DOCSLIB.ORG

12.10. ICELAND and ESTONIA 100 YEARS

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
12.10. ICELAND and ESTONIA 100 YEARS 12.10. FRIDAY SERIES 3 Helsinki Music Centre at 19:00 ICELAND and ESTONIA 100 YEARS Anna-Maria Helsing, conductor Arto Noras, cello Jüri Reinvere: Through a Lens Darkly 17 min Sergei Prokofiev: Rêves, Op. 6 12 min Anna Þorvaldsdóttir: Dreaming 17 min INTERVAL 20 min Antonín Dvořák: Cello Concerto in B Minor, Op. 104 40 min I Allegro II Adagio, ma non troppo III Finale: Allegro moderato – Andante – Allegro vivo 1 The LATE-NIGHT CHAMBER MUSIC will begin in the main Concert Hall after an interval of about 10 minutes. Those attending are asked to take (unnumbered) seats in the stalls. Paula Sundqvist, violin Tuija Rantamäki, cello Sonja Fräki, piano Antonín Dvořák: Piano Trio “Dumky” 31 min 1. Lento maestoso – Allegro vivace – Allegro molto 2. Poco adagio – Vivace 3. Andante – Vivace non troppo 4. Andante moderato – Allegretto scherzando – Allegro 5. Allegro 6. Lento maestoso – Vivace Interval at about 20:00. The concert will end at about 21:15, the late-night chamber music at about 22:00. Broadcast live on Yle Radio 1 and Yle Areena. It will also be shown in two parts in the programme “RSO Musiikkitalossa” (The FRSO at the Helsinki Music Centre) on Yle Teema on 21.10. and 4.11., with a repeat on Yle TV 1 on 27.10. and 10.11. 2 JÜRI REINVERE director became a close friend and im- portant mentor of the young compos- (b. 1971): THROUGH A er. Theirs was not simply a master-ap- LENS DARKLY prenticeship relationship, for they often talked about music, and Reinvere would Jüri Reinvere has been described as a sometimes express his own views as a true cosmopolitan with Estonian roots. composer and act as Bergman’s guide. It well reflects his sojourn in many lands, The title of Through a Lens Darkly al- for since his youth in Estonia, he has ludes to both Bergman and Laretei and lived in Poland, Finland, Sweden, and thus pays homage to two people who since 2005 Germany. But it also says meant a lot to him. On the one hand something about his art, for his works it is an adaptation of Bergman’s film often address pan-European questions Såsom i en spegel (1961, Through a Glass of humanity, identity and existence in- Darkly), which is dedicated to Laretei, dependent of nationality. and on the other it alludes to Laretei’s Reinvere applies a variety of stylistic memoir Såsom i en översättning (2004, and expressive approaches, from min- As in Translation), the title of which was imalistic textures to modernistic com- Reinvere’s suggestion. plexity and expressive intensity. He has Reinvere describes Through a Lens also made a name for himself as a poet Darkly as a psychologically narrative and essayist and has won numerous work. It has no programme pointing prizes for both musical compositions directly to Bergman, but according to and essays. Reinvere, certain situations typical of In 2017, the Gothenburg Symphony Bergman’s film can be detected. Orchestra commissioned Jüri Reinvere to compose a new work for a concert honouring the Ingmar Bergman cente- nary in February 2018. The result was SERGEI PROKOFIEV Through a Lens Darkly. The premiere (1891–1953): included a visualisation, but this is not RÊVES, OP. 6 marked in the score. The piece is the first of three orchestral works com- posed in quick succession; the next was Even as a young man, Sergei Prokofiev Und müde vom Glück, fingen sie an zu was already assuming the role of a dar- tanzen (2018), which was conducted by ing iconoclast in St. Petersburg musi- Paavo Järvi in Pärnu in August this year. cal circles. Yet in 1906, still a budding The commission for Through a Lens composer only 15 years old, he was still Darkly fell on fertile ground. In the ear- quoting Tchaikovsky, Wagner and Grieg ly 1990s, Reinvere had become friends as his favourite composers. He rapid- with the Estonian-Swedish pianist Käbi ly changed his mind, however, so that Laretei, who introduced him to her only two years later he was penning ex-husband Ingmar Bergman. The great a little piano pieced called Suggestion 3 Diabolique. Ruthlessly aggressive, it was of Rachmaninoff’s Isle of the Dead. The a minor sensation when he played it at a music slumbers in its own dream reality, concert of new music in St. Petersburg twice building up to a moderate climax. in December 1908. It becomes more active in the second While Suggestion Diabolique is a dis- half, painting with a thinner brush and tinctly “Prokofievan” piece, its 17-year- thickening towards a radiant peak, from old composer was still seeking a style which it then sinks back to the noctur- all of his own. He had for some time nal twilight of the opening. felt an attraction for the strangely en- chanting music of Alexander