The Kingdom LEON BOTSTEIN, Conductor
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ARSC Journal
A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers. -
August Highlights at the Grant Park Music Festival
FOR IMMEDIATE RELEASE Contact: Jill Hurwitz,312.744.9179 [email protected] AUGUST HIGHLIGHTS AT THE GRANT PARK MUSIC FESTIVAL A world premiere by Aaron Jay Kernis, an evening of mariachi, a night of Spanish guitar and Beethoven’s Ninth Symphony on closing weekend of the 2017 season CHICAGO (July 19, 2017) — Summer in Chicago wraps up in August with the final weeks of the 83rd season of the Grant Park Music Festival, led by Artistic Director and Principal Conductor Carlos Kalmar with Chorus Director Christopher Bell and the award-winning Grant Park Orchestra and Chorus at the Jay Pritzker Pavilion in Millennium Park. Highlights of the season include Legacy, a world premiere commission by the Pulitzer Prize- winning American composer, Aaron Jay Kernis on August 11 and 12, and Beethoven’s Symphony No. 9 with the Grant Park Orchestra and Chorus and acclaimed guest soloists on closing weekend, August 18 and 19. All concerts take place on Wednesday and Friday evenings at 6:30 p.m., and Saturday evenings at 7:30 p.m. (Concerts on August 4 and 5 move indoors to the Harris Theater during Lollapolooza). The August program schedule is below and available at www.gpmf.org. Patrons can order One Night Membership Passes for reserved seats, starting at $25, by calling 312.742.7647 or going online at gpmf.org and selecting their own seat down front in the member section of the Jay Pritzker Pavilion. Membership support helps to keep the Grant Park Music Festival free for all. For every Festival concert, there are seats that are free and open to the public in Millennium Park’s Seating Bowl and on the Great Lawn, available on a first-come, first-served basis. -
The Art of the Score Amadeus
FOR IMMEDIATE RELEASE ARTIST UPDATES February 27, 2018 Contact: Katherine E. Johnson (212) 875-5700; [email protected] THE ART OF THE SCORE Alec Baldwin, Artistic Advisor AMADEUS: LIVE Conducted by RICHARD KAUFMAN NEW YORK PREMIERE of Score Performed Live to Complete Film Featuring Special Guest Tom Hulce on April 11 April 11–14 and 17, 2018 The Art of the Score, exploring some of the most distinctive uses of music in film, will return for its fifth season with Amadeus: Live, the New York Premiere screening of Amadeus with the Mozart- centered score performed live to the complete film. Conducted by Richard Kaufman in his Philharmonic debut and featuring Musica Sacra, directed by Kent Tritle, Amadeus: Live will take place Wednesday, April 11, 2018, at 7:30 p.m.; Thursday, April 12 at 7:30 p.m.; Friday, April 13 at 11:00 a.m.; Saturday, April l4 at 7:30 p.m.; and Tuesday, April 17 at 7:30 p.m. On April 11 actor Alec Baldwin — Philharmonic Board Member and Artistic Advisor of The Art of the Score — and special guest Tom Hulce — who earned an Academy Award nomination for his portrayal of Mozart — will introduce the film, replacing F. Murray Abraham, who had to withdraw due to a scheduling conflict with his Off-Broadway play, Good for Otto. The Amadeus score includes selections from more than a dozen works by Mozart, including his Requiem; his operas The Magic Flute, The Marriage of Figaro, and Don Giovanni; and his Symphony No. 25, Serenade for 13 Winds, Gran partita, and Piano Concerto No. -
RELEASE for Further Information Please Call
RELEASE For further information please call Julie Robinson, Rubenstein Communications (212) 843-9341 / [email protected] Isadora Wilkenfeld, Cathedral of St. John the Divine (212) 316-7468 / [email protected] THE CATHEDRAL OF ST. JOHN THE DIVINE PRESENTS AN ORGAN RECITAL BY KENT TRITLE, PERFORMING WORKS BY BACH, BRUHNS, FRANCK, AND VIERNE Performance continues the 2019-2020 season of Great Music in a Great Space Photo: Jennifer Taylor *** The Cathedral of St. John the Divine continues its 2019-2020 season of Great Music in a Great Space with Great Organ: Kent Tritle, performing works by J.S. Bach, Nicolaus Bruhns, César Franck, and Louis Vierne, on Tuesday, January 28, 2020 at 7:30 pm at the Cathedral of St. John the Divine, 1047 Amsterdam Avenue (at 112th Street), Manhattan. Kent Tritle is now in his eighth year as Director of Cathedral Music and Organist. Widely noted for his virtuoso