August 2017 Catalogue Issue 16 Prices Valid Until Wednesday 27 September 2017 Unless Stated Otherwise
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CHAN 10092 BOOK.Qxd 23/4/07 10:52 Am Page 2
CHAN 10092 Front.qxd 23/4/07 10:51 am Page 1 CHAN 10092 CHANDOS james macmillan into the ferment • the berserking • britannia premiere recording martin roscoe piano CHAN 10092 BOOK.qxd 23/4/07 10:52 am Page 2 James MacMillan (b. 1959) 1 Britannia (1994) 12:42 The Berserking (1989)* 31:22 Andrew FarringtonAndrew A Concerto for Piano and Orchestra 2 e = 140+ Energico – 9:10 3 q = 60 – 12:52 4 e = 104 9:20 premiere recording Into the Ferment (1988, revised 2002) 23:27 for ensemble and orchestra 5 ‘The Storm’ – 1:43 orchestra and ensemble 6 ‘Here are we met, three merry boys’ – 2:26 3 orchestral trombones and ensemble 7 ‘In dispraise of whisky’ – 1:56 orchestra only 8 ‘We are na’ fou’!’ – 3:03 ensemble only James MacMillan 9 ‘It is the moon, I ken her horn’ – 2:57 orchestra and ensemble 3 CHAN 10092 BOOK.qxd 23/4/07 10:52 am Page 4 MacMillan: Into the Ferment etc. Listeners who know James MacMillan But the central idea behind all three works is 10 ‘Three merry boys again’ (sometime later) – 2:25 through his most popular works – such as not religious exultation, but other, much more orchestra only The Confession of Isobel Gowdie (1990) for worldly kinds of intoxication: the hyped-up, 11 ‘Wha’ first shall rise to gang awa’’ – 2:58 orchestra or the percussion concerto Veni, Veni, alcohol-fuelled exhilaration of a football crowd ensemble only Emmanuel (1992) – will no doubt have a clear in The Berserking (1989), the swaggering self- 12 ‘Man to man… shall brithers be…’ – 3:41 understanding of this composer’s central beliefs aggrandisement of militant nationalism in orchestra only and concerns. -
Meridian 599Brahms Primrose Inlay
Page 1 Johannes Brahms Gabriel Fauré Piano Quartet Piano Quartet G minor, op.25 C minor, op.15 The Primrose Piano Quartet Recorded using an historic Blüthner piano chosen by Brahms Page 2 Page 3 Gabriel Fauré: Piano Quartet C minor, op.15 dissonances (Fauré was Ravel's composition teacher). The slow movement is elegiac, tragic, and never self- association with the pathos of G minor, not least in his On hearing it for the first time, almost everyone is Stephen Johnson writes of Fauré's "intensity of feeling indulgent. The music moves magically from its own Piano Quartet and in the formal complexities of bowled over by the emotional exuberance and sheer balanced by elegance and formal lucidity". Fauré opening sombreness to a passage dreaming of happier its first movement, that one thinks of as the piano brilliance of Fauré's first Piano Quartet. It is one of himself wrote that "to express what is within you with times. This movement must surely reflect the unfolds the opening unison theme. Just a few bars later those pieces that music lovers can easily miss, for sincerity, in the clearest, most perfect manner, would emotionally traumatic time Fauré was experiencing comes the relative major, with a series of aside from the Requiem, one or two incidental pieces seem to me the ultimate goal of art". Mozart might during the period of its composition. His fiancé, appoggiaturas in sixths alternating between the piano such as Après un Rêve, and the Dolly Suite, Fauré's have said the same. The authors of the Record Guide in Marianne Viardot, with whom he was passionately in and upper strings (Specht imagines tender wooing). -
A Survey and Guide to the Most Frequently Programmed Lieder In
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2010 A survey and guide to the most frequently programmed Lieder in the undergraduate studios of selected major music institutions in the United States Joseph Christopher Turner Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Turner, Joseph Christopher, "A survey and guide to the most frequently programmed Lieder in the undergraduate studios of selected major music institutions in the United States" (2010). LSU Doctoral Dissertations. 3319. https://digitalcommons.lsu.edu/gradschool_dissertations/3319 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 SURVEY AND GUIDE TO THE MOST FREQUENTLY PROGRAMMED LIEDER IN THE UNDERGRADUATE STUDIOS OF SELECTED MAJOR MUSIC INSTITUTIONS IN THE UNITED STATES A Monograph 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 and Dramatic Arts by Joseph Christopher Turner B.M., Mississippi College, 1994 M.M., Mississippi College, 1998 August 2010 i © Copyright 2010 Joseph Christopher Turner All rights reserved. ii DEDICATION To my parents iii ACKNOWLEDGEMENTS There are so many without whom this project would not have been possible. I wish to thank the following individuals for their support and encouragement: Prof. -
Tbeatthe HEAT!
