DOCSLIB.ORG

CHAN 241-36 Booklet.Indd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CHAN 241-36 Booklet.Indd CHAN 241-36 Complete Weber Works for Clarinet Janet Hilton clarinet City of Birmingham Symphony Orchestra Neeme Järvi Lindsay String Quartet Keith Swallow piano 21 Carl Maria von Weber (1786 –1826) Complete Works for Clarinet COMPACT DISC ONE 1 Concertino in C minor, Op. 26 (J 109)* 9:04 for clarinet and orchestra Allegro – Adagio ma non troppo – Rondo. Allegro Clarinet Concerto No. 1 in F minor, Op. 73 (J 114)* 20:29 2 I Allegro 8:07 3 Painting by Caroline Bardua/Lebrecht Music & Arts Photo Library II Adagio ma non troppo 5:47 4 III Rondo. Allegro 6:34 Clarinet Concerto No. 2 in E fl at major, Op. 74 (J 118)* 22:08 5 I Allegro 8:24 6 II Romanza. Andante con moto – Recitativo – Tempo I 7:19 7 III Alla polacca 6:23 TT 51:42 Carl Maria von Weber 3 CCHANHAN 2241-3641-36 BBooklet.inddooklet.indd 22-3-3 221/12/061/12/06 112:00:022:00:02 COMPACT DISC TWO Clarinet Quintet in B fl at major, Op. 34 (J 182)† 28:21 Weber: Complete Works for Clarinet 1 I Allegro 10:32 2 II Fantasia. Adagio ma non troppo 6:00 3 III Menuetto. Capriccio presto – Trio 5:34 Since I composed the Concertino for Montgelas, a minister of Maximilian I, and 4 6:14 IV Rondo. Allegro giocoso Bärmann, the whole orchestra has been in the principal clarinettist of the orchestra of the very devil about demanding concertos which he speaks so affectionately in his letter, Grand duo concertant in E fl at major, from me… two clarinet concertos (of the great virtuoso Heinrich Joseph Bärmann. Op. 48 (J 204)‡ 21:01 which one in F minor is nearly ready), Like Mozart with Stadler, and later Brahms for clarinet and piano two large arias, a cello concerto, a with Mühlfeld, Weber was captivated by the 5 I Allegro con fuoco 9:03 bassoon concerto. You see I am not doing expressive possibilities of the clarinet, and 6 II Andante con moto 5:38 at all badly, and very probably I’ll be in particular by Bärmann’s artistry on it (a 7 III Rondo. Allegro 6:19 spending the summer here, where I’m contemporary account speaks of ‘technique, earning so much that I’ve something left sentiment and delicacy of tone alike’). He 8 Variations on a Theme from ‘Silvana’, over after paying my keep. was immediately struck by the clarinet’s dark Op. 33 (J 128)‡ 15:22 So wrote Weber from Munich in April 1811. lower register – later used in the ‘Wolf’s for clarinet and piano He might justifi ably have added ‘and not Glen’ scene in Der Freischütz – and by its TT 64:45 before time’, for throughout a great part of brilliant quality at the opposite end of the his life, Weber, never the most physically spectrum – which offered rich possibilities robust of men, had to work unreasonably for a lively coloratura style of writing – in Janet Hilton clarinet hard simply to pay his way in the world. addition to its unrivalled potential for leaping ‡ Keith Swallow piano Matters improved signifi cantly, however, in and trilling between the two extremes. Lindsay String Quartet† the early months of 1811. After an unhappy Composer and clarinettist had already met Peter Cropper violin episode involving charges of embezzlement several months earlier in Mannheim (home of Ronald Birks violin against his father, and disappointed in the renowned orchestra whose clarinets, soft Roger Bigley viola his hopes of fi nding a permanent post in and rich-toned in the German manner, had Bernard Gregor-Smith cello Darmstadt, Weber set off on a concert tour set a distinguished example), and, granted a City of Birmingham Symphony Orchestra* of southern Germany, fi nally arriving in concert in Munich on 5 April by the King of Barrie Moore leader Munich. There he found a sympathetic Bavaria, Weber set to work on a concertino Neeme Järvi* musical ear in the person of Josef von for Bärmann to play on his recently acquired 4 5 CCHANHAN 2241-3641-36 BBooklet.inddooklet.indd 44-5-5 221/12/061/12/06 112:00:042:00:04 ten-key instrument. Within a fortnight the there follow two variations which demand in Weber’s estimation, any composer worth imagination is at its most striking. To begin work was completed, and the concert, which both dexterity and expressiveness of the the name ought to have at his command. with, bassoons play a vital, luminous role also included Weber’s First Symphony soloist. Then, unexpectedly – for is this not The expression within the works, however, is in the opening texture, tellingly blended and Der erste Ton for reciter, chorus and too lightweight a piece for what follows? –, original and characteristic. If