The Most Popular Opera Overtures Baguer: Symphonies No

Total Page:16

File Type:pdf, Size:1020Kb

The Most Popular Opera Overtures Baguer: Symphonies No SYMFONICKÝ REPERTOÁR / SYMPHONIC REPERTOIRE / SYMPHONISCHES REPERTOIRE Auber: The Most Popular Opera Overtures Baguer: Symphonies No. 13 -15 Bach, J.S.: Four Orchestral Suites Barber: Adagio for Strings Bartók: Music for Strings, Percussions and Celesta, Divertimento, Dance Suite, Concerto for Orchestra, Romanian Dances Beethoven: Complete Orchestral Works Benda, J. A.: Symphonies No. 4 - 6 Berlioz: Fantastic Symphony, Funeral Symphony, Harold in Italy, Faust-excerpts, B. Cellini, King Lear, Corsar, Roman Carnival Bernstein: Preludium, Fuga and Riff, Symphony No. 2 „Age of Anxiety“ Bizet: Carmen Suites, L´Arlesienne Suites, Roma, Symphony C dur Boccherini: Variations Sulla Ritirata Borodin: Polovstvian Dances, In the Central Asia, Prince Igor Overture Brahms: Complete Orchestral Works Britten: Simple Symphony, Variation on a Theme of H. Purcell (The Young People´s Guide), Variations on a Theme of F. Bridge, Mattinees musicales, Sinfonietta, Sinfonia da Requiem Bruckner: Symphonies No. 2 - 7, Overture g minor Copland: Appalachian Spring Suite, Fanfare for the Common Man Debussy: Prélude a l´apres-midi d´un Faune, La Mer, Images Dukas: L´Apprenti Sorcier Dvořák: Complete Orchestral Works Elgar: Cockaigne Overture, Enigma Variations, Elegy for Strings Enescu: Romanian Rhapsodies Falla: El Amor Brujo Suite Fauré: Peleas and Melisande, Pavane Fibich: Toman and Wood Nymphe, Night in the Karlštejn Overture, Othello, In the Twilight, Záboj, Slavoj and Luděk, Symohonies No. 1, 2, 3 Flotow: Martha Overture Foerster: Festive Overture, Shakespeare Suite Franck: Symphony d moll, The Most Popular Symphonic Poems Fučík: Popular Dances, Marches, Overtures Gershwin: American in Paris, Porgy and Bess Symphonic Picture, Cuban Overture Glazunov: Symphonies No. 2, 3, 4, 5, 8, 9, Spring, Mazurka, Andantino, Finnish Sketches, Suite from Ancient Times, Finnish Fantasy Glinka: Ruslan and Ludmila Overture, Ivan Susanin Overture, Kamarinskaja, Valse Fantasy, Night in the Madrid, Jota Aragonese Gluck: The Most Popular Opera Overtures, Sinfonia in Re Grieg : Peer Gynt Suites, Holberg Suite, Symphonic Dances, Norwegian Dances Händel: Fireworks Music, Water Music, Xerxes Overture Haydn: The Most Popular Symphonies and Concertante Symphonies Hindemith: Mathis der Maler Symphony, Symphonic Metamorphoses, Nobilissima Visione Honegger: Pacific 231, Summer Pastorale, Symphonies No. 2 and 3 Huanzhi: Spring Festival Overture Janáček: Taras Bulba, Symfonietta, Lachian Dances, Moravian Dances, Suite, Idylle Kilar: Symphony No. 5, Pan Tadeusz Polonaise, Orawa Kodály: Háry János Suite, Dances from Galanta Kurpiński: The Ruins of Babylon Overture Liszt: Les Preludes, Tasso, Hungaria, Faust Symphony, Dante Symphony, Prometheus, Mephisto Waltz Lutoslawski: The Mourning Music, Concerto for Orchestra, Symphony No.4, Little Suite Mahler: Symphonies No. 1, 2, 4, 5, 6, 9, Das Lied von der Erde Malawski: Toccata Martinů: Symphonies No. 1, 4, 6, Tre Ricercari, Lidice