HOLIDAY BRASS Sunday, December 16, 2012, 3:00 P.M. New York
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11 JANUARY WEDNESDAY SERIES 9 Helsinki Music Centre at 7 Pm
11 JANUARY WEDNESDAY SERIES 9 Helsinki Music Centre at 7 pm Sakari Oramo, conductor Jukka Harju, horn József Hárs, horn Markus Maskuniitty, horn Esa Tapani, horn Magnus Lindberg: Al largo 25 min Robert Schumann: Konzertstück in F Major for Four Horns and Orchestra, Op. 86 21 min I Lebhaft II Romance (Ziemlich langsam, doch nicht schleppend) III Sehr lebhaft INTERVAL 20 MIN Felix Mendelssohn: Symphony No. 4 in A Major, Op. 90, “The Italian” 30 min I Allegro vivace II Andante con moto III Con moto moderato IV Saltarello (Presto) Interval at about 7.55 pm. The concert ends at about 9 pm. Broadcast live on YLE Radio 1 and the Internet (yle.fi/rso). 1 MAGNUS LINDBERG up and present us with the next, equal- ly dazzling landscape. Structurally, Al lar- (1958–): AL LARGO go falls into two broad sections, “that both begin very vigorously and end as slow mu- The avoidance of anything slow was for a sic”. Dominating the first half are numerous long time a fundamental feature of the mu- brass fanfares that vary in their details, sup- sic of Magnus Lindberg. Even if the tempo ported by a seething brew in the rest of the marking was somewhat on the slow side, orchestra. After a big climax the music sud- the texture would seethe and bubble like denly becomes introspective, borne alone a piping-hot broth and, what is more, with by a delightful string texture. The return of an energy little short of manic. In this res- the fanfares leads to a new build-up and ul- pect it is exciting to hear what awaits in the timately to a mighty oboe solo on which the orchestral work he wrote last year, for as music muses for a good while. -
A Cd Recording Project of Underrepresented Works For
A CD RECORDING PROJECT OF UNDERREPRESENTED WORKS FOR EUPHONIUM by CHRISTOPHER ALLEN LESLIE (Under the Direction of David Zerkel) ABSTRACT The solo repertoire for the euphonium is small in size, reflecting the fact that the repertoire was written almost exclusively in the 20th and 21st centuries. As a result of this limited repertoire in addition to the relatively small number of performers creating professional recordings, the discography is incomplete. This project seeks to address this issue by creating a CD recording of both original works for euphonium as well as repertoire borrowed from other instruments: Concerto, Op. 114 by Derek Bourgeois; Sonata for Euphonium and Piano by John Hennecken; Five Portraits from Middle Earth by Rodney Newton; Cascades by Allen Vizzutti; The Morning Song by Roger Kellaway; and Someone to Watch Over Me by George Gershwin, arranged by Joseph Turrin. This document discusses the background of the compositions and composers as well as the existing recordings and academic literature, provides justification for why these works have been included in the project, and provides discussion and analysis of the musical characteristics of the works as a resource for performers. INDEX WORDS: Euphonium, recording, CD, Derek Bourgeois, John Hennecken, Rodney Newton, Allen Vizzutti, Roger Kellaway, George Gershwin, Joseph Turrin A CD RECORDING PROJECT OF UNDERREPRESENTED WORKS FOR EUPHONIUM by CHRISTOPHER ALLEN LESLIE BM, St. Olaf College, 2011 MM, Indiana University, 2013 A Dissertation Submitted to the Graduate Faculty -
Magnus Lindberg Al Largo • Cello Concerto No
