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Program Notes | Yannick and Manny
23 Season 2018-2019 Thursday, November 29, at 7:30 The Philadelphia Orchestra Friday, November 30, at 8:00 Saturday, December 1, Yannick Nézet-Séguin Conductor at 8:00 Emanuel Ax Piano Brahms Piano Concerto No. 2 in B-flat major, Op. 83 I. Allegro non troppo II. Allegro appassionato III. Andante—Più adagio—Tempo I IV. Allegretto grazioso—Un poco più presto Intermission Brown Perspectives United States premiere Dvořák Symphony No. 7 in D minor, Op. 70 I. Allegro maestoso II. Poco adagio III. Scherzo: Vivace IV. Finale: Allegro This program runs approximately 2 hours, 5 minutes. The November 29 concert is sponsored by Elia D. Buck and Caroline B. Rogers. The November 29 concert is also sponsored by the Louis N. Cassett Foundation. The November 30 concert is sponsored by Alexandra Edsall and Robert Victor. The December 1 concert is sponsored by Medcomp. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. 24 Please join us following the November 30 and December 1 concerts for a free Organ Postlude featuring Peter Richard Conte. Brahms Prelude, from Prelude and Fugue in G minor Brahms Fugue in A-flat minor Dvořák/transcr. Conte Humoresque, Op. 101, No. 7 Widor Toccata, from Organ Symphony No. 5 in F minor, Op. 42, No. 1 The Organ Postludes are part of the Fred J. Cooper Memorial Organ Experience, supported through a generous grant from the Wyncote Foundation. -
October 2015
October 2015 Bertrand Chamayou INSIDE: Ian Bostridge | Sarah Connolly Ehnes Quartet | Thomas Hampson Alina Ibragimova & Cédric Tiberghien Magdalena Kozˇená & Mitsuko Uchida Steven Isserlis | Robert Levin Sandrine Piau | Christoph Prégardien Stile Antico | Vox Luminis And many more Box Office 020 7935 2141 Online Booking www.wigmore-hall.org.uk How to Book Wigmore Hall Box Office 36 Wigmore Street, London W1U 2BP In Person 7 days a week: 10 am – 8.30 pm. Days without an evening concert 10 am – 5 pm. No advance booking in the half hour prior to a concert. Please note that the Box Office with be closed for bookings in person from Monday 27 July to Friday 4 September. By Telephone: 020 7935 2141 7 days a week: 10 am – 7 pm. Days without an evening concert 10 am – 5 pm. There is a non-refundable £3.00 administration fee for each transaction, which includes the return of your tickets by post if time permits. Online: www.wigmore-hall.org.uk 7 days a week; 24 hours a day. There is a non-refundable £2.00 administration charge. Standby Tickets Standby tickets for students, senior citizens and the unemployed are available from one hour before the performance (subject to availability) with best available seats sold at the lowest price. NB standby tickets are not available for Lunchtime and Coffee Concerts. Group Discounts Discounts of 10% are available for groups of 12 or more, subject to availability. Latecomers Latecomers will only be admitted during a suitable pause in the performance. Facilities for Disabled People full details available from 020 7935 2141 or [email protected] Wigmore Hall has been awarded the Bronze Charter Mark from Attitude is Everything TICKETS Unless otherwise stated, tickets are A–D divided into five prices ranges: BALCONY Stalls C – M W–Y Highest price T–V Stalls A – B, N – P Q–S 2nd highest price Balcony A – D N–P 2nd highest price STALLS Stalls BB, CC, Q – S C–M 3rd highest price A–B Stalls AA, T – V CC CC 4th highest price BB BB PLATFORM Stalls W – Y AAAA AAAA Lowest price This brochure is available in alternative formats. -
Cds by Composer/Performer
