DOCSLIB.ORG

The Classical Listeners' Guide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Classical Listeners' Guide The Classical Listeners' Guide Volume 3, Number 4 A Publication of the WTUL Classical Department December 1989 The Twentieth-Centurv Classical Show... The Greatest Living Composer! (A Survey of Opinion) On Sunday, December 12, from 7 to 11 p.m., the Here are the results of the survey thus far: WTUL Classical Department will present a special Twen- As English speakers, many respondents suggested tieth-Century Classical Show attempting to answer the American or British composers. Aaron Copland (b. question, "Who is the greatest living composer?" The 1900) is the grand old man of American composition. Few show will result from a casual survey of opinion among classical music lovers haven't heard his ballets Billy the WTUL dj's, students, musicians, teachers, and librarians Kid, Rodeo, or Appalachian Spring, but he hasn't written in the Tulane University community-and, we hope, lis- anything major since lnscape in 1967. His most famous teners to WTUL! Although there have been as many protege Leonard Bernstein (b. 1918) has written such different classical composers named as persons inter- popular ballets as Fancy Free and Facsimile, three viewed, with no two respondents agreeing, everyone splashy symphonies, and the great musical shows Can­ polled thus far asked the same question: "Can any dide and West Side Story. Elliott Carter (b. 1908) is chief composer living today be called 'great'?" among American composers as first choice of academics, Is it too soon to judge? but his music is so over- Should we wait until the What is your opinion? Who is the greatest, whelmingly complex, with passage of time makes it leading, or simply favorite living composer for many independent me­ easier to sift the truly great you? Send your choice to the WTUL Classical lodic lines and conflicting from those who were Department, Tulane University Center, New Or- rhythms, that it is often merely talented? Certainly, leans, Louisiana, 70118_ impossible to follow, ex- the reputations of such L...-_ ___;________________ ____, cept with a score in hand. world renowned composers as Paul Hindemith, who died Two younger Americans, Steve Reich (b. 1936) and in the 1960's, have declined immediately after their Philip Glass (b. 1937) have become genuinely popular deaths. It has taken until the late 1980's for Hindemith's by writing easy-to-follow, so-called minimalist, music. star to begin to rise again in critical opinion. Or is itjustthat Glass's "greatest hits," including the operatic trilogy Ein­ we are living in an era of declining artistic accomplish- stein on the Beach, Satyragaha, and Akhnaten and his ment? Is there anyone living now who composes on a par Glassworks album, with their loud, driving, circular malo­ with such deceased greats as Benjamin Britten or Dmitri dies and rhythms have more in common with rock than Shostakovich, bothofwhomdied in the 1970's? In the last classical music. Reich's Tehillim for chorus and large three years alone, for example, such relatively prominent instrumental ensemble is mesmerizing and genuinely composers have died as Henk Badings (Netherlands), beautiful. Many listeners, however, regard the droning Morton Feldman (U. S. A.), Wolfgang Fortner (West repetitions of trendy minimalism to be a compositional Germany), Dmitri Kabalevsky (U. S. S. R.), Lars-Erik dead end. Larsson (Sweden), Vincent Persichetti (U. S. A.), and Perhaps the most prominent British composer is Henri Sauguet (France). But can any one of them be Michael Tippett (b. 1905). The New Groves Dictionary called great? (continued, p. 5) TUESDA Y through SATURDAY: 6 to 8 A.M. SUNDAY: 6 to 7:30 A.M. The Twentieth Century Show, Sunday 7 to 11 P.M. The Baroque Show, Monday 6 to 8 A.M. D • E • c • E Sunday The Sunday Evening The Monday Morning Morning Twentieth-Century Show Baroque Show with Saskia with Lester and Jennifer with John and Armand Made possible in part by a grant from '-------Evans & Co. KiJimiJn Kurt Weill Orlando Gibbons "Potpourri," fromthe The Rise and Fall of the City of Mahagony Three pieces: "The Woods So Wild," "Mask: The opera Die North German Radio Chorus featuring Lotte Lenya Fairest Nymph," and "The Lord of Salisbury his Csardasfurstln Max Thurn, dir. Pavin and Galiardo" Salonorchester Colin Trevor Pinnock, harpsichord and virginal Balakrishnan The Grea~esi living Composer! Pietro Nardini String Quartet: Bala­ (a survey of opinion) Violin Concerto in E Flat major padem nom;nees ;ncludjnq Henri Dutilleux Capella Academica, Vienna Symphony no. 1 Eduard Melkus, violin Orchestra Nationale de Lilla August Wenzinger, director Jean-Claude Casadesus, cond .. Various IN!ew !Re lease on CID Johann Gottlieb Naumann Selected Marches Terry Riley Quartet for Glass Harmonica, Flute, Viola, and Cello Customs and Finance Salome Dances for Peace Bruno Hoffman, glass harmonica Guards Band The Krenos