Scriabin. ANNA In early 1910, he went to meet Scriabin ÞORVALDSDÓTTIR and showed him a piano transcription he had made of the first movement of (b. 1977): DREAMING that composer’s Symphony No. 3, The Divine Poem (1902–1904). “I grew up in a tiny coastal village, and Inspired by this meeting, Prokofiev set there was so much space around us. On about composing an orchestral work. the one side you have the enormity of He decided to call it Rêves (Dreams), the ocean, then on the other the majes- and in doing so nodded in the direc- ty of the mountains. You’re always close tion of Scriabin and his orchestral min- to nature, and you feel at one with it.” iature Rêverie (1898). The concert at Recalling the landscapes of her child- which he conducted the premiere of hood may possibly seem irrelevant did his new work in St. Petersburg in late not Nature and the stimuli it provided 1910 marked his debut as a conductor. pop up so often in the music of Anna Unfortunately, no critics were present; Þorvaldsdóttir. Often, this is deliberate, they had all gone to a Scriabin concert underlining the inspiring influence on held on the same evening. her work of the Icelandic scenery. But Of all the works composed by “Nature” should, in speaking of her mu- Prokofiev in his youth, Rêves comes sic, be understood in the broad sense closest to Scriabin. It is dominated by of the word, not just as an objective- an elegant world of sound and a rich- ly-perceived landscape but as a more ness and warmth characteristic of the profound, elemental life force of sub- Late Romantic period combined with terranean volcanic energy and tectonic the shifting harmonies of impression- friction. ism. Despite being an early work by Anna Þorvaldsdóttir has become Prokofiev – the only opus-numbered one of Iceland’s internationally best- orchestral one to precede it being the known composers in the present dec- Sinfonietta of 1909 – it is orchestrated ade. Dreaming (2008) is a key work in with a sure hand and is already artisti- her career to date in that it won her cally consistent. the Nordic Council Music Prize in 2012. Rêves begins in dusky nocturnal Since then, she has received other dis- mood, in deep-hued waves evocative tinctions: the New York Philharmonic’s 4 Kravis Emerging Composer Award in and finally “becomes motionless”, as in- 2015 and the Lincoln Center’s Emerging dicated in the score, while nevertheless Artist Award in 2018. In April this year, giving the players discreet signs to in- Esa-Pekka Salonen conducted the com- dicate when each loop ends. The music missioning New York Philharmonic in gradually fades away, led by a solitary the premiere of her Metacosmos, and cello. Alan Gilbert will conduct the Berlin Philharmonic in its European premiere ANTONÍN DVOŘÁK in January 2019. Right now, her order (1841–1904): CELLO book is full for several years ahead. “Dreaming” is an appropriate title for CONCERTO IN B a work by Anna Þorvaldsdóttir, since MINOR, OP. 104 dreaming about the material and struc- ture of a work is an essential part of “If I had known that it was possible to her composition process – a period in compose such a concerto for the cel- which she immerses herself in its sound lo, I would have tried it myself,” huffed world before actually sitting down to Brahms in 1896, after his cellist friend sketch and write. The orchestra is the Robert Hausmann had given him a pri- instrument with which she feels most vate hearing of the brand-new cello at home. She loves the opportunity of concerto by Antonín Dvořák. working with various textures and ma- Dvořák put the finishing touches to terials, she says, and of superimposing his cello concerto in B Minor in New different levels to create a flowing tex- York, in winter 1894–1895. He did, how- ture of sound materials and harmonies. ever, make some amendments to it on In the typical Þorvaldsdóttir manner, his return to Europe in early summer Dreaming is slow, picturesque, captivat- 1895, following the illness and death ing music, its sound world rich and mul- of his dear sister-in-law. He dedicated tilevel. The changes are slow but have the concerto to his cellist friend Hanuš an air of inevitability, of organically Wihan and promised him its premiere, growing and transforming. but scheduling proved difficult and the Dreaming begins with percussion on soloist at the premiere in London in the borders of silence, and the first March 1896 was the English cellist Leo bars are played without a conductor. Stern. The subterranean forces lead to a big Not without reason did Brahms ex- eruption, after which a broad sweep of tol Dvořák’s concerto, for it is nowadays melody emerges from the landscape one of the most popular and high-rat- (at this point the score tells the cel- ing cello concertos of the Romantic era.
