DOCSLIB.ORG

CCF 20-01 RELEASE: March 23, 2020

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CCF 20-01 RELEASE: March 23, 2020 COLLECTORS’ CORNER with HENRY FOGEL Broadcast Schedule - Spring 2020 PROGRAM #: CCF 20-01 RELEASE: March 23, 2020 The Art of Zdenek Chalabala All works conducted by Zdenek Chalabala. Please consult cue sheet for details. SMETANA: Ma Vlast (Moscow Radio Orchestra) DVORAK: The Water Goblin. (Czech Philharmonic) KHACHATURIAN: Gayne: Excerpts (Czech Philharmonic) PROGRAM #: CCF 20-02 RELEASE: March 30, 2020 Clifford Curzon in Live Pe rformance ‐ 1 All works performed by pianist Clifford Curzon. Please consult cue sheet for details. MOZART: Piano Concerto No. 27 in B‐Flat, KI. 595 (Szell; Cleveland Symphony) BRAHMS: Piano Concerto No. 1 in d. (Bruno Walter; NY Philharmonic) SCHUBERT: Trout Quintet (Amadeus Quartet) PROGRAM #: CCF 20-03 RELEASE: April 6, 2020 Clifford Curzon in Live Pe rformance ‐ 2 All works performed by pianist Clifford Curzon. Please consult cue sheet for details. BRAHMS: Piano Quintet. (Amadeus Quartet) BEETHOVEN: Piano Concerto No. 5, “Emperor” (Boulez; BBC Symphony) MOZART: Piano Concerto No. 26, “Coronation.” (Boulez; BBC Symphony) PROGRAM #: CCF 20-04 RELEASE: April 13, 2020 The Art of Fyodor Chaliapin All works performed by operatic bass Fyodor Chaliapin, taken from the Marston Records’ release of The Complete Chaliapin Recordings. Please consult cue sheet for details. PROGRAM #: CCF 20-05 RELEASE: April 20, 2020 The Art of Hermann Abendroth, conductor – Program 1 All works conducted by Hermann Abendroth. Please consult cue sheet or details. TCHAIKOVSKY: Symphony No. 5. (Leningrad Philhar mo nic ) BEETHOVEN: Egmont Overture (Berlin Radio Orchestra) SCHUMANN: Symphony No. 4 in d (Leipzig Radio Orchestra) REGER: Tone Poems after Bocklin (Concertgebouw Orchestra) PROGRAM #: CCF 20-06 RELEASE: April 27, 2020 The Art of Hermann Abendroth, conductor – Program 2 All works conducted by Hermann Abendroth. Please consult cue sheet or details. SCHUBERT: Symphony No. 9 in C (Leipzig Radio Orchestra) BRUCKNER: Symphony No. 4. (Leipzig Radio Orchestra) PROGRAM #: CCF 20-07 RELEASE: May 4, 2020 The Art of Hermann Abendroth, conductor – Program 3 All works conducted by Hermann Abendroth. Please consult cue sheet or details. BRUCKNER: Symphony No. 8 (Leipzig Radio Orchestra) AMIROV: Caucasian Dances (Leipzig Radio Orchestra) SCHUBERT: Symphony No. 8, “Unfinished” (Leipzig Radio Orchestra) PROGRAM #: CCF 20-08 RELEASE: May 11, 2020 The Art of Hermann Abendroth, conductor – Program 4 All works conducted by Hermann Abendroth. Please consult cue sheet or details. BEETHOVEN: Violin Concerto in D (Oistrakh; Berlin Radio Orchestra) BEETHOVEN: Symphony No. 9 in d. (Soloists; Leipzig Radio Orchestra) PROGRAM #: CCF 20-09 RELEASE: May 18, 2020 A Rarity by Ermanno Wolf‐Ferrari Program also contains other works by Wolf-Ferrari. Please consult cue sheet for details. WOLF‐FERRARI: La Vita Nuova (Roland Bader, cond.; Berlin Radio Symphony; St. Hedwig’s Cathedral Choir; Celina Lindsley, George Fortune) PROGRAM #: CCF 20-10 RELEASE: May 25, 2020 The Art of Pianist Frederic Lamond Music of Liszt and Beethoven played by the Scottish born Frederic Lamond, student of Franz Liszt (1868‐ 1948). Please consult cue sheet for details. PROGRAM #: CCF 20-11 RELEASE: June 1, 2020 The Art of Pianist Rudolf Kehrer – Program 1 Program features the complete Moscow