THE SUNDAY STAR, Washington, D. C. SPMMT, «. TURNTABLE TALK E-4 MAKC* IMS | NEWS OF MUSIC Here Are New Sounds Mozart Cycle Billed JjfH At 4 For Speeding Guests RHBB plC' -• ww*lfe*' By JAMES G. DEANE ! work Is familiar In a version By Dirksen, Lywen Up InStamford. Conn., when for concert orchestra arranged he Is not out in the West In- with the composer’s approval By DAT THORPE States for an average of $16.43. dies or some other exotic spot by Gordon Jacobs, a pupil. The Certainly the most unusual Those interested in entering the contest should write Helen with a microphone and tape original Is no less Ingratiating. musical event for which the - N' Havener, National Federation recorder, there is a man named All told, there are really II Mocart anniversary will be Clubs, of Music 445 West Emory Cook who has a pen- pieces on the disc, which the responsible this year Is the Twenty-third street. New York chant fer miking recordings Eastman Symphonic Wind cycle of Mozart violin 11. N. Y. nobody else would think of. ' Ensemble performs with gus- and keyboard sonatas to be The other contest is the Merriweather Post Award of For posterity, Mr. Cook has to. The recorded sound is a ' played this spring and fall by ! SSOO cash and a S6OO scholar- magnetically enshrined the i model. Richard Dirksen and Werner ship ** * * SOPRANO WITH ARMY the Phillips Gal- to the Juilliard School of sound of ocean waves, earth- at Music. The National Sym- NEW BCHUBERTIAN BAND—Evelyn Sachs, who fcry quakes. -
The Ukrainian Weekly 1987
ТаІИНPublishtd by tht Ukrainian National A5sociation Inc.. a fraternal non-profit associationу| Vol. LV No.9 THE UKRAINIAN WEEKLY SUNDAY, MARCH 1.1987 25 cent5 Treblinka survivors' testimony begins Gen. Petro Grigorenko dies NEW YORK - Petro Hryhorovych in Demjanjui( trial's second week Grigorenko, a founding member of Special to Svoboda and The Weekly said, wore black uniforms, while the both the Moscow and Ukrainian Hel Germans were dressed in green. He sinki monitoring groups, and a former JERUSALEM - Two survivors of recalled his experiences in the camp Red Army general, died here at Beth the Treblinka death camp testified this dramatically and emotionally as he had Israel Hospital on Saturday, February week at the war crimes trial of John done in German and American courts, 21. He was 79. Demjanjuk, and both identified the at legal proceedings against, among A tireless defender of human and retired autoworker as "Ivan of Tre others, Feodor Fedorenko and Mr. national rights until his death, Gen. blinka" in dramatic appearances. Demjanjuk. Grigorenko was confined for nearly six During cross-examination of both Mr. Epstein pointed at Mr. Demjan years (1963-1964, 1969-1974) in Soviet witnesses, the defense pointed out juk and shouted, "This is the man, the psychiatric hospitals in retaliation for inconsistencies in each witness's own man sitting over there," in identifying such activities. testimony given at various times as well him as a guard at Treblinka named In 1978, while in the United States for as discrepancies between the testimo Ivan. Some of the spectators at the trial medical treatment, he was stripped of nies of both men. -
James Macmillan 29