Load more

Recommended publications
  • NUI MAYNOOTH Ûllscôst La Ttéiîéann Mâ Üuad Charles Villiers Stanford’S Preludes for Piano Op.163 and Op.179: a Musicological Retrospective
    NUI MAYNOOTH Ûllscôst la ttÉiîéann Mâ Üuad Charles Villiers Stanford’s Preludes for Piano op.163 and op.179: A Musicological Retrospective (3 Volumes) Volume 1 Adèle Commins Thesis Submitted to the National University of Ireland, Maynooth for the degree of Doctor of Philosophy Department of Music National University of Ireland, Maynooth Maynooth Co. Kildare 2012 Head of Department: Professor Fiona M. Palmer Supervisors: Dr Lorraine Byrne Bodley & Dr Patrick F. Devine Acknowledgements I would like to express my appreciation to a number of people who have helped me throughout my doctoral studies. Firstly, I would like to express my gratitude and appreciation to my supervisors and mentors, Dr Lorraine Byrne Bodley and Dr Patrick Devine, for their guidance, insight, advice, criticism and commitment over the course of my doctoral studies. They enabled me to develop my ideas and bring the project to completion. I am grateful to Professor Fiona Palmer and to Professor Gerard Gillen who encouraged and supported my studies during both my undergraduate and postgraduate studies in the Music Department at NUI Maynooth. It was Professor Gillen who introduced me to Stanford and his music, and for this, I am very grateful. I am grateful to the staff in many libraries and archives for assisting me with my many queries and furnishing me with research materials. In particular, the Stanford Collection at the Robinson Library, Newcastle University has been an invaluable resource during this research project and I would like to thank Melanie Wood, Elaine Archbold and Alan Callender and all the staff at the Robinson Library, for all of their help and for granting me access to the vast Stanford collection.
    [Show full text]
  • Brahms Schumann
    BRAHMS Sonatas for Cello & Piano, Opp. 38 & 99 SCHUMANN Fünf Stücke im Volkston, Op. 102 ROBIN MICHAEL Cello DANIEL TONG Piano RES10188 Brahms & Schumann Works for Cello & Piano Johannes Brahms (1833-1897) Sonata No. 1 for Cello and Piano in E minor, Op. 38 1. Allegro non troppo [13:26] 2. Allegretto quasi menuetto [5:37] Robin Michael cello 3. Allegro [6:23] Daniel Tong piano Robert Schumann (1810-1856) Fünf Stücke im Volkston, Op. 102 Cello by Stephan von Baehr (Paris, 2010), after Matteo Goffriller (1695) (Five Pieces in Folk Style) Bow by Noel Burke (Ireland, 2012), after François Xavier Tourte (1820) 4. Vanitas vanitatum [2:57] 5. Langsam [3:24] Blüthner Boudoir Grand Piano thought to have been played and 6. Nicht schnell, mit viel Ton zu spielen [3:56] selected by Brahms, Serial No. 45615 (1897) 7. Nicht zu rasch [1:54] 8. Stark und markiert [3:08] Johannes Brahms Sonata No. 2 for Cello and Piano in F major, Op. 99 9. Allegro vivace [8:51] 10. Adagio affettuoso [6:21] 11. Allegro passionato [6:51] 12. Allegro molto [4:41] About Robin Michael: Total playing time [67:35] ‘Michael played with fervour, graceful finesse and great sensitivity’ The Strad About Daniel Tong: ‘[...] it’s always a blessed relief to hear an artist with Daniel Tong’s self-evident love and understanding of the instrument’ BBC Music Magazine Brahms & Schumann: inventiveness and in its firm but delicately Works for Cello & Piano detailed structure.’ The first copies of the published sonata appeared in August 1866, Brahms started work on his Cello Sonata No.