Recital (9/28/1998). Please consult cue sheet for details. BACH/BUSONI: Chaconne FRANCK: Prelude, Chorale, and Fugue CHOPIN: Preludes, Op. 28 BACH/SILOTI: Prelude PROKOFIEV: Prelude in C SCRIABIN: 24 Preludes, Op. 11 PROGRAM #: CCF 20-12 RELEASE: June 8, 2020 The Art of Pianist Rudolf Kehrer – Program 2 RACHMANINOFF: Piano Concerto No. 2 in c. (Kirill Kondrashin, cond; Moscow Philharmonic) BEETHOVEN: Piano Concerto No. 5, “Emperor”. (Kirill Kondrashin, cond; Moscow Philharmonic) SCHUMANN: Symphonic Etudes, Op. 13. PROGRAM #: CCF 20-13 RELEASE: June 15, 2020 The Art of Pianist Rudolf Kehrer – Program 3 PROKOFIEV: Piano Concerto No. 1. (Kirill Kondrashin cond; Moscow Phil) LISZT: Piano Concerto No. 1. (Victor Dobrovsky, cond; Moscow Phil) WAGNER/LISZT: Tannhauser Overture. BRAHMS: Piano Concerto No. 1 in D minor (Vassily Sinaisky, cond; Moscow Philharmonic) BRAHMS: Intermezzo, Op. 117, No. 1 in E‐Flat LISZT: Mephisto Waltz PROGRAM #: CCF 20-14 RELEASE: June 22, 2020 The Art of Pianist Rudolf Kehrer – Program 4 Program features selections from Kehrer’s 1991 Munich Recital, with music of Beethoven, Prokofiev, Chopin, Liszt, and Rachmaninoff. Please consult cue sheet for details. PROGRAM #: CCF 20-15 RELEASE: June 29, 2020 A Historic Recording Newly Restored CILEA: Adriana Lecouvreur (Olivero, Corelli, Simionato, Bastianini) .
Load more

Recommended publications
  • Broschuere-Walter-Braunfels-Ger3.Pdf
    WALTER BRAUNFELS WALTER WALTER BRAUNFELS WALTER BRAUNFELS (1882–1954) Eine Ausstellung der Walter–Braunfels–Gesellschaft in Zusammenarbeit mit der Deutschen Oper Berlin aus Anlass der szenischen Uraufführung der Oper „Jeanne d‘Arc – Szenen aus dem Leben der Heiligen Johanna“ Inhaltsverzeichnis Vorwort 5 Walter Braunfels, gefeierter Opernkomponist der 20iger Jahre 6 Das symphonische und vokalsymphonische Werk und seine Interpreten 24 Letzte große Erfolge als Opernkomponist – die produktiven Jahre der erzwungenen Isolation – weltweite Wiederentdeckung des Komponisten Walter Braunfels 42 Zeittafel 64 Literaturverzeichnis 68 Bildnachweis 70 Danksagung 71 Impressum 72 Vorwort Walter Braunfels entstammte einer alten jüdischen Familie aus Frankfurt a. M. Er zog nach München und wurde unter dem Eindruck von Felix Mottl Musiker. Bruno Walter machte die Uraufführung der Oper „Die Vögel“ zu einer der erfolgreichsten im ganzen 20. Jahrhundert am Münchner Natio- naltheater. Es folgten die Uraufführungen des „Te Deum“ und der „Großen Messe“ in Köln sowie der Oper „Don Gil von den grünen Hosen“ unter Hans Knappertsbusch in München: Walter Braunfels war plötzlich – neben Strauss und Schreker – einer der meistaufgeführten deutschen Kompo- nisten der zwanziger Jahre. Adolf Hitler forderte meinen Großvater 1923 in München auf, die Hymne für die nationalsozialistische Bewegung zu komponieren, was dieser jedoch empört ablehnte. Wenige Jahre danach übernahmen die Nationalsozialisten die Macht in Deutschland, und Walter Braunfels wurde 1933 aus dem Amt als Gründungsdirektor
    [Show full text]
  • Historie Der Rheinischen Musikschule Teil 1 Mit Einem Beitrag Von Professor Heinrich Lindlahr