MAGNUS LINDBERG AL LARGO • CELLO CONCERTO NO. 2 • ERA ANSSI KARTTUNEN FINNISH RADIO SYMPHONY ORCHESTRA HANNU LINTU MAGNUS LINDBERG (1958) 1 Al largo (2009–10) 24:53 Cello Concerto No. 2 (2013) 20:58 2 I 9:50 3 II 6:09 4 III 4:59 5 Era (2012) 20:19 ANSSI KARTTUNEN, cello (2–4) FINNISH RADIO SYMPHONY ORCHESTRA HANNU LINTU, conductor 2 MAGNUS LINDBERG 3 “Though my creative personality and early works were formed from the music of Zimmermann and Xenakis, and a certain anarchy related to rock music of that period, I eventually realised that everything goes back to the foundations of Schoenberg and Stravinsky – how could music ever have taken another road? I see my music now as a synthesis of these elements, combined with what I learned from Grisey and the spectralists, and I detect from Kraft to my latest pieces the same underlying tastes and sense of drama.” – Magnus Lindberg The shift in musical thinking that Magnus Lindberg thus described in December 2012, a few weeks before the premiere of Era, was utter and profound. Lindberg’s composer profile has evolved from his early edgy modernism, “carved in stone” to use his own words, to the softer and more sonorous idiom that he has embraced recently, suggesting a spiritual kinship with late Romanticism and the great masters of the early 20th century. On the other hand, in the same comment Lindberg also mentioned features that have remained constant in his music, including his penchant for drama going back to the early defiantly modernistKraft (1985). -
Vail Daily Column Musically Speaking on New York Philharmonic's
Vail Daily column Musically Speaking on New York Philharmonic’s Thirteenth Residency at Bravo! Vail by Sandra Pearson, Assistant Principal Librarian, New York Philharmonic An orchestra's season has a certain flow to it. When we finish our winter season, the shirt sleeves get shorter, and our summer festival wardroBe is donned. Our thoughts also turn towards a change of scenery that takes us from the concrete confines of New York to the pine-scented fresh mountain air of Colorado. Along with the other orchestras who get to enjoy a summer season such as Blossom or Tanglewood, we too get to enjoy our summer residency hiking and making music in the Beautiful surroundings of the Rocky Mountains. We are happy to once again Be sharing music By some our greatest composers with our enthusiastic audiences in the Vail Valley. We enjoy our collaBoration with the amicaBle and witty Bramwell Tovey, and judging from past audience reactions, so do our fans in Vail. The first program on July 24th showcases the pianist Jon Kimura Parker playing Edvard Grieg's classic Piano Concerto in A minor. This concert will also showcase the suBliminal overture to Fingal's Cave By Felix Mendelssohn and Edward Elgar's Enigma Variations. Maestro Tovey's second program on July 26th features Bravo! Vail's artistic director and talented pianist Anne-Marie McDermott playing Rachmaninoff's romantic Rhapsody on a Theme of Paganini. Balancing out the rest of the program are Le Corsair Overture By Berlioz, The Emperor Waltzes by Johann Strauss, Jr., and the prismatic Suite from Der Rosenkavalier by Richard Strauss. -
12 JANUARY THURSDAY SERIES 5 Helsinki Music Centre at 7 Pm
12 JANUARY THURSDAY SERIES 5 Helsinki Music Centre at 7 pm Sakari Oramo, conductor Jukka Harju, horn József Hárs, horn Markus Maskuniitty, horn Esa Tapani, horn Magnus Lindberg: Al largo 25 min Robert Schumann: Konzertstück in F Major for Four Horns and Orchestra, Op. 86 21 min I Lebhaft II Romance (Ziemlich langsam, doch nicht schleppend) III Sehr lebhaft INTERVAL 20 MIN Felix Mendelssohn: Symphony No. 4 in A Major, Op. 90, “The Italian” 30 min I Allegro vivace II Andante con moto III Con moto moderato IV Saltarello (Presto) Interval at about 7.55 pm. The concert ends at about 9 pm. 1 MAGNUS LINDBERG up and present us with the next, equal- ly dazzling landscape. Structurally, Al lar- (1958–): AL LARGO go falls into two broad sections, “that both begin very vigorously and end as slow mu- The avoidance of anything slow was for a sic”. Dominating the first half are numerous long time a fundamental feature of the mu- brass fanfares that vary in their details, sup- sic of Magnus Lindberg. Even if the tempo ported by a seething brew in the rest of the marking was somewhat on the slow side, orchestra. After a big climax the music sud- the texture would seethe and bubble like denly becomes introspective, borne alone a piping-hot broth and, what is more, with by a delightful string texture. The return of an energy little short of manic. In this res- the fanfares leads to a new build-up and ul- pect it is exciting to hear what awaits in the timately to a mighty oboe solo on which the orchestral work he wrote last year, for as music muses for a good while. -