Memorial Mendelssohn: Complete Symphonies, Hebrides, A Midsummer Night Dream Meyerbeer: Struensee, Dinorah Overture Moniuszko: The Most Popular Opera Overtures and Dances, Fairy Tale Overture Mozart: Complete Opera Overtures, Eine Kleine Nachtmusik, Divertimenti, The Most Popular Symphonies and Concertante Symphonies, Adagio and Fuga for Strings, Haffner Serenade Mussorgsky: Pictures at the Exhibition, Night on the Bald Mountain Nedbal: Valse Triste, Valse Noble, The Most Popular Operette Overtures Novák: Slovakian Suite, In the Tatras, About Eternal Longing Offenbach: The Most Popular Operette Overtures Penderecki: Symphony No. 2 ”Christmas“ Petrassi: Concerto for Orchestra No. 3 Prokofjev: Symphonies No. 1, 2, 5, 6, Romeo and Juliet Suites, Egyptian Nights, Summer Day Purcell: Golden Sonata Ravel: Le Tombeau de Couperin, Bolero, Daphnis and Chloe Suites, Pavanne, La Valse, Alborada del Gracioso Reger: Mozart Variations Respighi: Ancient Dances and Arias, Gli Ucelli, Il Trittico Botticelliano, Pini di Roma Rimsky- Korsakov: Sheherezade, Capriccio Espagnole, Antar, Russian Eastern Overture Rossini: The Most Popular Opera Overtures, Sonatas for Strings Saint-Saëns: The Carnival of Animals, Symphony No. 3, Bacchanale from Samson and Dalila, Algerian Suite Shostakovich: Symphony No.1, 5, 6, 7, 8, 9, 10, Festival Overture Schönberg: Verklärte Nacht, Begleitmusik zu einer Lichtspielscene Schubert: Complete Symphonies, Rosamunde, German Dances Schumann: Complete Symphonies, Manfred, Julius Caesar Sibelius: Symphonies No.1, 2, 4, 5, Finlandia, En Saga, Karelia Suite, Valse Triste, Andante Festivo Skrjabin: Symphony No. 2 Smetana: Complete Orchestral Works Strauss, R.: Don Juan, Till Eulenspiegel, Wind Serenade, Salome Dance, Divertimento, Ein Heldenleben, Tod und Verklärung, Dance Suite Strauss, J., jr.: The Most Popular Dances and Operette Overtures Stravinsky: Symphony in 3 mvt., Sinfonie for Winds, The History of Soldier, Dumbarton Oaks, Pulcinella, Dances Concertantes, L´Oiseu de Feu, Petrouchka Suite, Symphony in C, Psalm Symphony, The Rite of Spring Suchoň: Serenade for Strings Suk: Meditation, Praga, Serenade for Strings, Fairy Tale, Asrael, New Life March Suppé: The Most Popular Operette Overtures Szymanowski: Symphony No. 2 Škroup: Chrudim Overture Tartini: Sinfonia in D Telemann: The Most Popular Overtures and Orchestral Suites Tolar: Baletti e Sonate for Chamber Orchestra Tomášek: Overture Es dur Tchaikovsky: Complete Ballet Suites, Complete Symphonies, Italian Capriccio, Overture 1812, Souvenir du Florence, Serenade for Strings, Serenade for Orchestra No. 3, Mozartiana, Romeo and Juliet, Francesca da Rimini, Slavonic March Vejvanovský: The Most Popular Orchestral Works Verdi: The Most Popular Opera Overtures and Ballet Music Vivaldi: The Most Popular Concerti Grossi Wagner: Complete Opera Overtures and Orchestral Excerpts, Siegfried Idylle, Symphony C dur Warlock: Capriol Suite Weber: Complete Opera Overtures, Symphony No. 1 Webern: Passacaglia for Orchestra Wolf: Italian Serenade Zach: Symphonies for Strings Zelenka: The Most Popular Orchestral Works .
