Dobbiaco Der Neuzeit” Streicherakademie Bozen 6.30 Pm, Mahler Hall Discussion Georg Egger, Conductor Birds of Vienna - “Schubert Ok” 18

Total Page:16

File Type:pdf, Size:1020Kb

Dobbiaco Der Neuzeit” Streicherakademie Bozen 6.30 Pm, Mahler Hall Discussion Georg Egger, Conductor Birds of Vienna - “Schubert Ok” 18 MONDAY, 20TH JULY THURSDAY, 23RD JULY SATURDAY, 25TH JULY 4.00 pm, Spiegelsaal, Lecture 5.00 pm, Spiegelsaal 6.30 pm, Mahler Hall Prof. Peter Sloterdijk Lucture Prof. Jens Malte Fischer Gustav Mahler Academy Bozen Das jesuanische Christentum als radikaler Bruch “Die Gesinnung der Canaille”. Die Genese Robert Schumann: mit dem Judentum. Das antigenealogische Experiment des österreichischen Antisemitismus und Gustav Mahler. Piano quartet in E flat major, op. 47, mit dem Judentum. Piano quartet in E flat major, op. 44 Dr. Manfred Osten talks to Prof. Peter Sloterdijk 6.30 pm, Mahler Hall about his new book “Die schrecklichen Kinder Johanna Winkel , soprano SUNDAY, 26TH JULY DOBBiACO der Neuzeit” Streicherakademie Bozen 6.30 pm, Mahler Hall Discussion Georg Egger, conductor Birds of Vienna - “Schubert ok” 18. – 30.07.2015 W. A. Mozart: Divertimento in D major KV 205 Melissa Coleman: violoncello 6.30 pm, Mahler Hall Felix Mendelssohn: Ave maris stella, Marian Antiphon Heidelinde Gratzl: accordion Quartetto Prometeo for soprano and orchestra Helmut Jasbar: guitar Arnold Schönberg: String quartet no 1 W. A. Mozart: Alma grande e nobil cor, Alexander Zemlinsky: String quartet no 1 aria for soprano and orchestra KV578 MONDAY, 27TH JULY [email protected] György Kurtag: 12 Microludes Franz Antonio Rosetti: Symphony in g minor 5.00 pm, Spiegelsaal www.gustav-mahler.it In cooperation with “Festival zeitgenössischer Musik” W. A. Mozart: Bella mia fiamma, aria for soprano Presentation of the book by and orchestra KV 528 Adele Boghetich – Gustav Mahler Il Canto della Terra TUESDAY, 21ST JULY In cooperation with Circolo Culturale Alta Pusteria SATURDAY, 18TH JULY 5.00 pm, Spiegelsaal, Lecture FRIDAY, 24TH JULY 6.30 pm, Mahler Hall Angelo Foletto, music critic “La Repubblica” 5.00 pm, Spiegelsaal, Conference MONDAY, 27TH JULY Oxana Corjos, piano Gli aspetti ebraici nella musica di Mahler Yoel Gamzou, Berlin/Kassel 8.30 pm, Mahler Hall Romanian National Symphony Orchestra Lecture Enzo Restagno, musicologist, author The chief conductor of the International Haydn Orchestra of Bolzano and Trento Cristian Mandeal, conductor and artistic director MiTo Gustav Mahler Orchestra Berlin talks about Arvo Volmer, conductor George Enescu: Rhapsody op. 11 N. 1 Gli aspetti ebraici nella musica di Schönberg his completion of Mahler's Symphony no. 10. Jean Sibelius: Pelléas et Mélisande, Suite, op. 46 Richard Strauss: Burlesque for piano and orchestra Igor Strawinsky: Pulcinella, Suite Gustav Mahler: Symphony N.1 6.30 pm, Mahler Hall 6.30 pm, Mahler Hall Sergei Prokofiew: Sinfonietta, op. 5/48 Matan Porat, piano Chanticleer - An Orchestra of Voice Leos Janácek: Sonata 1.X.1905 for piano The Gypsy in My Soul TUESDAY, 28TH JULY Bela Bartók: 14 Bagatelles op. 6 (1908) In cooperation with „Brixner Initiative Musik und Kirche“ 5.00 pm, Spiegelsaal SUNDAY, 19TH JULY Claude Debussy: Suite Bergamasque (1905) DOLOMITI: montagne-uomini-storie Matinée 11.00 am, Spiegelsaal Franz Schubert: Sonata in A-major D 959 Reportage