    Historie der Rheinischen Musikschule Teil 1 Mit einem Beitrag von Professor Heinrich Lindlahr Zur Geschichte des Musikschulwesens in Köln 1815 - 1925 Zu Beginn des musikfreundlichen 19. Jahrhunderts blieb es in Köln bei hochfliegenden Plänen und deren erfolgreicher Verhinderung. 1815, Köln zählte etwa fünfundzwanzigtausend Seelen, die soeben, wie die Bewohner der Rheinprovinz insgesamt, beim Wiener Kongreß an das Königreich Preußen gefallen waren, 1815 also hatte von Köln aus ein ungenannter Musikenthusiast für die Rheinmetropole eine Ausbildungsstätte nach dem Vorbild des Conservatoire de Paris gefordert. Sein Vorschlag erschien in der von Friedrich Rochlitz herausgegebenen führenden Allgemeinen musikalischen Zeitung zu Leipzig. Doch Aufrufe solcher Art verloren sich hierorts, obschon Ansätze zu einem brauchbaren Musikschulgebilde in Köln bereits bestanden hatten: einmal in Gestalt eines Konservatorienplanes, wie ihn der neue Maire der vormaligen Reichstadt, Herr von VVittgenstein, aus eingezogenen kirchlichen Stiftungen in Vorschlag gebracht hatte, vorwiegend aus Restklassen von Sing- und Kapellschulen an St. Gereon, an St. Aposteln, bei den Ursulinen und anderswo mehr, zum anderen in Gestalt von Heimkursen und Familienkonzerten, wie sie der seit dem Einzug der Franzosen, 1794, stellenlos gewordene Salzmüdder und Domkapellmeister Dr. jur. Bernhard Joseph Mäurer führte. Unklar blieb indessen, ob sich der Zusammenschluss zu einem Gesamtprojekt nach den Vorstellungen Dr. Mäurers oder des Herrn von Wittgenstein oder auch jenes Anonymus deshalb zerschlug, weil die Durchführung von Domkonzerten an Sonn- und Feiertagen kirchenfremden und besatzungsfreundlichen Lehrkräften hätte zufallen sollen, oder mehr noch deshalb, weil es nach wie vor ein nicht überschaubares Hindernisrennen rivalisierender Musikparteien gab, deren manche nach Privatabsichten berechnet werden müssten, wie es die Leipziger Allgemeine musikalische Zeitung von 1815 lakonisch zu kommentieren wusste.
    [Show full text]
  • '{6$+• O°&Ó° Þè* V
    557615bk Bach US 3/5/06 6:10 pm Page 5 Marianne Beate Kielland Cologne Chamber Orchestra Conductor: Helmut Müller-Brühl The Norwegian mezzo-soprano Marianne Beate Kielland studied at the Norwegian State Academy of Music in Oslo, graduating in the spring of 2000. She has quickly The Cologne Chamber Orchestra was founded in 1923 by Hermann Abendroth and gave established herself as one of Scandinavia’s foremost singers and regularly appears its first concerts in the Rhine Chamber Music Festival under the direction of Hermann with orchestras and in festivals throughout Europe, working with conductors of Abendroth and Otto Klemperer in the concert-hall of Brühl Castle. Three years later the international distinction. For the season 2001/02 she was a member of the ensemble ensemble was taken over by Erich Kraack, a pupil of Abendroth, and moved to at the Staatsoper in Hanover. Marianne Beate Kielland is especially sought after as a Leverkusen. In 1964 he handed over the direction of the Cologne Chamber Orchestra to J. S. BACH concert singer, with a wide repertoire ranging from the baroque to Berlioz, Bruckner, Helmut Müller-Brühl, who, through the study of philosophy and Catholic theology, as and Mahler. Her career has brought not only performances in Europe, but further well as art and musicology, had acquired a comprehensive theoretical foundation for the engagements as far afield as Japan. Her recordings include Bach’s St Mark and St interpretation of Baroque and Classical music, complemented through the early study of Matthew Passions, Mass in B minor, and the complete solo cantatas for alto, as well conducting and of the violin under his mentor Wolfgang Schneiderhahn.