premiere recordings a scotch bestiary piano concerto no. 2 wayne marshall bbc philharmonic CHAN 10377 james macmillan 29 CCHANHAN 1103770377 BBOOK.inddOOK.indd 228-298-29 114/8/064/8/06 114:55:414:55:41 James MacMillan (b. 1959) premiere recordings Andrew Farrington Andrew A Scotch Bestiary (2003– 04)* 33:35 Enigmatic variations on a zoological carnival at a Caledonian exhibition for organ and orchestra Dedicated to Gillian Moore MBE I. The menagerie, caged 21:01 1 The book is opened. Andante – 1:28 2 1 Ode to a cro-magnon hyena. Adagio – 2:33 3 A page is turned. Tempo I – 0:42 4 2 Reptiles and Big Fish (in a small pond). Largo – Andante – Largo – Andante – Tempo di valse (Allegro) – Andante – Largo – 1:57 5 3 Her Serene and Ubiquitous Majesty, Queen Bee. Senza misura. Prestissimo possibile, sempre legatissimo – [ ] – Adagio – 2:10 6 Another page is turned. Tempo I – 0:57 7 4 The red-handed, no-surrender, howler monkey. [ ] – Tempo di marcia – 1:36 8 5 Uncle Tom Cat and his Chickens. Adagio – 2:00 9 Yet another page is turned. Tempo I – 0:41 James MacMillan 3 CCHANHAN 1103770377 BBOOK.inddOOK.indd 22-3-3 114/8/064/8/06 114:55:294:55:29 10 6 Scottish Patriots. [ ] – [ ] – Maestoso – 2:11 MacMillan: Piano Concerto No. 2/A Scotch Bestiary 11 7 The Reverend Cuckoo and his Parroting Chorus. [ ] – 1:34 12 8 Jackass Hackass. Prestissimo possibile (moto perpetuo) – 1:41 2004 was the year when Cumnock Fair came to were both having their cake and eating it 13 The book is closed. -
Francis Poulenc
CHAN 3134(2) CCHANHAN 33134134 WWideide bbookook ccover.inddover.indd 1 330/7/060/7/06 112:43:332:43:33 Francis Poulenc © Lebrecht Music & Arts Library Photo Music © Lebrecht The Carmelites Francis Poulenc © Stephen Vaughan © Stephen CCHANHAN 33134(2)134(2) BBook.inddook.indd 22-3-3 330/7/060/7/06 112:44:212:44:21 Francis Poulenc (1899 – 1963) The Carmelites Opera in three acts Libretto by the composer after Georges Bernanos’ play Dialogues des Carmélites, revised English version by Joseph Machlis Marquis de la Force ................................................................................ Ashley Holland baritone First Commissioner ......................................................................................James Edwards tenor Blanche de la Force, his daughter ....................................................... Catrin Wyn-Davies soprano Second Commissioner ...............................................................................Roland Wood baritone Chevalier de la Force, his son ............................................................................. Peter Wedd tenor First Offi cer ......................................................................................Toby Stafford-Allen baritone Thierry, a valet ........................................................................................... Gary Coward baritone Gaoler .................................................................................................David Stephenson baritone Off-stage voice ....................................................................................... -
THROUGH LIFE and LOVE Richard Strauss
THROUGH LIFE AND LOVE Richard Strauss Louise Alder soprano Joseph Middleton piano Richard Strauss (1864-1949) THROUGH LIFE AND LOVE Youth: Das Mädchen 1 Nichts 1.40 Motherhood: Mutterschaft 2 Leises Lied 3.13 16 Muttertänderlei 2.27 3 Ständchen 2.42 17 Meinem Kinde 2.52 4 Schlagende Herzen 2.29 5 Heimliche Aufforderung 3.16 Loss: Verlust 18 Die Nacht 3.02 Longing: Sehnsucht 19 Befreit 4.54 6 Sehnsucht 4.27 20 Ruhe, meine Seele! 3.54 7 Waldseligkeit 2.54 8 Ach was Kummer, Qual und Schmerzen 2.04 Release: Befreiung 9 Breit’ über mein Haupt 1.47 21 Zueignung 1.49 Passions: Leidenschaft 22 Weihnachtsgefühl 2.26 10 Wie sollten wir geheim sie halten 1.54 23 Allerseelen 3.22 11 Das Rosenband 3.15 12 Ich schwebe 2.03 Total time 64.48 Partnership: Liebe Louise Alder soprano 13 Nachtgang 3.01 Joseph Middleton piano 14 Einerlei 2.53 15 Rote Rosen 2.19 2 Singing Strauss Coming from a household filled with lush baroque music as a child, I found Strauss a little later in my musical journey and vividly remember how hard I fell in love with a recording of Elisabeth Schwarzkopf singing Vier Letze Lieder, aged about 16. I couldn’t believe from the beginning of the first song it could possibly get any more ecstatic and full of emotion, and yet it did. It was a short step from there to Strauss opera for me, and with the birth of YouTube I sat until the early hours of many a morning in my tiny room at Edinburgh University, listening to, watching and obsessing over Der Rosenkavalier’s final trio and presentation of the rose. -
