DOCSLIB.ORG

12 DECEMBER 2021 Music That Dances, Breathes, Uplifts, Haunts and Stimulates

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
12 DECEMBER 2021 Music That Dances, Breathes, Uplifts, Haunts and Stimulates 12 FEBRUARY — 12 DECEMBER 2021 music that dances, breathes, uplifts, haunts and stimulates Artistic Director Alex Raineri www.brismusicfestival.com MESSAGE FROM THE ARTISTIC DIRECTOR FESTIVAL AT A GLANCE FEBRUARY JULY Dear Friends, 12 + 13 SONGS OF LOVE AND DEATH 2 ORAVA Jane Sheldon + Alex Raineri Orava Quartet, Alex Raineri 2020, what a year it was! Like so many presenters, organisations, + BMF Young Artists MARCH and artists all over the globe, the BMF was proud to transition to 23 KARIN CRIMSON an online platform last year. Now, emerging as a phoenix from the 1 + 3 + 5 Karin Schaupp, Trish Dean, Alex Raineri Alex Raineri + BMF Young Artists cyber-ashes, the BMF returns to the live stage with an ambitious 13 + 21 WONDERLAND 24 HOW STRANGE THE CHANGE and exciting collection of 24 concert programs throughout 2021. Katie Stenzel + Alex Raineri Sarah Crane, Monika Koerner, Alex Raineri, 28 ENOCH ARDEN Sarah Butler, Brendan Joyce, Jonny Ng, In an effort to sensibly move forward in what is still a globally Matthew Connell + Alex Raineri Anna Colville, Katherine Philp + BMF Young Artists turbulent time, most of our incredible 2021 artists are Brisbane- APRIL 24 LIZA LIM PORTRAIT CONCERT based and each of our events will have both a live performance Katherine Philp, Alex Raineri, Donica Tran, 23 BEETHOVEN’S CELLO Andre Oberleuter, Dario Scalabrini event and post-performance digital viewing option. The latter Trish Dean + Alex Raineri 25 THE LARK ASCENDING plays to the strengths of our 2020 series which saw viewers 24 CELESTIAL SPIRITS Rebekah Hall, Julia Hill, Donica Tran, tuning in from over ten countries around the world. We are so Jenna Robertson, Sarah Butler, Harrison Swainston, Shuhei Lawson, Natsuko Yoshimoto, Alex Raineri, Francis Atkins + Alex Raineri thrilled that we can continue to share stories through music not Jemima Drews, Andre Oberleuter just to the wonderful people of Brisbane, but throughout the + Donica Tran AUGUST A POET’S LOVE world via this digital space. 24 BUTTERFLYING 6 + 7 Julia Hill + Francis Atkins Sarah Crane, Shaun Brown + Alex Raineri The 2021 festival very much embodies the fundamental ethos 25 SHEPHERD ON THE ROCK 19 NATSUKO Dario Scalabrini, Jemima Drews, Natsuko Yoshimoto + Alex Raineri of the BMF. This ethos is a two-part mission to present firstly Andre Oberleuter, Francis Atkins, a balance of music both old and new, and to secondly present Alex Raineri + Jenna Robertson OCTOBER 3 MYTHOLOGY OF NAKED FLESH in unfamiliar spaces around the city of Brisbane, thereby MAY Katie Stenzel, Matthew Connell incorporating something of the city itself into the aesthetic 8 + 9 ARCHDUKE + Alex Raineri of the festival. Adam Chalabi, Patrick Murphy 31 BOTH SIDES NOW + Alex Raineri Tabatha McFadyen + Alex Raineri Something that initially started as my personal passion-project, 23 SOMETHING’S COME BETWEEN US Laura Raineri + Alex Raineri DECEMBER this festival has built into a much more meaningful event. 10 INTERCURRENT I view the BMF as a major contributor to the Australian arts scene, Thea Rossen, Alex Raineri, Katherine Philp + Dario Scalabrini a platform for the curation and vibrant delivery of incredible 11 RECEPTION: THE MUSICAL music, played by Australian artists, presented to an audience of Bethany Simons + Peter de Jager what can be classed in today’s digital world as ‘global’. 