Beethoven wrested with clarinet and strings, yet it is the slow, orchestra, was immediately sold out. Such the music comes to a rest, leaving only a his inspiration from traditional forms, Weber chorale-like duet of the soloist with three compositional fl uency can have allowed soft drum roll lingering in the air. Here, in happily accommodated himself to them. horns at the centre of the movement which Bärmann little time to study the work’s a Lento aria of just twenty-one bars, is the While the opening of Clarinet Concerto afterwards lingers in the inner ear. Here, in considerable technical details as much as he Weber of the darker side of German romantic No. 1 in F minor, Op. 73 may be German romantic literary tradition, is the would have liked. The Concertino’s success, theatre, melancholy and lyrical, with the Beethovenian in spirit, its stalking, sotto voce horn as instrument of the night, evoking however, was instantaneous. The King clarinet low in the chalumeau register against character soon shows itself to be perfectly pastoral landscapes and forests bathed in immediately requested two more clarinet piano divided violas. An Allegro fi nale in compatible with the virtuosity and spirited moonlight. (For Bärmann, in later years, works from Weber, this time concertos on 6/8, complete with a brief ‘hunting horn’ invention of the solo writing. After the the passage was to assume the nature of a a full scale, and these were written during interjection, rounds off the piece in lively fi rst, F minor paragraph, there is a pause, lament. For a memorial concert for Weber the following May and July. Three further and virtuosic fashion. and the orchestra leads off in distant D fl at in 1831, he arranged it for clarinet and works for Bärmann to play (the Quintet, the Aside from the First Piano Concerto, major, with solo writing of deftness and three male voices to words by Eduard von Grand duo concertant and a set of variations written a year previously, in 1810, the two lyrical warmth. There is a particularly lovely Schenk: ‘He is on High, the creator of these on a theme from Weber’s opera Silvana) concertos for clarinet and orchestra fi nd Weber episode which opens softly in C minor, and sounds… [which] alone live on here below’.) were to follow within the next fi ve years. coming to grips for the fi rst time with the which glides to and fro between major and The gracious company of these instruments In essence the Concertino in C minor, traditional three-movement concerto form. minor with the gentle air of melancholy remains with the soloist until the end of the Op. 26 is a scena for clarinet and orchestra, a Perhaps it was the commission from so lofty reminiscent of the Weber of German movement. set of variations which leaves an impression a source as the King of Bavaria that decided romantic theatre. The approach to the coda The playful, syncopated theme which of continuous development rather than any Weber against formal innovation; at least as confi rms the impression: in the same spirit opens the Rondo fi nale quickly dispels the conventional step-by-step embellishment of far as their fi rst movements are concerned, of tenderness and goodness that was to evoke nocturnal atmosphere. Yet there is room a theme. There is a sombre Introduction in the two clarinet concertos fall fairly easily the appearance of Agathe in Der Freischütz for lyricism too, notably in the form of a C minor (much in the style of a recitative), into the classical mould, and the orchestral ten years later, horns intone the opening graceful passage in D minor. Here, once at the end of which the horns softly intone resources of each are conventionally of that theme of the movement, to which the clarinet again, the texture is warmed by the presence the dominant, as if to return to the home period – two each of fl utes, oboes, bassoons, replies against soft tremolando strings. The of bassoons, and there is a characteristic key. Instead, however, the scene lightens into horns (three of the latter in the Adagio of movement dies away, ppp, in the minor key. excursion into the fl attened supertonic E fl at major for the theme itself, vocal and No. 1) and trumpets, with timpani and It is in the Adagio ma non troppo that (E fl at major). The rondo theme returns, Italianate, and after a brilliant orchestral reply strings. So much for the medium which, the originality of Weber’s orchestral this time with oboe contributing a delightful 6 7 CCHANHAN 2241-3641-36 BBooklet.inddooklet.indd 66-7-7 221/12/061/12/06 112:00:042:00:04 counterpoint.