The Glasgow Season 2014/2015
A World of Music at Glasgow City Halls THE GLASGOW SEASON 2014/2015 BOX OFFICE: 0141-353 8000 bbc.co.uk/bbcsso #bbcssothursday ‘It has been my intention to bring some of the fi nest singers, soloists and conductors to Scotland and to showcase the brilliance, fl exibility and commitment of this remarkable group of musicians.’ THE GLASGOW SEASON 2014/2015 In September 2014 it will be fi ve years since I took up the post of Chief I’m also delighted that this year I’ll be celebrating an important birthday Conductor with this wonderful orchestra. Our relationship continues in Scotland with arguably the fi nest present a conductor could ask for to blossom, and I am immensely proud of our achievements so far. It - Beethoven’s Ninth Symphony. The orchestra and I will be joined by has been my intention to bring some of the fi nest singers, soloists and a world-class line-up of soloists, and our friends the Edinburgh Festival All concerts are scheduled conductors to Scotland and to showcase the brilliance, fl exibility and Chorus, for what promises to be a very memorable occasion. I hope you to be recorded for future commitment of this remarkable group of musicians. The 2014/15 season can be there. transmission or broadcast is no exception. BBC Scottish Symphony Orchestra facebook.com/bbcsso live on BBC Radio 3. Our theme this season in Glasgow is ‘discovery’ so whether you’re a BBC Scotland twitter.com/bbcsso We open with Dmitri Shostakovich’s Tenth Symphony and will later regular subscriber to the Thursday Night Series or an occasional visitor perform his enigmatic Fifteenth, as well as the First Piano Concerto to our wonderful home at City Halls, I’m certain you will fi nd something City Halls, Candleriggs youtube.com/bbcsso with Garrick Ohlsson; we’ll be exploring connections between the new in the evenings ahead to intrigue, delight and surprise you. -
Porphyria's Lover
Porphyria’s Lover Peter Fribbins The title comes from the Robert Browning poem of the same name (1836). For me, this is a remarkable poem, full of passion, vivid imagery and imbued with touches of madness and distortion (here literally in the form of the disease porphyria) which seems typical of much Romantic art. I have often in my mind paired the aesthetics of different poets and composers, and whenever I think of Robert Browning, I always think of Robert Schumann. There seem to be a number of parallels, not merely their chronology, but also their expressive worlds. A delicate, almost seductive madness and a slightly twisted reality seem so much a part of Schumann’s aesthetic and of this poem. Thus, this piece forms my musical response to the Browning through a kind of Schumannesque filter. I have attempted in some way to capture the delicacy of Schumann, his elegiac side, the passion, and also that sense of early Romantic tender warmth (that on occasions can seem almost smothering and suffocating). The gentle madness takes the form of dissonant clusters, which return in different forms throughout the work (I was thinking in particular of the strange dissonances in ‘Einen Blumen’ from the piano peces Waldscenen , Op.82). Also there is a recurring Brahms-like melodic idea (marked ‘teneramente’ in the score) which also returns in different Schumannesque guises, sometimes as a transparent shadow of before, sometimes darker and twisted, sometimes slower or quicker. There are three movements: the quick middle movement is followed by the last movement without a break. -