11 GIRL WITH THE FLAXEN HAIR Alex Raineri I hope you can join us (either in person, or via your devices) 12 NIGHT WIND throughout the BMF 2021 season. Peter de Jager 12 TRIO ARGENTI Alex Raineri Monika Koerner, Trish Dean + Alex Raineri Artistic Director All ticketing via www.brismusicfestival.com TICKETS for LIVE events TICKETS for DIGITAL events Please note that altered ticketing Adult $50 Fixed rate AUD20 rates apply for Concession $30 Songs of Love and Death, Student $20 Wonderland + A Poet’s Love. FEBRUARY MARCH CRIMSON 7:30 – 9pm, Monday March 1 Extremely limited-capacity performances in BMF 7:30 – 9pm, Wednesday March 3 Artistic Director Alex Raineri’s music studio wherein 7:30 – 9pm, Friday March 5 the familiar sounds of Beethoven and Brahms are Bowen Studio juxtaposed with more recent sonic adventures. 356 Bowen Tce, New Farm Brett Dean’s miniatures derive their musical impetus from Brahms’ magnificent Op. 119 Four Pieces, and Alex Raineri Piano Opera Queensland + Brisbane Music Festival present act as interludes within the older masters music. They weave a captivating dialogue between the old world SONGS OF LOVE AND DEATH Antonia Barnett-McIntosh and the new. 7:00 – 8:15pm, Friday February 12 Songs that promise to enchant and haunt in equal The thing is, I think Australian Premiere Performance Rebecca Saunders is one of the most prominent 2:00 – 3:15pm, Saturday February 13 measure, leading Australian soprano Jane Sheldon, Rebecca Saunders figures in contemporary composition, though her Opera Queensland Studio praised by The Washington Post as “a stunning Crimson music is shamefully under-represented in Australia. performer” appears courtesy of the BMF’s 2021 140 Grey St, South Bank Australian Premiere Performance Crimson is a study of colour in sound, the score being partnership with Opera Queensland. INTERVAL prefaced with a quote from James Joyce’s ‘Ulysses’ Jane Sheldon Soprano Messiaen’s Harawi is a journey through peaks of “that awful deepdown torrent…the sea crimson Beethoven Alex Raineri Piano ecstasy and embrace that culminates in a death sometimes like fire and the glorious sunsets”. Capriccio in G major, Op. 129 ‘Rage Over a Lost Penny’ of lovers, remarkably Wagnerian in its sentiment Brett Dean Refreshments and a complimentary drink will be Jane Sheldon / Julian Curwin and scale. To complement, is an original work by Hommage à Brahms provided at interval. Ophelia Sheldon depicting Shakespeare’s troubled Ophelia Brahms Debussy and Debussy’s settings of erotically-charged ancient Vier Klavierstücke, Op. 119 Chanson de Bilitis Greek texts in the Songs of Bilitis. Messiaen Harawi MARCH Tumble down the rabbit hole with soprano Katie Victorian Theatre Company + Brisbane Music Festival present Stenzel + Alex Raineri. After a wildly popular ENOCH ARDEN DIGITAL EVENT outing in the 2020 digital BMF, ‘Wonderland’ WONDERLAND TOURING EVENT Digital Event continued to a sold-out season at QPAC and now Charting a perilous journey through rough seas, Premiering on Sunday March 28 2 – 3pm, Saturday March 13 hits the road, travelling to Bundaberg and Maleny. shipwreck and heartache, Richard Strauss’ epic Moncrieff Entertainment Centre 10:00 – 11:30am AEST melodrama collides with the sweeping poetry ‘Wonderland’ features a vivid genre-encompassing 177 Bourbong St, Bundaberg 7:00 – 8:30pm AEST of Alfred Lord Tennyson to tell the story of selection from opera, art song, music theatre and Enoch Arden, a lost sailor trying to navigate a little bit of silliness to finish! Narrator 2 – 3pm, Sunday March 21 Matthew Connell his way home. Maleny Community Centre From the intimate utterances of Hahn and Alex Raineri Piano Filmed at the Alex Theatre in Melbourne, this 23 Maple St, Maleny Vaughan-Williams to the virtuosic coloratura of performance offers a unique and experimental famous arias from Rossini’s ‘Barber of Seville’ and Jak Scanlon Film Director take on the Strauss/Tennyson original. Exploring Katie Stenzel Soprano Mozart’s ‘Magic Flute’, this program has a little Kurtis Lowden Director of Filmed Performance the possibilities of cross disciplinary performance Alex Raineri Piano something for everyone. Jennifer Dean Producer Chelsea Neate Graphic Designer marking, BMF & VTC bring together live