by Beethoven, Brahms, Bruch, Dvorak, Fairouz, Mozart, Sibelius and Vivaldi, with orchestras including the Santa Rosa Symphony, the New Mexico Philharmonic, and the Flagstaff, Windsor, and Gainesville Symphony Orchestras. She will continue her recital tour of the Six Bach Sonatas and Partitas for Unaccompanied Violin in Gainesville, FL and Washington, D.C. In April, 2016 Avie Records will release Pine’s performance of J.S. Bach’s Six Sonatas and Partitas for Violin. Pine recently celebrated the release of her debut album on Avie: Mozart: Complete Violin Concerto, Sinfonia Concertante, with conductor Sir Neville Marriner and The Academy of St Martin in the Fields. In September 2015 Cedille Records releases her recording of Vivaldi: The Complete Viola D’Amore Concertos with Ars Antigua. This season a high-definition, life size video of Pine playing and being interviewed will be the culminating installation of “Stradivarius: Origins and Legacy of the Greatest Violin Maker,” a new exhibit of treasures made by master violin makers including Andrea Amati, Guarneri del Gesù, and Antonio Stradivari debuting at the Musical Instrument Museum in Phoenix, AZ. Pine has appeared as soloist with many of the world’s most prestigious ensembles, including the Chicago Symphony; the Philadelphia Orchestra and the Royal Philharmonic; and the Netherlands Radio Kamer Filharmonie. -
Publicity Book
JORY VINIKOUR conductor, harpsichordist Jory Vinikour is recognized as one of the outstanding harpsichordists of his generation. A highly diversified career brings him to the world!s most important festivals and concert halls as recital and concerto soloist, partner to several of today!s finest singers, and increasingly as a conductor. Born in Chicago, Jory Vinikour came to Paris on a scholarship from the Fulbright Foundation to study with Huguette Dreyfus and Kenneth Gilbert. First Prizes in the International Harpsichord Competitions of Warsaw (1993) and the Prague Spring Festival (1994) brought him to the public!s attention, and he has since appeared in festivals and concert series such as Besançon Festival, Deauville, Nantes, Monaco, Cleveland Museum of Art, Miami Bach Festival, Indianapolis Early Music Festival, etc. A concerto soloist with a repertoire ranging from Bach to Nyman, passing by Poulenc!s Concert Champêtre, Jory Vinikour has performed as soloist with leading orchestras including Rotterdam Philharmonic, Flanders Opera Orchestra, Orchestre de la Suisse Romande, Lausanne Chamber Orchestra, Philharmonic of Radio France, Ensemble Orchestral de Paris, and Moscow Chamber Orchestra with conductors such as Armin Jordan, Marc Minkowski, Marek Janowski, Constantine Orbelian, John Nelson, and Fabio Luisi. He recorded Frank Martin!s Petite Symphonie Concertante with the Lausanne Chamber Orchestra under the direction of Armin Jordan (Suisse Romande, 2005), and also performed the Harpsichord Concerto by the same composer with the Symphony Orchestra of the MDR in Leipzig!s Gewandhaus under the direction of Martin Haselböck in January of 2003. A complete musician, Mr. Vinikour is gaining a reputation as a conductor (studies with Vladimir Kin and Denise Ham) and music director. -
Rachel Barton-Pine – Skrzypaczka 62
Sylwetki ��ycie artysty rzadko bywa usłane różami, choć nie zalicza się tego zawodu do niebezpiecznych. Może niesłusznie? Wypadek amerykańskiej skrzypaczki Rachel Barton-Pine najpewniej nigdy nie miałby miejsca, gdyby wybrała inną życiową pasję. Jednak to właśnie ona pomogła jej przeżyć i wrócić do kariery. W lutym odwiedziła Polskę. Maciej Łukasz Gołębiowski Rachel Barton-Pine – skrzypaczka 62 �������������������������������������� 62-64 Rachel Barton-Pine.indd 62 2/28/12 7:09:09 PM Sylwetki hoć Rachel nie mówi po polsku, jąc się makijażem, zaczęła grać na weselach w 1996 roku zagrała na stadionie Chicago a w jej nazwisku nie sposób do- i innych imprezach. Dziś mówi o tamtych Bulls swoją wirtuozowską aranżację amery- strzec związków z naszym krajem, czasach niezbyt chętnie. Będąc jeszcze dziec- kańskiego hymnu, przechodnie podchodzili jej korzenie tkwią nad Wisłą. Ciesząc się na kiem, czuła na sobie odpowiedzialność za do niej mówiąc: „Byłem tam wtedy, słysza- odwiedziny Krakowa, Warszawy i Wrocła- młodsze siostry i resztę rodziny. Nawet ma- łem, jak grałaś i naprawdę nie myślałem, wia wyznała, że jej pradziad nazywał się Do- jąc pełne stypendium w szkole, nie byłaby że skrzypce mogą brzmieć tak fantastycz- brosz i w wieku nastoletnim wyemigrował w stanie studiować i jednocześnie wystarcza- nie”. Dla Rachel brzmiały zawsze równie do Ameryki. Tam zapragnął się jak najszyb- jąco dużo pracować, by wyżywić bliskich. By wspaniale w repertuarze klasycznym, jak ciej zasymilować, więc zabronił swoim dzie- żyć, musiała grać. i wtedy, gdy grała utwory dalekie od sal *l- ciom używać języka innego niż miejscowy. W wieku 17 lat, jako najmłodsza uczest- harmonicznych. Drugą miłością artystki są W ciągu jednego pokolenia rodzina odcięła niczka i pierwsza Amerykanka, wygrała bowiem ciężki rock i heavy metal. -
American Violinist Rachel Barton Pine: 'Relaxing Music Makes Me Tense'
THE STRAITS TIMES American violinist Rachel Barton Pine: 'Relaxing music makes me tense' Virtuoso violinist Rachel Barton Pine is known for her intepretations of music by composers such as Bach and Paganini, and used to play in the thrash/doom heavy metal band Earthen Grave. PHOTO: COURTESY OF SINGAPORE SYMPHONY ORCHESTRA PUBLISHED OCT 14, 2019, 5:30 PM SGT Toh Wen Li (mailto:[email protected]) SINGAPORE - What do heavy metal and classical music have in common? A lot more than you think, suggests virtuoso violinist Rachel Barton Pine, who has had a lifelong passion for both. The 45-year-old Chicago native is known for her intepretations of music by composers such as Bach and Paganini, and used to play in the thrash/doom heavy metal band Earthen Grave. Speaking to The Straits Times over the phone last week from a hotel room in Salt Lake City, where she was due to perform, Pine rattles off a list of rock and heavy metal artists - from Scorpions' former lead guitarist Uli Jon Roth, to Marty Friedman of heavy metal band Megadeth - who were inspired by classical music, drawn to the emotional intensity and bombast of Romantic-era works. Paganini's Caprices "set the standard for all the fancy notes you can do on the instrument", she adds, referring to the Italian virtuoso's fiendishly difficult solos for the violin. Pine who started playing the violin at the age of three and listening to hard rock and heavy metal when she was 10 years old, says: "After practising violin all day, I couldn't really relax by listening to classical music, because I would still be analysing it too much.