by Piero Badaloni Erwin Windegger reads the love letters between Gustav Mahler: Adagietto from Symphony no. 5 commissioned by the Unesco Dolomites Foundation Gustav Mahlers and Anna von Mildenburg (german) (arr. Porat) SATURDAY, 25TH JULY Elisa Wallnöfer, piano 11.00 am, Spiegelsaal, Conference THURSDAY, 30TH JULY Kreisler-Rachmaninoff: “Liebesleid & Liebesfreud” WEDNESDAY, 22ND JULY Sybille Werner, New York 8.30 pm, Mahler Hall Franz Liszt: 3. Liebestraum 6.30 pm, Mahler Hall Mahler vor Bernstein – die vergessene Gustav Mahler Academy Orchestra Julia Aichner, soprano Viktorija Kaminskaite, soprano Mahler-Rezeption vor 1960 Clemens Hagen, violoncello Gustav Mahler: “Wer hat dies Liedlein erdacht”. Leipzig String Quartet Daniel Harding, conductor “Liebst du um Schönheit”. “Rheinlegendchen”. Richard Wagner: Siegfried-Idyll 5.00 pm, Spiegelsaal Robert Schumann: "Urlicht"."Aus! Aus!“ (arranged for string quartet) 25 years International Record Prize Concert for violoncello and orchestra in a-minor Gustav Mahler: Kindertotenlieder “Toblacher Komponierhäuschen 2015” Symphony no.2 in C-major op.61 6.30 pm, Mahler Hall (arranged for string quartet and soprano by Ivo Bauer) Jury: Lothar Brandt, Zurich; Rémy Franck, Luxembourg; István Várdai, violoncello Ludwig van Beethoven: String quartet Thomas Schulz, Munich; Götz Thieme, Stuttgart; Nelson Goerner, piano op.132 „Dankgesang“ President: Attila Csampai, Munich Gustav Mahler: Lieder eines fahrenden Gesellen (piano-cello version, arranged by István Várdai) D. Šostakovič: Sonata for violoncello and piano, op.40 César Franck: Sonata for violoncello and piano in A major Festivalpartner.
Recommended publications
  • Brahms Reimagined by René Spencer Saller
    CONCERT PROGRAM Friday, October 28, 2016 at 10:30AM Saturday, October 29, 2016 at 8:00PM Jun Märkl, conductor Jeremy Denk, piano LISZT Prometheus (1850) (1811–1886) MOZART Piano Concerto No. 23 in A major, K. 488 (1786) (1756–1791) Allegro Adagio Allegro assai Jeremy Denk, piano INTERMISSION BRAHMS/orch. Schoenberg Piano Quartet in G minor, op. 25 (1861/1937) (1833–1897)/(1874–1951) Allegro Intermezzo: Allegro, ma non troppo Andante con moto Rondo alla zingarese: Presto 23 ACKNOWLEDGMENTS These concerts are part of the Wells Fargo Advisors Orchestral Series. Jun Märkl is the Ann and Lee Liberman Guest Artist. Jeremy Denk is the Ann and Paul Lux Guest Artist. The concert of Saturday, October 29, is underwritten in part by a generous gift from Lawrence and Cheryl Katzenstein. Pre-Concert Conversations are sponsored by Washington University Physicians. Large print program notes are available through the generosity of The Delmar Gardens Family, and are located at the Customer Service table in the foyer. 24 CONCERT CALENDAR For tickets call 314-534-1700, visit stlsymphony.org, or use the free STL Symphony mobile app available for iOS and Android. TCHAIKOVSKY 5: Fri, Nov 4, 8:00pm | Sat, Nov 5, 8:00pm Han-Na Chang, conductor; Jan Mráček, violin GLINKA Ruslan und Lyudmila Overture PROKOFIEV Violin Concerto No. 1 I M E TCHAIKOVSKY Symphony No. 5 AND OCK R HEILA S Han-Na Chang SLATKIN CONDUCTS PORGY & BESS: Fri, Nov 11, 10:30am | Sat, Nov 12, 8:00pm Sun, Nov 13, 3:00pm Leonard Slatkin, conductor; Olga Kern, piano SLATKIN Kinah BARBER Piano Concerto H S ODI C COPLAND Billy the Kid Suite YBELLE GERSHWIN/arr.