music, Thomas Kunz Sound Designer poetry and film to tell the story of Enoch Arden in a world first of its kind. Strauss / Tennyson Enoch Arden, Op. 38 Rossini Una voce poco fa from Il barbiere di Siviglia Debussy Clair de Lune from Suite Bergamasque Hahn A Chloris Mozart An Chloë, K.524 Der Hölle Rache kocht in meinem Herzen from Die Zauberflöte Grainger Molly on the Shore Irish Tune from County Derry ‘Danny Boy’ Vaughan-Williams Dreamland Adam Guettel The Light in the Piazza Kate Miller-Heidke/Iain Graindage Where? from The Rabbits Tom Lehrer I got it from Agnes ENOCH ARDEN APRIL BEETHOVEN’S CELLO CELESTIAL SPIRITS 6:30 – 9:30pm, Friday April 23 Trish Dean + Alex Raineri perform a rarely- St Mary’s Anglican Church attempted, full cycle of the masterworks that are 455 Main St, Kangaroo Point Beethoven’s Sonatas for Cello + Piano. This gives listeners the fascinating opportunity to experience Trish Dean Cello the morphing compositional style of one of history’s Alex Raineri Piano great composers, from the exuberant youthfulness of the early sonatas to the profound gravitas and Beethoven transcendent spirituality of the late works. Sonata #1 in F major, Op. 5 Look out over the stunning cityscape of Brisbane Sonata #2 in G minor, Op. 5 while enjoying wine and cheese in the two intervals INTERVAL of this mini-marathon. Sonata #3 in A major, Op. 69 Refreshments and a complimentary drink will be Sonata #4 in C major, Op. 102 provided at each interval. INTERVAL CELESTIAL SPIRITS Sonata #5 in D major, Op. 102 1:30 – 3:30pm, Saturday April 24 Many BMF artists come together for this St Mary’s Anglican Church performance in celebration of concertos from 455 Main St, Kangaroo Point the Baroque era, threaded together by celestial chants of 12th century composer, mystic, and Jenna Robertson Soprano visionary, Hildegard von Bingen. Trumpet Sarah Butler At interval, enjoy a glass of bubbles and the Violin* Natsuko Yoshimoto gorgeous view of Brisbane City before the Piano + Harpsichord Alex Raineri music moves forward in time with Natsuko Flute Jemima Drews Yoshimoto and Alex Raineri taking the spotlight Bassoon Andre Oberleuter as soloists. Donica Tran Violin^ BMF Young Artists The afternoon concludes with a musical excerpt from an incredible new opera in development Hildegard von Bingen titled Spirit Orphan.
Load more

Recommended publications
  • The Year's Music
    This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com fti E Y LAKS MV5IC 1896 juu> S-q. SV- THE YEAR'S MUSIC. PIANOS FOR HIRE Cramer FOR HARVARD COLLEGE LIBRARY Pianos BY All THE BEQUEST OF EVERT JANSEN WENDELL (CLASS OF 1882) OF NEW YORK Makers. 1918 THIS^BQQKJS FOR USE 1 WITHIN THE LIBRARY ONLY 207 & 209, REGENT STREET, REST, E.C. A D VERTISEMENTS. A NOVEL PROGRAMME for a BALLAD CONCERT, OR A Complete Oratorio, Opera Recital, Opera and Operetta in Costume, and Ballad Concert Party. MADAME FANNY MOODY AND MR. CHARLES MANNERS, Prima Donna Soprano and Principal Bass of Royal Italian Opera, Covent Garden, London ; also of 5UI the principal ©ratorio, dJrtlustra, artii Sgmphoiu) Cxmctria of ©wat Jfvitain, Jtmmca anb Canaba, With their Full Party, comprising altogether Five Vocalists and Three Instrumentalists, Are now Booking Engagements for the Coming Season. Suggested Programme for Ballad and Opera (in Costume) Concert. Part I. could consist of Ballads, Scenas, Duets, Violin Solos, &c. Lasting for about an hour and a quarter. Part II. Opera or Operetta in Costume. To play an hour or an hour and a half. Suggested Programme for a Choral Society. Part I. A Small Oratorio work with Chorus. Part II. An Operetta in Costume; or the whole party can be engaged for a whole work (Oratorio or Opera), or Opera in Costume, or Recital. REPERTOIRE. Faust (Gounod), Philemon and Baucis {Gounod) (by arrangement with Sir Augustus Harris), Maritana (Wallace), Bohemian Girl (Balfe), and most of the usual Oratorios, &c.