performances, this recital, the first of the 2020 Great Music in a Great Space concerts, showcases the range of Tritle’s talents. Spanning over 300 years of organ repertoire, the performance ranges from baroque compositions of Bruhns and Bach to the French Romanticism of Franck and Vierne. While the Cathedral’s Great Organ is on hiatus due to restoration work following a fire on Palm Sunday of last year, organ recitals will be presented in the magnificent acoustic of the Cathedral by way of a fine digitally sampled instrument by Walker Technical Company. This cutting-edge system is sampled from instruments by Æolian-Skinner, the company that built the Great Organ. -
Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr. -
To View the Concert Programme
PROGRAMME Happy birthday Somerset Chamber Choir! Welcome to our 30th birthday party! We are delighted that our very special invited guests, our loyal choir ‘Friends’ and everyone here tonight could join us for this occasion. As if that weren’t enough of a nucleus for a wonderful party, the BERLINER KANTOREI have travelled from Berlin to celebrate with us too ... their ‘return match’ for an excellent time some of us enjoyed singing with them when they hosted us last autumn. This concert comes at the end of a week which their party of singers and supporters have spent staying in and sampling the delights of Somerset; we hope their experience has been a memorable one and we wish them bon voyage for their journey home. Ten years of singing together in the 1970s and 1980s under the inspirational direction of the late W. Robert Tullett, founder conductor of the Somerset Youth Choir, welded a disparate group of young people drawn from schools across Somerset, into a close-knit group of friends who had discovered the huge pleasure of making music together and who developed a passion for choral music that they wanted to share. The Somerset Chamber Choir was founded in 1984 when several members who had become too old to be classed as “youths” left the Youth Choir and, with the approval of Somerset County Council, drew together other like-minded singers from around the County. Blessed with a variety of complementary skills, a small steering group set about developing a balanced choir and appointed a conductor, accompanist and management team. -
2017-18 Season Announcement News Release
N E W S R E L E A S E FOR IMMEDIATE RELEASE DATE: February 23, 2017 Yannick Nézet-Séguin and The Philadelphia Orchestra Announce 2017-2018 Season Yannick Nézet-Séguin’s Sixth Season Spans a Vast Range of Sounds Commissions • Oratorio • Chamber Music • Opera A Crowd-Sourced Celebration of Philadelphia • Broadway and a Wide Swath of Orchestral Repertoire Philadelphia Voices, a new work by Tod Machover Tosca Winter Festival focuses on British Isles Hilary Hahn is Artist-in-Residence American Sounds Leonard Bernstein Centenary Including Full Score Performances of West Side Story in Concert Premieres for Orchestra Principals (Philadelphia , February 23, 2017)—Philadelphia Orchestra Music Director Yannick Nézet-Séguin and President and CEO Allison Vulgamore today released The Philadelphia Orchestra’s 2017-18 season. Nézet-Séguin begins his sixth season in Philadelphia with a commitment to lead the world-renowned ensemble through at least 2025-26, continuing a relationship between music director and musicians that has garnered praise around the globe. “This is possibly the most varied season The Philadelphia Orchestra and I have undertaken together,” said Music – more – Yannick Nézet-Séguin and The Philadelphia Orchestra: 2017-18 Season 2 Director Yannick Nézet-Séguin. “It’s thrilling to be able to make music in every way possible, from playing piano with our wonderful principal strings in chamber music, to conducting new works, including commissions, to an oratorio I adore, to a semi-staged production of Tosca. We have some audience favorites, of course, and naturally we are celebrating the centenary of that amazing musical figure Leonard Bernstein. We hope everyone will join us!” “We truly are celebrating Yannick in every musical way this season, and we’re also celebrating our wonderful city of Philadelphia,” added Philadelphia Orchestra President and CEO Allison Vulgamore. -
Acts of the Apostles Bible Study Lesson # 1 “What Is the Role of the Holy Spirit in the Church?”