Tapiola Sinfonietta
MAGNUS LINDBERG VIOLIN CONCERTO PEKKA KUUSISTO, VIOLIN & DIRECTOR JUBILEES SOUVENIR MAGNUS LINDBERG, CONDUCTOR TAPIOLA SINFONIETTA 1 Magnus Lindberg 2 nstrumental qualities have always inspired Magnus Lindberg (b. 1958). However abstract his musical ideas may Ibe and however tightly constructed their subsurface structures, his music is always instrumentally idiomatic and powerful. Often his ideas develop in an instrumental direction of their own accord; sometimes they emerge from the special properties of a particular instrument, fusing musical and instrumental innovation into a single creative act. This approach is of course heightened in concertos, which constitute an important genre in Lindberg’s output. He has written two concertos for piano (1990–94; 2012) and one each for cello (1997–99), clarinet (2001–02) and violin (2006), and other works with prominent solo parts. The Violin Concerto was written to a commission from the Lincoln Center in New York together with the Barbican Centre in London, the Casa de Música–Porto and the Swedish Chamber Orchestra and was premiered at the Mostly Mozart festival in New York in August 2006. Although the commission was specifically aimed at the 250th anniversary celebration of Mozart’s birth, Lindberg did not write a tribute with Mozart elements in it. However, the situation of the premiere had an influence on the work in the way that Lindberg used a smaller orchestra than usual. There are two oboes, two bassoons and two horns plus strings – a standard Mozart orchestra, in fact. The very fact that the ensemble is so small prompted clearer and more translucent structures than in many of Lindberg’s other orchestral works. -
JUNE 27–29, 2013 Thursday, June 27, 2013, 7:30 P.M. 15579Th
06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 23 JUNE 2 7–29, 2013 Two Works by Stravinsky Thursday, June 27, 2013, 7:30 p.m. 15, 579th Concert Friday, June 28, 2013, 8 :00 p.m. 15,580th Concert Saturday, June 29, 2013, 8:00 p.m. 15,58 1st Concert Alan Gilbert , Conductor/Magician Global Sponsor Doug Fitch, Director/Designer Karole Armitage, Choreographer Edouard Getaz, Producer/Video Director These concerts are sponsored by Yoko Nagae Ceschina. A production created by Giants Are Small Generous support from The Andrew W. Mellon Foundation, Clifton Taylor, Lighting Designer The Susan and Elihu Rose Foun - Irina Kruzhilina, Costume Designer dation, Donna and Marvin Matt Acheson, Master Puppeteer Schwartz, the Mary and James G. Margie Durand, Make-Up Artist Wallach Family Foundation, and an anonymous donor. Featuring Sara Mearns, Principal Dancer* Filming and Digital Media distribution of this Amar Ramasar , Principal Dancer/Puppeteer* production are made possible by the generos ity of The Mary and James G. Wallach Family This concert will last approximately one and Foundation and The Rita E. and Gustave M. three-quarter hours, which includes one intermission. Hauser Recording Fund . Avery Fisher Hall at Lincoln Center Home of the New York Philharmonic June 2013 23 06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 24 New York Philharmonic Two Works by Stravinsky Alan Gilbert, Conductor/Magician Doug Fitch, Director/Designer Karole Armitage, Choreographer Edouard Getaz, Producer/Video Director A production created by Giants Are Small Clifton Taylor, Lighting Designer Irina Kruzhilina, Costume Designer Matt Acheson, Master Puppeteer Margie Durand, Make-Up Artist Featuring Sara Mearns, Principal Dancer* Amar Ramasar, Principal Dancer/Puppeteer* STRAVINSKY Le Baiser de la fée (The Fairy’s Kiss ) (1882–1971) (1928, rev. -