Quartet Charles Mouton. The Chrisimas Spacial Various Composers Lute Pieces inC minor Arthur Honegger French Christmas Music of the 13-16~ Centuries Konrad Junghanel, lute A Christmas Caotata The Boston Camerata Choruses and 'Czech Philharmonic Orchestra Joel Cohen, dir. Vaclav Zitek, baritone. F • E • A • T • U • R • E • S (The Greatest Living Composer!, from p. 1) tronic means, world music, great spans of space and time, of Music and Musicians devotes ten double-column and grandiose aesthetic and philosophical notions. A pages to him alone, as compared, for example, to half of good example is Licht (Light), which is so gigantic that it a column each for Glass and Reich. In four symphonies, will take a week to perform in its entirety and is being the secular oratorio A Child of Our Time, and The Midsum- released every few years in day-long installments. mer Marriage, among his five big operas (for which he The Italian Luciano Berio (b. 1925) shares with writes his own librettos), he has revealed himself to be an Stockhausen the deployment of giant means, incorporat­ artist with a strong humanitarian bent. His newest opera ing collage and largely unintelligible lyrics. His Sinfonia, New Year premiered in Houston this October. In the late originally in four movements and using the Swingle Sing- 1960's, Peter Maxwell Davies (b. 1934) almost achieved ers and a big orchestra, came out in its definitive five­ infamy with such dramatically expressionist and gratingly movement form in a recording last year. Many of his dissonant scores as Eight Songs for a Mad King, about works were written for the wide-ranging voice of his the insanity of King George Ill, who lost the American American wife the late Cathy Berberian. The Pole Witold colonies during the Revolutionary War. His recent, mel- Lutoslawski (b. 1913) has produced a fairly small num­ low Violin Concerto is balm to the ears by comparison. ber of mostly very colorful works but, from the earliest, has Olivier Messiaen (b. 1908) is the doyen of French displayed an outstanding command of form and an acute composers. A deeply religious person ever sensitive to sense of proportion. His latest symphony, the two­ God's natural creations, he r;::::======================================:::;-1 movement No. 3, has al­ has introduced the use of In the last three years alone, for example, ready been recorded twice such exotic musical such relatively prominent composers have died commercially. The sources as notated bird as Henk Badings, Morton Feldman, Wolfgang Hungarian GyOrgy Ligeti song. His new opera, (b. 1923) is best known for appropriately about St. Fortner, Dmitri Kabalevsky, Lars-Erik Larsson, piecesusedinthescorefor Francis of Assisi, who was Vincent Persichett, and Henri Saugue. But can the movie 2oo 1 by Stanley said to have been able to any one of them be called great? Kubrick, who the composer converse with birds and successfully sued for dis- other animals, made quite a splash last season. The torting his music electronically. In fact, most of Ligeti's younger Pierre Boulez (b. 1925) is betterknowntodayfor works employ no electronics, but a lot of them, especially succeeding Bernstein as conductor of the New York Phil- the shimmering choral works, sound like electronic com­ harmonic and for running the vast electronic music facili- positions. ties in the Pompidou Center in Paris than for composing. These are the favorites mentioned by those inter­ His works such as Le marteau sans maitre marked a high viewed. To them the writer would add a personal choice, point in the serial technique, in which not only the twelve Vagn Holmboe (b. 1909), the leading Scandinavian tones of the chromatic scale but also rhythm, timbre, and symphonist since Carl Nielsen. Like Nielsen, Holmboe is every other aspect of a composition were all subjected to basically a neoclassicist making conscious use of the the rigorous structuring of predetermined series. This sort principles of thematic and tonal metamorphosis. Uncom­ of music displays tremendous order on the page that is promising in his integrity, Holmboe has resisted the virtually undetectable to the ear. Henri Dutilleux (b. atonal ism and serialism ofthe 1950's and '60's, producing 1916) is opposed to dogmatism and intensive systemati- music that The New Groves declares to be of "rare zation. An isolated and independent composer, he has continuity and quality of thought." come to greater international attention only with such What is your opinion? Who is the greatest, or major, recent works as his Symphony No. 3. or just plain favorite living composer for you? WTUL German contemporaries are Hans Werner Henze (b. promises to play selections by as many of them as four 1926) and Karlheinz Stockhausen (b. 1928). Henze's hours will allow. At least five days before the broadcast, prodigality of invention is relatively unusual for a com- send your choice to the WTUL Classical Department, poser since World War II.