    [Show full text]
  • City Research Online
    City Research Online City, University of London Institutional Repository Citation: Pace, I. (2012). Instrumental performance in the nineteenth century. In: Lawson, C. and Stowell, R. (Eds.), The Cambridge History of Musical Performance. (pp. 643-695). Cambridge University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/6305/ Link to published version: http://dx.doi.org/10.1017/CHOL9780521896115.027 Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] C:/ITOOLS/WMS/CUP-NEW/2654833/WORKINGFOLDER/LASL/9780521896115C26.3D 643 [643–695] 5.9.2011 7:13PM . 26 . Instrumental performance in the nineteenth century IAN PACE 1815–1848 Beethoven, Schubert and musical performance in Vienna from the Congress until 1830 As a major centre with a long tradition of performance, Vienna richly reflects
    [Show full text]
  • Pdf 139.3 Kb
    Dresdner Philharmonie The Dresden Philharmonic can look back on 150 years of history as the orchestra of Saxony’s capital Dresden. When the so-called “Gewerbehaussaal” opened on 29 November 1870, the citizens of the city were given the opportunity to organise major orchestra concerts. Philharmonic concerts were held regularly starting in 1885; the orchestra adopted its present name in 1923. In its first decades, composers such as Brahms, Tchaikovsky, Dvořák and Strauss conducted the Dresdner Philharmonie with their own works. The first desks were presided over by outstanding concertmasters such as Stefan Frenkel, Simon Goldberg and the cellists Stefan Auber and Enrico Mainardi. From 1934, Carl Schuricht and Paul van Kempen led the orchestra; van Kempen in particular guided the Dresden Philharmonic to top achievements. All of Bruckner’s symphonies were first performed in their original versions, which earned the orchestra the reputation of a “Bruckner orchestra” and brought renowned guest conductors such as Hermann Abendroth, Eduard van Beinum, Fritz Busch, Eugen Jochum, Joseph Keilbert, Erich Kleiber, Hans Knappertsbusch and Franz Konwitschny to the rostrum. After 1945 and into the 1990s, Heinz Bongartz, Horst Förster, Kurt Masur (from 1994 also honorary conductor), Günther Herbig, Herbert Kegel, Jörg-Peter Weigle and Michel Plasson were the principal conductors. In recent years, conductors such as Marek Janowski, Rafael Frühbeck de Burgos and Michael Sanderling have shaped the orchestra. As of season 2019/2020, Marek Janowski has returned to the Dresden Philharmonic as principal conductor and artistic director. Its home is the highly modern concert hall inaugurated in April 2017 in the Kulturpalast building in the heart of the historic old town.
    [Show full text]
  • Bruno Walter (Ca
    [To view this image, refer to the print version of this title.] Erik Ryding and Rebecca Pechefsky Yale University Press New Haven and London Frontispiece: Bruno Walter (ca. ). Courtesy of Österreichisches Theatermuseum. Copyright © by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections and of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Sonia L. Shannon Set in Bulmer type by The Composing Room of Michigan, Grand Rapids, Mich. Printed in the United States of America by R. R. Donnelley,Harrisonburg, Va. Library of Congress Cataloging-in-Publication Data Ryding, Erik S., – Bruno Walter : a world elsewhere / by Erik Ryding and Rebecca Pechefsky. p. cm. Includes bibliographical references, filmography,and indexes. ISBN --- (cloth : alk. paper) . Walter, Bruno, ‒. Conductors (Music)— Biography. I. Pechefsky,Rebecca. II. Title. ML.W R .Ј—dc [B] - A catalogue record for this book is available from the British Library. The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. For Emily, Mary, and William In memoriam Rachel Kemper and Howard Pechefsky Contents Illustrations follow pages and Preface xi Acknowledgments xv Bruno Schlesinger Berlin, Cologne, Hamburg,– Kapellmeister Walter Breslau, Pressburg, Riga, Berlin,‒
    [Show full text]
  • Shades of Goethe--And of Hitler: a History of [The Town Of] Weimar
    Michael H. Kater. Weimar: From Enlightenment to the Present. New Haven: Yale University Press, 2014. Illustrations. 480 pp. $45.00, cloth, ISBN 978-0-300-17056-6. Reviewed by Ulf Zimmermann Published on H-German (January, 2016) Commissioned by Nathan N. Orgill Michael H. Kater covers the terrain an‐ of the local Gymnasium, the only upper school in nounced in his subtitle in ten chapters, slicing the duchy and one that taught classical languages, Weimar’s history into periods unique to the city. and ends with the death of Johann Wolfgang von Thus he has, for example, a chapter specifically Goethe. Heintze’s appointment was immediately on the Weimar Bauhaus experiment, from 1919 to approved by Anna Amalia, who, as a niece of 1925, followed by a general one on the Weimar Frederick the Great and princess of Braun‐ Republic, from 1918 to 1933. In addition to a chap‐ schweig-Wolfenbüttel, had a taste for culture. She ter on the Third Reich, from 1933 to 1945, he in‐ was, for example, familiar with the work of cludes a separate one on the nearby concentra‐ Christoph Martin Wieland, then a professor of tion camp of Buchenwald, from 1937 to 1945. philosophy at Erfurt University who had just pub‐ In a brief prologue, Kater explains his motiva‐ lished The Golden Mirror (1772), a work whose tions for writing this book. As a child at his grand‐ pedagogical and political ideas on how a prospec‐ parents’ home in Germany he had heard much tive ruler should be brought up and rule seemed about a direct ancestor who was “a member of perfect for the more exclusive education of the fu‐ the circle of savants surrounding Dowager ture duke.