    [Show full text]
  • Programnotes Brahms Double
    Please note that osmo Vänskä replaces Bernard Haitink, who has been forced to cancel his appearance at these concerts. Program One HundRed TwenTy-SeCOnd SeASOn Chicago symphony orchestra riccardo muti Music director Pierre Boulez Helen Regenstein Conductor emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, October 18, 2012, at 8:00 Friday, October 19, 2012, at 8:00 Saturday, October 20, 2012, at 8:00 osmo Vänskä Conductor renaud Capuçon Violin gautier Capuçon Cello music by Johannes Brahms Concerto for Violin and Cello in A Minor, Op. 102 (Double) Allegro Andante Vivace non troppo RenAud CApuçOn GAuTieR CApuçOn IntermIssIon Symphony no. 1 in C Minor, Op. 68 un poco sostenuto—Allegro Andante sostenuto un poco allegretto e grazioso Adagio—Allegro non troppo, ma con brio This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. Comments by PhilliP huscher Johannes Brahms Born May 7, 1833, Hamburg, Germany. Died April 3, 1897, Vienna, Austria. Concerto for Violin and Cello in a minor, op. 102 (Double) or Brahms, the year 1887 his final orchestral composition, Flaunched a period of tying up this concerto for violin and cello— loose ends, finishing business, and or the Double Concerto, as it would clearing his desk. He began by ask- soon be known. Brahms privately ing Clara Schumann, with whom decided to quit composing for he had long shared his most inti- good, and in 1890 he wrote to his mate thoughts, to return all the let- publisher Fritz Simrock that he had ters he had written to her over the thrown “a lot of torn-up manuscript years.
    [Show full text]
  • Double Bass Sound Christine Hoock
    MOZARTEUM DOUBLE BASS SOUND CHRISTINE HOOCK RECORDS MOZARTEUM DOUBLE BASS SOUND – Christine Hoock Die CD-Reihe „Mozarteum-Sound“ hat es sich ten und Studierenden ihrer Klasse im Fokus dieser zum Ziel gesetzt, hervorragende künstlerische Aufnahme. Als Partner standen ihr bei der Reali- Leistungen wie auch eine besondere Klangästhetik sierung dieses breitgefächerten Repertoires Hans- – immer in Bezug auf ein bestimmtes Instrument jörg Angerer (Chefdirigent der Bläserphilharmonie – an der Universität Mozarteum Salzburg zu do- Mozarteum Salzburg), Benjamin Schmid (Violine), kumentieren. Mari Kato (Klavier), Ariane Haering (Klavier), Bar- bara Nussbaum (Klavier) und DJ UmbertoEcho (Mi- Diesmal dem Kontrabass mit seiner außerordent- xing Desk) zur Seite. lichen Beweglichkeit, seinem Farbenreichtum und seiner Virtuosität – dabei oft nahezu archaische Klangwelten erschaffend – gewidmet, steht die au- ßergewöhnliche Kontrabass-Künstlerin Christine Hoock gemeinsam mit Absolventinnen/Absolven- MOZARTEUM DOUBLE BASS SOUND – Christine Hoock The CD series Mozarteum Sound aims to docu- the Bläserphilharmonie Mozarteum Salzburg), ment excellent artistic achievements at the Moz- Benjamin Schmid (violin), Mari Kato (piano), Ariane arteum University as well as a particular kind of Haering (piano), Barbara Nussbaum (piano) and aesthetic sound, always related to a certain in- DJ UmbertoEcho (mixing desk). strument. This recording is devoted to the double bass and reveals its extraordinary fl exibility, rich colours and virtuosity, and features the outstanding double bass player Christine Hoock, together with graduates and students from her class. Partners in the realization of this broad repertoire were Hansjörg Angerer (principal conductor of 1 1 CHRISTINE HOOCK „... jeder entscheidet sich intuitiv für das Instru- Dies spiegelt sich auch in ihrer abwechslungsrei- Die Preisträgerin internationaler Wettbewerbe ar- Christine Hoock leitet die Internationale Johann- ment, dessen Tonhöhe und Klangfarbe seine innere chen Diskographie wieder.