Recommended publications
  • Eine Symphonie Zu Dantes Divina Commedia Deux Légendes
    Liszt SYMPHONIC POEMS VOL. 5 Eine Symphonie zu Dantes Divina Commedia Deux Légendes BBC Philharmonic GIANANDREA NOSEDA CHAN 10524 Franz Liszt (1811–1886) Symphonic Poems, Volume 5 AKG Images, London Images, AKG Eine Symphonie zu Dantes Divina Commedia, S 109* 42:06 for large orchestra and women’s chorus Richard Wagner gewidmet I Inferno 20:03 1 Lento – Un poco più accelerando – Allegro frenetico. Quasi doppio movimento (Alla breve) – Più mosso – Presto molto – Lento – 6:31 2 Quasi andante, ma sempre un poco mosso – 5:18 3 Andante amoroso. Tempo rubato – Più ritenuto – 3:42 4 Tempo I. Allegro (Alla breve) – Più mosso – Più mosso – Più moderato (Alla breve) – Adagio 4:32 II Purgatorio 21:57 5 Andante con moto quasi allegretto. Tranquillo assai – Più lento – Un poco meno mosso – 6:22 6 Lamentoso – 5:11 Franz Liszt, steel plate engraving, 1858, by August Weger (1823 –1892) after a photograph 3 Liszt: Symphonic Poems, Volume 5 7 [L’istesso tempo] – Poco a poco più di moto – 3:42 8 Magnificat. L’istesso tempo – Poco a poco accelerando e Deux Légendes published by Editio Musica in Budapest in crescendo sin al Più mosso – Più mosso ma non troppo – TheDeux Légendes, ‘St François d’Assise: la 1984. ‘St François d’Assise’ is scored for strings, Un poco più lento – L’istesso tempo, ma quieto assai 6:40 prédication aux oiseaux’ (St Francis of Assisi: woodwind and harp only, while ‘St François de the Sermon to the Birds) and ‘St François de Paule’ adds four horns, four trombones and a Deux Légendes, S 354 19:10 Paule marchant sur les flots’ (St Francis of bass trombone.
    [Show full text]
  • A Structural Analysis of the Relationship Between Programme, Harmony and Form in the Symphonic Poems of Franz Liszt Keith Thomas Johns University of Wollongong
    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1986 A structural analysis of the relationship between programme, harmony and form in the symphonic poems of Franz Liszt Keith Thomas Johns University of Wollongong Recommended Citation Johns, Keith Thomas, A structural analysis of the relationship between programme, harmony and form in the symphonic poems of Franz Liszt, Doctor of Philosophy thesis, School of Creative Arts, University of Wollongong, 1986. http://ro.uow.edu.au/theses/1927 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] A STRUCTURAL ANALYSIS OF THE RELATIONSHIP BETWEEN PROGRAMME, HARMONY AND FORM IN THE SYMPHONIC POEMS OF FRANZ LISZT. A thesis submitted in fulfilment of the requirements for the award of the degree of DOCTOR OF PHILOSOPHY from THE UNIVERSITY OF WOLLONGONG by KEITH THOMAS JOHNS (M.Litt.,B.A.Hons.,Grad.Dip.Ed., F.L.C.M., F.T.C.L., L.T.C.L. ) SCHOOL OF CREATIVE ARTS 1986 i ABSTRACT This thesis examines the central concern in an analysis of the symphonic poems of Franz Liszt, that is, the relationship between programme,harmony and form. In order to make a thorough and clear analysis of this relationship a structural/semiotic analysis has been developed as the analysis of best fit. Historically it has been fashionable to see Liszt's symphonic poems in terms of sonata form or a form only making sense in terms of the attached programme. Both of these ideas are critically examined in this analysis.