    [Show full text]
  • Anna Bahr-Mildenburg in Den Augen Gustav Mahlers (Mit Dem Sie Auch Eine Längere Liebesbeziehung Verband) Die
    Bahr-Mildenburg, Anna Mannes und in Inszenierungen von Max Reinhard) „Anna von Mildenburg war die erste, durch deren Künst- lerschaft Mahler die großen Frauengestalten des Musik- dramas in ihrer ganzen erschütternden Macht zeigen konnte: Brünnhilde und Isolde, Ortrud und Elisabeth, Fi- delio, Glucks Klytämnestra und die Donna Anna; und auch Amneris und Amelia, die Milada des Dalibor, Pfitz- ners Minneleide und die Santuzza. Das Leid der Frau ist von keiner Schauspielerin, auch von der Duse nicht, in solcher Größe gestaltet worden wie von dieser Sängerin, in der alle dunklen Gewalten der Tragödie lebendig ge- worden sind. Unsere Zeit hat keine größere tragische Künstlerin als sie.“ (Richard Specht. Gustav Mahler. Berlin 1913, zitiert nach Franz Willnauer. Gustav Mahler. „Mein lieber Trotzkopf, meine süße Mohnblume“. Briefe an Anna von Milden- burg. Wien: Zsolnay, 2006, S. 439 f.) Profil Aufgrund ihrer fulminanten Stimme (hochdramatischer Sopran), ihrer sängerischen und persönlichen Ausdrucks- kraft und ihrer darstellerischen Intelligenz war Anna Bahr-Mildenburg in den Augen Gustav Mahlers (mit dem sie auch eine längere Liebesbeziehung verband) die Die Sängerin Anna Bahr-Mildenburg, Rollenbild von Julius ideale „singende Tragödin“, die seine Forderung nach Weisz, o. J. emotionalem Tiefgang der musikdramatischen Interpre- tation erfüllte. Im Bayreuth der Ära Cosima Wagner bril- Anna Bahr-Mildenburg lierte sie als überzeugende Interpretin des von Richard Geburtsname: Marie Anna Wilhelmine Elisabeth Wagner übernommenen Ideals des „deutschen Belcan- Bellschan von Mildenburg to“. Großen Ruhm erwarb sie sich auch als Lehrerin mit der damals völlig neuen Methode, die übliche Gesangs- * 29. November 1872 in Wien, Österreich ausbildung durch musikdramatischen Unterricht zu er- † 27. Januar 1947 in Wien, Österreich gänzen und ihre Schüler zu wahrhaftiger Bühnendarstel- lung anzuhalten.
    [Show full text]
  • Mahler's Third Symphony and the Languages of Transcendence
    Mahler’s Third Symphony and the Languages of Transcendence Megan H. Francisco A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts University of Washington 2016 Stephen Rumph, Chair JoAnn Taricani Program Authorized to Offer Degree: Music ©Copyright 2016 Megan H. Francisco University of Washington Abstract Mahler’s Third Symphony and the Languages of Transcendence Megan H. Francisco Chair of the Supervisory Committee: Professor Stephen Rumph Music History A work reaching beyond any of his previous compositional efforts, Gustav Mahler’s Third Symphony embodies cultural, political, and philosophical ideals of the Viennese fin-de- siècle generation. Comprising six enormous movements and lasting over ninety minutes, the work stretches the boundaries of symphonic form while simultaneously testing the patience of its listeners. Mahler provided a brief program to accompany his symphony, which begins with creation, moves through inanimate flowers to animals, before finally reaching humanity in the fourth movement. In this movement, Mahler used an excerpt from Friedrich Nietzsche’s Also sprach Zarathustra to introduce spoken language into the symphony. The relationship of music and language plays an integral role in Mahler’s expressive design of the Third Symphony, specifically in his vision of transcendence. Mahler creates a subtle transformation from elevated language (the fourth) to a polytextuality of folksong and onomatopoeia (the fifth) that culminates in the final, transcendent sixth movement. Throughout these last three movements, Mahler incorporates philosophical concepts from Nietzsche and his beloved Arthur Schopenhauer. In studying the treatment of language in these culminating movements, this thesis shows how Nietzsche’s metaphysical philosophies help listeners encounter and transcend Schopenhauer’s Will at the climactic end of the Third Symphony.