    [Show full text]
  • The Ninth Season Through Brahms CHAMBER MUSIC FESTIVAL and INSTITUTE July 22–August 13, 2011 David Finckel and Wu Han, Artistic Directors
    The Ninth Season Through Brahms CHAMBER MUSIC FESTIVAL AND INSTITUTE July 22–August 13, 2011 David Finckel and Wu Han, Artistic Directors Music@Menlo Through Brahms the ninth season July 22–August 13, 2011 david finckel and wu han, artistic directors Contents 2 Season Dedication 3 A Message from the Artistic Directors 4 Welcome from the Executive Director 4 Board, Administration, and Mission Statement 5 Through Brahms Program Overview 6 Essay: “Johannes Brahms: The Great Romantic” by Calum MacDonald 8 Encounters I–IV 11 Concert Programs I–VI 30 String Quartet Programs 37 Carte Blanche Concerts I–IV 50 Chamber Music Institute 52 Prelude Performances 61 Koret Young Performers Concerts 64 Café Conversations 65 Master Classes 66 Open House 67 2011 Visual Artist: John Morra 68 Listening Room 69 Music@Menlo LIVE 70 2011–2012 Winter Series 72 Artist and Faculty Biographies 85 Internship Program 86 Glossary 88 Join Music@Menlo 92 Acknowledgments 95 Ticket and Performance Information 96 Calendar Cover artwork: Mertz No. 12, 2009, by John Morra. Inside (p. 67): Paintings by John Morra. Photograph of Johannes Brahms in his studio (p. 1): © The Art Archive/Museum der Stadt Wien/ Alfredo Dagli Orti. Photograph of the grave of Johannes Brahms in the Zentralfriedhof (central cemetery), Vienna, Austria (p. 5): © Chris Stock/Lebrecht Music and Arts. Photograph of Brahms (p. 7): Courtesy of Eugene Drucker in memory of Ernest Drucker. Da-Hong Seetoo (p. 69) and Ani Kavafian (p. 75): Christian Steiner. Paul Appleby (p. 72): Ken Howard. Carey Bell (p. 73): Steve Savage. Sasha Cooke (p. 74): Nick Granito.
