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LEON BOTSTEIN, Conductor
Thursday Evening, November 14, 2019, at 7:00 Isaac Stern Auditorium / Ronald O. Perelman Stage presents LEON BOTSTEIN, Conductor Performance #141: Season 5, Concert 12 ARTHUR HONEGGER Rugby (1928) (1891–1955) OTHMAR SCHOECK Lebendig begraben (Buried Alive), Op. 40 (1886–1957) (1926) MICHAEL NAGY, Baritone Intermission DIMITRI MITROPOULOS Concerto Grosso (1929) (1896–1960) Largo Allegro—Largo Chorale: Largo Allegro IGOR STRAVINSKY Divertimento, Symphonic Suite from the (1882–1971) Ballet The Fairy’s Kiss (1928, 1931, rev. ’32, ’34, ’49) Danses suisses (“Swiss Dances”) Scherzo Pas de deux a. Adagio b. Variation c. Coda This evening’s concert will run approximately 2 hours and 25 minutes including one 20-minute intermission. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. Notes ON THE MUSIC – TON’S KADEN HENDERSON ON ARTHUR HONEGGER’S RUGBY MATT DINE MATT Full Contact Music Honegger’s second tone poem, entitled Rugby, which we will be hearing today, was composed in 1928. Although it bears the name Rugby, the composer himself insisted that this work was not programmatic in a traditional sense. Despite what Honegger may have said, it takes little imagination to find oneself in the middle of the pitch dodging tack- les left and right from the very first note. Immediately from the downbeat it is apparent that Honegger is not alluding to two-hand-touch rugby, but rather the sport in its full contact, “hold no pris- oners” variety. The very first notes from The Composer the strings hit the audience like a ton of When thinking about the great orches- bricks as the cascading strings sweep us tral tone poems in our repertoire, the into a musical dogpile. -
Sunday 31 January 2016 David Owen Norris, Piano & Adrian
Sunday 31 January 2016 David Owen Norris, Piano & Adrian Chandler, Violin Revised Programme Sonata for piano and violin in B flat major K378 Wolfgang Amadeus Mozart (1756-1791) Allegro Moderato Andantino sostenuto e cantabile Rondeau: Allegro – Allegro – Come prima Variations for solo piano on Robin Adair (see note) George Kiallmark (1781-1835) Andante semplice. Var:1 Gayment Var:2 Siciliano Var:3 Marcia risoluto Var:4 Brillante Var:5 A Tempo 6 variations on Hélas, j’ai perdu mon amant in G minor K360 Wolfgang Amadeus Mozart Sonata for fortepiano and violin in A major op 12/2 Ludwig van Beethoven (1770-1827) Allegro vivace Andante più tosto allegretto Allegro piacevole INTERVAL Piano solo: Rondo capriccioso op 14 (Vienna, 1830) Felix Mendelssohn (1809-1847) Sonata for fortepiano and violin in F major op24 Ludwig van Beethoven (1770-1827) Allegro Adagio molto espressivo Scherzo – Allegro molto Rondo – Allegro mà non troppo Note: Kiallmark’s Variations on Robin Adair (the only piece of music actually named in Jane Austen’s novels) appears in the novelist’s own music collection as a cherished and carefully bound print. In Emma, Frank Churchill and Emma listen to Jane Fairfax playing the new piano which Frank has anonymously presented to her: the engagement between Jane and Frank is a secret. Frank’s remarks to Emma are full of double meanings as they discuss Jane’s supposed infatuation with the married Mr. Dixon. Despite the fact that Frank says: ‘She is playing Robin Adair at this moment – his favourite’, many assume that Jane was singing as well (Peter F. -
Folklore______Mmihhhhihhflhi Box 19114,20Th Street Station, W Ashington, DC 20036
