Classics 1 Program Notes Roman Carnival, Op
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Tchaikovsky's Romeo and Juliet
Tchaikovsky’s Romeo and Juliet: A Schleiermacherian Interpretation Emer Nestor This article will discuss the application of Friedrich Daniel Ernst Schleiermacher’s (1768-1834) hermeneutical methods to a general reading of Tchaikovsky’s fantasy-overture, Romeo and Juliet. The German philosopher gave a lecture series on hermeneutics at the University of Berlin in 1819, and from his research on the subject he invariably redefined this field of philosophical thinking. The central elements of his ‘whole and parts’ theory will be discussed as an alternative mode of investigative music analysis. Richard E. Palmer presents six modern definitions of hermeneutics as follows: 1) The theory of biblical exegesis 2) General philological methodology 3) The science of all linguistic understanding 4) The methodological foundation of Geisteswissenschaften 5) Phenomenology of existence and of existential understanding 6) The systems of interpretation, both recollective and iconoclastic used by man to reach the meaning behind myths and symbols.1 The term ‘hermeneutics’ is a word which is prominent in theological, philosophical and literary circles but relatively new to the discipline of musicology.2 Ian Bent asserts that it ‘came to prominence in writing about music implicitly in the nineteenth century and explicitly in the early twentieth century’.3 He remarks that no author in the nineteenth century 1 Richard E. Palmer.: Hermeneutics: Interpretation Theory in Schleiermacher, Dilthey, Heidegger and Gadamer (Evanstown: Northwestern University Press, 1969), 3 3 - Hereafter referred to as Palmer: Hermeneutics. 2 For a more in-depth discussion of hermeneutics see Kurt Mueller-Vollmer: The Hermeneutics Reader: Texts of the German Tradition from the Enlightenment to the Present (Oxford: Basil Blackwell, 1986). -
Eifman Ballet of St. Petersburg
Cal Performances Presents Program Friday, May 1, 2009, 8pm Eifman Ballet of St. Petersburg Saturday, May 2, 2009, 8pm Artistic Director Sunday, May 3, 2009, 3pm Boris Eifman, Zellerbach Hall Soloists Maria Abashova, Elena Kuzmina, Natalia Povorozniuk, Eifman Ballet of St. Petersburg Anastassia Sitnikova, Nina Zmievets Boris Eifman, Artistic Director Yuri Ananyan, Dmitry Fisher, Oleg Gabyshev, Andrey Kasyanenko, Ivan Kozlov, Oleg Markov, Yuri Smekalov Company Marina Burtseva, Valentina Vasilieva, Polina Gorbunova, Svetlana Golovkina, Alina Gornaya, Diana Danchenko, Ekaterina Zhigalova, Evgenia Zodbaeva, Sofia Elistratova, Elena Kotik, Yulia Kobzar, Alexandra Kuzmich, Marianna Krivenko, Marianna Marina, Alina Petrova, Natalia Pozdniakova, Victoria Silantyeva, Natalia Smirnova, Agata Smorodina, Alina Solonskaya, Oksana Tverdokhlebova, Lina Choe Sergey Barabanov, Sergey Biserov, Maxim Gerasimov, Pavel Gorbachev, Anatoly Grudzinsky, Vasil Dautov, Kirill Efremov, Sergey Zimin, Mikhail Ivankov, Alexander Ivanov, Andrey Ivanov, Aleksandr Ivlev, Stanislav Kultin, Anton Labunskas, Dmitry Lunev, Alexander Melkaev, Batyr Niyazov, Ilya Osipov, Artur Petrov, Igor Polyakov, Roman Solovyov Ardani Artists Management, Inc., is the exclusive North American management for Eifman Ballet of St. Petersburg. Valentin Baranovsky Valentin Onegin (West Coast Premiere) Choreography by Boris Eifman Ballet in Two Acts Inspired by Alexander Pushkin’s novel, Eugene Onegin Music by Pyotr Il’yich Tchaikovsky and Alexander Sitkovetsky Cal Performances’ 2008–2009 season is sponsored by Wells Fargo Bank. 6 CAL PERFORMANCES CAL PERFORMANCES 7 Program Cast Friday, May 1, 2009, 8pm Onegin Saturday, May 2, 2009, 8pm Sunday, May 3, 2009, 3pm Zellerbach Hall Onegin music Pyotr Il’yich Tchaikovsky (1840–1893) Variations on a Rococo Theme in A major, Op. 33 (1876) Suite No. 3 in G major, Op. -