    [Show full text]
  • Network Notebook
    Network Notebook Spring Quarter 2020 (April - June) A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more.
    [Show full text]
  • Mitteilungen 91 2009.Pdf
    1 Arbeitsgemeinschaft für rheinische Musikgeschichte Mitteilungen 91 Februar 2009 2 Herausgeber: Arbeitsgemeinschaft für rheinische Musikgeschichte e.V. Musikwissenschaftliches Institut der Universität zu Köln Albertus-Magnus-Platz 1, 50923 Köln Redaktion: Dr. Wolfram Ferber, In den Herbstbenden 2, 53881 Euskirchen Druck: Jürgen Brandau Druckservice, Köln © 2009 ISSN 0948-1222 3 MITTEILUNGEN der Arbeitsgemeinschaft für rheinische Musikgeschichte e.V. Nr. 91 Februar 2009 Inhalt Andreas Vollberg ....................................................................................................................... 5 „Man kann sich das Werk nicht vollendeter denken …“....................................................... 5 Zum Bonner Wirken des Dirigenten Hermann Abendroth..................................................... 5 Claudia Valder-Knechtges ....................................................................................................... 59 Feinheiten köstlichster Art schlugen an unser Ohr.............................................................. 59 Zur Frühgeschichte des Kölner Kammerorchesters ............................................................ 59 Christine Siegert....................................................................................................................... 91 Joseph Haydn in Köln .......................................................................................................... 91 Zu einer Anzeige im Beobachter des Jahres 1801 ..............................................................
    [Show full text]
  • Recording Master List.Xls
    UPDATED 11/20/2019 ENSEMBLE CONDUCTOR YEAR Bartok - Concerto for Orchestra Baltimore Symphony Orchestra Marin Alsop 2009 Bavarian Radio Symphony Orchestra Rafael Kubelik 1978L BBC National Orchestra of Wales Tadaaki Otaka 2005L Berlin Philharmonic Herbert von Karajan 1965 Berlin Radio Symphony Orchestra Ferenc Fricsay 1957 Boston Symphony Orchestra Erich Leinsdorf 1962 Boston Symphony Orchestra Rafael Kubelik 1973 Boston Symphony Orchestra Seiji Ozawa 1995 Boston Symphony Orchestra Serge Koussevitzky 1944 Brussels Belgian Radio & TV Philharmonic OrchestraAlexander Rahbari 1990 Budapest Festival Orchestra Iván Fischer 1996 Chicago Symphony Orchestra Fritz Reiner 1955 Chicago Symphony Orchestra Georg Solti 1981 Chicago Symphony Orchestra James Levine 1991 Chicago Symphony Orchestra Pierre Boulez 1993 Cincinnati Symphony Orchestra Paavo Jarvi 2005 City of Birmingham Symphony Orchestra Simon Rattle 1994L Cleveland Orchestra Christoph von Dohnányi 1988 Cleveland Orchestra George Szell 1965 Concertgebouw Orchestra, Amsterdam Antal Dorati 1983 Detroit Symphony Orchestra Antal Dorati 1983 Hungarian National Philharmonic Orchestra Tibor Ferenc 1992 Hungarian National Philharmonic Orchestra Zoltan Kocsis 2004 London Symphony Orchestra Antal Dorati 1962 London Symphony Orchestra Georg Solti 1965 London Symphony Orchestra Gustavo Dudamel 2007 Los Angeles Philharmonic Andre Previn 1988 Los Angeles Philharmonic Esa-Pekka Salonen 1996 Montreal Symphony Orchestra Charles Dutoit 1987 New York Philharmonic Leonard Bernstein 1959 New York Philharmonic Pierre
    [Show full text]
  • 8.558087-90Extract.Pdf