    [Show full text]
  • Discover the World of Linn Records
    CKD 220 ALSO AVAILABLE FROM LINN RECORDS BY SCOTTISH CHAMBER ORCHESTRA FELIX MENDELSSOHN WOLFGANG AMADEUS JOHANNES BRAHMS Violin Concerto MOZART Violin Concerto Symphony No.3 ‘Scottish’ Requiem Hungarian Dances Hebrides Overture Adagio & Fugue – CKD 224 (SACD) – – CKD 216 (SACD) – – CKD 211 (SACD) – @ www.linnrecords.com discover the world of linn records Linn Records, Glasgow Road, Waterfoot, Glasgow G76 0EQ, UK t: +44 (0)141 303 5027/29 f: +44 (0)141 303 5007 e: [email protected] a soaring but seemingly unattainable joy, this mitigated little against the overall Jean Sibelius impression of a relentless underlying force”. [The Guardian, London]. He continues his relationship with the Orchestra, returning regularly over forthcoming seasons. Pelleas and Melisande Swensen is a regular guest conductor with many of the world’s major 1. At the Castle Gate 2. Melisande orchestras, and appearances in recent seasons have included the London 3. At the Seashore 4. A Spring in the Park Philharmonic, BBC Symphony, Hallé, Bournemouth Symphony, City of Birmingham 5. The Three Blind Sisters 6. Pastorale Symphony, Orchestre National du Capitole de Toulouse, Mozarteum, Staatsorchester 7. Melisande at the Spinning-Wheel Stuttgart, Real Orquestra Sinfonica de Sevilla, and, in North America, the Los Angeles 8. Entr’acte 9. The Death of Melisande Philharmonic, Saint Paul Chamber, Saint Louis, Dallas, Indianapolis and Toronto Symphony Orchestras. Kuolema Before deciding to dedicate himself solely to his conducting career, Joseph 10. Valse Triste Swensen enjoyed a highly-successful career as a professional violinist, appearing as a soloist with the world’s major orchestras. Nowadays his occasional appearances as a Belshazzar’s Feast violin soloist are a natural extension of his work as a conductor, playing and directing 11.
    [Show full text]
  • Gräsbeck 2017.5236 Words
    Which of Sibelius’s 379 miniatures are remarkable? Folke Gräsbeck "Auch kleine Dinge können uns entzücken…" (Paul Heyse) Reckoning that Sibelius’s compositions amount to circa 600 separate pieces (youth works included, fragments omitted), we have to consider that roughly more than half of them are miniatures. I have calculated that nearly 380 original, separate pieces last less than 4 minutes. If we reject only Sibelius’s miniatures, we omit practically half his production. ‘I am a man of the orchestra᾿, Sibelius proclaimed. Needless to say, his successful orchestral works, generally regarded as national monuments in Finland, are impressive frescos; nonetheless, these large-scale pieces are full of carefully elaborated details. What about the painstakingly worked-out details in his small works? Do they lack credibility because they are included in miniatures? Sibelius ‘forged᾿ the motifs and melodies in the small pieces no less carefully, sometimes referring to his miniatures as his ‘suffering pieces᾿ or 'pain pieces'[1]. Probably he would not have referred to them in this way if he had not valued them highly. The designation ‘salon piece’ is clumsy as applied to Sibelius’s miniatures. Very few of them were purposely composed as standard salon music – they are all too refined and abstract, and lack the lax and redundant reiterations so typical of such pieces. Perhaps the Valse lyrique, Op. 96a, approaches a real salon piece, but the material soars far above standard salon vocabulary, the lyrical sections, for example, revealing remarkable intimacy and character. Nowadays, it is common to employ the designation ‘Salon music’ in a pejorative sense.