Load more

Recommended publications
  • Curriculum Vitae of Ben Sieben
    Curriculum Vitae of Ben Sieben Table of Contents Education 2 Relevant Skills 2 Employment Positions Held 2 Performance Experience 3 Collaborative Experience 3 Master Classes 4 Teaching 4 Awards and Recognition 5 International Performances/Foreign Travel 5 Volunteer Work 5 Graduate Degree Recitals 6 Collaborative Repertoire 6 1 BEN SIEBEN [email protected] | 979-479-1197 | 61 San Jacinto St., Bay City, TX, 77414 Education Master of Music in Collaborative Piano 2017 University of Colorado Boulder Primary instructors: Margaret McDonald and Alexandra Nguyen Master of Music in Piano Performance 2012 University of Utah Primary instructor: Heather Conner Bachelor of Music in Piano Performance 2010 Houston Baptist University Primary instructor: Melissa Marse Relevant Skills 25 years of classical piano sight reading improvisation open-score reading transposition jazz and rock styles basso-continuo harpsichord music theory score arranging transcription by ear reading lead sheets keyboard/synthesizer proficiency Italian, German, French, and English diction fluent conversational Spanish Employment Positions Held Emerging Musical Artist-in-Residence, Penn State Altoona 2017 ​ Vocal coach and accompanist for private voice students Graduate Assistant, University of Colorado Boulder 2015-2017 ​ Collaborative pianist, pianist for instrumental students, vocal students, orchestra, opera, and opera scenes classes Choral Accompanist, Texas A&M University 2012-2015 ​ Accompanist for Century Singers and Women’s Chorus Choral Accompanist, Brazos Valley Chorale
    [Show full text]
  • Symphonies Nos. 1 & 2
    WEBER Symphonies Nos. 1 & 2 Tamdot Siana Die Drei Pintoe Queensland Phiharmonic Orchestra John Georgiadis, Conductor Carl Maria von Weber (1786 - 1826) Symphony No. 1 in C Major, J. 50 Symphony No. 2 in C Major, J. 51 Turandot Overture, J. 75 Silvana, J. 87 Die Drei Pintos It was natural that there should be an element of the operatic in the music of Weber. The composer of the first great Romantic German opera, Der Freischutz, spent much of his childhood with the peripatetic theatre-company directed~ ~~~~ bv his father. Franz Anton Weber. uncle of MozarYs wife Constanze and like hLq brother. atone time amember- ~-- bf the~~ famous ~ Mannheim orchestra. At the tme of Weoer s b nh hls fatner was still n the serv ce of the Bsnop of Ljoeclcano odr ngtne courseoi an emended v<stto V ennahaa taden asecono wife, an actress and singer, who became an important member of the family theatre-company established in 1788. Webeis musical gifts were fostered by his father, who saw in his youngest son the possibility of a second Mozart. Travel brought the chance of varied if inconsistent study, in Salzburg with Michael Haydn and elsewhere with musicians of lesser ability. His second opera was performed in Freiberg in 1800. followed bv a third. Peter Schmoll und seine Nachbarn. in Auusburu in 1803 Lessons ;/nth the Abbe Vogler led to a poslrton as i(apeGeis~e; n Bresla~in 1804 brougnt lo a premature end tnrough the hosulily of rnLslc ans ong eslabished in the city and lnrough tne accldenra drinlctng of engrav ng acid, left by his father in a wine-bottle.