Focus 2020 Pioneering Women Composers of the 20Th Century
Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers. -
2018–19 Full Season Listing
New Jersey Symphony Orchestra: 2018–19 Full Season Listing ZHANG CONDUCTS BEETHOVEN 9 Fri, Oct 5 at 7:30 pm NJPAC in Newark Sat, Oct 6 at 8 pm State Theatre New Jersey in New Brunswick Sun, Oct 7 at 3 pm NJPAC in Newark XIAN ZHANG conductor MARY ELIZABETH WILLIAMS soprano ELIZABETH BISHOP mezzo-soprano LORENZO DECARO tenor REGINALD D. SMITH JR. bass MONTCLAIR STATE UNIVERSITY SINGERS MONTCLAIR STATE UNIVERSITY CHORALE NEWARK VOICES Heather J. Buchanan, conductor NEW JERSEY YOUTH CHORUSES Trish Joyce, artistic director NEW JERSEY SYMPHONY ORCHESTRA Beethoven’s glorious Ninth, led by Xian Zhang, is a fitting start to a spectacular season. The NJSO is joined by singers from Montclair State University and a choir composed in part of Newark residents. WHITLEY Speak Out (US Premiere) Stirring and poignant; rising British composer Kate Whitley’s work is based on Malala Yousafzai’s legendary speech to the UN advocating the right of every girl to have an education. BEETHOVEN Symphony No. 9, “Choral” An unmistakable masterpiece; the hymn’s text extolling the human bond is sung by a joyful assembly, a massed choir including singers from MSU and Newark. * * * SEONG-JIN CHO PLAYS CHOPIN Thu, Oct 11 at 7:30 pm bergenPAC in Englewood Sat, Oct 13 at 8 pm NJPAC in Newark Sun, Oct 14 at 3 pm Mayo Performing Arts Center in Morristown OTTO TAUSK conductor SEONG-JIN CHO piano NEW JERSEY SYMPHONY ORCHESTRA In his 20s, Korean pianist Seong-Jin Cho is on a fast track to stardom. The 2016 Chopin Competition winner’s performance of the composer’s spellbinding Second Piano Concerto is unmissable. -
Download Booklet
554844 bk Grishko2 EC 5|12|02 3:29 PM Page 20 Nikolay Andreyevich Rimsky-Korsakov Mikhail Ivanovich Glinka DDD (1844-1908) (1804-1857) Sadko Ruslan and Lyudmila Russian Opera Arias 8.554844 1 Introduction 2:24 9 Bayan’s song 4:22 2 Sadko’s Melismatic Song 3:47 There is a deserted land Ah, you dark oak grove! A Life for the Tsar Sadko • Prince Igor • Rusalka • A Life for the Tsar 0 Krakowiak 7:02 Pyotr Il’yich Tchaikovsky ! Sobinin’s aria 6:03 Vladimir Grishko, Tenor (1840-1893) Brothers. Into the snow storm! The Slippers 3 Danse des cosaques 3:20 Nikolay Andreyevich Rimsky-Korsakov 4 Vakula’s aria 2:51 (1844-1908) Does your heart not hear my terrible grief? The Tsar’s Bride @ Lïkov’s Arioso (Act I) 2:54 Sergey Rachmaninov It is all different (1873-1943) # Lïkov’s Arioso (Act III) 2:47 Aleko The thundercloud has scurried past 5 Men’s dance 4:31 6 The young gypsy’s romance 1:25 Pyotr Il’yich Tchaikovsky See, beneath yon firmament (1840-1893) The Maid of Orleans Alexander Sergeyevich Dargomïzhsky $ Entr’acte (Act II) 3:16 (1813-1869) Iolanta Rusalka % Vaudémont’s Romance 3:41 7 Prince’s cavatina (Act III) 5:44 No! The charm of a feisty beauty’s embraces Involuntarily I am drawn 8 Gypsy dance 2:58 Alexander Porfir’yevich Borodin (1833-1887) Prince Igor ^ Polovtsian March 5:04 & Vladimir’s Aria 5:34 Slowly the day was fading 8.554844 20 554844 bk Grishko2 EC 5|12|02 3:29 PM Page 2 Vladimir Grishko Zhdyosh’ li? wafting dreams of love, Russian Opera Arias, Vol. -
RUSSIAN & UKRAINIAN Russian & Ukrainian Symphonies and Orchestral Works