    [Show full text]
  • Liszt SYMPHONIC POEMS VOL
    Liszt SYMPHONIC POEMS VOL. 4 Hungaria • Hamlet • Hunnenschlacht • Die Ideale BBC Philharmonic GIANANDREA NOSEDA CHAN 10490 AKG Images AKG Franz Liszt (1811–1886) Symphonic Poems, Volume 4 Hungaria, S 103 22:01 Symphonic Poem No. 9 1 Largo con duolo – Quasi andante marziale – Largo con duolo – Quasi andante marziale – Poco animando – 8:19 2 Agitato (un poco più mosso) – Allegro eroico (più tosto moderato) – Vivo – Allegro moderato – Vivo – Un poco animato – 3:41 3 Agitato molto – Più mosso (ma poco) – Stringendo – 2:50 4 Largo con duolo – Andante. Tempo di marcia funebre – 3:25 5 Allegro marziale – Von hier an bis zum Allegro trionfante das Tempo allmählich beschleunigen – 1:45 6 Allegro trionfante – Stretto – Presto giocoso assai 1:59 Franz Liszt, c. 1840, engraving by Carl Arnold Gonzenbach (1806–1885) after a drawing by Wilhelm von Kaulbach (1805–1874) 3 Die Ideale, S 106 28:45 Symphonic Poem No. 12 15 ‘So willst du treulos von mir scheiden’. Andante – 1:38 16 Aufschwung. ‘Es dehnte mit allmächt’gem Streben’. Hamlet, S 104 13:47 Allegro spiritoso (alla breve) – 5:47 Symphonic Poem No. 10 17 ‘Da lebte mir der Baum, die Rose’. Quieto e sostenuto assai – 2:55 7 Sehr langsam und düster – Etwas bewegter, aber immer langsam – 18 ‘Wie einst mit flehendem Verlangen’. [Quieto e sostenuto assai] – Fast dasselbe Tempo, aber allmählich beschleunigend – 3:32 Allmählich accelerando – Allegro molto mosso – 2:28 8 Allegro appassionato ed agitato assai – Dasselbe Tempo – 2:26 19 ‘Wie tanzte vor des Lebens Wagen’. [Allegro molto mosso] – 3:12 9 Allegro (wie früher) – Allegro molto agitato – Immer drängender – 3:28 20 Enttäuschung.
    [Show full text]
  • Voces Intimae String Quartets 1890 -1922 Tempera Quartet
    SIBELIUS VOCES INTIMAE STRING QUARTETS 1890 -1922 TEMPERA QUARTET Tempera Quartet Tiila Kangas · Ulla Lampela Laura Vikman · Silva Koskela BIS-CD-1466 BIS-CD-1466 Sib Qt3:booklet 11/4/07 12:41 Page 2 SIBELIUS, Johan (Jean) Christian Julius (1865-1957) String Quartets – 1890-1922 1 Adagio in D minor, JS 12 (1890) (Warner/Chappell Music Finland) 12'15 String Quartet in B flat major, Op. 4 (1890) (Warner/Chappell Music Finland) 29'42 2 I. Allegro 7'24 3 II. Andante sostenuto 7'57 4 III. Presto 5'23 5 IV. Allegro 8'40 String Quartet in D minor, ‘Voces intimae’, Op. 56 (1909) (Lienau) 29'48 6 I. Andante – Allegro molto moderato 5'53 7 II. Vivace 2'18 8 III. Adagio di molto 10'51 9 IV. Allegretto (ma pesante) 5'34 10 V. Allegro 4'57 String Quartet in D minor, ‘Voces intimae’: preliminary ending 11 V. Allegro [from Risoluto, 8 bars before Fig.11] (Manuscript / Lienau) world première recording 0'32 12 Andante festivo, JS 34a (1922) (Warner/Chappell Music Finland) 5'11 TT: 78'50 Tempera Quartet Laura Vikman violin I · Silva Koskela violin II Tiila Kangas viola · Ull a Lampela cello 2 BIS-CD-1466 Sib Qt3:booklet 11/4/07 12:41 Page 3 ean Sibelius spent the academic year 1889-90 in Berlin. Socially this Jperi od was stimulating, but creatively it was a frustrating time. He had al - ready completed composition studies at the Helsinki Music Institute under Martin Wegelius, but now he was subjected to a much more authori tarian régime as a pupil of Albert Becker.