    [Show full text]
  • Summa Summarum
    DAS OPERNHAUS summa summarum Hauptsponsor Das Theater an der Wien wird aus Mitteln der Kulturabteilung der Stadt Wien gefördert. AGRANA.COM SEHEN Sie, WARUM UNS Kultur wichtig ist? Frucht. Stärke. Zucker. - Mit diesen drei Standbeinen ist AGRANA weltweit erfolgreich tätig. Qualität steht bei uns an erster Stelle, auch wenn es um Bereiche außerhalb unseres Unternehmens geht. Damit das auch so bleibt, braucht es Engagement und Förderung. Mit unserem Kultur sponsoring unterstützen wir einen wesentlichen Teil unseres gesellschaftlichen Lebens und sorgen dafür, dass diesem auch Aufmerksamkeit geschenkt wird. AGRANA ist Hauptsponsor des Theater an der Wien. 2 Der natürliche Mehrwert TadW_137x205_3mm_März 2021.indd 1 03.03.2021 15:16:07 ZUM GELEIT Dieses Programmbuch entsteht in einer Zeit, in der die Theater der Verei- nigten Bühnen Wien abgesehen von einer kurzen Öffnungszeit im Herbst 2020 seit mehr als einem Jahr für unser Publikum geschlossen sind. Des- sen ungeachtet werden im Theater an der Wien Opernproduktionen auf höchstem szenischen wie musikalischen Niveau mit unseren Künstler- ensembles erarbeitet und für Sie, wertes Publikum, für Fernsehen, Strea- mings, DVD und Radio dokumentiert. Aber was fehlt, ist das Live-Erlebnis des Musiktheaters, mit allem was dazu gehört: Das gemeinsame Erleben eines Opernabends in historischem The- aterambiente, mit Menschen, die das Geschehen auf der Bühne und das Gehörte sehnsuchtsvoll aufnehmen. Um Ihnen dieses Erlebnis wieder zu ermöglichen, bietet Ihnen das Saisonprogramm 2021/22 eine große Viel- falt an faszinierenden Opernprojekten. Wir laden Sie ein, mit uns auf diese spannende Opernreise zu gehen, um den „Sehnsuchtsort“ Theater an der Wien wieder für sich zurückzugewinnen oder neu zu entdecken! Diese Spielzeit kennzeichnet aber auch die letzte Saison von Intendant Roland Geyer, dem es in den vergangenen fünfzehn Jahren sehr erfolg- reich gelungen ist, das Theater an der Wien national wie international zur Top-Adresse für zeitgemäßes Musiktheater zu machen.
    [Show full text]
  • INTERMEZZI John Kennedy, Director
    MUSIC 75 INTERMEZZI John Kennedy, Director All concerts in Grace Episcopal Church SPONSORED BY THE HENRY AND SYLVIA YASCHIK FOUNDATION INTERMEZZO I May 27 at 5:00pm Sinfonietta, op. 1 (1932) Benjamin Britten (1913-76) I. Poco presto ed agitato II. Variations: Andante lento III. Tarantella: Presto vivace Concerto da camera, H 196 (1948) Arthur Honegger (1892-1955) I. Allegretto amabile II. Andante III. Vivace Concerto grosso (1992) Philip Glass (b 1937) I. = 144 II. ů = 88 III. ů = 144 Spoleto Festival USA Orchestra Aik Khai Pung, conductor INTERMEZZO II May 29 at 5:00pm The Morning Inside Us (1998) John Kennedy (b 1959) Grace An, cello Rocking Mirror Daybreak (1983) Toru Takemitsu (1930-96) I. Autumn II. Passing Bird III. In the Shadow IV. Rocking Mirror Kayla Moffett and Jennise Hwang, violins Quartet for Clarinet and String Trio (1993) Krzystof Penderecki (b 1933) I. Notturno II. Scherzo III. Serenade IV. Abschied (Farewell) Eric Anderson, clarinet Lisa Goddard, violin; Caterina Longhi, viola; Aaron Ludwig, cello Trio Phantasie, op. 63 (1926) Ernst Krenek (1900-91) Anna Czerniak, violin; Kevin Kunkel, cello; Renate Rohlfing, piano Color Reels II (2013) Sidney Hopson (b 1989) Sidney Hopson, percussion Soul Garden (2000) Derek Bermel (b 1967) Jocelin Pan, viola Tammy Wang and Anna Czerniak, violins; Ji Young Nam, viola; Valeriya Sholokhova and Jennifer Choi, cello 76 INTERMEZZI INTERMEZZO III June 2 at 5:00pm Enoch Arden, op. 38 Richard Strauss (1864-1949) A Melodrama for piano and speaker on a narrative poem by Alfred, Lord Tennyson Part One 1. Prelude. Andante. “Long lines of cliff breaking” 2.