Acts of the Apostles Bible Study Lesson # 1 “What is the role of the Holy Spirit in the Church?” Introduction The gospel writer Luke in his second volume, called “The Acts of the Apostles” or simply “Acts,” is giving Theophilus an account of the birth of the Church, how it organized and solved its problems, and its subsequent spreading of the good news of Jesus Christ following his ascension. Luke makes it clear that the Church did not start on account of any human endeavor but by the power of the Holy Spirit that Jesus promised to give. Because of the power of the Holy Spirit, the Church became an agent for change, bore witness to the faith and became a radically unique and diverse community. From Jerusalem at Pentecost, the Holy Spirit enabled the Church to spread to Syria, Asia, Europe and Africa. The Holy Spirit also took a wide range of people, from a Galilean fisherman to a learned scholar, to cities and towns throughout the Roman Empire to preach the good news, heal, teach and demonstrate God’s love. Despite the apostle’s imprisonment and beatings, and an occasional riot, the band of faithful managed to grow in spite of their persecution. The growth of the Church Luke credits to the guiding work of the Holy Spirit that cannot be bottled or contained. Women, children, Jews and Gentiles were coming together into a new sense of community and purpose through the common experience of encountering the transformative power of Jesus Christ. This bible study is produced to not only help the faithful understand God’s plan for the expansion of the Church but to challenge individual Christians as well as faith communities to seek to understand what God is asking them to do in light of God’s current movement of the Holy Spirit. -
ONYX4206.Pdf
EDWARD ELGAR (1857–1934) Sea Pictures Op.37 The Music Makers Op.69 (words by Alfred O’Shaughnessy) 1 Sea Slumber Song 5.13 (words by Roden Noel) 6 Introduction 3.19 2 In Haven (Capri) 1.52 7 We are the music makers 3.56 (words by Alice Elgar) 8 We, in the ages lying 3.59 3 Sabbath Morning at Sea 5.24 (words by Elizabeth Barrett Browning) 9 A breath of our inspiration 4.18 4 Where Corals Lie 3.43 10 They had no vision amazing 7.41 (words by Richard Garnett) 11 But we, with our dreaming 5 The Swimmer 5.50 and singing 3.27 (words by Adam Lindsay Gordon) 12 For we are afar with the dawning 2.25 Kathryn Rudge mezzo-soprano 13 All hail! we cry to Royal Liverpool Philharmonic the corners 9.11 Orchestra & Choir Vasily Petrenko Pomp & Circumstance 14 March No.1 Op.39/1 5.40 Total timing: 66.07 Artist biographies can be found at onyxclassics.com EDWARD ELGAR Nowadays any listener can make their own analysis as the Second Symphony, Violin Sea Pictures Op.37 · The Music Makers Op.69 Concerto and a brief quotation from The Apostles are subtly used by Elgar to point a few words in the text. Otherwise, the most powerful quotations are from The Dream On 5 October 1899, the first performance of Elgar’s song cycle Sea Pictures took place in of Gerontius, the Enigma Variations and his First Symphony. The orchestral introduction Norwich. With the exception of Elizabeth Barrett Browning, all the poets whose texts Elgar begins in F minor before the ‘Enigma’ theme emphasises, as Elgar explained to Newman, set in the works on this album would be considered obscure -
ARPCD 0403 Elgar
EDWARD ELGAR THE DREAM OF GERONTIUS JON VICKERS CONSTANCE SHACKLOCK MARIAN NOWAKOWSKI ORCHESTRA SINFONICA E CORO DI ROMA DELLA RAI SIR JOHN BARBIROLLI ROMA, 20.11.1957 ARCHIPEL DESERT ISLAND COLLECTION Edward Elgar (1857-1934) The Dream of Gerontius Op. 38 Oratorio for mezzo-soprano, tenor, bass, full choir and orchestra, based on the poem by Cardinal John Newman CD 1 74:54 CD 2 73:21 Part One Part Two (Cont.) [1] Prelude 10:27 [1] Thy judgment is now near (Angel, Soul of Gerontius) 3:26 [2] Jesu, Maria - I am near to death (Gerontius) 3:23 [2] Jesu! By that shuddering dread (Angel of Agony, Soul of Ger.) 6:07 [3] Kyrie eleison. Holy Mary, pray for him (Chorus) 2:34 [3] Praise to His Name! (Angel) 1:38 [4] Rouse thee, my fainting soul (Gerontius) 0:44 [4] Take me away (Soul of Gerontius) 3:38 [5] Be merciful, be gracious (Chorus) 3:29 [5] Lord, Thou hast been our refuge (Chorus) 1:11 [6] Sanctus fortis, Sanctus Deus (Gerontius) 5:10 [6] Softly and gently, dearly-ransomed soul (Angel, Chorus) 6:22 [7] I can no more (Gerontius) 2:00 [8] Rescue him, O Lord (Gerontius, Chorus) 2:27 [9] Novissima hora est (Gerontius) 1:31 [10] Profisciscere, anima Christiana (Priest) 1:45 BONUS: Hector Berlioz (1803-1869) [11] Go, in the name of Angels and Archangels (Chorus, Priest) 4:44 Symphonie fantastique Op. 14 Part Two [12] Prelude 1:57 [7] Rêveries - Passions 14:04 [13] I went to sleep (Soul of Gerontius) 4:11 [8] Un Bal 6:32 [14] My work is done (Angel, Soul of Gerontius) 8:53 [9] Scène aux Champs 16:04 [15] Low-born clods of brute earth (Chorus, Angel) 2:06 [10] Marche au supplice 4:36 [16] The mind bold and independent (Chorus) 2:37 [11] Songe d’une Nuit de Sabbat 9:38 [17] I see not those false spirits (Soul of Gerontius, Angel) 3:19 [18] Praise to the Holiest (Angel, Chorus) 3:28 The Hallé Orchestra [19] Glory to him (Chorus, Angel, Soul of Gerontius) 2:46 Sir John Barbirolli [20] Praise to the Holiest in the height (Chorus) 7:14 Recording: 02.01.1947. -
20 Lc 39 2635 Hr 1444
20 LC 39 2635 House Resolution 1444 By: Representative Howard of the 124th A RESOLUTION 1 Honoring the life and memory of Ms. Jessye Norman and dedicating an interchange in her 2 memory; and for other purposes. 3 WHEREAS, Ms. Jessye Norman was born on September 15, 1945, in Augusta, Georgia, the 4 beloved daughter of Janie King Norman and Silas Norman; and 5 WHEREAS, after graduating from Lucy C. Laney High School, Ms. Norman earned a 6 bachelor's degree from Howard University and a master's degree from the University of 7 Michigan; and 8 WHEREAS, a renowned opera singer, Ms. Norman performed Deborah, L'Africaine, and Le 9 Nozze di Figaro for the Deutsche Oper Berlin opera company; and 10 WHEREAS, in 1982, she performed Oedipus Rex and Dido and Aeneas with the Opera 11 Company of Philadelphia; and 12 WHEREAS, other notable performances include the 100th anniversary season with the 13 Metropolitan Opera and appearances with the Vienna Philharmonic Orchestra and Lyric 14 Opera of Chicago; and 15 WHEREAS, in 2002, she established the Jessye Norman School of Arts, a tuition-free after 16 school arts program in Augusta; and 17 WHEREAS, her remarkable talents have been recognized with five Grammy Awards, 18 including a Lifetime Achievement Award; and 19 WHEREAS, it is abundantly fitting and proper that this remarkable and distinguished 20 Georgian be recognized appropriately by dedicating an interchange in her memory. H. R. 1444 - 1 - 20 LC 39 2635 21 NOW, THEREFORE, BE IT RESOLVED AND ENACTED BY THE GENERAL 22 ASSEMBLY OF GEORGIA that the interchange between Interstate 20 and Washington 23 Road in Richmond County is dedicated as the Jessye Norman Memorial Interchange. -
The Elgar Sketch-Books
THE ELGAR SKETCH-BOOKS PAMELA WILLETTS A MAJOR gift from Mrs H. S. Wohlfeld of sketch-books and other manuscripts of Sir Edward Elgar was received by the British Library in 1984. The sketch-books consist of five early books dating from 1878 to 1882, a small book from the late 1880s, a series of eight volumes made to Elgar's instructions in 1901, and two later books commenced in Italy in 1909.^ The collection is now numbered Add. MSS. 63146-63166 (see Appendix). The five early sketch-books are oblong books in brown paper covers. They were apparently home-made from double sheets of music-paper, probably obtained from the stock of the Elgar shop at 10 High Street, Worcester. The paper was sewn together by whatever means was at hand; volume III is held together by a gut violin string. The covers were made by the expedient of sticking brown paper of varying shades and textures to the first and last leaves of music-paper and over the spine. Book V is of slightly smaller oblong format and the sides of the music sheets in this volume have been inexpertly trimmed. The volumes bear Elgar's numbering T to 'V on the covers, his signature, and a date, perhaps that ofthe first entry in the volumes. The respective dates are: 21 May 1878(1), 13 August 1878 (II), I October 1878 (III), 7 April 1879 (IV), and i September 1881 (V). Elgar was not quite twenty-one when the first of these books was dated. Earlier music manuscripts from his hand have survived but the particular interest of these early sketch- books is in their intimate connection with the round of Elgar's musical activities, amateur and professional, at a formative stage in his career.