Ondine March 2021
Ondine Promotion March - April 2021 www.classicsdirect.co.uk Offer applies to complete Ondine catalogue Ondine Promotion Price Price After Up to A - H 30.04.21 30.04.21 .. 13132 Anderson Heaven is Shy of Earth, The Comedy of Change Bickley, BBC SO, Knussen £12.50 £10.50 .. 12732 Bach J S Goldberg Variations Lars Vogt £12.50 £10.50 .. 12412D Bach J S Sonatas and Partitas for solo violin (2 CD ) Sirkka-Liisa Kaakinen-Pilch £12.50 £10.50 .. 13232D Bach J S Sonatas, Partitas, Suites ( arr Brüggen ) (2 CD ) (recorder ) Bolette Roed £25.00 £21.00 .. 10725 Bartók Concerto for Orchestra + Martinů Memorial ( SACD ) Philadelphia Orchestra, Eschenbach £12.50 £10.50 .. 13172 Bartók Violin Concertos Nos. 1 & 2 C. Tetzlaff, Finnish RSO, Lintu £12.50 £10.50 .. 13485Q Beethoven Symphonies Nos. 1-9 (5 SACD ) Malmö SO, Trevino £33.00 £27.50 .. 13342 Beethoven Violin Concertos Tetzlaff, Ticciati £12.50 £10.50 .. 12922 Beethoven Piano Concertos Nos. 1 & 5 Royal Northern Sinfonia, Vogt £12.50 £10.50 .. 13112 Beethoven Piano Concertos Nos. 2 & 4 Lars Vogt £12.50 £10.50 .. 11235 Beethoven Piano Concerto No. 3, Piano Concerto Op. 61a (SACD) Mustonen £12.50 £10.50 .. 11465 Beethoven Piano Concertos Nos. 4 & 5 ( SACD ) Tapiola Sinfonietta, Mustonen £12.50 £10.50 .. 13592T Beethoven Complete Piano Concertos (3 CD ) Tapiola Sinfonietta, Mustonen £20.00 £16.50 .. 12902D Beethoven Piano Sonatas Opp.31, 78, 79, 81a & 90 (2 CD ) Paavali Jumppanen £12.50 £10.50 .. 12482D Beethoven Piano Sonatas Nos. 1, 2, 28 & 29 (2 CD ) Paavali Jumppanen £12.50 £10.50 . -
By Aaron Jay Kernis
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2016 “A Voice, A Messenger” by Aaron Jay Kernis: A Performer's Guide and Historical Analysis Pagean Marie DiSalvio Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation DiSalvio, Pagean Marie, "“A Voice, A Messenger” by Aaron Jay Kernis: A Performer's Guide and Historical Analysis" (2016). LSU Doctoral Dissertations. 3434. https://digitalcommons.lsu.edu/gradschool_dissertations/3434 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. “A VOICE, A MESSENGER” BY AARON JAY KERNIS: A PERFORMER’S GUIDE AND HISTORICAL ANALYSIS A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Pagean Marie DiSalvio B.M., Rowan University, 2011 M.M., Illinois State University, 2013 May 2016 For my husband, Nicholas DiSalvio ii ACKNOWLEDGEMENTS I would like to thank my committee, Dr. Joseph Skillen, Prof. Kristin Sosnowsky, and Dr. Brij Mohan, for their patience and guidance in completing this document. I would especially like to thank Dr. Brian Shaw for keeping me focused in the “present time” for the past three years. Thank you to those who gave me their time and allowed me to interview them for this project: Dr. -
New York Philharmonic
New York Philharmonic 2 3 Alan Gilbert and the New York Philharmonic New York Philharmonic 2012–13 Season Alan Gilbert has said that every concert offer with the audience in a very palpable, Alan Gilbert, Conductor should be an event, a philosophy that visceral, and potent way.” Emanuel Ax, Piano pervades the New York Philharmonic’s pro- These high-quality recordings of almost grams week after week. Twelve of these 30 works, available internationally, reflect concerts are captured live in Alan Gilbert Alan Gilbert’s wide-ranging interests and Recorded live October 4–6, 2012 and the New York Philharmonic: 2012–13 passions, from Bach’s B-minor Mass to Avery Fisher Hall at Lincoln Center for the Performing Arts Season, demonstrating the excitement sur- brand-new music by Christopher Rouse. rounding the Orchestra as the Music Direc- Bonus content includes audio record- J.S. BACH (1685–1750) tor has entered the fourth year of his tenure. ings of the Music Director's occasional Keyboard Concerto No. 1 in D minor, BWV 1052 About his rapport with the Philharmonic onstage commentaries, program notes players, Alan Gilbert has said: “The chem- published in each concert’s Playbill, and (ca. 1714–17/ca.1729–39) 21:43 istry between the Orchestra and me is encores — all in the highest audio quality Allegro 8:02 ever-evolving and deepening. It is a great available for download. Adagio 6:01 joy to make music with these incredible For more information about the series, Allegro 7:40 musicians and to share what we have to visit nyphil.org/recordings. -