RUSSIAN & UKRAINIAN Russian & Ukrainian Symphonies and Orchestral Works Occupying a vast land mass that has long been a melting pot of home-spun traditions and external influences, Russia’s history is deeply encrypted in the orchestral music to be found in this catalogue. Journeying from the Russian Empire through the Soviet era to the contemporary scene, the music of the Russian masters covers a huge canvas of richly coloured and immediately accessible works. Influences of folklore, orthodox liturgy, political brutality and human passion are all to be found in the listings. These range from 19th-century masterpieces penned by ‘The Mighty Five’ (Balakirev, Rimsky-Korsakov, Mussorgsky, Borodin, and Cui) to the edgy works of Prokofiev and Shostakovich that rubbed against the watchful eye of the Soviet authorities, culminating in the symphonic output of one of today’s most noted Russian composers, Alla Pavlova. Tchaikovsky wrote his orchestral works in a largely cosmopolitan style, leaving it to the band of brothers in The Mighty Five to fully shake off the Germanic influence that had long dominated their homeland’s musical scene. As part of this process, they imparted a thoroughly ethnic identity to their compositions. The titles of the works alone are enough to get the imaginative juices running, witness Borodin’s In the Steppes of Central Asia, Rimsky-Korsakov’s The Legend of the Invisible City of Kitezh, and Mussorgsky’s St John’s Night on the Bare Mountain. Supplementing the purely symphonic works, instrumental music from operas and ballets is also to be found in, for example, Prokofiev’sThe Love for Three Oranges Suite, Shostakovich’s four Ballet Suites, and Stravinsky’s Firebird Suite. -
Proms 2005 1
Themes and anniversaries Proms themes and anniversaries • The Sea Four of the most famous sea overtures are • Fairy Tales programmed throughout the season: Berlioz’s • End of the Second World War overture The Corsair (Prom 1) sets the Proms • Anniversaries season off to a piratical start, Mendelssohn’s ‘The Hebrides’ overture (Prom 11) and Wagner’s overture to The Flying Dutchman The Sea (Prom 59) are two of the most evocative yet concise musical illustrations of storm-ridden Two hundred years on from Nelson’s seascapes, and Walton’s Portsmouth Point momentous victory over the French in the Overture gives yet another naval perspective to Battle of Trafalgar, and 100 years after Debussy the Last Night. composed La mer, the Proms takes as one of its key themes the inspiration the sea has Sir John Eliot Gardiner, his Monteverdi afforded to composers through the ages. Choir and English Baroque Soloists perform Haydn’s ‘Nelson’ Mass as the centrepiece Henry Wood’s Fantasia on British Sea-Songs – a of an all-Haydn Late Night Prom (Prom 7). staple of the Last Night of the Proms – was Formally entitled Missa in angustiis (Mass in composed in 1905 specifically to celebrate the time of Peril), it was written in 1798 when the centenary of Nelson’s triumph.This year, war against revolutionary France was at a low marking the work’s own centenary, the Proms ebb. Stanford’s Songs of the Sea draw on the restores Wood’s authentic naval bugle-calls, glories of England’s naval past with settings of which herald the regular sequence of poems by Sir Henry Newbolt (Prom 35). -
Opera & Ballet 2017
12mm spine THE MUSIC SALES GROUP A CATALOGUE OF WORKS FOR THE STAGE ALPHONSE LEDUC ASSOCIATED MUSIC PUBLISHERS BOSWORTH CHESTER MUSIC OPERA / MUSICSALES BALLET OPERA/BALLET EDITION WILHELM HANSEN NOVELLO & COMPANY G.SCHIRMER UNIÓN MUSICAL EDICIONES NEW CAT08195 PUBLISHED BY THE MUSIC SALES GROUP EDITION CAT08195 Opera/Ballet Cover.indd All Pages 13/04/2017 11:01 MUSICSALES CAT08195 Chester Opera-Ballet Brochure 2017.indd 1 1 12/04/2017 13:09 Hans Abrahamsen Mark Adamo John Adams John Luther Adams Louise Alenius Boserup George Antheil Craig Armstrong Malcolm Arnold Matthew Aucoin Samuel Barber Jeff Beal Iain Bell Richard Rodney Bennett Lennox Berkeley Arthur Bliss Ernest Bloch Anders Brødsgaard Peter Bruun Geoffrey Burgon Britta Byström Benet Casablancas Elliott Carter Daniel Catán Carlos Chávez Stewart Copeland John Corigliano Henry Cowell MUSICSALES Richard Danielpour Donnacha Dennehy Bryce Dessner Avner Dorman Søren Nils Eichberg Ludovico Einaudi Brian Elias Duke Ellington Manuel de Falla Gabriela Lena Frank