    [Show full text]
  • Reviewing Rachmaninov
    MUSIC knows it. To hear her is truly heartbreaking, recordings), particularly in the 3rd and REVIEWS and Elgar’s nostalgic concerto is perhaps 5th. It is still unbeatable today, both CH’S HALF DOZEN the perfect vehicle for such a tragic figure. for its electrifying sound and inspired Dame Janet Baker provides stunning vocals performances. Previn’s return to the to another of Elgar’s rarities, the beautiful catalogue with a vengeance is long- song cycle, Sea Pictures. EMI has remastered awaited, especially in this complete edition Rawks this classic with their new technology that’s which includes rare gems such as the Keeping CLASSICAL TIME PIECES TO PASS been proven to deliver a far superior sound delectable Tuba Concerto (a first on CD) THE HOURS WITH to the earlier CD releases, so if you haven’t and the even more obscure Violin Concerto. time yet acquired this historic recording, there’s SERGEI PROKOFIEV: no better time to do so. ZOLTAN KODALY: VIENNESE MUSICAL BY CH LOH ALEXANDER NEVSKY CLOCK (HARY JANOS SUITE) Yuri Temirkanov, St Petersburg One of the most colourful musical HOOKED ON CLASSICS: SIBELIUS, Philharmonic timepieces in classical music, just wind it SEASICKNESS AND MORE (RCA RED SEAL 60867) up and hear it go! SOUL-STIRRING STUFF... Of RCA’s reissues of a bunch of titles Neeme Jarvi, Chicago Symphony Orch from their mid-1990s catalogue, this is (Chandos 8877) perhaps the most exciting. It represents a SERGEI PROKOFIEV: CINDERELLA pioneering effort to present the score of (COMPLETE BALLET) this Eisenstein Stalin pleaser in modern It’s that horrifying twelve-chimer that sent sound – and if you have ever watched the SERGEI RACHMANINOV, PIANO poor Cindy out of the dance floor, minus one black-and-white classic with its disgraceful CONCERTOS 1-4, PAGANINI RHAPSODY glass slipper.
    [Show full text]
  • Yhtenäistetty Jean Sibelius Teosten Yhtenäistettyjen Nimekkeiden Ohjeluettelo
    Suomen musiikkikirjastoyhdistyksen julkaisusarja 115 Yhtenäistetty Jean Sibelius Teosten yhtenäistettyjen nimekkeiden ohjeluettelo Heikki Poroila Suomen musiikkikirjastoyhdistys Helsinki 2012 Julkaisija: Suomen musiikkikirjastoyhdistys Layout Heikki Poroila Kuva Akseli Gallén-Kallela © Heikki Poroila 2012 Neljäs tarkistettu laitos (verkkoversio 2.2) kesäkuu 2015. Suomen kirjastosäätiö on tukenut tämän verkkojulkaisun valmistamista. 01.4 Poroila, Heikki Yhtenäistetty Jean Sibelius : Teosten yhtenäistettyjen nimekkeiden ohjeluettelo. - Neljäs tarkistettu laitos. – Helsinki : Suomen musiikkikirjastoyhdistys, 2012. – 75 s. : kuv. – (Suomen musiikkikirjastoyhdistyksen julkaisusarja, ISSN 0784-0322 ; 115). – ISBN 952- 5363-14-7. ISBN 952-5363-14-7 (PDF) Yhtenäistetty Jean Sibelius 2 Lukijalle Tällä Sibelius-luettelolla on ollut kaksi varhaisempaa paperille painettua olomuotoa. Ensimmäinen versio ilmestyi jo vuonna 1989 tilanteessa, jossa kansallissäveltäjämme tuotannon perusteellinen tutkimus ja kunnollisen teosluettelon valmistaminen oli paradoksaalisesti vasta käynnistynyt. Ohje- luetteloa kootessani tiesin monien asioiden tulevaisuudessa muuttuvan, mutta perusluettelon tarvetta ei voinut kiistää. Kun toinen, korjattu painos vuonna 1996 ilmestyi, ratkaiseva askel tutkimuspuo- lella oli jo otettu. Fabian Dahlström oli saanut teosluettelonsa niin pitkälle, että oli kyennyt nume- roimaan opusnumerottomat teokset JS-koodilla. Tämä oli jo riittävä syy uuden laitoksen valmista- miseen, mutta samalla päästiin korjaamaan lukuisia virheitä ja epäjohdonmukaisia
    [Show full text]