    [Show full text]
  • A B C a B C D a B C D A
    24 go symphonyorchestra chica symphony centerpresent BALL SYMPHONY anne-sophie mutter muti riccardo orchestra symphony chicago 22 september friday, highlight season tchaikovsky mozart 7:00 6:00 Mozart’s fiery undisputed queen ofviolin-playing” ( and Tchaikovsky’s in beloved masterpieces, including Rossini’s followed by Riccardo Muti leading the Chicago SymphonyOrchestra season. Enjoy afestive opento the preconcert 2017/18 reception, proudly presents aprestigious gala evening ofmusic and celebration The Board Women’s ofthe Chicago Symphony Orchestra Association Gala package guests will enjoy postconcert dinner and dancing. rossini Suite from Suite 5 No. Concerto Violin to Overture C P s oncert reconcert Reception Turkish The Sleeping Beauty Concerto. The SleepingBeauty William Tell conducto The Times . Anne-Sophie Mutter, “the (Turkish) William Tell , London), performs London), , media sponsor: r violin Overture 10 Concerts 10 Concerts A B C A B 5 Concerts 5 Concerts D E F G H I 8 Concerts 5 Concerts E F G H 5 Concerts 6 Conc. 5 Concerts THU FRI FRI SAT SAT SUN TUE 8:00 1:30 8:00 2017/18 8:00 8:00 3:00 7:30 ABCABCD ABCDAAB Riccardo Muti conductor penderecki The Awakening of Jacob 9/23 9/26 Anne-Sophie Mutter violin tchaikovsky Violin Concerto schumann Symphony No. 2 C A 9/28 9/29 Riccardo Muti conductor rossini Overture to William Tell 10/1 ogonek New Work world premiere, cso commission A • F A bruckner Symphony No. 4 (Romantic) A Alain Altinoglu conductor prokoFIEV Suite from The Love for Three Oranges Sandrine Piau soprano poulenc Gloria Michael Schade tenor gounod Saint Cecilia Mass 10/5 10/6 Andrew Foster-Williams 10/7 C • E B bass-baritone B • G Chicago Symphony Chorus Duain Wolfe chorus director 10/26 10/27 James Gaffigan conductor bernstein Symphonic Suite from On the Waterfront James Ehnes violin barber Violin Concerto B • I A rachmaninov Symphonic Dances Sir András Schiff conductor mozart Serenade for Winds in C Minor 11/2 11/3 and piano bartók Divertimento for String Orchestra 11/4 11/5 A • G C bach Keyboard Concerto No.
    [Show full text]
  • Production Database Updated As of 25Nov2020
    American Composers Orchestra Works Performed Workshopped from 1977-2020 firstname middlename lastname Date eventype venue work title suffix premiere commission year written Michael Abene 4/25/04 Concert LGCH Improv ACO 2004 Muhal Richard Abrams 1/6/00 Concert JOESP Piano Improv Earshot-JCOI 19 Muhal Richard Abrams 1/6/00 Concert JOESP Duet for Violin & Piano Earshot-JCOI 19 Muhal Richard Abrams 1/6/00 Concert JOESP Duet for Double Bass & Piano Earshot-JCOI 19 Muhal Richard Abrams 1/9/00 Concert CH Tomorrow's Song, as Yesterday Sings Today World 2000 Ricardo Lorenz Abreu 12/4/94 Concert CH Concierto para orquesta U.S. 1900 John Adams 4/25/83 Concert TULLY Shaker Loops World 1978 John Adams 1/11/87 Concert CH Chairman Dances, The New York ACO-Goelet 1985 John Adams 1/28/90 Concert CH Short Ride in a Fast Machine Albany Symphony 1986 John Adams 12/5/93 Concert CH El Dorado New York Fromm 1991 John Adams 5/17/94 Concert CH Tromba Lontana strings; 3 perc; hp; 2hn; 2tbn; saxophone1900 quartet John Adams 10/8/03 Concert CH Christian Zeal and Activity ACO 1973 John Adams 4/27/07 Concert CH The Wound-Dresser 1988 John Adams 4/27/07 Concert CH My Father Knew Charles Ives ACO 2003 John Adams 4/27/07 Concert CH Violin Concerto 1993 John Luther Adams 10/15/10 Concert ZANKL The Light Within World 2010 Victor Adan 10/16/11 Concert MILLR Tractus World 0 Judah Adashi 10/23/15 Concert ZANKL Sestina World 2015 Julia Adolphe 6/3/14 Reading FISHE Dark Sand, Sifting Light 2014 Kati Agocs 2/20/09 Concert ZANKL Pearls World 2008 Kati Agocs 2/22/09 Concert IHOUS