Philip Glass Michael Gordon Henryk Mikolaj Górecki Morton Gould José Luis Greco Jorge Grundman Pelle Gudmundsen-Holmgreen Albert Guinovart Haflidi Hallgrímsson John Harbison Henrik Hellstenius Hans Werner Henze Juliana Hodkinson Bo Holten Arthur Honegger Karel Husa Jacques Ibert Angel Illarramendi Aaron Jay Kernis CAT08195 Chester Opera-Ballet Brochure 2017.indd 2 12/04/2017 13:09 2 Leon Kirchner Anders Koppel Ezra Laderman David Lang Rued Langgaard Peter Lieberson Bent Lorentzen Witold Lutosławski Missy Mazzoli Niels Marthinsen Peter Maxwell Davies John McCabe Gian Carlo Menotti Olivier Messiaen Darius Milhaud Nico Muhly Thea Musgrave Carl Nielsen Arne Nordheim Per Nørgård Michael Nyman Tarik O’Regan Andy Pape Ramon Paus Anthony Payne Jocelyn Pook Francis Poulenc OPERA/BALLET André Previn Karl Aage Rasmussen Sunleif Rasmussen Robin Rimbaud (Scanner) Robert X. -
Chicago Symphony Orchestra Riccardo Muti Zell Music Director
PROGRAM ONE HUNDRED TWENTY-FOURTH SEASON Chicago Symphony Orchestra Riccardo Muti Zell Music Director Pierre Boulez Helen Regenstein Conductor Emeritus Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, January 15, 2015, at 8:00 Friday, January 16, 2015, at 1:30 Saturday, January 17, 2015, at 8:00 Riccardo Muti Conductor Yefim Bronfman Piano Brahms Piano Concerto No. 2 in B-flat Major, Op. 83 Allegro non troppo Allegro appassionato Andante John Sharp, cello Allegretto grazioso YEFIM BRONFMAN INTERMISSION Tchaikovsky Symphony No. 1 in G Minor, Op. 13 (Winter Daydreams) Daydreams of a Winter Journey: Allegro tranquillo Land of Desolation, Land of Mists: Adagio cantabile ma non tanto Scherzo: Allegro scherzando giocoso Finale: Andante lugubre—Allegro maestoso These concerts are generously sponsored by the Zell Family Foundation. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. COMMENTS by Phillip Huscher Johannes Brahms Born May 7, 1833, Hamburg, Germany. Died April 3, 1897, Vienna, Austria. Piano Concerto No. 2 in B-flat Major, Op. 83 Like Dürer, Goethe, and of the ideas for the piano concerto, and, at the a number of German same time, gave birth to new ones that he would composers before him, use when he returned to it. Back in Italy several Brahms found inspiration months later, Brahms was filled with feelings he in Italy. His first trip was could hardly name; he returned to Vienna noting in the spring of 1878, that it seemed “wrong” to call it home after days and, as he wrote home to of such unexpected contentment elsewhere. -
Thea Musgrave
SRCD.2369 STEREO AAD Thea Musgrave THEA MUSGRAVE Ashley Putnam Mary, Queen of Scots Jake Gardner Virginia Opera DISC ONE 53.28 Peter Mark 1 Cardinal Beaton’s Study 10.52 2 Mary’s arrival in Scotland 14.42 3 Peace Chorus 5.41 4 Ballroom at Holyrood 22.13 DISC TWO 79.11 1 Council Scene: Provocation Scene 18.21 2 Confrontation scene 13.03 3 Supper Room scene 6.41 4 Second Council scene 9.55 MARY 5 Opening - Mary’s Lullaby 11.04 6 Seduction scene 9.33 7 Mary’s Soliloquy. Finale 10.34 Total playing time 2 hours 12 minutes QUEEN OF SCOTS c 1979 issued under licence to Lyrita Recorded Edition from the copyright holder © 2018 Lyrita Recorded Edition, England. Lyrita is a registered trade mark. Made in the UK LYRITA RECORDED EDITION. Produced under an exclusive licence from Lyrita by Wyastone Estate Ltd, PO Box 87, Monmouth, NP25 3WX, UK SRCD 2369 20 SRCD 2369 1 Virginia Opera Production of Mary, Queen of Scots was made possible in part by grants from The Dalis Foundation The Virginia Commission of the Arts and Humanities The National Endowment for the Arts, a Federal Agency This recording of a live performance on 2 April, 1978 was made possible by the Martha Baird Rockefeller Fund for Music, Inc. and Maryanne Mott and Herman Warsh Recorded live in Norfolk, Virginia, at the gala performance for the Metropolitan Opera National Council’s Central Opera Service Conference and the Old Dominion University Institute of Scottish Studies Engineering and Production by Allen House In cooperation with The City of Norfolk and The Norfolk Department of Parks & Recreation Music published Novello Publications Inc., Ashley Putnam Photo: Virginia Opera © 1976 Novello & Co., Ltd. -
