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24Th International Piano Competition Since 1947
24th International since 1947 Piano Competition Rina Sala Gallo 25 Settembre — 01 Ottobre 2016 Teatro Manzoni / Monza Rina Sala Gallo 2016 1 / 52 La Storia La Our History Our Rina Sala Gallo (1898 — 1980) u allieva prediletta di Giovanni Anfossi, sotto la cui he was the pet pupil of Giovanni Anfossi, under Fguida si diplomò giovanissima, con lode speciale, Swhose tutelage she graduated, at a very young presso il Conservatorio «G. Verdi» di Milano. age, and with special commendation, from the Iniziò la carriera concertistica poco più che decenne, Conservatorio “G. Verdi” in Milan. She began her con vivo successo di critica e di pubblico. concert career at around the age of ten with great Tenne concerti in Italia ed in Europa, riscuotendo critical and public success, and went on to give sempre i massimi consensi. concerts in Italy and in Europe, always earning Dedicò la sua vita all’arte pianistica e fondò a maximum acclaim. Monza una rinomata scuola di pianoforte. Sala Gallo dedicated her life to the Art of Nel 1947 organizzò il primo concorso pianistico Piano, and founded a renowned piano school di Monza in collaborazione con Benedetti in Monza.In 1947, she organized the first Piano Michelangeli ed altri esponenti del mondo musicale Competition in Monza in collaboration with italiano, tra i quali Tagliapietra, Gorini, Benedetti Michelangeli and other exponents of Sanzogno, Vidusso, Mozzati e Margola. A questo ne the Italian musical world, such as Tagliapietra, seguirono altri nel 1949 e nel 1967. Gorini, Sanzogno, Vidusso, Mozzati and Margola. Dal 1970 il concorso, divenuto biennale, è a suo This was followed by two further editions in 1949 nome e dal 2009 è membro della Federazione and 1967. -
New on Naxos | MAY 2012
25years NEW ON The World’s Leading ClassicalNA MusicXO LabelS MAY 2012 This Month’s Other Highlights © 2012 Naxos Rights International Limited • Contact Us: [email protected] www.naxos.com • www.classicsonline.com • www.naxosmusiclibrary.com NEW ON NAXOS | MAY 2012 8.572823 Playing Time: 76:43 7 47313 28237 1 © Bruna Rausa Alessandro Marangoni Mario CASTELNUOVO-TEDESCO (1895-1968) Piano Concerto No 1 in G minor, Op 46 Piano Concerto No 2 in F major, Op 92 Four Dances from ‘Love’s Labour’s Lost’, Op 167* Alessandro Marangoni, piano Malmö Symphony Orchestra • Andrew Mogrelia * First Performance and Recording Mario Castelnuovo-Tedesco’s two Piano Concertos form a contrasting pair. Concerto No. 1, written in 1927, is a vivid and witty example of his romantic spirit, exquisite melodies and rich yet transparent orchestration. Concerto No. 2, composed a decade later, is a darker, more dramatic and virtuosic work. The deeply-felt and dreamlike slow movement and passionate finale are tinged with bleak moments of somber agitation, suggestive of unfolding tragic events with the imminent introduction of the Fascist Racial Laws that led Castelnuovo-Tedesco to seek exile in the USA in 1939. The Four Dances from ‘Love’s Labour’s Lost’, part of the composer’s recurring fascination for the art of Shakespeare, are atmospheric, richly characterised and hugely enjoyable. This is their first performance and recording. After winning national and international awards, Alessandro Marangoni has appeared throughout Europe and America, as a soloist and as a © Zu Zweit chamber musician, collaborating with some of Italy’s leading performers. -
11 7 Thseason
2016- 17 (117TH SEASON) Repertoire Bach Cantata No. 150, “Nach Dir, Herr, verlanget Feb. 23-25, 2017 mich”* Violin Concerto No. 1 Mar. 15-16, 2017 Bartók Bluebeard’s Castle Mar. 2-4, 2017 Bates Alternative Energy* Apr. 6-9, 2017 Beethoven Piano Concerto No. 4 Feb. 2-4, 2017 Selections from The Creatures of Prometheus Apr. 6-9, 2017 Symphony No. 2 Dec. 8-10, 2016 Symphony No. 3 (“Eroica”) Mar. 10-12, 2017 Symphony No. 6 (“Pastoral”) Nov. 25-27, 2016 Violin Concerto Nov. 3-5, 2016 Berg Violin Concerto Mar. 10-12, 2017 Berlioz Le Corsaire Overture Oct. 7-8, 2016 Harold in Italy Jan. 26-27, 2017 Symphonie fantastique Sep. 22-24, 2016; Oct. 7-8, 2016 Bernstein Prelude, Fugue, and Riffs Mar. 30-Apr. 1, 2017 Symphony No. 1 (“Jeremiah”) May 3-6, 2017 Brahms Symphony No. 1 Oct. 27-29, 2016 Symphony No. 2 Nov. 3-5, 2016 Symphony No. 3 Feb. 17-19, 2017 Symphony No. 4 Feb. 23-25, 2017 Brahms/transcr. Selections from Eleven Choral Preludes Feb. 23-25, 2017 Glanert (world premiere of transcriptions) Britten War Requiem Mar. 23-25, 2017 Canteloube Selections from Songs of the Auvergne Jan. 12-14, 2017 Chabrier Joyeuse Marche** Jan. 12-14, 2017 – more – January 2016—All programs and artists subject to change. PAGE 2 The Philadelphia Orchestra 2016-17 Season Repertoire Chopin Piano Concerto No. 1 Jan. 19-24, 2017 Piano Concerto No. 2 Sep. 22-24, 2016 Dutilleux Métaboles Oct. 27-29, 2016 Dvořák Symphony No. 8 Mar. 15-16, 2017 Symphony No. -