  • SIBELIUS, Johan (Jean) Christian Julius (1865-1957)
    BIS-CD-1265 Sib cantatas 7/12/04 10:04 AM Page 2 SIBELIUS, Johan (Jean) Christian Julius (1865-1957) 1 Snöfrid, Op. 29 (1900) (Wilhelm Hansen) 14'15 Improvisation for recitation, mixed chorus and orchestra Text: Viktor Rydberg Allegro molto – Andantino – Melodrama. Pesante – Andante (ma non troppo lento) Stina Ekblad narrator Jubilate Choir (choral direction: Astrid Riska) 2 Overture in A minor for orchestra, JS 144 (1902) (Fazer) 9'13 Andante molto sostenuto – Allegro – Tempo I Cantata for the Coronation of Nicholas II, JS 104 (1896) (Manuscript) 18'37 (Kantaatti ilo- ja onnentoivotusjuhlassa Marraskuun 2. päivänä 1896) for mixed chorus and orchestra Text: Paavo Cajander 3 I. Allegro. Terve nuori ruhtinas… 8'33 4 II. Allegro. Oikeuden varmassa turvassa… 9'58 Jubilate Choir (choral direction: Astrid Riska) 2 BIS-CD-1265 Sib cantatas 7/12/04 10:04 AM Page 3 Rakastava, Op. 14 ( [1894]/1911-12) (Breitkopf & Härtel) 12'18 for string orchestra, timpani and triangle 5 I. The Lover. Andante con moto 4'06 6 II. The Path of His Beloved. Allegretto 2'26 7 III. Good Evening!… Farewell! Andantino – Doppio più lento – Lento assai 5'34 Jaakko Kuusisto violin • Ilkka Pälli cello 8 Oma maa (My Own Land), Op. 92 (1918) (Fazer) 13'26 for mixed chorus and orchestra Text: Kallio (Samuel Gustaf Bergh) Allegro molto moderato – Allegro moderato – Vivace (ma non troppo) – Molto tranquillo – Tranquillo assai – Moderato assai (e poco a poco più largamente) – Largamente assai Jubilate Choir (choral direction: Astrid Riska) 9 Andante festivo, JS 34b (1922/1938) for strings and timpani (Fazer) 5'10 TT: 74'48 Lahti Symphony Orchestra (Sinfonia Lahti) (Leader: Jaakko Kuusisto) Osmo Vänskä conductor 3 BIS-CD-1265 Sib cantatas 7/5/04 10:31 AM Page 4 Snöfrid, Op.
    [Show full text]
  • Winter 2015/2016
    N N December 2015 January/February 2016 Volume 44, No. 2 Winter Orgy® Period N 95.3 FM Mussorgsky: Pictures at an Exhibition; Reiner, Chicago WHRB Program Guide Symphony Orchestra (RCA) Bach: Violin Concerto No. 1 in a, S. 1041; Schröder, Hogwood, Winter Orgy® Period, December, 2015 Academy of Ancient Music (Oiseau-Lyre) Gershwin: Rhapsody in Blue; Katchen, Kertesz, London with highlights for January and February, 2016 Symphony Orchestra (London) Chopin: Waltzes, Op. 64; Alexeev (Seraphim) Rimsky-Korsakov: Scheherazade, Op. 35; Staryk, Beecham, Wednesday, December 2 Royal Philharmonic Orchestra (EMI) Strauss, J., Jr.: On the Beautiful Blue Danube, Op. 314; Karajan, Berlin Philharmonic Orchestra (DG) 6:45 pm HARVARD MEN’S BASKETBALL Tchaikovsky: Ouverture solennelle, 1812, Op. 49; Bernstein, Harvard at Northeastern. Israel Philharmonic Orchestra (DG) 6:45 pm HARVARD MEN’S HOCKEY Harvard at Union. Thursday, December 3 10:00 pm BRIAN CHIPPENDALE (cont.) 10:00 pm BRIAN CHIPPENDALE Hailing from Providence, Rhode Island, drummer Brian Saturday, December 5 Chippendale has been churning out an endless wall of noise since the late 90s. Using a hand-painted and well-beaten drum 5:00 am PERDIDO EN EL SIGLO: A MANU CHAO kit, homemade masks equipped with contact mics, and an ORGY (cont.) array of effect and synthesizer pedals, his sound is powerful, 9:00 am HILLBILLY AT HARVARD relentless, and intensely unique. Best known for his work with 12:45 pm PRELUDE TO THE MET (time approximate) Brian Gibson as one half of noise-rock duo Lightning Bolt, 1:00 pm METROPOLITAN OPERA Chippendale also works with Matt Brinkman as Mindflayer and Puccini: La Bohème; Barbara Frittoli, Ana Maria solo as Black Pus.