    [Show full text]
  • SCMS Repertoire List Through 2021 Winter Festival
    SEATTLE CHAMBER MUSIC SOCIETY REPERTOIRE LIST, 1982–2021 “FORTY YEARS OF BEAUTIFUL MUSIC” James Ehnes, Artistic Director Toby Saks (1942-2013), Founder Adams, John China Gates for Piano (2013) Arensky, Anton Hallelujah Junction for Two Pianos (2012, 2017W) Piano Quintet in D major, Op. 51 (1997, 2003, 2011W) Road Movies for Violin and Piano (2013) Piano Trio in D minor, Op. 32 (1984, 1990, 1992, 1994, 2001, 2007, 2010O, 2016W) Aho, Kalevi Piano Trio in F minor, Op. 73 (2001W, 2009) ER-OS (2018) Quartet for Violin, Viola and Two Celli in A minor, Op. 35 (1989, 1995, 2008, 2011) Albéniz, Isaac Six Piéces for Piano, Op. 53 (2013) Iberia (3 selections from) (2003) Iberia “Evocation” (2015) Arlen, Harold Wizard of Oz Fantasy (arr. William Hirtz) (2002) Alexandrov, Kristian Prayer for Trumpet and Piano (2013) Arnold, Malcolm Sonatina for Oboe and Piano, Op. 28 (2004) Applebaum "Landscape of Dreams" (1990) Babajanian, Arno Piano Trio in F sharp minor (2015) Andres, Bernard Narthex for Flute and Harp (2000W) Bach, Johann Sebastian “Aus liebe will mein Heiland sterben” from St. Matthew Passion BWV 244 Anderson, David (for flute, arr. Bennett) (2019) Capriccio No. 2 for Solo Double Bass (2006) Brandenburg Concerto No 3 in G major, BWV 1048 (2011) Four Short Pieces for Double Bass (2006) Brandenburg Concertos (Complete) BWV 1046-1051 (2013W) Capriccio “On the Departure of a Beloved Brother” in B flat major, BWV 992 Anderson, Jordan (2006) Drafts for Double Bass and Piano (2006) Chaconne, from Partita for Violin in D minor, BWV 1004 (1994, 2001, 2002) Choral Preludes for Organ (Piano) (Selections) (1998) Anonymous (arr.