CPCC MUSIC LIBRARY COMPACT DISCS Updated May 2007 Abercrombie, John (Furs on Ice and 9 other selections) guitar, bass, & synthesizer 1033 Academy for Ancient Music Berlin Works of Telemann, Blavet Geminiani 1226 Adams, John Short Ride, Chairman Dances, Harmonium (Andriessen) 876, 876A Adventures of Baron Munchausen (music composed and conducted by Michael Kamen) 1244 Adderley, Cannonball Somethin’ Else (Autumn Leaves; Love For Sale; Somethin’ Else; One for Daddy-O; Dancing in the Dark; Alison’s Uncle 1538 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 1 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 2 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 1 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 2 Aebersold, Jamey: Jazz Improvisation (vol 1) 1270 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 1 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 2 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 1 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 2 Aebersold, Jamey: The II-V7-1 Progression (vol 3) 1271 Aerosmith Get a Grip 1402 Airs d’Operettes Misc. arias (Barbara Hendricks; Philharmonia Orch./Foster) 928 Airwaves: Heritage of America Band, U.S. Air Force/Captain Larry H. Lang, cond. 1698 Albeniz, Echoes of Spain: Suite Espanola, Op.47 and misc. pieces (John Williams, guitar) 962 Albinoni, Tomaso (also Pachelbel, Vivaldi, Bach, Purcell) 1212 Albinoni, Tomaso Adagio in G Minor (also Pachelbel: Canon; Zipoli: Elevazione for Cello, Oboe; Gluck: Dance of the Furies, Dance of the Blessed Spirits, Interlude; Boyce: Symphony No. 4 in F Major; Purcell: The Indian Queen- Trumpet Overture)(Consort of London; R,Clark) 1569 Albinoni, Tomaso Concerto Pour 2 Trompettes in C; Concerto in C (Lionel Andre, trumpet) (also works by Tartini; Vivaldi; Maurice André, trumpet) 1520 Alderete, Ignacio: Harpe indienne et orgue 1019 Aloft: Heritage of America Band (United States Air Force/Captain Larry H. -
A Systematic Dismantling: Heinz Holliger's
A Systematic Dismantling: Heinz Holliger’s Streichquartett (1973) Kevin Davis “In particular, the String Quartet is an extreme example of a music of effects rather than of 'ideas' in any conventional sense. The result, beginning with frantic high harmonics and ending, some twenty-six and a half minutes later, with the barely perceptible breathing of the players, is music whose expression is always utterly clear and direct, but which seems mechanical in its apparent rejection of the kind of relationships between significant detail and overall shape and perspective through which most music communicates.” – Arnold Whitall, Gramophone, August 1981 Heinz Holliger’s Streichquartett (1973) is a landmark work. It challenges the listener and performer alike, posing many questions and giving only tentative answers. While still obeying the basic rules and conventions of string quartet discourse and notation, it methodically strips away the artifice of performance, working from the inside out. It comes into being in a furious flurry of activity. Organic processes play themselves out to exhaustion, reaching termination less through the end of a compositional process than through something like a loss of entropy; musical form attempts to assert itself and is subsumed in the welter of activity; technique and the instruments themselves become deformed, barely able to retain their identity, threatening to become only the wood and metal from which they are made. Eventually exhaustion is reached, both on the part of composer and, one must assume, on the part of the players. Then something mysterious happens: first, after this inexorable, almost ritualistic revealing of the instrument, then, finally, the body of the performer, which has been residing underneath the sounds all along, emerges. -