    [Show full text]
  • The Harold E. Johnson Jean Sibelius Collection at Butler University
    Butler University Digital Commons @ Butler University Special Collections Bibliographies University Special Collections 1993 The aH rold E. Johnson Jean Sibelius Collection at Butler University: A Complete Catalogue (1993) Gisela S. Terrell Follow this and additional works at: http://digitalcommons.butler.edu/scbib Part of the Other History Commons Recommended Citation Terrell, Gisela S., "The aH rold E. Johnson Jean Sibelius Collection at Butler University: A Complete Catalogue (1993)" (1993). Special Collections Bibliographies. Book 1. http://digitalcommons.butler.edu/scbib/1 This Book is brought to you for free and open access by the University Special Collections at Digital Commons @ Butler University. It has been accepted for inclusion in Special Collections Bibliographies by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. ^ IT fui;^ JE^ Digitized by the Internet Archive in 2010 with funding from Lyrasis IViembers and Sloan Foundation http://www.archive.org/details/haroldejohnsonjeOOgise The Harold E. Johnson Jean Sibelius Collection at Butler University A Complete Catalogue Gisela Schliiter Terrell 1993 Rare Books & Special Collections Irwin Library Butler University Indianapolis, Indiana oo Printed on acid-free paper Produced by Butler University Publications ©1993 Butler University 500 copies printed $15.00 cover charge Rare Books & Special Collections Irwin Library, Butler University 4600 Sunset Avenue Indianapolis, Indiana 46208 317/283-9265 Dedicated to Harold E. Johnson (1915-1985) and Friends of Music Everywhere Harold Edgar Johnson on syntynyt Kew Gardensissa, New Yorkissa vuonna 1915. Hart on opiskellut Comell-yliopistossa (B.A. 1938, M.A. 1939) javaitellyt tohtoriksi Pariisin ylopistossa vuonna 1952. Han on toiminut musiikkikirjaston- hoitajana seka New Yorkin kaupungin kirhastossa etta Kongressin kirjastossa, Oberlin Collegessa seka viimeksi Butler-yliopistossa, jossa han toimii musiikkiopin apulaisprofessorina.
    [Show full text]
  • Recomposing National Identity: Four Transcultural Readings of Liszt’S Marche Hongroise D’Après Schubert
    City Research Online City, University of London Institutional Repository Citation: Loya, S. (2016). Recomposing National Identity: Four Transcultural Readings of Liszt’s Marche hongroise d’après Schubert. Journal of the American Musicological Society, 69(2), pp. 409-476. doi: 10.1525/jams.2016.69.2.409 This is the published 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/15059/ Link to published version: http://dx.doi.org/10.1525/jams.2016.69.2.409 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] Recomposing National Identity: Four Transcultural Readings of Liszt’s Marche hongroise d’après Schubert SHAY LOYA A Curious Attachment Sometime in 1882, past his seventieth year, Liszt decided that an old piece of his deserved another revision. This resulted in the last of many arrange- ments of the Marche hongroise d’après Schubert, a work that originally took form as the second movement of the Mélodies hongroises d’après Schubert of 1838–39 (S.
    [Show full text]