Ibe Folklore_______ MMIHHHHIHHflHi Box 19114,20th Street Station, W ashington, DC 20036 j UNBBIHTHI VOLUM E X V I I , NO. 8 APRIL 1981 PHONE (703) 281-2228 Nancy Schatz, Ed it o r Roy Harris Featured in April 10 Program Our April program w ill feature folksinger Roy Harris, Roy, who comes from Nottingham, England, is one of the finest sing ers of traditional songs and ballads. His repertoire is about 80# traditional song with the rest being a mixture of contem porary material, parodies, music hall numbers, even an occa sional popular song from the 1930*s. A ll are presented with a warm, sometimes humorous st yle t h a t 's a l l Royf s own. Roy has been singing full-tim e since 196^ in folk clubs a ll over Europe, Canada, and the United States, He has served as director of the National Folk Festival in Loughborough, Eng land, for four years. He founded the Nottingham tradition al Music Club, He has six solo albums, five of them on the Topic label and one on F e lls id e . The program begins at 8i30 p.m., Friday, April 10, The place* the Washington Ethical Society auditorium, 7750 16th St., N.W. (at Kalmia Rd.) Admission is free to FSGW members, $2 for non-members. Come early to be sure of getting a seat. Battlefield Band to Perform April 18 Battlefield Band can best be described as a high-energy Scottish band. They have just completed their sixth album (Horae Is Where the Van Is, for the Flying Fish label). -
The Evolution of Ornette Coleman's Music And
DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style. -
Britten EU 572706Bk Britten EU 02/06/2011 12:29 Page 1
572706bk Britten EU_572706bk Britten EU 02/06/2011 12:29 Page 1 Mark Wilde David Owen Norris The tenor Mark Wilde studied at the Royal College of Music in David Owen Norris studied in Oxford, London and Paris. He was London. His rôles have included Ferrando in Così fan tutte repetiteur at the Royal Opera House, harpist at the Royal BRITTEN (Glyndebourne), Frederic in Pirates of Penzance (ENO), Shakespeare Company, Artistic Director of Festivals in Cardiff Albert Herring (Perth Festival), Il Campanello (Buxton and Petworth, Chairman of the Steans Institute for Singers in Festival), Ottone in La Serenissima (BBC Radio 3), Jacquino Chicago, and the Gresham Professor of Music in London. He is in Fidelio (Glyndebourne Touring Opera), Seven Deadly Sins currently preparing a third series of his iPod programmes for Complete Scottish Songs (WNO), Cat in Jonathan Dove’s Pinocchio (Opera North), BBC Radio 4, and his current engagements include performances A Birthday Hansel • Who are these children? Ottavio in Don Giovanni (Mostly Mozart Festival), Male in Norway, Holland, France, Taiwan, Mexico, Canada, and across Chorus in The Rape of Lucretia (European Opera Centre), the United States. His discography includes recordings of Giannetto in La gazza ladra (Garsington Opera), Rudolf in concertos by Elgar, Phillips, Arnell and Lambert, of the complete Mark Wilde, Tenor Euryanthe (Netherlands Opera), Ottavio, Alfredo in La travia- piano music of Elgar, Quilter and Dyson, Jane Austen’s music ta, Candide, and Idamante in Idomeneo (Birmingham Opera), collection, and many song collections, including the première Lucy Wakeford, Harp • David Owen Norris, Piano Count Almaviva in The Barber of Seville (Savoy Theatre Photo: www.simonweir.com recording of Schubert’s first song-cycle, the Kosegarten Opera), Adelaide de Borgogna (Edinburgh International Liederspiel, and of Elgar’s last song. -
An English Requiem — Issue 118, 1 February 2018