Load more

Recommended publications
  • Waltz from the Sleeping Beauty
    Teacher Workbook TABLE OF CONTENTS Letter from Jessica Nalbone .................................................................................2 Director of Education, North Carolina Symphony Information about the 2012/13 Education Concert Program ............................3 North Carolina Symphony Education Programs .................................................4 Author Biographies ..............................................................................................6 Carl Nielsen (1865-1931) .......................................................................................7 Oriental Festival March from Aladdin Suite, Op. 34 Wolfgang Amadeus Mozart (1756-1791) ..........................................................15 Symphony No. 39 in E-flat Major, K.543, Mvt. I or III (Movements will alternate throughout season) Claude Debussy (1862-1918) ..............................................................................28 “Golliwogg’s Cakewalk” from Children’s Corner, Suite for Orchestra Piotr Ilyich Tchaikovsky (1840-1893) ..................................................................33 Waltz from The Sleeping Beauty Igor Stravinsky (1882-1971) ...............................................................................44 “Dance of the Young Girls” from The Rite of Spring Loonis McGlohon (1921-2002) & Charles Kuralt (1924-1997) ..........................52 “North Carolina Is My Home” Richard Wagner (1813-1883) ..............................................................................61 Overture to Rienzi
    [Show full text]
  • Concert Programdownload Pdf(349
    The University at Buffalo Department of Music and The Robert & Carol Morris Center for 21st Century Music present Stockhausen's Mantra For Two Pianos Eric Huebner and Steven Beck, pianos Sound and electronic interface design: Ryan MacEvoy McCullough Sound projection: Chris Jacobs and Ryan MacEvoy McCullough Saturday, October 14, 2017 7:30pm Lippes Concert Hall in Slee Hall PROGRAM Mantra (1970) Karlheinz Stockhausen (1928 – 2007) Program Note by Katherine Chi To say it as simply as possible, Mantra, as it stands, is a miniature of the way a galaxy is composed. When I was composing the work, I had no accessory feelings or thoughts; I knew only that I had to fulfill the mantra. And it demanded itself, it just started blossoming. As it was being constructed through me, I somehow felt that it must be a very true picture of the way the cosmos is constructed, I’ve never worked on a piece before in which I was so sure that every note I was putting down was right. And this was due to the integral systemization - the combination of the scalar idea with the idea of deriving everything from the One. It shines very strongly. - Karlheinz Stockhausen Mantra is a seminal piece of the twentieth century, a pivotal work both in the context of Stockhausen’s compositional development and a tour de force contribution to the canon of music for two pianos. It was written in 1970 in two stages: the formal skeleton was conceived in Osaka, Japan (May 1 – June 20, 1970) and the remaining work was completed in Kürten, Germany (July 10 – August 18, 1970).