Festival Richard Strauss
RICHARD STRAUSS Torino, 2-25 febbraio 2018 Un progetto di CITTÀ DI TORINO TEATRO REGIO TORINO RICHARD-STRAUSS-ARCHIV GARMISCH RICHARD-STRAUSS-INSTITUT GARMISCH-PARTENKIRCHEN ASSOCIAZIONE AMICI DEL REGIO ARIANNA PER LA MUSICA AMBAscIATA DELLA REPUBBLICA FEDERALE DI GERMANIA A ROMA BIBLIOTECA NAZIONALE UNIVERSITARIA DI TORINO ASSOCIAZIONE ABNUT - AMICI BIBLIOTECA NAZIONALE UNIVERSITARIA DI TORINO CONSERVATORIO “GIUSEPPE VERDI” DI TORINO ORCHESTRA FILARMONICA DI TORINO ASSOCIAZIONE BARETTI UNIONE MUSICALE ORCHESTRA DA CAMERA “GIOVANNI BATTISTA POLLEDRO” ACCADEMIA DEL SANTO SPIRITO I MUSICI DI SANTA PELAGIA ACCADEMIA CORALE STEFANO TEMPIA ASSOCIAZIONE CONCERTANTE - PROGETTO ARTE&MUSICA CIRCOLO DEGLI ARTISTI ORCHESTRA SINFONICA NAZIONALE DELLA RAI GOETHE-INSTITUT TURIN ACCADEMIA DI MUSICA DI PINEROLO UNIVERSITÀ DEGLI STUDI DI TORINO - CENTRO STUDI SUL TEATRO MUSICALE IL CIRCOLO DEI LETTORI ASSOCIAZIONE CULTURALE ORGANALIA ACADEMIA MONTIS REGALIS MARCHESATO OPERA FESTIVAL - COMUNE DI SALUZZO - FONDAZIONE SCUOLA APM DI SALUZZO ASSOCIAZIONE ANTIDOGMA MUSICA MUSEO NAZIONALE DEL CINEMA INPOETICA - FESTIVAL TRASVERSALE DELLE ARTI Dopo il successo del Festival Alfredo Casella, che nel 2016 si è aggiudicato il Premio Abbiati dell’Associazione Nazionale dei Critici Musica- li per l’originalità del progetto, e del Festival Antonio Vivaldi l’anno scorso, il 2018 è l’an- no di Richard Strauss. Al compositore tedesco più in vista e di successo nella prima metà del Novecento viene dunque dedicato il terzo festi- val monografico, interdisciplinare e collegiale realizzato a Torino: interdisciplinare perché nei 33 appuntamenti che lo costituiscono sono coin- volte più forme artistiche; collegiale perché tutto il programma è frutto di una vasta sinergia che coinvolge circa trenta istituzioni culturali. Richard Strauss (1864-1949) ebbe un forte lega- me con l’Italia e la sua cultura, come testimonia la mostra documentaria allestita per l’occasione e che significativamente inaugura il Festival. -
Raphael Wallfisch
Peter Donohoe Suite 114 Piano Business Design Centre 52 Upper Street London N1 0QH t: +44 (0)20 7354 9199 f: +44 (0)20 7359 0112 Concerto Repertoire [email protected] www.ikonarts.com Alwyn, William Piano Concerto No.1 Piano Concerto No.2 Arnold, Malcolm Fantasy on a Theme of John Field Bach, J.S. Concerto No.1 in D minor, BWV 1052 Barber, Samuel Piano Concerto, Op.38 Bartók, Béla Piano Concerto No.1, Sz.83 BB 91 Piano Concerto No.2, Sz.95 BB 10 Piano Concerto No.3, Sz.119 BB 127 Bax, Arnold Symphonic Variations for Piano and Orchestra Beethoven, Ludvig Van Piano Concerto 1, Op.15 Piano Concerto 2, Op.19 Piano Concerto 3, Op.37 Piano Concerto 4, Op.58 Piano Concerto 5, Op.73 Fantasia in C minor, Op.80 Violin Concerto (piano version), Op.61a Berg, Alban Chamber Concerto for Piano, Violin & 13 Wind Instruments Bernstein, Leonard Prelude Fugue & Riffs for Solo Clarinet and Jazz Ensemble Symphony No.2 The Age of Anxiety Bliss, Arthur Piano Concerto in B flat major Concerto for 2 Pianos and Orchestra Brahms, Johannes Concerto No.1, Op.15 Concerto No.2, Op.83 Britten, Benjamin Piano Concerto, Op.13 Diversions for Piano (left hand) and Orchestra, Op.21 Young Apollo, Op.16 Scottish Ballad for 2 Pianos and Orchestra, Op.26 Bush, Alan Africa Piano Concerto Symphony No. 2 Busoni, Ferruccio Piano Concerto, Op.39 Chopin, Frédéric Piano Concerto No.1, Op.11 Piano Concerto No.2, Op.21 [email protected] www.ikonarts.com t: +44 (0)20 7354 9199 Andante Spianato e Gran’ Polonaise Brilliante, Op.22 Darnton, Christian Concertino in C major for Piano and String