Discoveries from the Fleisher Collection Listen to WRTI 90.1 FM Philadelphia Or Online at Wrti.Org
Next on Discoveries from the Fleisher Collection Listen to WRTI 90.1 FM Philadelphia or online at wrti.org. Encore presentations of the entire Discoveries series every Wednesday at 7:00 p.m. on WRTI-HD2 Saturday, August 4th, 2012, 5:00-6:00 p.m. Claude Debussy (1862-1918). Danse (Tarantelle styrienne) (1891, 1903). David Allen Wehr, piano. Connoiseur Soc 4219, Tr 4, 5:21 Debussy. Danse, orch. Ravel (1923). Philharmonia Orchestra, Geoffrey Simon. Cala 1024, Tr 9, 5:01 Maurice Ravel (1875-1937). Shéhérazade (1903). Anne Sofie von Otter, mezzo-soprano, Cleveland Orchestra, Pierre Boulez. DG 2121, Tr 1-3, 17:16 Ravel. Introduction and Allegro (1905). Rachel Masters, harp, Christopher King, clarinet, Ulster Orchestra, Yan Pascal Tortelier. Chandos 8972, Tr 7, 11:12 Debussy. Sarabande, from Pour le piano (1901). Larissa Dedova, piano. Centaur 3094, Disk 4, Tr 6, 4:21 Debussy. Sarabande, orch. Ravel (1923). Ulster Orchestra, Yan Pascal Tortelier. Chandos 9129, Tr 2, 4:29 This time, he’d show them. The Paris Conservatoire accepted Ravel as a piano student at age 16, and even though he won a piano competition, more than anything he wanted to compose. But the Conservatory was a hard place. He never won the fugue prize, never won the composition prize, never won anything for writing music and they sent him packing. Twice. He studied with the great Gabriel Fauré, in school and out, but he just couldn’t make any headway with the ruling musical authorities. If it wasn’t clunky parallelisms in his counterpoint, it was unresolved chords in his harmony, but whatever the reason, four times he tried for the ultimate prize in composition, the Prix de Rome, and four times he was refused. -
A Study of Ravel's Le Tombeau De Couperin
SYNTHESIS OF TRADITION AND INNOVATION: A STUDY OF RAVEL’S LE TOMBEAU DE COUPERIN BY CHIH-YI CHEN Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University MAY, 2013 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music ______________________________________________ Luba-Edlina Dubinsky, Research Director and Chair ____________________________________________ Jean-Louis Haguenauer ____________________________________________ Karen Shaw ii ACKNOWLEDGEMENTS I would like to express my tremendous gratitude to several individuals without whose support I would not have been able to complete this essay and conclude my long pursuit of the Doctor of Music degree. Firstly, I would like to thank my committee chair, Professor Luba Edlina-Dubinsky, for her musical inspirations, artistry, and devotion in teaching. Her passion for music and her belief in me are what motivated me to begin this journey. I would like to thank my committee members, Professor Jean-Louis Haguenauer and Dr. Karen Shaw, for their continuous supervision and never-ending encouragement that helped me along the way. I also would like to thank Professor Evelyne Brancart, who was on my committee in the earlier part of my study, for her unceasing support and wisdom. I have learned so much from each one of you. Additionally, I would like to thank Professor Mimi Zweig and the entire Indiana University String Academy, for their unconditional friendship and love. They have become my family and home away from home, and without them I would not have been where I am today. -
Michael Davison, Trumpet, and Russell Wilson, Piano Department of Music, University of Richmond