    [Show full text]
  • Tracing the Development of Extended Vocal Techniques in Twentieth-Century America
    CRUMP, MELANIE AUSTIN. D.M.A. When Words Are Not Enough: Tracing the Development of Extended Vocal Techniques in Twentieth-Century America. (2008) Directed by Mr. David Holley, 93 pp. Although multiple books and articles expound upon the musical culture and progress of American classical, popular and folk music in the United States, there are no publications that investigate the development of extended vocal techniques (EVTs) throughout twentieth-century American music. Scholarly interest in the contemporary music scene of the United States abounds, but few sources provide information on the exploitation of the human voice for its unique sonic capabilities. This document seeks to establish links and connections between musical trends, major artistic movements, and the global politics that shaped Western art music, with those composers utilizing EVTs in the United States, for the purpose of generating a clearer musicological picture of EVTs as a practice of twentieth-century vocal music. As demonstrated in the connecting of musicological dots found in primary and secondary historical documents, composer and performer studies, and musical scores, the study explores the history of extended vocal techniques and the culture in which they flourished. WHEN WORDS ARE NOT ENOUGH: TRACING THE DEVELOPMENT OF EXTENDED VOCAL TECHNIQUES IN TWENTIETH-CENTURY AMERICA by Melanie Austin Crump A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2008 Approved by ___________________________________ Committee Chair To Dr. Robert Wells, Mr. Randall Outland and my husband, Scott Watson Crump ii APPROVAL PAGE This dissertation has been approved by the following committee of the Faculty of The School of Music at The University of North Carolina at Greensboro.
    [Show full text]
  • Vocality and Listening in Three Operas by Luciano Berio
    Clare Brady Royal Holloway, University of London The Open Voice: Vocality and Listening in three operas by Luciano Berio Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Music February 2017 The Open Voice | 1 Declaration of Authorship I, Patricia Mary Clare Brady, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: February 1st 2017 The Open Voice | 2 Abstract The human voice has undergone a seismic reappraisal in recent years, within musicology, and across disciplinary boundaries in the humanities, arts and sciences; ‘voice studies’ offers a vast and proliferating array of seemingly divergent accounts of the voice and its capacities, qualities and functions, in short, of what the voice is. In this thesis, I propose a model of the ‘open voice’, after the aesthetic theories of Umberto Eco’s seminal book ‘The Open Work’ of 1962, as a conceptual framework in which to make an account of the voice’s inherent multivalency and resistance to a singular reductive definition, and to propose the voice as a site of encounter and meaning construction between vocalist and receiver. Taking the concept of the ‘open voice’ as a starting point, I examine how the human voice is staged in three vocal works by composer Luciano Berio, and how the voice is diffracted through the musical structures of these works to display a multitude of different, and at times paradoxical forms and functions. In Passaggio (1963) I trace how the open voice invokes the hegemonic voice of a civic or political mass in counterpoint with the particularity and frailty of a sounding individual human body.
    [Show full text]
  • 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.
    [Show full text]
  • Carl Nielsen's Quintet for Winds, Op. 43: a Critical Edition
    CARL NIELSEN'S QUINTET FOR WINDS, OP. 43: A CRITICAL EDITION, A LECTURE RECITAL, TOGETHER WITH THREE RECITALS OF SELECTED WORKS FOR HORN BY ATTERBERG, RIES, MOZART, ROSETTI, MUSGRAVE, LARSSON, AND OTHERS Marcia L. Spence, B.M., M.M., M.B.A. APPROVED: Major Professor Minor rofessor Committee eiber Committee Member Dean of the College of Music Dean of the Robert B. Toulouse School of Graduate Studies ONA1If CARL NIELSEN'S QUINTET FOR WINDS, OP. 43: A CRITICAL EDITION, A LECTURE RECITAL, TOGETHER WITH THREE RECITALS OF SELECTED WORKS FOR HORN BY ATTERBERG, RIES, MOZART, ROSETTI, MUSGRAVE, LARSSON, AND OTHERS DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Marcia L. Spence, B.M., M.M., M.B.A. Denton, Texas December, 1995 Spence, Marcia Louise, Carl Nielsen's Quintet for Winds, Op. 43: A Critical Edition, A Lecture Recital, Together with Three Recitals of Selected Works for Horn by Atterberg, Ries, Mozart, Rosetti, Musgrave, Larsson, and Others. Doctor of Musical Arts (Performance), December, 1995, 143 pp., 14 examples, 3 appendices, bibliography, 29 titles. The purpose of this dissertation is to prepare and present a critical edition of Carl Nielsen's Quintet fbr Winds, Op. 43, a major work in the woodwind quintet repertoire. Written for the Copenhagen Wind Quintet in 1922, it is also considered a pivotal composition in Nielsen's artistic output. The only published edition of this piece, by Edition Wilhelm Hansen, is rife with errors, a consistent problem with many of Nielsen's compositions.