    [Show full text]
  • PROGRAM NOTES by Jae Cosmos Lee, Violin
    “CELLISSIMO” PROGRAM NOTES By Jae Cosmos Lee, Violin Max Brush (1838 – 1920) At the urging of the beginning with a slow introduction, which is Cello virtuoso Robert Hausmann, the an example of Beethoven breaking off from German Romantic composer, Max Bruch the normal fast movement form, especially completed his op.47, Kol Nidrei (the in the last movement of an instrumental Aramaic phrase, which means All Vows, and work. Moreover, the entire third movement is the incantation that starts the Yom Kippur is in E major, which is the dominant key from service) in 1880 and publishing it a year later the original A major that the first movement in Berlin. Along with his first Violin is written in, which at the time was Concerto, this composition, originally for considered highly unconventional. The A Cello and Orchestra, is one of his most minor Scherzo, which comprises the second beloved and widely performed pieces. For movement, is in the parallel minor to the that reason, it led the German National opening movement's key, which can also be Socialist Party during the 1930's to assume considered Beethoven going against the that Bruch was of Jewish origin and banned grain of his Viennese contemporaries. his music until Germany's defeat in the Second World War. Fortunately, for Bruch, who was raised Protestant, and whose ancestors were not Jewish, his music Johannes Brahms (1833-1897) at age 57, survived the persecution and Kol Nidrei is earnestly contemplated retirement from still firmly planted in the canon of every composing after the premiere of his String cellist.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1983, Tanglewood
    . ^ 5^^ mar9 E^ ^"l^Hifi imSSii^*^^ ' •H-.-..-. 1 '1 i 1^ «^^«i»^^^m^ ^ "^^^^^. Llii:^^^ %^?W. ^ltm-''^4 j;4W»HH|K,tf.''if :**.. .^l^^- ^-?«^g?^5?,^^^^ _ '^ ** '.' *^*'^V^ - 1 jV^^ii 5 '|>5|. * .««8W!g^4sMi^^ -\.J1L Majestic pine lined drives, rambling elegant mfenor h^^, meandering lawns and gardens, velvet green mountain *4%ta! canoeing ponds and Laurel Lake. Two -hundred acres of the and present tastefully mingled. Afulfillment of every vacation delight . executive conference fancy . and elegant home dream. A choice for a day ... a month . a year. Savor the cuisine, entertainment in the lounges, horseback, sleigh, and carriage rides, health spa, tennis, swimming, fishing, skiing, golf The great estate tradition is at your fingertips, and we await you graciously with information on how to be part of the Foxhollow experience. Foxhollow . an tver growing select family. Offerings in: Vacation Homes, Time- Shared Villas, Conference Center. Route 7, Lenox, Massachusetts 01240 413-637-2000 Seiji Ozawa, Music Director Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor One Hundred and Second Season, 1982-83 Trustees of the Boston Symphony Orchestra, Inc. Abram T. Collier, Chairman Nelson J. Darling, Jr., President Leo L. Beranek, Vice-President George H. Kidder, Vice-President Mrs. Harris Fahnestock, Vice-President Sidney Stoneman, Vice-President Roderick M. MacDougall, Treasurer John Ex Rodgers, Assistant Treasurer Vernon R. Alden Mrs. John H. Fitzpatrick William J. Poorvu J. P. Barger Mrs. John L. Grandin Irving W. Rabb Mrs. John M. Bradley David G. Mugar Mrs. George R. Rowland Mrs. Norman L. Cahners Albert L. Nickerson Mrs. George Lee Sargent George H.A.
    [Show full text]
  • Krzysztof Penderecki : Concertos Clarinet
    DUX 1186 / 2015 _______________________________________________________________________________________ KRZYSZTOF PENDERECKI : CONCERTOS CLARINET CONCERTO FLUTE CONCERTO CONCERTO GROSSO No.1 *** Krzysztof PENDERECKI : * Clarinet Concerto (1984, a transcription of Concerto per viola ed orchestra, 1983) * Concerto per flauto ed orchestra da camera (1992) * Concerto Grosso No.1 per tre violoncelli e orchestra (2001) *** Michel LETHIEC - clarinet Łukasz DLUGOSZ - flute Arto NORAS - cello Bartosz KOZIAK - cello Rafał KWIATKOWSKI - cello THE POLISH SINFONIA IUVENTUS ORCHESTRA Krzysztof PENDERECKI - conductor ______________________________________________________________________________ DUX Małgorzata Polańska & Lech Tołwiński ul. Morskie Oko 2, 02-511 Warszawa tel./fax (48 22) 849-11-31, (48 22) 849-18-59 e-mail: [email protected], www.dux.pl Aleksandra Kitka-Coutellier – International Relations kitka@dux Krzysztof PENDERECKI Born in Dębica on 23 November 1933, he studied composition with Artur Malawski and Stanisław Wiechowicz at the State Higher School of Music in Kraków (1954-58). Earlier he took lessons from Franciszek Skołyszewski. In 1959 three of his works ( Strophes , Emanations and Psalms of David ) won him the top prizes at the Young Composers’ Competition of the Polish Composers’ Union. A year later, he captured the attention of Western critics with Anaklasis , performed at the Donaueschingen Festival. Penderecki’s international position was consolidated in the 1960s thanks to such pieces as Threnody for the Victims of Hiroshima (UNESCO Award, 1961), the St Luke Passion (the Grand Arts Award of the Land of North Rhine-Westphalia, 1966, and the Prix Italia, 1967) and Dies irae (Prix Italia, 1968). His first opera, The Devils of Loudun (after Aldous Huxley), was premiered at the Hamburg Staats-oper in 1969 and in later years successfully performed at theatres throughout the world, as were the composer’s three successive operas: Paradise Lost (premiered in Chicago, 1978), Die Schwarze Maske (Salzburg, 1986) and Ubu Rex (Munich, 1991).