University of Richmond UR Scholarship Repository Music Department Concert Programs Music 2-21-1988 Michael Davison, trumpet, and Russell Wilson, piano Department of Music, University of Richmond Follow this and additional works at: https://scholarship.richmond.edu/all-music-programs Part of the Music Performance Commons Recommended Citation Department of Music, University of Richmond, "Michael Davison, trumpet, and Russell Wilson, piano" (1988). Music Department Concert Programs. 800. https://scholarship.richmond.edu/all-music-programs/800 This Program is brought to you for free and open access by the Music at UR Scholarship Repository. It has been accepted for inclusion in Music Department Concert Programs by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. UNIVERSITY OF RICHMOND Department of Music Michael Davison, trumpet Russell Wilson, piano February 21, 1988 North Court Recital Hall 3:00PM Next: Richard Becker, Plano March 13, 1988, 3:00 PM North Court Recital Hall Concerto for Trumpet and Piano Henri Tomasi (1901-1971) Allegro et Cadence Nocturne: Andantino Final: Giocoso allegro Menuet Antique, for Piano Maurice Ravel (1875-1937) Solus for Unaccompanied Trumpet Stan Friedman (b. 1951) ***Intermission*** Jazzberries, for Trumpet, Piano, and Cello William Schmidt (b. 1926) Raspberry Riffs Blackberry Blues Boysenberry Boogie Strawberry Jam with: Charlotte Lucy, cello God Bless The Child Billie Holiday (1915-1959) and Arthur Herzog Leap Frog Michael A. Davison (b. 1957) Ain't Misbehavin' Thomas Waller (1904-1943) and Harry Brooks (1895-1970) arranged by Paul Severson Additional Personnel for God Bless The Child and Leapfrog: Al Waters, tenor saxophone David Boggs, bass Skip Urrnson, drums for Ain't Misbehavin': Al Waters, clarinet Tom Anderson, trombone David Boggs, bass Skip Urrnson, drums ********** Reception Immediately following the recital In the lounge on the first floor of the Modlin Fine Arts Building. -
Francisco António D´Almeida and the Serenata Genre in Early and Mid Eigtheenth-Century Portugal
Francisco António d´Almeida and the Serenata Genre in Early and Mid Eigtheenth-Century Portugal. The music manuscript CIC 12 from the National Library of Portugal contains thirteen arias by Francisco António d´Almeida (1702-1755?), one of the most important Portuguese composers of the first half of the 18th century. Five of them have been identified as being part of the serenata Gl´Incanti d´Alcina of 1730. There are also eight arias from another serenata, Il vaticinio di Pallade e di Mercurio, staged a year later, in 1731. To study the libretti which were the sources of the identification of these arias and then the music present in the CIC 12 manuscript is of fundamental importance in understanding the serenata genre during the reign of King D. João V of Portugal. Consequently, this paper intends to enlarge our knowledge of the formal and stylistic structure of d´Almeida´s serenate and also to give an overview of the performing practices and the courtly and aristocratic significance associated with this genre. Particularly in the field of the study of Portuguese dramatic music of this period, the understanding of the serenata is of primary importance, since it was the principal musical event performed on courtly occasions. Its study gives us today a rich picture of the characteristics of musical life in the court of D. João V, and helps us simultaneously to understand the differences, in this period, between the genre of the serenata and major genres such as opera and cantata. The term serenata, as applied to 17th and 18th century Italy, means a cantata-like work performed in courtly or aristocratic surroundings to celebrate dynastic occasions or political events, or, as in Portugal, anniversaries and name-days of the Royal Family. -
Coro Do Teatro Nacional De São Carlos
D A Luísa Taveira Patrick Dickie (Companhia Nacional de Bailado) (Teatro Nacional de São Carlos) Companhia Nacional de Bailado — Coro do Teatro Nacional de São Carlos — Escola Superior de Teatro e Cinema Orquestra Gulbenkian — Orquestra Metropolitana de Lisboa — Orquestra Sinfónica Juvenil Orquestra Sinfónica Portuguesa — Orquestra de Sopros e Percussão do Conservatório Regional de Artes do Montijo André Baleiro — Airam Hernández — Christopher Bochmann — Cristiana Oliveira — Cristina Carvalhal Dinis Sousa — Domenico Longo — Joana Carneiro — Laryssa Savchenko — Lorenzo Decaro — Luís Rodrigues Maria Luísa de Freitas — Mário Laginha — Mary Elizabeth Williams — Nuno Silva — Pedro Amaral Pedro Meireles — Pedro Neves — Sara Braga