    [Show full text]
  • Richard Strauss
    RICHARD STRAUSS: The Origin, Dissemination and Reception of his Mozart Renaissance Raymond lIolden I I \,--,~/ PhD Goldsmiths' College University of London 1 Abstract Richard Strauss holds an important place in the history of performance. Of the major musical figures active during the second half of the nineteenth and the first half of the twentieth centuries, his endeavours as a Mozartian are of particular importance. Strauss' special interest in the works of Mozart was seminal to both his performance and compositional aesthetics. As a result of this affinity, Strauss consciously set out to initiate a Mozart renaissance that embodied a precise set of principles and reforms. It was these principles and reforms, described as literalist, rather than those of artists such .as Gustav Mahler, who edited Mozart's works both musically and dramatically, that found further expression in the readings of, amongst others, Otto Klemperer, George Szell, Sir John Pritchard and Wolfgang Sawallisch. It is the aim of this dissertation to investigate Strauss' activities as a Mozartian and to assess his influence on subsequent generations of Mozart conductors. Accordingly, the dissertation is divided into an Introduction, five chapters, a Conclusion and thirteen appendices. These consider both the nature and ramifications of Strauss' reforms and performance aesthetic. Within this framework, the breadth of his renaissance; his choice of edition, cuts and revisions; his use of tempo, as a means of structural delineation; his activities with respect to the
    [Show full text]
  • 6 X 10.Long.P65
    Cambridge University Press 978-0-521-02774-8 - Richard Strauss: Man, Musician, Enigma Michael Kennedy Index More information index Aagard-Oestvig, Karl, 196, 212 Annunzio, Gabriele d’, 175, 187 Abendroth, Walther, 290–1 Arnim, Achim von, 103, 202 Adam, Adolphe, 105 Artôt de Padilla, Lola, 193 Adler, Guido, 295 Aschenbrenner, Carl, 19, 27 Adler, Hans, 374 Asow, Dr Erich Müller von, 18, 347 Adolph, Dr Paul, 262, 285, 298, 299 Astruc, Gabriel, 144 Adorno, Theodor, on R.S., 224 Auber, Daniel, 16–17, 32, 48, 130, 316, 366 Ahlgrimm, Isolde, 353 Audibert, Comte d’, 368 Ahna, Major General Adolf de (father-in- law), 58, 81–3 Bach, Johann Sebastian, 4, 128, 395; Well- Ahna, Mädi de (sister-in-law), 81–2 Tempered Clavier, 15 Ahna, Maria de (mother-in-law), 58 Baden-Baden, 28 Ahna, Pauline de. See Strauss, Pauline Bahr, Hermann, 96, 199, 231, 341; works Aibl, Joseph, 34, 109 on R.S. libretto, 196 Albert, Eugen d’, 32, 56 Bakst, Léon, 186 Albert, Hermann, 328 Bantock, Sir Granville, 284 Allen, Sir Hugh, 312 Bärmann, Carl, 20 Allgemeiner Deutscher Musikverein, 73, Barrymore, Lionel, invites R.S. to 108, 153, 306 Hollywood, 372–3 Allgemeine Musikzeitung, 33, 62, 290 Basile, Armando, 381 Altenberg, Peter (Richard Englander), 148 Bayreuth, 8, 26, 47, 54, 55, 57, 60, 61, 68, Alvary, Max, 68 83, 85, 86, 143, 281, 287; R.S. first Alwin, Carl, 94, 212, 222, 224, 238, 255, conducts at, 78; R.S. conducts Parsifal 256, 329 at, 276–7; Pauline sings at, 66, 78 Ampico (piano rolls, Chicago 1921), 406 Beardsley, Aubrey, 148 Amsterdam.
    [Show full text]
  • Reading Music Through Literary Scholarship: Granville Bantock, Shelley, and the Witch of Atlas
    This is a repository copy of Reading Music through Literary Scholarship: Granville Bantock, Shelley, and The Witch of Atlas. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/100901/ Version: Accepted Version Article: Allis, M (2017) Reading Music through Literary Scholarship: Granville Bantock, Shelley, and The Witch of Atlas. Journal of Musicological Research, 36 (1). pp. 6-28. ISSN 0141-1896 https://doi.org/10.1080/01411896.2017.1258889 © 2017 Taylor & Francis. This is an Accepted Manuscript of an article published by Taylor & Francis in Journal of Musicological Research on 13 Feb 2017, available online: https://doi.org/10.1080/01411896.2017.1258889. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ 1 Reading music through literary scholarship: Granville Bantock, Shelley, and The Witch of Atlas Michael Allis In recent attempts to explore the complexities of program music, inevitably scholars have appropriated James Hepokoski’s useful contractual definition.
    [Show full text]
  • Enoch Arden Richard Strauss Lucy Parham - Piano Henry Goodman - Narrator
    Enoch Arden Richard Strauss Lucy Parham - piano Henry Goodman - narrator Richard Strauss’ setting of Tennyson’s epic and tragic narrative poem Enoch Arden is a narrative poem published After Enoch and Annie have married, Enoch day with a desperate longing and a true belief Composed in two halves (presumably to allow in 1864 by Alfred, Lord Tennyson during his leaves his new wife and their three children to that one day he will come back to her. It is this for an interval in performance), Strauss weaves tenure as the Poet Laureate. Richard Strauss go to sea with his old Captain. Enoch’s decision belief that forces her to delay Philip’s marriage the music around the narrative and he uses three admired and was highly influenced by Enoch to leave his beloved Annie and his young family proposal by a year. But finally, under pressure, individual “leitmotifs” to portray Enoch, Annie Arden, in its German translation. He subse- is a tortuous one for him. After much deliberat- she relents. and Philip. quently wrote a solo piano part to accompany ing, and driven by financial worries, Enoch feels the poem to unite spoken word with music, in their future as a family would be better served if Upon his return from sea, Enoch is unrecognis- At the climax of the Part One, these three the form of a melodrama. It was originally com- he accepts the offer of work from the Captain; able from his former self. He discovers to his themes collide, with Enoch’s theme ever menac- posed for the actor Ernst von Possart who, in and hence he sells his fishing boat and leaves horror that after his long absence, Annie is now ingly present in the background.