    [Show full text]
  • The Effect of Carl Maria Von Weber E Flat Major Op. 26 Clarinet Concertino on the Performance of Clarinet
    Annals of the „Constantin Brâncuși” University of Târgu Jiu, Letter and Social Science Series, 2/2017 THE EFFECT OF CARL MARIA VON WEBER E FLAT MAJOR OP. 26 CLARİNET CONCERTINO ON THE PERFORMANCE OF CLARİNET İlkay AK Anadolu University, [email protected] Abstract: Solo and chamber music works for clarinet of Carl Maria von Weber create a quite important part of clarinet repertoire. These works which are also used for training repertoires are the works that provide technical and musical development for the students. Weber clarinet concertino is among these works. This concertino with single part consists of three parts in itself. These are Adagio ma non troppo, Andante and Allegro. There are more or less technical and musical difficulties of the concertino that changes from one clarinetist to the other. However, each teacher and student have his/her own methods to solve these difficulties. What is important is to be aware of these difficulties and to apply a correct way to study it. In this study, first, some information about Romantic Period music is presented in a historical order, the place and the importance of Weber in the history of music are mentioned, and some methods are described in order to decrease the musical and technical difficulties in clarinet concertino. Keywords: Romantic Period, Weber, Clarinet, Baermann, Concertino. ** This paper has been presented at 4th International Conference on Humanities and Educational Research held in Istanbul, Turkey on December 8-10, 2017. INTRODUCTION: ROMANTIC PERIOD Romantic period is a period which covers entire 19th century. This period reaches out till the beginning of 20th century.
    [Show full text]
  • Concerto for Bassoon and Chamber Orchestra
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2011 Concerto for Bassoon and Chamber Orchestra Timothy Patrick Cooper [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Composition Commons Recommended Citation Cooper, Timothy Patrick, "Concerto for Bassoon and Chamber Orchestra. " Master's Thesis, University of Tennessee, 2011. https://trace.tennessee.edu/utk_gradthes/964 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Timothy Patrick Cooper entitled "Concerto for Bassoon and Chamber Orchestra." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Kenneth A. Jacobs, Major Professor We have read this thesis and recommend its acceptance: Brendan P. McConville, Daniel R. Cloutier Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) Concerto For Bassoon and Chamber Orchestra A Thesis Presented for the Master of Music Degree The University of Tennessee, Knoxville Timothy Patrick Cooper August 2011 Copyright © 2011 by Timothy Cooper. All Rights Reserved. ii Acknowledgements Several individuals deserve credit for their assistance in this project.
    [Show full text]
  • Swr2-Musikstunde-20130215.Pdf