    [Show full text]
  • Charles Villiers Stanford(1852-1924)
    Charles Villiers Stanford (1852-1924) SOMMCD 0185 String Quartet No. 3 in D minor, Op. 64 Céleste Series String Quartet No. 4 in G minor, Op. 99 String Quartet No. 7 in C minor, Op. 166 Charles Villiers (First Recordings) Stanford Dante Quartet Krysia Osostowicz & Oscar Perks violins Yuko Inoue viola, Richard Jenkinson cello String Quartet No. 3 [26:41] String Quartet No. 7 [21:13] n 1 1. Allegro moderato ma appassionato 6:05 9 1. Allegretto ma con fuoco 7:26 String Quartets 2 2. Allegretto semplice 5:40 bl 2. Andante 6:57 3 3. Andante (quasi Fantasia) 7:54 bm 3. Allegro molto 3:31 Nos 3, 4 & 7 4 4. Allegro feroce ma non troppo mosso 7:01 bn 4. Allegro giusto 3:18 String Quartet No. 4 [27:57] n 5 1. Allegro moderato 9:46 6 2. Allegretto vivace 4:18 7 3. Adagio 7:08 First Recordings 8 4. Allegro molto vivace 6:44 Total recording time 76:09 Recorded at St. Nicholas Parish Church, Thames Ditton. Nos. 3 & 4: June 22-23, 2017; No. 7: May 8, 2018 Producer: Siva Oke Recording Engineer: Paul Arden-Taylor ante Front cover: Psyche Entering Cupid’s Garden by JW Waterhouse (1849-1917) D © Harris Museum & Art Gallery, Preston / Bridgeman Images Design: Andrew Giles Booklet Editor: Michael Quinn Quartet DDD © & 2018 SOMM RECORDINGS · THAMES DITTON · SURREY · ENGLAND Made in the EU Charles Villiers from the examples of the 19th-century German canon (and especially the three Stanford quartets of Brahms) and which he passed onto his pupils such as Vaughan Williams, Bridge, Dyson and Howells.
    [Show full text]
  • (Of(R) Viola) and Piano Op
    UNIVERSITY OF CINCINNATI Date: November 18, 2004 I, Kyung ju Lee _________________________________________________________, hereby submit this work as part of the requirements for the degree of: Doctor of Musical Arts in: Viola Performance It is entitled: An analysis and comparison of the clarinet and viola versions of the Two sonatas for clarinet (or Viola) And piano Op.120 by Johannes Brahms. This work and its defense approved by: Chair: Catharine Carroll Lee Fiser Steven Cohen 2 AN ANALYSIS AND COMPARISON OF THE CLARINET AND VIOLA VERSION OF THE TWO SONATAS FOR CLARINET (OR VIOLA) AND PIANO OP. 120 BY JOHANNES BRAHMS. A document submitted to the Division of Graduate Studies and Research of the University of Cincinnati In partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS In the Performance Studies Division of the College-Conservatory of Music 2004 by Kyungju Lee B.M., Yeungnam University, 1996 M.M., University of Cincinnati, 2000 A.D., University of Cincinnati, 2002 Committee Chair: Catharine Carroll, D.M.A. 2 3 ABSTRACT Johannes Brahms was one of the first composers to appreciate fully the viola’s potential, allowing the instrument a chance to shine in his chamber music. Although Brahms’ Two Sonatas in f-minor and E-flat major, Op.120, were originally written for clarinet and piano, they are also greatly loved in the viola repertoire. Upon examination of the clarinet and viola versions of the sonatas, Brahms seems to have been keenly aware of the potential of each instrument. He intentionally sought different effects from these two instruments by composing two different versions.