Sat, Jan 02, 2021 - 00 the Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat
Sat, Jan 02, 2021 - 00 The Classical Station, WCPE 1 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 00:01:30 10:31 Weber Overture to Der Freischutz Berlin 01006 EMI 74764 724357476423 Philharmonic/Karajan 00:13:0125:39 Strauss, R. Death and Transfiguration, Op. Atlanta 07032 Telarc 80661 089408066122 24 Symphony/Runnicles 00:39:55 19:54 Haydn Piano Trio No. 36 in E flat Beaux Arts Trio 04027 Philips 432 070 n/a 01:01:1911:33 Falla Three Dances from The Boston Pops/Fiedler 04581 RCA 68550 090266855025 Three-Cornered Hat 01:13:5202:08 Gabrieli, G. Canzona prima a 5 Canadian Brass 05433 RCA 63238 090266323821 01:16:00 01:02 Palestrina Hosanna Canadian Brass 05433 RCA 63238 090266323821 01:18:1741:41 Schubert Piano Sonata in A, D. 959 Mitsuko Uchida 05116 Philips 289 456 028945657929 579 02:01:2804:15 Grieg The Last Spring from Two Capella 11036 Naxos 8.578009 747313800971 Elegiac Melodies, Op. 34 Istropolitana/Leaper 02:06:4343:50 Balakirev Symphony No. 1 in C City of Birmingham 00845 EMI 47505 077774750523 Symphony/Jarvi 02:51:4808:17 Beethoven Overture to Egmont, Op. 84 Berlin 00470 DG 415 506 028941550620 Philharmonic/Karajan 03:01:3511:14 Liszt Mephisto Waltz No. 1 Murray Perahia 02233 Sony 47180 07464471802 03:13:4903:44 Tippett Dance, Clarion Air (madrigal for Choir of Christ Church 00783 Nimbus 5266 D 110593 five voices) Cathedral, Oxford/Darlington 03:18:4840:41 Alfven Symphony No. 1 In F minor, Stockholm 01531 BIS 395 731859000395 Op. 7 Philharmonic/Jarvi 4 04:00:5932:43 Taneyev, A. -
The Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat
Tue, Jan 26, 2021 - The Classical Station, WCPE 1 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 00:01:30 10:39 Mozart Adagio in B minor, K. 540 Mitsuko Uchida 00264 Philips 412 616 028941261625 00:13:3945:17 Dvorak Cello Concerto in B minor, Op. du Pre/Swedish Radio 07040 Teldec 85340 685738534029 104 Symphony/Celibidache 01:00:2631:11 Beethoven String Quartet No. 9 in C, Op. Tokyo String Quartet 04508 Harmonia 807424 093046742362 59 No. 3 Mundi 01:32:3708:09 Mozart Adagio & Fugue in C minor for Berlin 06660 DG 0005830 028947759546 Strings K. 546 Philharmonic/Karajan 01:42:1618:09 Telemann Paris Quartet No. 11 Kuijken 04867 Sony 63115 074646311523 Bros/Leonhardt 02:01:5529:22 Mozart Sinfonia Concertante in E flat, Frang/Rysanov/Arcang 12341 Warner 08256462 825646276776 K. 364 elo/Cohen Classics 76776 02:32:1726:39 Brahms Clarinet Trio in A minor, Op. Stoltzman/Ax/Ma 02937 Sony 57499 074645749921 114 Classical 03:00:2611:52 Liszt Mephisto Waltz No. 1 Evgeny Kissin 06623 RCA 58420 828765842020 03:13:1834:42 Strauss, R. Symphony in D minor Hong Kong 03667 Marco Polo 8.220323 73009923232 Philharmonic/Scherme rhorn 03:49:0009:52 Schubert Overture to Rosamunde, D. Leipzig Gewandhaus 00217 Philips 412 432 028941243225 797 Orchestra/Masur 04:00:2215:04 Haydn Piano Sonata No. 50 in D Julia Cload 02053 Meridian 84083 N/A 04:16:2628:32 Mozart Symphony No. 29 in A, K. 201 Prague Chamber 05596 Telarc 80300 089408030024 Orch/Mackerras 04:45:58 12:20 Webern In the Summer Wind Philadelphia 10424 Sony 88725417 887254172024 Orchestra/Ormandy 202 04:59:4806:23 Lehar Merry Widow Waltz Richard Hayman 08261 Naxos 8.578041- 747313804177 Symphony 42 05:07:11 21:52 Rachmaninoff Rhapsody on a Theme of Entremont/Philadelphia 04207 Sony 46541 07464465412 Paganini, Op. -