    [Show full text]
  • Florida State University Libraries
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Gustav Mahler, Alfred Roller, and the Wagnerian Gesamtkunstwerk: Tristan and Affinities Between the Arts at the Vienna Court Opera Stephen Carlton Thursby Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC GUSTAV MAHLER, ALFRED ROLLER, AND THE WAGNERIAN GESAMTKUNSTWERK: TRISTAN AND AFFINITIES BETWEEN THE ARTS AT THE VIENNA COURT OPERA By STEPHEN CARLTON THURSBY A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2009 The members of the Committee approve the Dissertation of Stephen Carlton Thursby defended on April 3, 2009. _______________________________ Denise Von Glahn Professor Directing Dissertation _______________________________ Lauren Weingarden Outside Committee Member _______________________________ Douglass Seaton Committee Member Approved: ___________________________________ Douglass Seaton, Chair, Musicology ___________________________________ Don Gibson, Dean, College of Music The Graduate School has verified and approved the above named committee members. ii To my wonderful wife Joanna, for whose patience and love I am eternally grateful. In memory of my grandfather, James C. Thursby (1926-2008). iii ACKNOWLEDGEMENTS The completion of this dissertation would not have been possible without the generous assistance and support of numerous people. My thanks go to the staff of the Austrian Theater Museum and Austrian National Library-Music Division, especially to Dr. Vana Greisenegger, curator of the visual materials in the Alfred Roller Archive of the Austrian Theater Museum. I would also like to thank the musicology faculty of the Florida State University College of Music for awarding me the Curtis Mayes Scholar Award, which funded my dissertation research in Vienna over two consecutive summers (2007- 2008).
    [Show full text]
  • Ames Piano Quartet Has Been the Ensemble-In- Residence at Iowa State University Since Its Inception in 1976
    mind, Fauré finally wrote their names on slips of paper, placed them in a hat, and randomly picked Marie Fremiet, daughter of a sculptor. The first movement of this evening's concluding work launches impetuously EPARTMENT OF USIC HEATRE into a strongly rhythmical but somewhat sad minor key whose theme is D M & T played in unison by the three strings. The following Scherzo has been described as "a buzzing of fairy insects on a moonbeam in a Shakespearean glade" and is full of rhythmic surprises which dramatically contrast with the solemn and wistful melodies of the Adagio. Somewhat reminiscent of a Mazurka in its vigour the Finale builds to an exciting climax to conclude one of the most beloved works of the piano quartet repertoire. Notes by Ralph Aldrich Ames Quartet Biography Ames In various iterations, the Ames Piano Quartet has been the ensemble-in- residence at Iowa State University since its inception in 1976. One of the few regularly constituted piano quartets in the world, the Ames Quartet briefly became the Amara Quartet in 2012, upon the retirement of two of Piano Quartet its long-time members. Wishing to reconnect with more than thirty years of tradition, the Quartet has now returned to its original name of Ames. The Quartet has an extensive discography, including fourteen CDs under the Ames name and a further two as Amara. Labels for which the group has Borivoj Martini -Jer i , violin recorded include Musical Heritage, Dorian, Sono Luminus, Albany, and ć č ć Fleur de Son Classics. “One finds critics writing of their commitment, passion, power, and sensitivity, not to mention their collective technical Stephanie Price-Wong, viola skills,” writes Robert Cummings on the AllMusic.com web site.
    [Show full text]
  • Camera Lucida Symphony, Among Others
    Pianist REIKO UCHIDA enjoys an active career as a soloist and chamber musician. She performs Taiwanese-American violist CHE-YEN CHEN is the newly appointed Professor of Viola at regularly throughout the United States, Asia, and Europe, in venues including Suntory Hall, the University of California, Los Angeles Herb Alpert School of Music. He is a founding Avery Fisher Hall, Alice Tully Hall, the 92nd Street Y, the Metropolitan Museum of Art, member of the Formosa Quartet, recipient of the First-Prize and Amadeus Prize winner the Kennedy Center, and the White House. First prize winner of the Joanna Hodges Piano of the 10th London International String Quartet Competition. Since winning First-Prize Competition and Zinetti International Competition, she has appeared as a soloist with the in the 2003 Primrose Competition and “President Prize” in the Lionel Tertis Competition, Los Angeles Philharmonic, Santa Fe Symphony, Greenwich Symphony, and the Princeton Chen has been described by San Diego Union Tribune as an artist whose “most impressive camera lucida Symphony, among others. She made her New York solo debut in 2001 at Weill Hall under the aspect of his playing was his ability to find not just the subtle emotion, but the humanity Sam B. Ersan, Founding Sponsor auspices of the Abby Whiteside Foundation. As a chamber musician she has performed at the hidden in the music.” Having served as the principal violist of the San Diego Symphony for Chamber Music Concerts at UC San Diego Marlboro, Santa Fe, Tanglewood, and Spoleto Music Festivals; as guest artist with Camera eight seasons, he is the principal violist of the Mainly Mozart Festival Orchestra, and has Lucida, American Chamber Players, and the Borromeo, Talich, Daedalus, St.