    of CONDUCTORS free website Log onto the free A–Z of Conductors website and listen to hours more music: complete recordings conducted by Beecham, Furtwängler, Karajan, Toscanini, Walter and many more! Access information www.naxos.com/azconductors ISBN: 9781843790716 Password: Maestro 4 of CONDUCTORS CONTENTS Acknowledgements .....................................................................................................7 Track List ..............................................................................................................................9 Preface – Recording and Conducting ............................................................23 BIOGRAPHIES .................................................................................................................31 About the Author .................................................................................................... 946 Credits ............................................................................................................................. 947 5 of CONDUCTORS ACKNOWLEDGEMents In the preparation of this directory many acknowledgements are due. Firstly thanks to Klaus Heymann and Nicolas Soames for the initial idea and for keeping faith with it during a long gestation period. Genevieve Helsby, Robin Newton and Pamela Scrayfield have all generously offered editorial advice and support well beyond what might normally be expected. Vicki Kondelik, John Lucas, Tully Potter, Nigel Simeone and Jonathan Summers have kindly given detailed information
    [Show full text]
  • COLLECTORS' CORNER with HENRY FOGEL Broadcast Schedule
    COLLECTORS’ CORNER with HENRY FOGEL Broadcast Schedule - Spring 2020 PROGRAM #: CCF 20-01 RELEASE: March 23, 2020 The Art of Zdenek Chalabala All works conducted by Zdenek Chalabala. Please consult cue sheet for details. SMETANA: Ma Vlast (Moscow Radio Orchestra) DVORAK: The Water Goblin. (Czech Philharmonic) KHACHATURIAN: Gayne: Excerpts (Czech Philharmonic) PROGRAM #: CCF 20-02 RELEASE: March 30, 2020 Clifford Curzon in Live Performance ‐ 1 All works performed by pianist Clifford Curzon. Please consult cue sheet for details. MOZART: Piano Concerto No. 27 in B‐Flat, KI. 595 (Szell; Cleveland Symphony) BRAHMS: Piano Concerto No. 1 in d. (Bruno Walter; NY Philharmonic) SCHUBERT: Trout Quintet (Amadeus Quartet) PROGRAM #: CCF 20-03 RELEASE: April 6, 2020 Clifford Curzon in Live Performance ‐ 2 All works performed by pianist Clifford Curzon. Please consult cue sheet for details. BRAHMS: Piano Quintet. (Amadeus Quartet) BEETHOVEN: Piano Concerto No. 5, “Emperor” (Boulez; BBC Symphony) MOZART: Piano Concerto No. 26, “Coronation.” (Boulez; BBC Symphony) PROGRAM #: CCF 20-04 RELEASE: April 13, 2020 Furtwangler and the Berlin Philharmonic in Egypt (Live Performance) Please consult cue sheet for details. TCHAIKOVSKY: Symphony No. 6 “Pathetique” BRUCKNER: Symphony No. 7 PROGRAM #: CCF 20-05 RELEASE: April 20, 2020 The Art of Fyodor Chaliapin All works performed by operatic bass Fyodor Chaliapin, taken from the Marston Records’ release of The Complete Chaliapin Recordings. Please consult cue sheet for details. PROGRAM #: CCF 20-06 RELEASE: April 27, 2020 The Art of Hermann Abendroth, conductor – Program 1 All works conducted by Hermann Abendroth. Please consult cue sheet or details. TCHAIKOVSKY: Symphony No. 5. (Leningrad Philhar mo nic ) BEETHOVEN: Egmont Overture (Berlin Radio Orchestra) SCHUMANN: Symphony No.
    [Show full text]