    __________________________________________________________________________ 2 MUSIKSTUNDE mit Trüb Freitag, 15. 2. 2013 „Weber, Wald und Wolfsschluchzen: Das Theatergenie Carl Maria von“ (5) MUSIK: INDIKATIV, NACH CA. … SEC AUSBLENDEN Carl Maria von Weber war ein Komponist der Zukunft. Zeitlebens genoss er kein besonders hohes Ansehen innerhalb der „Zunft“ - aber die Nachgeborenen verehren ihn. In seinen Memoiren etwa schrieb Héctor Berlioz: „Der Komponist hat den kindischen Forderungen der Mode und den noch gebieterischeren Forderungen der Sängereitelkeit (…) nirgends auch nur im geringsten nachgegeben. Er hat seine schlichte Wahrhaftigkeit, seine stolze Ursprünglichkeit, seinen Hass gegen den Formelkram, seine Würde dem Publikum gegenüber, dessen Beifall er durch keine feige Herablassung erkaufen wollte, seine Größe ebenso im Freischütz wie im Oberon bewahrt.“ Robert Schumann fand im Weber'schen Oeuvre „alles höchst geistreich und meisterhaft“, Tschaikowsky hörte vor allem „(viel) Wärme, (…) Unmittelbarkeit der Eingebung, (vollständiges) Fehlen von Künstelei und technischer Anstrengung“. Claude Debussy meinte: „Er erforscht die Seele der einzelnen Instrumente und legt sie mit behutsamer Hand bloß. Sie offenbaren sich ihm und geben ihm mehr, als er gefordert hatte.“ Und im Gespräch mit Erwin Kroll, anno 1932, verriet Strawinsky lapidar: „Weber ist einer meiner Lieblingskomponisten.“ Nicht zu vergessen auch die Hommage der Tat: Gustav Mahler bewunderte Weber so sehr, dass er dessen Opernfragment „Die drei Pintos“ bis zur Bühnenreife bearbeitete, und Paul Hindemith schuf eines seiner bekanntesten Orchesterstücke nach Webers Schauspielmusik zu „Turandot“: Sinfonische Metamorphosen über Themen von Carl Maria von Weber. MUSIK: HINDEMITH, SINF. METAMORPHOSEN, TRACK 5 (3:54) Schönste Form des Komplimentes: das liebevoll umspielte Zitat. Herbert Blomstedt dirigierte das San Francisco Symphony Orchestra mit dem Beginn von Paul Hindemiths Sinfonischen Metamorphosen über Themen von Carl Maria von Weber.
    [Show full text]
  • Download Booklet
    570725bk Euphonium:557541bk Kelemen 3+3 16/5/08 4:29 PM Page 1 Roland Fröscher Roland Fröscher was born in 1977 in Belp, near Berne, Switzerland. After completing his training as a primary school teacher, he went on to study euphonium at the Conservatoires of Berne and Lausanne under Roger Bobo. He was awarded the Teaching Diploma with Distinction in summer 2002. He also studied “School Music II” at the University of Berne. In summer 2005 he was awarded the Soloists’ Diploma, with Distinction, having studied under Thomas Rüedi, and was also awarded the Orchestral Direction Diploma, having completed a course under Dominique Roggen. Fröscher has appeared as a guest soloist with various ensembles, symphony orchestras, brass bands and wind orchestras, in Europe as well as in Canada and the USA. Fröscher also enjoys a busy concert schedule as a chamber musician, Music for performing with the renowned tuba quartet Les Tubadours as well as pianist Jean-Jacques Schmid. He is conductor of Brass Band Rapperswil-Wierezwil, and teaches euphonium at the Musikschule Region Gürbetal and the Hochschule der Künste Bern. Fröscher has won numerous prestigious competitions and awards, which include: national youth Euphonium championship events (SSEW, SSQW); the Friedl-Wald competition (2003); “Brass Player of the Year” at the Hochschule der Künste Bern (2004); third prize at the International Euphonium Competition in Lieksa, Finland (2004); the Tschumi Prize (2005). www.rolandfroescher.ch and Orchestra Capella Istropolitana Cappella Istropolitana was founded in 1983. The orchestra has performed in nearly all European countries, as well as ROGGEN in the United States, Canada, Japan, Korea, China, Macao and Hong Kong.