Learning to Play Like the Great Pianists
Learning to Play Like the Great Pianists Asmir Tobudic Gerhard Widmer Austrian Research Institute for Department of Computational Perception, Artificial Intelligence, Vienna Johannes Kepler University, Linz [email protected] Austrian Research Institute for Artificial Intelligence, Vienna [email protected] Abstract CD recordings and the printed score of the music. Exper- iments show that the system indeed captures some aspect of An application of relational instance-based learn- the pianists' playing style: the machine's performances of un- ing to the complex task of expressive music per- seen pieces are substantially closer to the real performances formance is presented. We investigate to what ex- of the `training' pianist than those of all other pianists in our tent a machine can automatically build `expres- data set. An interesting by-product of the pianists' `expres- sive profiles’ of famous pianists using only min- sive models' is demonstrated: the automatic identification of imal performance information extracted from au- pianists based on their style of playing. And finally, the ques- dio CD recordings by pianists and the printed tion of automatic style replication is briefly discussed. score of the played music. It turns out that the The rest of the paper is laid out as follows. After a short machine-generated expressive performances on un- introduction to the notion of expressive music performance seen pieces are substantially closer to the real per- (Section 2), Section 3 describes the data and its representa- formances of the `trainer' pianist than those of all tion in FOL. We also discuss how the complex task of learn- others. -
Boston Symphony Orchestra
Tangtewqpd 19 3 7-1987 BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Saturday, 29 August at 8:30 The Boston Symphony Orchestra is pleased to present WYNTON MARSALIS An evening ofjazz. Week 9 Wynton Marsalis at this year's awards to win in the last four consecutive years. An exclusive CBS Masterworks and Columbia Records recording artist, Wynton made musical history at the 1984 Grammy ceremonies when he became the first instrumentalist to win awards in the categories ofjazz ("Best Soloist," for "Think of One") and classical music ("Best Soloist With Orches- tra," for "Trumpet Concertos"). He won Grammys again in both categories in 1985, for "Hot House Flowers" and his Baroque classical album. In the past four years he has received a combined total of fifteen nominations in the jazz and classical fields. His latest album, During the 1986-87 season Wynton "Marsalis Standard Time, Volume I," Marsalis set the all-time record in the represents the second complete album down beat magazine Readers' Poll with of the Wynton Marsalis Quartet—Wynton his fifth consecutive "Jazz Musician of on trumpet, pianist Marcus Roberts, the Year" award, also winning "Best Trum- bassist Bob Hurst, and drummer Jeff pet" for the same years, 1982 through "Tain" Watts. 1986. This was underscored when his The second of six sons of New Orleans album "J Mood" earned him his seventh jazz pianist Ellis Marsalis, Wynton grew career Grammy, at the February 1987 up in a musical environment. He played ceremonies, making him the only artist first trumpet in the New -
Pierre-Laurent Aimard, Piano Tamara Stefanovich, Piano