    [Show full text]
  • Neue Opern Im „Dritten Reich“ Erfolge Und Misserfolge 
    Claudia Maurer Zenck (Hrsg.) Neue Opern im „Dritten Reich“ Erfolge und Misserfolge © Waxmann Verlag GmbH. Nur für den privaten Gebrauch. Claudia Maurer Zenck (Hrsg.) Neue Opern im „Dritten Reich“ Erfolge und Misserfolge Waxmann 2016 Münster • New York © Waxmann Verlag GmbH. Nur für den privaten Gebrauch. Bibliografische Informationen der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.dnb.de abrufbar. Print-ISBN 978-3-8309-3335-9 E-Book-ISBN 978-3-8309-8335-4 Waxmann Verlag GmbH, 2016 www.waxmann.com [email protected] Umschlaggestaltung: Inna Ponomareva, Jena Druck: Hubert & Co., Göttingen Gedruckt auf alterungsbeständigem Papier, säurefrei gemäß ISO 9706 Printed in Germany Alle Rechte vorbehalten. Nachdruck, auch auszugsweise, verboten. Kein Teil dieses Werkes darf ohne schriftliche Genehmigung des Verlages in irgendeiner Form reproduziert oder unter Verwendung elektronischer Systeme verarbeitet, vervielfältigt oder verbreitet werden. © Waxmann Verlag GmbH. Nur für den privaten Gebrauch. Inhalt Vorwort ..................................................................................................................... 9 Einleitung ................................................................................................................ 11 1. Aufführungszahlen und Erfolg ........................................................................... 11 2. Die Spielpläne 1932 und 1933 ..........................................................................
    [Show full text]
  • What Our Critics Are Listening to EMANUEL AX, YO-YO MA, ITZHAK PERLMAN: MENDELSSOHN PIANO TRIOS
    EMANUEL AX Critical acclaim “Surprisingly, it wasn’t one of the anniversary composers who had the strongest interpretative light shone on him. By some quirk, a string of recitals at the Wigmore Hall all had Franz Schubert’s music at their core. They were all wonderful, but Emanuel Ax’s was the most revealing, as much for its sudden moments of impetuousness as its seasoned wisdom.” Ivan Hewett, December 20, 2011 The Telegraph “Ax displayed a creamy technique, played with a breathtaking case, yet one where each note had meaning and purpose. The cadenza in the first movement was a whole musical story in itself, phrases dissipating slowly into the air, fingers like butterflies kissing the keys and power available when needed. This was a musician of scope and confidence, one who never had to overwhelm the music and Dohnanyi and the PSO wisely complimented his effortless style." Pittsburgh Symphony Orchestra/von Dohnanyi, Mozart K466, Pittsburgh Post-Gazette, 19 October, 2002 “His greatness, his overwhelming authority as musician, technician and probing intellect emerges quickly as he plays. Within minutes, we are totally captured by his intensity and pianistic achievement.” Los Angeles Recital, Los Angeles Times, February 7 , 2001 “Ax is an extremely satisfying pianist; he is at home in a wide variety of music and his pianism is always thoughtful, lyrical, lustrous.” The Washington Post "The soloist was Emanuel Ax - strong on bravura, ravishing in finesse and flinging himself into the work with glee. There was a liquid purity in the slow unfurling phrases of the slow movement, a real optimistic bounce in the finale." LPO/Eschenbach/Beethoven 5 Guardian, October 24, 1998 "...hearing Ax play on an Erard grand of 1851 was a revelation....