    [Show full text]
  • Performances from 1974 to 2020
    Performances from 1974 to 2020 2019-20 December 1 & 2, 2018 Michael Slon, Conductor September 28 & 29, 2019 Family Holiday Concerts Benjamin Rous, Conductor MOZART Symphony No. 32 February 16 & 17, 2019 ROUSTOM Ramal Benjamin Rous, Conductor BRAHMS Piano Concerto No. 2 in B-flat Major RAVEL Pavane pour une infante défunte RAVEL Piano Concerto in G Major November 16 & 17, 2019 MOYA Siempre Lunes, Siempre Marzo Benjamin Rous & Michael Slon, Conductors KODALY Variations on a HunGarian FolksonG MONTGOMERY Caught by the Wind ‘The Peacock’ RICHARD STRAUSS Horn Concerto No. 1 in E-flat Major March 23 & 24, 2019 MENDELSSOHN Psalm 42 Benjamin Rous, Conductor BRUCKNER Te Deum in C Major BARTOK Violin Concerto No. 2 MENDELSSOHN Symphony No. 4 in A Major December 6 & 7, 2019 Michael Slon, Conductor April 27 & 28, 2019 Family Holiday Concerts Benjamin Rous, Conductor WAGNER Prelude from Parsifal February 15 & 16, 2020 SCHUMANN Piano Concerto in A minor Benjamin Rous, Conductor SHATIN PipinG the Earth BUTTERWORTH A Shropshire Lad RESPIGHI Pines of Rome BRITTEN Nocturne GRACE WILLIAMS Elegy for String Orchestra June 1, 2019 VAUGHAN WILLIAMS On Wenlock Edge Benjamin Rous, Conductor ARNOLD Tam o’Shanter Overture Pops at the Paramount 2018-19 2017-18 September 29 & 30, 2018 September 23 & 24, 2017 Benjamin Rous, Conductor Benjamin Rous, Conductor BOWEN Concerto in C minor for Viola WALKER Lyric for StrinGs and Orchestra ADAMS Short Ride in a Fast Machine MUSGRAVE SonG of the Enchanter MOZART Clarinet Concerto in A Major SIBELIUS Symphony No. 2 in D Major BEETHOVEN Symphony No. 7 in A Major November 17 & 18, 2018 October 6, 2017 Damon Gupton, Conductor Michael Slon, Conductor ROSSINI Overture to Semiramide UVA Bicentennial Celebration BARBER Violin Concerto WALKER Lyric for StrinGs TCHAIKOVSKY Symphony No.
    [Show full text]
  • 2019 CCPA Solo Competition: Approved Repertoire List FLUTE
    2019 CCPA Solo Competition: Approved Repertoire List Please submit additional repertoire, including concertante pieces, to both Dr. Andrizzi and to your respective Department Head for consideration before the application deadline. FLUTE Arnold, Malcolm: Concerto for flute and strings, Op. 45 strings Arnold, Malcolm: Concerto No 2, Op. 111 orchestra Bach, Johann Sebastian: Suite in B Minor BWV1067, Orchestra Suite No. 2, strings Bach, Carl Philipp Emanuel: Concerto in D Minor Wq. 22, strings Berio, Luciano: Serenata for flute and 14 instruments Bozza, Eugene: Agrestide Op. 44 (1942) orchestra Bernstein, Leonard: Halil, nocturne (1981) strings, percussion Bloch, Ernest: Suite Modale (1957) strings Bloch, Ernest: "TWo Last Poems... maybe" (1958) orchestra Borne, Francois: Fantaisie Brillante on Bizet’s Carmen orchestra Casella, Alfredo: Sicilienne et Burlesque (1914-17) orchestra Chaminade, Cecile: Concertino, Op. 107 (1902) orchestra Chen-Yi: The Golden Flute (1997) orchestra Corigliano, John: Voyage (1971, arr. 1988) strings Corigliano, John: Pied Piper Fantasy (1981) orchestra Devienne, Francois: Concerto No. 7 in E Minor, orchestra Devienne, Francois: Concerto No. 10 in D Major, orchestra Devienne, Francois: Concerto in D Major, orchestra Doppler, Franz: Hungarian Pastoral Fantasy, Op. 26, orchestra Feld, Heinrich: Fantaisie Concertante (1980) strings, percussion Foss, Lucas: Renaissance Concerto (1985) orchestra Godard, Benjamin: Suite Op. 116; Allegretto, Idylle, Valse (1889) orchestra Haydn, Joseph: Concerto in D Major, H. VII f, D1 Hindemith, Paul: Piece for flute and strings (1932) Hoover, Katherine: Medieval Suite (1983) orchestra Hovhaness, Alan: Elibris (name of the DaWn God of Urardu) Op. 50, (1944) Hue, Georges: Fantaisie (1913) orchestra Ibert, Jaques: Concerto (1933) orchestra Jacob, Gordon: Concerto No.