Simões | 2 FESTIVAL AO LARGO MILLENNIUM BCP Fernando Pessoa escreveu que todos vivemos tal como sonhamos – sozinhos. À afirmação imaterial e poética im- põe-se a pergunta terrena e material: e enquanto vivemos e sonhamos, não choramos, não cantamos, não amamos e não acreditamos em comunidade? Uma das mais poderosas formas de bem-estar e de reconciliação é a partilha comunitária da Música, de uma simples melodia, não sozinhos, mas cercados por milhares de vozes. Claro que existe essa barreira, quase indecifrável, que divide as emoções de massa da verdadeira consciência estética, mas a prova está nos resultados, esses bem decifrá- veis: perdemo-nos na multidão ou, no meio dela, nos descobrimos como indivíduos unidos, mesmo comungando das nossas diferenças? Porque acreditamos que a etimologia não engana e que comunhão e comunidade são da mesma família, porque acreditamos que certas formas públicas de abraçarmos as diversas fatias da cultura são vitais para que essa mesma cultura possa sobreviver, o Festival ao Largo regressa na sua já 8ª edição. -
And the World Dances: Pieces by Maurice Ravel: a Music-Theatre Collaboration
i ii and the world dances: Pieces by Maurice Ravel A Music-Theatre Collaboration A thesis submitted to the Miami University Honors Program in partial fulfillment of the requirements for University Honors by Nicole Dieker May, 2004 Oxford, OH iii ABSTRACT AND THE WORLD DANCES: PIECES BY MAURICE RAVEL A MUSIC-THEATRE COLLABORATION BY NICOLE DIEKER This thesis describes the year-long process of research and rehearsal that culminated in the group-created performance and the world dances: Pieces by Maurice Ravel. Created in response to the United States’ military involvement in Iraq and inspired by the anti-war music of early twentieth-century composer Maurice Ravel, this process allowed me to direct a group of seven actors and one production designer through a group collaboration that resulted in an original full-length performance. The performance, which was entirely scripted and staged by the group, used music, theatre, and dance to provide a perspective both on Ravel’s experiences during WWI and on a contemporary retracing of our current political situation. iv v and the world dances: Pieces by Maurice Ravel: A Music-Theatre Collaboration by Nicole Dieker Approved by: _________________________, Adviser Dr. Jimmy Bickerstaff _________________________, Reader Julia Guichard _________________________, Reader Dr. Eftychia Papanikolaou Accepted by: __________________________, Director, University Honors Program vi vii Acknowledgements I would like to thank Dr. Jimmy Bickerstaff for his help and support as adviser to the thesis process, and Julia Guichard and Dr. Eftychia Papanikolaou for serving as thesis readers. I would also like to thank the departments of Music and Theatre as well as the Western College Program for providing support and rehearsal/performance spaces, and the Honors Program for providing project funding. -
European Music Manuscripts Before 1820
EUROPEAN MUSIC MANUSCRIPTS BEFORE 1820 SERIES TWO: FROM THE BIBLIOTECA DA AJUDA, LISBON Section B: 1740 - 1770 Unit Six: Manuscripts, Catalogue No.s 1242 - 2212 Primary Source Media EUROPEAN MUSIC MANUSCRIPTS BEFORE 1820 SERIES TWO: FROM THE BIBLIOTECA DA AJUDA, LISBON Section B: 1740-1770 Unit Six: Manuscripts, Catalogue No.s 1242 - 2212 First published in 2000 by Primary Source Media Primary Source Media is an imprint of the Gale Cengage Learning. Filmed in Portugal from the holdings of The Biblioteca da Ajuda, Lisbon by The Photographic Department of IPPAR. All rights reserved. No part of this publication may be reproduced without prior permission. CENGAGE LEARNING LIBRARY PRIMARY SOURCE MEDIA REFERENCE EMEA GALE CENGAGE LEARNING Cheriton House 12 Lunar Drive North Way Woodbridge Andover SP10 5BE Connecticut 06525 United Kingdom USA http://gale.cengage.co.uk/ www.gale.cengage.com CONTENTS Introduction 5 Publisher’s Note 9 Contents of Reels 11 Listing of Manuscripts 15 3 INTRODUCTION The Ajuda Library was established after the Lisbon earthquake of 1755 near the royal palace of the same name to replace the court library which had been destroyed in the earthquake, and from its creation it incorporated many different collections, which were either acquired, donated or in certain cases confiscated, belonging to private owners, members of the royal family or religious institutions. Part of the library holdings followed the royal family to Brazil after 1807 and several of these remained there after the court returned to Portugal in 1822. The printed part of those holdings constituted the basis of the National Library of Rio de Janeiro. -