STAGED PRODUCTION of HK GRUBER's Gloria
Contact: Katherine E. Johnson (212) 875-5718; [email protected] National Press Representative: Julia Kirchhausen (917) 453-8386; [email protected] Metropolitan Museum of Art contact: Meryl Cates (212) 650-2684; [email protected] MAY 29–30 AND JUNE 1, 2014, AT THE METROPOLITAN MUSEUM OF ART: STAGED PRODUCTION of HK GRUBER’s Gloria – A Pig Tale Juilliard’s AXIOM Ensemble To Be Conducted by ALAN GILBERT Created by DOUG FITCH and GIANTS ARE SMALL As part of the NY PHIL BIENNIAL, New York Philharmonic Music Director and The Juilliard School’s Director of Conducting and Orchestral Studies Alan Gilbert will lead a staged performance of Gloria – A Pig Tale, a two-act comic opera by HK Gruber (Austria, b. 1943), featuring vocalists affiliated with The Juilliard School — soprano Lauren Snouffer, mezzo- soprano Brenda Patterson, tenor Alexander Lewis, baritone Carlton Ford, and bass Kevin Burdette — as well as Juilliard’s AXIOM ensemble. The performances — May 29–30 and June 1, 2014, at The Metropolitan Museum of Art’s Grace Rainey Rogers Auditorium, and a co- presentation of the New York Philharmonic, The Juilliard School, and Met Museum Presents — will be directed and designed by Doug Fitch, produced by Edouard Getaz, and staged by Giants Are Small; James Smith is production manager, Kate Noll is set designer, and Jeanette Oi-Suk Yew is lighting designer. This unprecedented production will transform the Grace Rainey Rogers Auditorium with an imaginative landscape that brings farm to stage with costumes, sets, and projections. “I enjoy blurring the lines that delineate categories and this production will be no different,” says director/designer Doug Fitch. -
Art Works Grants
National Endowment for the Arts — December 2014 Grant Announcement Art Works grants Discipline/Field Listings Project details are as of November 24, 2014. For the most up to date project information, please use the NEA's online grant search system. Art Works grants supports the creation of art that meets the highest standards of excellence, public engagement with diverse and excellent art, lifelong learning in the arts, and the strengthening of communities through the arts. Click the discipline/field below to jump to that area of the document. Artist Communities Arts Education Dance Folk & Traditional Arts Literature Local Arts Agencies Media Arts Museums Music Opera Presenting & Multidisciplinary Works Theater & Musical Theater Visual Arts Some details of the projects listed are subject to change, contingent upon prior Arts Endowment approval. Page 1 of 168 Artist Communities Number of Grants: 35 Total Dollar Amount: $645,000 18th Street Arts Complex (aka 18th Street Arts Center) $10,000 Santa Monica, CA To support artist residencies and related activities. Artists residing at the main gallery will be given 24-hour access to the space and a stipend. Structured as both a residency and an exhibition, the works created will be on view to the public alongside narratives about the artists' creative process. Alliance of Artists Communities $40,000 Providence, RI To support research, convenings, and trainings about the field of artist communities. Priority research areas will include social change residencies, international exchanges, and the intersections of art and science. Cohort groups (teams addressing similar concerns co-chaired by at least two residency directors) will focus on best practices and develop content for trainings and workshops.