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 98, 1978-1979
    four 98th SEASON 1 &*#*** >) BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director X "//;// <*&*- s^qp I*** ^ •~~ X &3MHK9e na&tim wPdwn Spend some time with a Little Witch tonight. Strega means witch. Strega also means a bewitching golden liqueur you can sip and savor and spend some time with. Without ever tiring of its magically unique taste. ^^ - A taste, legend has it, created centuries ago in Italy by the beautiful witches of Benevento. Enjoy Strega straight, on-the-rocks, or mixed . in a Little Witch. Truly, a haunting brew. I Imported from Italy, Eighty Proof, by Schenley Imports Co., N.Y, NY © 1977 Ifthis wasn't a black &white ad, we could show you what Pained InteriorDesigners can dowith color. We have assembled a talented group of men and women to work with you on your decorating and redecorating plans. One room or many, traditional or modern, they will share their creative ideas with you. There is no added charge for this designer service. For information, please call Mrs. Scully at PAINE 426-1500, extension 156. FURNITURE BOSTON SYMPHONY ORCHESTRA CENTENNIAL FUND OPPORTUNITIES FOR COMMEMORATIVE GIFTS ENDOWED ORCHESTRA CHAIRS (BOSTON SYMPHONY CONCERTS BOSTON POPS CONCERTS) SCHOLARSHIPS TO THE BERKSHIRE MUSIC CENTER SYMPHONY HALL ROOMS (TO NAME THE CONDUCTOR'S ROOM TO NAME THE SOLOIST & GUEST CONDUCTOR'S ROOM TO NAME THE MUSICIANS' LOUNGE) TANGLEWOOD (TO NAME THE MUSIC SHED TO NAME THE BERKSHIRE MUSIC CENTER - TO NAME THE CHAMBER MUSIC HALL TO ESTABLISH A FUND FOR THE FORMAL GARDENS) FOR FURTHER INFORMATION, PLEASE CONTACT MR. JOSEPH HOBBS, DIRECTOR OF DEVELOPMENT, SYMPHONY HALL, BOSTON, MASS.
    [Show full text]
  • Walt Disney Concert Hall Opening Season
    WALT DISNEY CONCERT HALL 200 6/07 CHRONOLOGICAL LISTING OF EVENTS SEPTEMBER 2006 LOS ANGELES PHILHARMONIC Thursday, September 28, 2006 at 7 PM -OPENING NIGHT GALA- Walt Disney Concert Hall Esa-Pekka Salonen, conductor RAVEL Mother Goose Suite FALLA Master Peter’s Puppet Show RAVEL Bolero LOS ANGELES PHILHARMONIC Friday, September 29, 2006 at 8 PM Walt Disney Concert Hall Saturday, September 30, 2006 at 8 PM Esa-Pekka Salonen, conductor Lorraine Hunt Lieberson, mezzo-soprano MAHLER Symphony No. 3 OCTOBER 2006 LOS ANGELES PHILHARMONIC Sunday, October 1, 2006 at 2 PM Walt Disney Concert Hall Esa-Pekka Salonen, conductor Lorraine Hunt Lieberson, mezzo-soprano MAHLER Symphony No. 3 LOS ANGELES PHILHARMONIC Thursday, October 5, 2006 at 8 PM Walt Disney Concert Hall Friday, October 6, 2006 at 8 PM Sunday, October 8, 2006 at 2 PM Esa-Pekka Salonen, conductor Miah Persson, soprano Malena Ernman, mezzo-soprano Topi Lehtipuu, tenor TBD, bass STRAVINSKY Symphony of Psalms MOZART Mass in C Minor, K. 427 LOS ANGELES PHILHARMONIC Thursday, October 12, 2006 at 8 PM Walt Disney Concert Hall Saturday, October 14, 2006 at 8 PM Sunday, October 15, 2006 at 2 PM Esa-Pekka Salonen, conductor Brett Dean, viola HAYDN Symphony No. 82, “The Bear” DEAN Viola Concerto (U.S. premiere and LAPA co-commission) MUSSORGSKY Pictures at an Exhibition WORLD MUSIC Friday, October 13, 2006 at 8 PM Walt Disney Concert Hall Artists and program TBD VISITING ORCHESTRAS Saturday, October 14, 2006 at 2 PM Walt Disney Concert Hall NHK Symphony Vladimir Ashkenazy, conductor Hélène Grimaud, piano BRAHMS Piano Concerto No.
    [Show full text]