    [Show full text]
  • Preperations on a Graduate Viola Recital Julia Gutierrez University of Texas at El Paso, [email protected]
    University of Texas at El Paso DigitalCommons@UTEP Open Access Theses & Dissertations 2011-01-01 Preperations on a Graduate Viola Recital Julia Gutierrez University of Texas at El Paso, [email protected] Follow this and additional works at: https://digitalcommons.utep.edu/open_etd Part of the Music Commons, and the Theatre and Performance Studies Commons Recommended Citation Gutierrez, Julia, "Preperations on a Graduate Viola Recital" (2011). Open Access Theses & Dissertations. 2305. https://digitalcommons.utep.edu/open_etd/2305 This is brought to you for free and open access by DigitalCommons@UTEP. It has been accepted for inclusion in Open Access Theses & Dissertations by an authorized administrator of DigitalCommons@UTEP. For more information, please contact [email protected]. PREPERATIONS FOR A GRADUATE VIOLA RECITAL JULIA GUTIERREZ Department of Music APPROVED: Stephanie Meyers, D.M.A., Chair Marcia Fountain, D.M.A. Kim Bauer, M.F.A. Patricia D. Witherspoon, Ph.D. Dean of the Graduate School Copyright © by Julia Gutierrez May 2011 PREPERATIONS FOR A GRADUATE VIOLA RECITAL by JULIA GUTIERREZ, B.M. THESIS Presented to the Faculty of the Graduate School of The University of Texas at El Paso in Partial Fulfillment of the Requirements for the Degree of MASTER OF MUSIC Department of Music THE UNIVERSITY OF TEXAS AT EL PASO May 2011 Abstract The intention of this paper is to discuss three works of the viola repertoire and their specific performance practices and musical aspects. The paper discusses the historical background of the pieces, harmonic and form structure, and suggested performance practices for each work. iv Table of Contents Abstract ..........................................................................................................................................
    [Show full text]
  • Turangalîla-Symphonie and His American Harmonies Program Are a Perfect Expression of David’S Musical Leadership
    CONCERT DIARY DECEMBER All That Jazz Sun 1 Dec, 3pm Verbrugghen Hall, Sydney WITH THE SYDNEY SYMPHONY FELLOWS Conservatorium of Music Program includes: HINDEMITH Kammermusik No.1 EISLER Overture to a Comedy SHOSTAKOVICH Jazz Suite No.1 Roger Benedict conductor Sydney Symphony Orchestra Fellows Guest Musicians from the Sydney Conservatorium of Music Mahler's Klagende Lied Abercrombie & Kent Masters Series SIMONE YOUNG’S VISIONS OF VIENNA Wed 4 Dec, 8pm MAHLER Das klagende Lied (The Sorrowful Song) Fri 6 Dec, 8pm Sat 7 Dec, 8pm Simone Young conductor Eleanor Lyons soprano Sydney Opera House Michaela Schuster mezzo-soprano Steve Davislim tenor Andrew Collis bass-baritone Sydney Philharmonia Choirs FEBRUARY 2020 The 1950s Latin Lounge Wed 5 Feb, 7pm Thu 6 Feb, 7pm Program includes: Sat 8 Feb, 7pm GERSHWIN Cuban Overture Sydney Town Hall MARQUEZ Danzón No.2 BERNSTEIN West Side Story – Mambo Guy Noble conductor Imogen Kelly dancer Ali McGregor soprano The Rite of Spring Symphony Hour Wed 19 Feb, 7pm RIOT AT THE BALLET Thu 20 Feb, 7pm WAGNER Die Meistersinger – Prelude Sydney Town Hall STRAVINSKY The Rite of Spring Pietari Inkinen conductor Abercrombie & Kent Debussy and Ravel Masters Series THE GREAT IMPRESSIONISTS Wed 26 Feb, 8pm RAVEL Piano Concerto in G Fri 28 Feb, 8pm MENDELSSOHN The Hebrides Sat 29 Feb, 8pm DEBUSSY La mer Thursday Afternoon Symphony Jun Märkl conductor Thu 27 Feb, 1.30pm Alexandra Dariescu piano Great Classics Sat 29 Feb, 2pm Sydney Town Hall MARCH 2020 Ben Folds Sydney Symphony Presents Fri 6 Mar, 8pm THE SYMPHONIC TOUR Sat 7 Mar, 8pm Pop icon and music innovator Ben Folds Sydney Town Hall returns to Sydney following his last sold- out shows with the Sydney Symphony.
    [Show full text]