Thursday, March 12, 2015, 8pm Zellerbach Hall Pierre-Laurent Aimard, piano Tamara Stefanovich, piano The Piano Music of Pierre Boulez PROGRAM Pierre Boulez (b. 1925) Notations (1945) I. Fantastique — Modéré II. Très vif III. Assez lent IV. Rythmique V. Doux et improvisé VI. Rapide VII. Hiératique VIII. Modéré jusqu'à très vif IX. Lointain — Calme X. Mécanique et très sec XI. Scintillant XII. Lent — Puissant et âpre Boulez Sonata No. 1 (1946) I. Lent — Beaucoup plus allant II. Assez large — Rapide Boulez Sonata No. 2 (1947–1948) I. Extrêmement rapide II. Lent III. Modéré, presque vif IV. Vif INTERMISSION PLAYBILL PROGRAM Boulez Sonata No. 3 (1955–1957; 1963) Formant 3 Constellation-Miroir Formant 2 Trope Boulez Incises (1994; 2001) Boulez Une page d’éphéméride (2005) Boulez Structures, Deuxième livre (1961) for two pianos, four hands Chapitre I Chapitre II (Pièces 1–2, Encarts 1–4, Textes 1–6) Funded, in part, by the Koret Foundation, this performance is part of Cal Performances’ – Koret Recital Series, which brings world-class artists to our community. This performance is made possible, in part, by Patron Sponsor Françoise Stone. Hamburg Steinway piano provided by Steinway & Sons, San Francisco. Cal Performances’ – season is sponsored by Wells Fargo. CAL PERFORMANCES PROGRAM NOTES THE PROGRAM AT A GLANCE the radical break with tradition that his music supposedly embodies. If Boulez belongs to an Tonight’s program includes the complete avant-garde, it is to a French avant-garde tra - piano music of Pierre Boulez, as well as a per - dition dating back two centuries to Berlioz formance of the second book of Structures for and Delacroix, and his attitudes are deeply two pianos. -
Claude Debussy Orchestral Works Dirk Altmann · Daniel Gauthier Radio-Sinfonieorchester Stuttgart Des SWR · Heinz Holliger 02 CLAUDE DEBUSSY (1862 – 1918) 03
Claude Debussy Orchestral Works Dirk Altmann · Daniel Gauthier Radio-Sinfonieorchester Stuttgart des SWR · Heinz Holliger 02 CLAUDE DEBUSSY (1862 – 1918) 03 1 Première Rapsodie pour orchestre 7 Prélude à L’après-midi d’un faune [11:35] Diese wesensmäßige Fertigkeit hatte schon in den Chemie“, an der er sich selbst immer neu ergötzen avec clarinette principale [08:15] flûte solo: Tatjana Ruhland frühen Neunzigern die Bedenken des Dichters konnte, und die aus sich selbst erwachsenden For- Stéphane Mallarmé zerstreut, der zunächst von men in Regelwerke zu zwängen, sich im Geflecht Images pour orchestre 8 Rapsodie pour Debussys Ansinnen, die Ekloge vom Après-midi des Gefundenen, bereits „Gehabten“ zu verhed- Deutsch 2 Rondes de Printemps [08:29] orchestre et saxophone [09:45] d’un faune mit Musik zu umgeben, nicht begeis- dern. Vielleicht wurde daher auch nur das Prélude 3 Gigues [08:38] tert war. Er fürchtete eine bloße „Verdopplung“ zum „Faun“ vollendet, während das Interlude und Iberia [19:48] TOTAL TIME [67:04] seiner musikalisch-erotischen Alexandriner, sah die abschließende Paraphrase nie über die Idee 4 I. Par les rues et par les chemins [07:09] sich aber, kaum dass er das Resultat zu hören be- hinausgelangten. Es war schon alles gesagt. 5 II. Les parfums de la nuit [08:10] 1 Dirk Altmann Klarinette | clarinet kam, ebenso bezwungen wie die Besucher der 6 III. Le matin d'un jour de fête [04:28] 8 Daniel Gauthier Saxophon | saxophone Société Nationale, die am 22. Dezember 1894 die Wer weiß, ob nicht aus just diesem Grunde auch Uraufführung des Prélude „zum Nachmittag eines die Rapsodie arabe im Sande verlief, die sich der Fauns“ miterleben durften. -
Itunes Store and Spotify Recordings