C L A S S I C A L M U S I C D A I L Y An English Requiem — Issue 118, 1 February 2018 CD SPOTLIGHT — BRAHMS IN LONDON Gerald Fenech: 'One of Brahms' most popular works and undoubtedly his greatest choral piece is Ein deutsches Requiem. Premiered in its complete seven movements on 18 February 1869 in Leipzig, the Requiem was a great success despite some initial critical reservations. 'The work was soon enthusiastically sought out by choral societies all over Europe not least in Britain, where choral singing is regarded as the lifeblood of the nation. Indeed, there are records of its being performed some thirty times between the full Leipzig premiere and the 1873 Philharmonic Society performance. But, oddly enough, the Philarmonic's was not the first English performance. This took place on 7 July 1871 in a private performance in London with reduced forces using Brahms' four-handed arrangement instead of an orchestra. The records show the choir was of about thirty voices and the piano duettists were the veteran English composer Cipriani Potter and Kate Loder, a prominent pianist at the Royal Academy of Music. This version subsequently became known as the "London Version" and the composer and scholar George Alexander Macfarren, in his notes to the Philarmonic's performance of 2 April 1873, dubbed the work "An English Requiem".' (Johannes Brahms: An English Requiem, Delphian DCD34195) Gerald also listens to Ástor Piazzolla and Horacio Ferrer's María de Buenos Aires (Delphian DCD34186) and to Jorge Federico Osorio — Final Thoughts (Cedille CDR 90000 171). -
Program Features Don Byron's Spin for Violin and Piano Commissioned by the Mckim Fund in the Library of Congress
Concert on LOCation The Elizabeth Sprague Coolidge Foundation The McKim Fund in the Library of Congress "" .f~~°<\f /f"^ TI—IT A TT^v rir^'irnr "ir i I O M QUARTET URI CAINE TRIO Saturday, April 24, 2010 Saturday, May 8, 2010 Saturday, May 22, 2010 8 o'clock in the evening Atlas Performing Arts Center 1333 H Street, NE In 1925 ELIZABETH SPRAGUE COOLIDGE established the foundation bearing her name in the Library of Congress for the promotion and advancement of chamber music through commissions, public concerts, and festivals; to purchase music manuscripts; and to support musical scholarship. With an additional gift, Mrs. Coolidge financed the construction of the Coolidge Auditorium which has become world famous for its magnificent acoustics and for the caliber of artists and ensembles who have played there. The McKiM FUND in the Library of Congress was created in 1970 through a bequest of Mrs. W. Duncan McKim, concert violinist, who won international prominence under her maiden name, Leonora Jackson, to support the commissioning and performance of chamber music for violin and piano. The audiovisual recording equipment in the Coolidge Auditorium was endowed in part by the Ira and Leonore Gershwin Fund in the Library of Congress. Request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 [email protected]. Due to the Library's security procedures, patrons are strongly urged to arrive thirty min- utes before the start of the concert. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the chamber music con- certs. -
The Heavens and the Heart James Francis Brown
THE HEAVENS AND THE HEART CHORAL AND ORCHESTRAL MUSIC BY JAMES FRANCIS BROWN BENJAMIN NABARRO VIOLIN RACHEL ROBERTS VIOLA GEMMA ROSEFIELD CELLO CATRIONA SCOTT CLARINET THE CHOIR OF ROYAL HOLLOWAY ORCHESTRA NOVA GEORGE VASS CONDUCTOR The Heavens and the Heart Choral and Orchestral Music by James Francis Brown (b. 1969) Benjamin Nabarro violin 1. Trio Concertante [20:46] Rachel Roberts viola for violin, viola, cello and string orchestra Gemma Rosefield cello Clarinet Concerto Catriona Sco clarinet (Lost Lanes – Shadow Groves) The Choir of Royal Holloway for clarinet and string orchestra Orchestra Nova 2. Broad Sky – Interlude I [7:03] 3. Dark Lane – Interlude II [5:28] George Vass conductor 4. Around the Church – Interlude III [5:52] 5. The Far Grove [5:20] The Heavens and the Heart Three Psalms for chorus and small orchestra 6. Caeli enarrant gloriam Dei (Psalm 19) [6:05] 7. Si vere utique justitiam loquimini (Psalm 58) [6:48] 8. Bonum est confiteri Domino (Psalm 92) [6:40] Total playing time [64:07] About Orchestra Nova & George Vass: ‘Playing and recorded sound are both excellent. It’s a fascinating achievement, beautifully done’ Gramophone ‘[...] an outstanding recording of a powerful and absorbing work’ MusicWeb International James Francis Brown has been a close friend the age.’ The music on this recording for over twenty years. I first heard his music abundantly proves the connuing when, as Arsc Director of the Deal Fesval, truth of Tippe’s words from eighty I programmed his String Trio in 1996 and years ago. immediately recognised in him a kindred spirit. James is commied to the renewal David Mahews of tonality, but not the simplisc sort one finds in minimalism, rather one that uses real voice leading, modulaon and lyrical The Heavens and the Heart: Orchestral melody. -
Savoy and Regent Label Discography
Discography of the Savoy/Regent and Associated Labels Savoy was formed in Newark New Jersey in 1942 by Herman Lubinsky and Fred Mendelsohn. Lubinsky acquired Mendelsohn’s interest in June 1949. Mendelsohn continued as producer for years afterward. Savoy recorded jazz, R&B, blues, gospel and classical. The head of sales was Hy Siegel. Production was by Ralph Bass, Ozzie Cadena, Leroy Kirkland, Lee Magid, Fred Mendelsohn, Teddy Reig and Gus Statiras. The subsidiary Regent was extablished in 1948. Regent recorded the same types of music that Savoy did but later in its operation it became Savoy’s budget label. The Gospel label was formed in Newark NJ in 1958 and recorded and released gospel music. The Sharp label was formed in Newark NJ in 1959 and released R&B and gospel music. The Dee Gee label was started in Detroit Michigan in 1951 by Dizzy Gillespie and Divid Usher. Dee Gee recorded jazz, R&B, and popular music. The label was acquired by Savoy records in the late 1950’s and moved to Newark NJ. The Signal label was formed in 1956 by Jules Colomby, Harold Goldberg and Don Schlitten in New York City. The label recorded jazz and was acquired by Savoy in the late 1950’s. There were no releases on Signal after being bought by Savoy. The Savoy and associated label discography was compiled using our record collections, Schwann Catalogs from 1949 to 1982, a Phono-Log from 1963. Some album numbers and all unissued album information is from “The Savoy Label Discography” by Michel Ruppli. -
Soprano Cornet
SOPRANO CORNET: THE HIDDEN GEM OF THE TRUMPET FAMILY by YANBIN CHEN (Under the Direction of Brandon Craswell) ABSTRACT The E-flat soprano cornet has served an indispensable role in the British brass band; it is commonly considered to be “the hottest seat in the band.”1 Compared to its popularity in Britain and Europe, the soprano cornet is not as familiar to players in North America or other parts of world. This document aims to offer young players who are interested in playing the soprano cornet in a brass band a more complete view of the instrument through the research of its historical roots, its artistic role in the brass band, important solo repertoire, famous players, approach to the instrument, and equipment choices. The existing written material regarding the soprano cornet is relatively limited in comparison to other instruments in the trumpet family. Research for this document largely relies on established online resources, as well as journals, books about the history of the brass band, and questionnaires completed by famous soprano cornet players, prestigious brass band conductors, and composers. 1 Joseph Parisi, Personal Communication, Email with Yanbin Chen, April 15, 2019. In light of the increased interest in the brass band in North America, especially at the collegiate level, I hope this project will encourage more players to appreciate and experience this hidden gem of the trumpet family. INDEX WORDS: Soprano Cornet, Brass Band, Mouthpiece, NABBA SOPRANO CORNET: THE HIDDEN GEM OF THE TRUMPET FAMILY by YANBIN CHEN Bachelor -