    [Show full text]
  • Federica Marsico a Queer Approach to the Classical Myth of Phaedra in Music
    Federica Marsico A Queer Approach to the Classical Myth of Phaedra in Music Kwartalnik Młodych Muzykologów UJ nr 34 (3), 7-28 2017 Federica Marsico UNIVERSITY OF PAVIA A Queer Approach to the Classical Myth of Phaedra in Music The Topic In the second half of the 20th century, the myth of Phaedra, according to which the wife of King Theseus of Athens desperately falls in love with her stepson Hippolytus, was set to music by three homosexual compos- ers in the following works: the dramatic cantata Phaedra for mezzo- soprano and small orchestra (1976) by Benjamin Britten (1913-1976) after a text by the American poet Robert Lowell, the opera Le Racine: pianobar pour Phèdre (1980) by Sylvano Bussotti (1931) after a libretto drafted by the Italian composer himself and consisting of a prologue, three acts, and an intermezzo, and, last but not least, the two-act con- cert opera Phaedra (2007) by Hans Werner Henze (1926-2012) after a libretto by the German poet Christian Lehnert.1 1 In the second half of the century, other musical adaptations of the myth were also composed, namely the one-act opera Phèdre by Marcel Mihalovici (1898–1986) after a text by Yvan Goll and consisting in a prologue and five scenes (1951), the chamber opera Syllabaire pour Phèdre by Maurice Ohana (1913–1992) after a text by Raphaël Cluzel (1968), and the monodrama Phaedra for mezzo-soprano and orchestra by George Rochberg (1918–2005) after a text by Gene Rosenfeld (1976). 7 Kwartalnik Młodych Muzykologów UJ, nr 34 (3/2017) This paper summarizes the results of a three-year research project (2013–2015)2 that has proved that the three above-mentioned homo- sexual composers wilfully chose a myth consistent with an incestu- ous—and thus censored—form of love in order to portray homoerotic desire, which the coeval heteronormative society of course labelled as deviant and hence condemned.
    [Show full text]
  • Iolanta Bluebeard's Castle
    iolantaPETER TCHAIKOVSKY AND bluebeard’sBÉLA BARTÓK castle conductor Iolanta Valery Gergiev Lyric opera in one act production Libretto by Modest Tchaikovsky, Mariusz Treliński based on the play King René’s Daughter set designer by Henrik Hertz Boris Kudlička costume designer Bluebeard’s Castle Marek Adamski Opera in one act lighting designer Marc Heinz Libretto by Béla Balázs, after a fairy tale by Charles Perrault choreographer Tomasz Wygoda Saturday, February 14, 2015 video projection designer 12:30–3:45 PM Bartek Macias sound designer New Production Mark Grey dramaturg The productions of Iolanta and Bluebeard’s Castle Piotr Gruszczyński were made possible by a generous gift from Ambassador and Mrs. Nicholas F. Taubman general manager Peter Gelb Additional funding was received from Mrs. Veronica Atkins; Dr. Magdalena Berenyi, in memory of Dr. Kalman Berenyi; music director and the National Endowment for the Arts James Levine principal conductor Co-production of the Metropolitan Opera and Fabio Luisi Teatr Wielki–Polish National Opera The 5th Metropolitan Opera performance of PETER TCHAIKOVSKY’S This performance iolanta is being broadcast live over The Toll Brothers– Metropolitan Opera International Radio Network, sponsored conductor by Toll Brothers, Valery Gergiev America’s luxury in order of vocal appearance homebuilder®, with generous long-term marta duke robert support from Mzia Nioradze Aleksei Markov The Annenberg iol anta vaudémont Foundation, The Anna Netrebko Piotr Beczala Neubauer Family Foundation, the brigit te Vincent A. Stabile Katherine Whyte Endowment for Broadcast Media, l aur a and contributions Cassandra Zoé Velasco from listeners bertr and worldwide. Matt Boehler There is no alméric Toll Brothers– Keith Jameson Metropolitan Opera Quiz in List Hall today.