A+ Music Memory 2016-2017 iTunes Store and Spotify Recordings Bach Pachelbel Canon and Other Baroque Favorites, track 12, Suite No. 2 in B Minor, BWV1067: Badinerie (James Galway, Zagreb Soloists & I Solisti di Zagreb, Universal International BMG Music, 1978). iTunes: https://itunes.apple.com/us/album/pachelbel-canon-other- baroque/id458810023 Spotify: https://open.spotify.com/track/4bFAmfXpXtmJRs2t5tDDui Bartók Bartók: Hungarian Pictures – Weiner: Hungarian Folk Dance – Enescu: Romanian Rhapsodies, track 2, Magyar Kepek (Hungarian Sketches), BB 103: No. 2. Bear Dance (Neeme Järvi & Philharmonia Orchestra, Chandos, 1991). iTunes: https://itunes.apple.com/us/album/bartok-hungarian-pictures/id265414807 Spotify: https://open.spotify.com/track/5E4P3wJnd2w8Cv1b37sAgb Beethoven Beethoven: Piano Sonatas Nos. 8, 14, 23 & 26, track 6, Piano Sonata No. 8 in C Minor, Op. 13 – “Pathétique,” III. Rondo (Allegro), (Alfred Brendel, Universal International Music B.V., 2001) iTunes: https://itunes.apple.com/us/album/beethoven-piano-sonatas- nos./id161022856 Spotify: https://open.spotify.com/track/2Z0QlVLMXKNbabcnQXeJCF Brahms Best of Brahms, track 11, Waltz No. 15 in A-Flat Minor, Op. 59 [Note: This track is mis-named: the piece is in A-Flat Major, from Op. 39] (Dieter Goldmann, SLG, LLC, 2009). iTunes: https://itunes.apple.com/us/album/best-of-brahms/id320938751 Spotify: https://open.spotify.com/track/1tZJGYhVLeFODlum7cCtsa A+ Mu Me ory – Re or n s of Clarke Trumpet Tunes, track 2, Suite in D Major: IV. The Prince of Denmark’s March, “Trumpet Voluntary” (Stéphane Beaulac and Vincent Boucher (ATMA Classique, 2006). iTunes: https://itunes.apple.com/us/album/trumpet-tunes/id343027234 Spotify: https://open.spotify.com/track/7wFCg74nihVlMcqvVZQ5es Delibes Flower Duet from Lakmé, track 1, Lakmé, Act 1: Viens, Mallika, … Dôme épais (Flower Duet) (Dame Joan Sutherland, Jane Barbié, Richard Bonynge, Orchestre national de l’Opéra de Monte-Carlo, Decca Label Group, 2009). -
Current Review
Current Review Robert Schumann: Complete Symphonic Works aud 21.450 EAN: 4022143214508 4022143214508 Gramophone (Philip Clark - 2015.03.17) Music that grapples with demons and is never wholly at ease, even when wings bless the darkness with glimpses of light—when you’re Robert Schumann, angels are terrifying too. The symphonic models are clear and we hear the ghostly spectre of Haydn, Mozart, Beethoven, Brahms and Mendelssohn—but no one has told Schumann’s material that it needs to conform, and the music cannot help but spill over any frame its composer attempts to place around it. The first movement of his Symphony No 1 reaches an apparent cathartic end-point as a solo flute line marked dolce reconciles grinding harmonic and structural inner tensions. Time to stop this madness. But then brass, percussion and trilling woodwinds unleash a stampeding burlesque march. Baleful chromatic inclines smudge the harmony, like Offenbach or Sousa turned on their dark side, and such instability derives from the restlessness of Schumann’s mind, you think, rather than being an overtly conceptual compositional strategy. The free jazz of the Second Symphony’s sostenuto assai prologue, C major credentials asserted by having the strings play anything but, as the brass sustain pure C major triads; in the Third Symphony, that extra movement that sneaks in before the finale, a cobwebby and gothic reimagining of the grounding contrapuntal principles of Renaissance music and Bach; and the audacious cyclic structure of the Fourth Symphony, each movement played attacca and dovetailing into the next. This music of demons and angels grapples also with angles—to take on structure, awkward punctuation, Schumann pushing form, his personal mission being to remould the symphony.