Ambassador Auditorium Collection ARS.0043
http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf194 No online items Guide to the Ambassador Auditorium Collection ARS.0043 Finding aid prepared by Frank Ferko and Anna Hunt Graves This collection has been processed under the auspices of the Council on Library and Information Resources with generous financial support from the Andrew W. Mellon Foundation. Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] 2011 Guide to the Ambassador Auditorium ARS.0043 1 Collection ARS.0043 Title: Ambassador Auditorium Collection Identifier/Call Number: ARS.0043 Repository: Archive of Recorded Sound, Stanford University Libraries Stanford, California 94305-3076 Physical Description: 636containers of various sizes with multiple types of print materials, photographic materials, audio and video materials, realia, posters and original art work (682.05 linear feet). Date (inclusive): 1974-1995 Abstract: The Ambassador Auditorium Collection contains the files of the various organizational departments of the Ambassador Auditorium as well as audio and video recordings. The materials cover the entire time period of April 1974 through May 1995 when the Ambassador Auditorium was fully operational as an internationally recognized concert venue. The materials in this collection cover all aspects of concert production and presentation, including documentation of the concert artists and repertoire as well as many business documents, advertising, promotion and marketing files, correspondence, inter-office memos and negotiations with booking agents. The materials are widely varied and include concert program booklets, audio and video recordings, concert season planning materials, artist publicity materials, individual event files, posters, photographs, scrapbooks and original artwork used for publicity. -
The Fourteenth Season: Russian Reflections July 15–August 6, 2016 David Finckel and Wu Han, Artistic Directors Experience the Soothing Melody STAY with US
The Fourteenth Season: Russian Reflections July 15–August 6, 2016 David Finckel and Wu Han, Artistic Directors Experience the soothing melody STAY WITH US Spacious modern comfortable rooms, complimentary Wi-Fi, 24-hour room service, fitness room and a large pool. Just two miles from Stanford. BOOK EVENT MEETING SPACE FOR 10 TO 700 GUESTS. CALL TO BOOK YOUR STAY TODAY: 650-857-0787 CABANAPALOALTO.COM DINE IN STYLE Chef Francis Ramirez’ cuisine centers around sourcing quality seasonal ingredients to create delectable dishes combining French techniques with a California flare! TRY OUR CHAMPAGNE SUNDAY BRUNCH RESERVATIONS: 650-628-0145 4290 EL CAMINO REAL PALO ALTO CALIFORNIA 94306 Music@Menlo Russian Reflections the fourteenth season July 15–August 6, 2016 D AVID FINCKEL AND WU HAN, ARTISTIC DIRECTORS Contents 2 Season Dedication 3 A Message from the Artistic Directors 4 Welcome from the Executive Director 4 Board, Administration, and Mission Statement 5 R ussian Reflections Program Overview 6 E ssay: “Natasha’s Dance: The Myth of Exotic Russia” by Orlando Figes 10 Encounters I–III 13 Concert Programs I–VII 43 Carte Blanche Concerts I–IV 58 Chamber Music Institute 60 Prelude Performances 67 Koret Young Performers Concerts 70 Master Classes 71 Café Conversations 72 2016 Visual Artist: Andrei Petrov 73 Music@Menlo LIVE 74 2016–2017 Winter Series 76 Artist and Faculty Biographies A dance lesson in the main hall of the Smolny Institute, St. Petersburg. Russian photographer, twentieth century. Private collection/Calmann and King Ltd./Bridgeman Images 88 Internship Program 90 Glossary 94 Join Music@Menlo 96 Acknowledgments 101 Ticket and Performance Information 103 Map and Directions 104 Calendar www.musicatmenlo.org 1 2016 Season Dedication Music@Menlo’s fourteenth season is dedicated to the following individuals and organizations that share the festival’s vision and whose tremendous support continues to make the realization of Music@Menlo’s mission possible.