    [Show full text]
  • Milko Kelemen: Life and Selected Works for Violoncello
    MILKO KELEMEN: LIFE AND SELECTED WORKS FOR VIOLONCELLO by JOSIP PETRAČ (Under the Direction of David Starkweather) ABSTRACT Milko Kelemen (b. 1924) is one of the most extraordinary Croatian composers of the post-World War II era. He has received numerous prestigious awards for his work, while his compositions are published by major companies, including Schott, Universal, Peters, and Hans Sikorski editions. His music is little studied or known internationally. This paper examines this innovative, avant-garde musician and sheds light both on Kelemen’s life and his compositional technique. The latter is examined in four compositions featuring cello as the main subject: Changeant (1968), Drammatico (1983), Requiem for Sarajevo (1994), and Musica Amorosa (2004). The examination of these compositions is placed in a biographical context which reveals how Kelemen’s keen political and cultural interests influenced his development as a composer. In particular, this document looks at Kelemen’s role as one of the founders, and the first president, of the Zagreb Music Biennale Festival, an event known for its ground-breaking work in bringing together artists and composers from the eastern and western blocs during the Cold War, as well as revitalising Croatia’s old-fashioned and provincial cultural scene. This festival of avant-garde music has been running since 1961. INDEX WORDS: Milko Kelemen, Zagreb Biennale, cello, avant-garde music, Changeant, Drammatico, Requiem for Sarajevo, Musica Amorosa MILKO KELEMEN:LIFE AND SELECTED WORKS FOR CELLO by JOSIP
    [Show full text]
  • Wolfgang Fortner: a Catalogue of the Orchestral Music
    WOLFGANG FORTNER: A CATALOGUE OF THE ORCHESTRAL MUSIC 1930: Suite for orchestra after Sweelinck: 20 minutes Cantata “Grenzen der Menschheit” for baritone, chorus and orchestra: 16 minutes 1932: Concerto for Organ and strings: 19 minutes Concerto for Harpsichord and string orchestra: 19 minutes 1933: Concerto for string orchestra: 22 minutes 1934: Concertino for Viola and chamber orchestra in G minor 1937: Sinfonia Concertante for orchestra: 25 minutes “Nuptiae Catulli” for tenor, chorus and chamber orchestra: 25 minutes 1939: Capriccio and Finale for orchestra: 15 minutes 1943: Piano Concerto 1946: Concerto for Violin and Chamber Orchestra: 23 minutes + (MDG, Andromeda and Audite cds) 1947: “Symphony 1947”: 27 minutes * + (Profil cd) Cantata “An die Nachgeborenen” for speaker, tenor, chorus and orchestra: 20 minutes 1948: “Zwei Exerzitien” for women’s chorus and chamber orchestra: 11 minutes 1949: Ballet “Der weisse Rose”: 45 minutes (and Ballet Suite: 40 minutes) 1950: “Phantasie uber die Tonfolge BACH” for two pianos and orchestra: 18 minutes 1951: Cello Concerto: 25 minutes Aria for mezzo-soprano or contralto, flute and chamber orchestra: 10 minutes 1952: “The Sacrifice of Isaac” for contralto, tenor, bass and forty instruments: 17 minutes Pantomime “Die Witwe von Ephesus”: 20 minutes 1953: “Mouvements” for Piano and orchestra: 25 minutes (also Ballet) 1954: “The Creation” for middle voice and orchestra: 20 minutes Italian Overture after Puccini “La Cecchina”: 10 minutes 1957: Impromptus for orchestra: 12 minutes (and “Klangvaration”
    [Show full text]
  • Leo Kraft's Three Fantasies for Flute and Piano: a Performer's Analysis