Samson Et Dalila
CAMILLE SAINT-SAËNS samson et dalila conductor Opera in three acts Sir Mark Elder Libretto by Ferdinand Lemaire production Darko Tresnjak DEBUT Monday, September 24, 2018 PM set designer 6:00–9:05 Alexander Dodge DEBUT New Production Premiere costume designer OPENING NIGHT OF THE 2018–19 SEASON Linda Cho DEBUT lighting designer Donald Holder The production of Samson et Dalila was choreographer Austin McCormick made possible by a generous gift from the Gramma Fisher Foundation, Marshalltown, Iowa, and H.M. Agnes Hsu-Tang, PhD. and Oscar Tang Additional funding for this production was received from The Walter and Leonore Annenberg Endowment Fund and William R. Miller general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON The 227th Metropolitan Opera performance of CAMILLE SAINT-SAËNS’S samson et dalila conductor Sir Mark Elder in order of vocal appearance samson Roberto Alagna abimélech Elchin Azizov the high priest of dagon Laurent Naouri first philistine Tony Stevenson* second philistine Bradley Garvin a philistine messenger Mark Schowalter This performance is being broadcast an old hebrew live on Metropolitan Dmitry Belosselskiy Opera Radio on SiriusXM channel 75 dalila and streamed at Elīna Garanča metopera.org. Monday, September 24, 2018, 6:00–9:05PM KEN HOWARD / MET OPERA Roberto Alagna Chorus Master Donald Palumbo and Elı¯na Garanˇca Musical Preparation Donna Racik, Gareth Morrell, in the title roles Jonathan C. Kelly, and Bénédicte Jourdois* of Saint-Saëns’s Assistant Stage Directors -
Tchaikovsky Symphony No
TCHAIKOVSKY Symphony No. 5 Romeo and Juliet Royal Philharmonic Orchestra DANIELE GATTI 1 TCHAIKOVSKY / Symphony No.5, Romeo & Juliet / RPO Daniele Gatti HMU 807381 © harmonia mundi PIOTR ILYICH TCHAIKOVSKY (1840–1893) Symphony No. 5 in E minor, Op. 64 45:09 1 I Andante – Allegro con anima 12:46 2 II Andante cantabile, con alcuna licenza – Moderato con anima 13:54 MArtIN OWEN horn solo 3 III Valse: Allegro moderato 5:56 4 IV Finale: Andante maestoso – Allegro vivace – Molto vivace 12:33 5 Romeo & Juliet 20:39 Fantasy Overture, after Shakespeare Acknowledgements Royal Philharmonic Orchestra Front Cover: Photo of Daniele Gatti by Primo Gnani. DANIELE GATTI Cover design: Scarlett Freund All texts and translations © harmonia mundi usa Track 5: Romeo & Juliet, Rondor Music (Ldn) Ltd. Recorded on May 6–7, 1998, at Watford Colosseum Produced by Stephen Johns 1998 BMG UK & Ireland Ltd./Classic FM plc Issued under license from BMG UK & Ireland Ltd. 2003 harmonia mundi usa 1117 Chestnut Street, Burbank, CA 91506 Symphony No. 5: Recorded July 31–August 1, 2003 at Abbey Road Studios, London Producer: Robina G. Young DSD Recording Engineer & Editor: Brad Michel Recorded, edited & mastered in DSD 2 TCHAIKOVSKY / Symphony No.5, Romeo & Juliet / RPO Daniele Gatti HMU 807381 © harmonia mundi TCHAIKOVSKY Symphony No. 5 • Romeo & Juliet ime has tamed Tchaikovsky. Works that once most often cited as having led to both his ill-conceived end. Scarcely do we hear an enjoyable melody than it is must surely have seemed radical–‘bold’ is a word marriage and his alleged suicide. engulfed in a whirlpool of unimportant harmonic T that won’t do–are conventional to contemporary Before beginning his final three symphonies (which progressions and modulations, as though the special aim ears, and the sensibility that inspired Tchaikovsky at his were composed in 1878, 1888, and 1893 respectively), of the composer was to be unintelligible.