    [Show full text]
  • Arto Noras Cello
    Arto Noras Cello "What a fine performer the Finnish cellist Arto Noras is. With his rich stream of tone and immaculate technical address, he cuts a commandingly articulate figure." ! Gramophone Arto Noras, Founder and Artistic Director of the Naantali Music Festival and the International Paulo Cello Competition, is one of Finland's most celebrated performers and among the world’s most outstanding cellists. He is known as an expressive and technically brilliant soloist as well as an intense and sensitive chamber musician. Following studies with Professor Yrjo Selin at the Sibelius Academy, Arto Noras went on to work with Paul Tortelier at the Paris Conservatoire where he received the coveted Premier Prix diploma in 1964. Two years later he was awarded second prize in the Tchaikovsky Competition in Moscow, which launched an international career that has brought appearances at the most important concert halls of Europe, Asia and both North and South America where he has performed regularly ever since. He was awarded Denmark’s Sonning Prize in 1967 and the Finnish State Music Prize in 1972. Arto Noras' repertoire covers all the principal works composed for his instrument, including those by contemporary composers, works he has recorded extensively for the Finlandia label (Warner). His extensive discography includes concerti with the Norwegian and Finnish Radio Orchestras, Toronto Symphony Orchestra, Helsinki Philharmonic Orchestra, Warsaw National Philharmonic, BBC Philharmonic and the Bournemouth Symphony Orchestra under such conductors as Jukka-Pekka Saraste, Sakari Oramo, Markus Lehtinen, Paavo Berglun, Yan Pascal Tortelier and Krzysztof Penderecki and sonata recordings with pianists Bruno Rigutto (Beethoven, Faure, Franck, Debussy), Ralf Gothoni (Sallinen) and Juhani Lagerspetz (Brahms, Schumann).
    [Show full text]
  • David Shifrin August 8
    Carte Blanche Concert III: David Shifrin August 8 Monday, August 8 JOHANNES BrahmS (1833–1897) 8:00 p.m., The Center for Performing Arts at Menlo-Atherton Sonata for Clarinet and Piano, op. 120, no. 1 (1894) Allegro appassionato Andante un poco adagio PROgram OVERVIEW Allegretto grazioso ERTS Clarinetist David Shifrin makes his Music@Menlo debut with Vivace C a program illustrating the autumnal quality of Brahms’s late David Shifrin, clarinet; Jon Kimura Parker, piano works. As a complement to the fes tival’s “Farewell” program (see p. 27), the season’s third Carte Blanche Concert cen- JOHANNES BrahmS ON ters on Brahms’s discovery of the clarinet at the end of his Clarinet Trio in a minor, op. 114 (1891) C life. Along side the immortal Clarinet Quintet offered on Con- Allegro Adagio cert Program VI, Brahms’s f minor Clarinet Sonata and the Andante grazioso HE Clarinet Trio reveal the composer at his most introspective. Allegro Max Bruch’s Pieces for Clarinet Trio, composed more than a C Intermission decade after Brahms’s death, evoke Brahms in their pathos N and deeply felt lyricism. A MAX BRUCH (1838–1920) L From Eight Pieces, op. 83 (1909) Nachtgesang (Nocturne): Andante con moto B Allegro con moto SPECIAL THANKS Andante con moto Music@Menlo dedicates this performance to Michèle and Allegro vivace, ma non troppo Larry Corash with gratitude for their generous support. David Shifrin, clarinet; Wu Han, piano; David Finckel, cello RTE CA www.musicatmenlo.org CARTE BLANCHE CONCERTS Program Notes: David Shifrin JOHANNES BRAHMS trio favors restraint over Sturm und Drang, calling to mind Brahms’s (Born May 7, 1833, Hamburg; died April 3, 1897, Vienna) other great a minor chamber work, the Opus 51 Number 2 String Sonata for Clarinet and Piano, op.
    [Show full text]