    CHERNOV, KONSTANTZA, D.M.A. Leo Kraft's Three Fantasies for Flute and Piano: A Performer's Analysis. (2010) Directed by Dr. James Douglass. 111 pp. The Doctoral Performance and Research submitted by Konstantza Chernov, under the direction of Dr. James Douglass at The University of North Carolina at Greensboro (UNCG), in fulfillment of the requirements for the degree Doctor of Musical Arts, consists of the following: I. Chamber Recital, Sunday, April 27, 2008, UNCG: Trio for Piano, Clarinet and Violoncello in Bb Major, op. 11 (Ludwig van Beethoven) Sonatine for Flute and Piano (Henri Dutilleux) Sonata for Violin and Piano in A Major (César Franck) II. Chamber Recital, Monday, November 17, 2008, UNCG: Sonata for Violin and Piano in g minor (Claude Debussy) El Poema de una Sanluqueña, op. 28 (Joaquin Turina) Sonata for Violin and Piano in A Major, op. 13 (Gabriel Fauré) III. Chamber Recital, Tuesday, April 27, 2010, UNCG: Sonata for Two Pianos in D Major, K. 448 (Wolfgang Amadeus Mozart) The Planets, op. 32: Uranus, The Magician (Gustav Holst) The Planets, op. 32: Neptune, The Mystic (Gustav Holst) Fantasie-tableaux (Suite #1), op. 5 (Sergei Rachmaninoff) IV. Lecture-Recital, Thursday, October 28, 2010, UNCG: Fantasy for Flute and Piano (Leo Kraft) Second Fantasy for Flute and Piano (Leo Kraft) Third Fantasy for Flute and Piano (Leo Kraft) V. Document: Leo Kraft's Three Fantasies for Flute and Piano: A Performer's Analysis. (2010) 111 pp. This document is a performer's analysis of Leo Kraft's Fantasy for Flute and Piano (1963), Second Fantasy for Flute and Piano (1997), and Third Fantasy for Flute and Piano (2007).
    [Show full text]
  • The Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat
    Thu, Jun 18, 2020 - The Classical Station, WCPE 1 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 00:01:30 11:59 Handel Trio Sonata in F, Op. 2 No. 4 Heinz Holliger Wind 00341 Denon 7026 N/A Ensemble 00:14:2918:00 Brahms Variations on a Theme by Saint Louis 01966 RCA 7920 078635792027 Haydn, Op. 56a Symphony/Slatkin 00:33:29 26:06 Mozart Violin Concerto No. 4 in D, K. Stern/English Chamber 02925 Sony 66475 074646647523 218 Orchestra/Schneider 01:01:0528:17 Chadwick Aphrodite, a symphonic poem Czech State 03308 Reference 2104 030911210427 Philharmonic, Recordings Brno/Serebrier 01:30:2212:50 Rossini Overture to Semiramide Vienna 03679 Seraphim/ 69137 724356913721 Philharmonic/Sargent EMI 01:44:1214:53 Haydn Piano Sonata No. 47 in B minor Emanuel Ax 10100 Sony 53635 074645363523 Classical 02:00:3510:51 Bizet Children's Games, Op. 22 Concertgebouw/Haitink 01008 Philips 416 437 028941643728 (Jeux d'enfants) 02:12:2612:02 Wagner Die Meistersinger: Selections Chicago 05288 BMG 63301 090266330126 (for orchestra) Symphony/Reiner 02:25:2833:21 Medtner Piano Concerto No. 1 in C Tozer/London 02666 Chandos 9039 095115903926 minor, Op. 33 Philharmonic/Jarvi 03:00:1910:51 Schumann Fantasy Pieces, Op. 73 du Pre/Moore 09531 EMI 65955 724356595521 03:12:1031:22 Mendelssohn String Quintet No. 1 in A, Op. L'Archibudelli 05537 Sony 60766 074646076620 18 Classical 03:44:32 13:38 Carpenter Sea Drift Indianapolis 08678 Decca 458 157 028945845725 Symphony/Leppard 03:59:4017:01 Tubin Suite on Estonian Dances Lubotsky/Gothenburg 01654 BIS 286 N/A Symphony/Jarvi 04:17:41 02:56 Halvorsen Valse caprice Trondheim 01943 Aurora 1921 702626219212 Symphony/Ruud 6 04:21:3738:22 Beethoven Piano Concerto No.
    [Show full text]