Vol.21 No 2 August 2018
Journal August 2018 Vol. 21, No. 2 The Elgar Society Journal 18 Holtsmere Close, Watford, Herts., WD25 9NG Email: [email protected] August 2018 Vol. 21, No. 2 Cross against Corselet: Elgar, Longfellow, and the Saga of King Olaf 3 President John T. Hamilton Julian Lloyd Webber FRCM Elgar’s King Olaf – an illustrated history 15 John Norris, Arthur Reynolds Vice-Presidents To the edge of the Great Unknown: 1,000 Miles up the Amazon 27 Diana McVeagh Martin Bird Dame Janet Baker, CH, DBE Leonard Slatkin Book reviews 41 Sir Andrew Davis, CBE Barry Collett Donald Hunt, OBE Christopher Robinson, CVO, CBE CD reviews 43 Andrew Neill Barry Collett, Andrew Neill, Michael Schwalb Sir Mark Elder, CBE Martyn Brabbins DVD reviews 54 Tasmin Little, OBE Ian Lace Letters 56 Jerrold Northrop Moore, Andrew Neill, Arthur Reynolds Chairman Steven Halls Elgar viewed from afar 58 Alan Tongue, Martin Bird Vice-Chairman Stuart Freed 100 Years Ago 69 Martin Bird Treasurer Helen Whittaker Secretary George Smart The Editor does not necessarily agree with the views expressed by contributors, nor does the Elgar Society accept responsibility for such views. Front Cover: Front Cover: Edward William Elgar (1857-1934; Arthur Reynolds’ Archive) and Henry Wadsworth Longfellow (1807-1882; Charles Kaufmann’s Archive). Notes for Contributors. Please adhere to these as far as possible if you deliver writing (as is much preferred) in Microsoft Word or Rich Text Format. Copyright: it is the contributor’s responsibility to be reasonably sure that copyright permissions, if Cross against Corselet required, are obtained. Elgar, Longfellow, and the Saga of King Olaf Illustrations (pictures, short music examples) are welcome, but please ensure they are pertinent, cued into the text, and have captions. -
FELLOWSHIP of MAKERS and RESTORERS of HISTORICAL INSTRUMENTS List of Members As at 12Th April 1981 Abbreviations: F in Left-Hand Margin Denotes Fellow
FELLOWSHIP of MAKERS and RESTORERS of HISTORICAL INSTRUMENTS List of Members as at 12th April 1981 Abbreviations: F in left-hand margin denotes Fellow. After the name: M - maker; R - restorer; C - collector; P - performer; L - lecturer/teacher; W - writer; D - dealer; res - research (not yet W or L) NB: No distinction is made between amateur and professional, nor between the beginner and the highly experienced. This is a list of members and their interests; it is not a trade list nor a professional register. Richard W.Abel, Beatty Run Road, RD no.5, Franklin, PA 16525, USA; tel: (814) 574-4H9 (woodwind; R,C,P). Ian Abernethy, 21 Bridge Street, Kelso, Roxburghshire, Scotland TD5 7HT, UK; tel: 5805 (recorder, P; keybds, M). Bernard Adams, 2025-55 St. SW, Calgary, Alberta, Canada T5E 2X5; tel: (405) 242-8946 (string instrs, ww; M,R). Gerald Adams, 252 Queens Road, Norwich, Norfolk, UK (plucked str. instrs, hurdy-g, bar. guitar; M). Robin Adams, 2 Tunbridge Court, Sydenham Hill, London SE26 6RR, UK. Gilliam Alcock - see Terence McGee (dulcmr, banjo, hpschd, M; dulcmr, hpschd, concertina, P). Christopher Allworth, RR5-1110, Yarmouth, Nova Scotia, Canada B5A 4A7 (med. string instrs; M,P). AMLI Central Library for Music & Dance, 26 Bialik Street, POB 4882, Tel-Aviv, Israel; tel: Tel-Aviv 58106 (all instrs). Susan Elizabeth Andersen - see Theo Miller (psalteries, M; recorders, P). Lars H.Andersson, Vaisalavagen 8, 02150 Esbo 15, Finland; tel: 9O-46444O (viol; M,P). Peter B.Armitage, 52 Downs Road, Epsom, Surrey KT18 5JN, UK; tel: Epsom 22560 (violin fam. & other string instrs).