    [Show full text]
  • Completing Mahler's Piano Quartet: a Study of Unfinished Music, Ethics
    Nota Bene: Canadian Undergraduate Journal of Musicology Volume 14 | Issue 1 Article 5 Completing Mahler’s Piano Quartet: A Study of Unfinished Music, Ethics, and Authenticities Isabella Spinelli Northwestern University Recommended Citation Spinelli, Isabella. “Completing Mahler’s Piano Quartet: A Study of Unfinished Music, Ethics, and Authenticities.” Nota Bene: Canadian Undergraduate Journal of Musicology 14, no. 1 (2021): 115-178. https://doi.org/10.5206/notabene.v14i1.13410. Completing Mahler’s Piano Quartet: A Study of Unfinished Music, Ethics, and Authenticities Abstract Performers and scholars have argued for generations over what should be done with musical works that have been left incomplete by their composers. Though many attempts have been made to bring such works to completion, some scholars feel that these fragments should remain untouched because the pieces in question were left incomplete during the composer’s own career. With this debate in mind, I undertook a study and completion of Gustav Mahler’s Piano Quartet in A minor, a piece for which Mahler composed a complete first movement, Nicht zu schnell, and twenty-four bars of a second movement, Scherzo, when he was a student at the Vienna Conservatory. I began by analyzing Nicht zu schnell in order to understand Mahler’s treatment of motives, form, and harmony. In addition, I studied contemporary works by Schumann and Brahms. Based on my analyses, I then composed a completion of the Scherzo in a style that is, in my opinion, idiomatic of Mahler. After a performance of my completion, seventy percent of the audience responded with five on a scale of zero to six when asked in a survey how closely my Scherzo aligned with Nicht zu schnell.
    [Show full text]
  • Guide to Repertoire
    Guide to Repertoire The chamber music repertoire is both wonderful and almost endless. Some have better grips on it than others, but all who are responsible for what the public hears need to know the landscape of the art form in an overall way, with at least a basic awareness of its details. At the end of the day, it is the music itself that is the substance of the work of both the performer and presenter. Knowing the basics of the repertoire will empower anyone who presents concerts. Here is a run-down of the meat-and-potatoes of the chamber literature, organized by instrumentation, with some historical context. Chamber music ensembles can be most simple divided into five groups: those with piano, those with strings, wind ensembles, mixed ensembles (winds plus strings and sometimes piano), and piano ensembles. Note: The listings below barely scratch the surface of repertoire available for all types of ensembles. The Major Ensembles with Piano The Duo Sonata (piano with one violin, viola, cello or wind instrument) Duo repertoire is generally categorized as either a true duo sonata (solo instrument and piano are equal partners) or as a soloist and accompanist ensemble. For our purposes here we are only discussing the former. Duo sonatas have existed since the Baroque era, and Johann Sebastian Bach has many examples, all with “continuo” accompaniment that comprises full partnership. His violin sonatas, especially, are treasures, and can be performed equally effectively with harpsichord, fortepiano or modern piano. Haydn continued to develop the genre; Mozart wrote an enormous number of violin sonatas (mostly for himself to play as he was a professional-level violinist as well).
    [Show full text]
  • Dvorak String Quartet Op 87
    Antonín Dvo!ák (1841-1904) Piano Quartet no. 2 in E flat major, op. 87 (1889) Allegro con fuoco Lento Allegro moderato, grazioso Finale. Allegro ma non troppo The second piano quartet was written in Dvo!ák's maturity. Encouraged by Brahms, he had achieved early success with the Czech folk-based Slavonic Dances, but he later had to develop a more serious Germanic style to please his Viennese audiences. They had become biased against Czech-flavoured music by the rising tide of Czech nationalism. However, throughout the 1880s, on his frequent visits to England, Dvo!ák had enjoyed unstinting admiration. English concert-goers showed none of the anti-Czech prejudice of the Viennese. Encouraged by this success, the cheerful good humour of this second piano quartet (and of the Eighth Symphony, which was written immediately after it) returns to the Czech idiom, but with its structure strengthened by Dvo!ák's enforced Germanic digression. The work was requested by his publisher Simrock to whom Dvo!ák wrote enthusiastically on August 10, 1889: "I've now already finished three movements of a new piano quartet and the Finale will be ready in a few days. As I expected it came easily and the melodies just surged upon me. Thank God!" Curiously, the first bar of the main theme of the first movement could have been the inspiration for the previous Kodály Duo (and indeed for Queen's Radio Ga Ga) with its rising second and falling fourth. After showing us some of the interest of this boldly energetic theme, Dvo!ák slides into the unexpected key of G major and the viola introduces the lyrical second subject.
    [Show full text]
  • Anna Bahr-Mildenburg
    PERSÖNLICHKEITEN DER SALZBURGER MUSIKGESCHICHTE EIN PROJEKT DES ARBEITSSCHWERPUNKTES SALZBURGER MUSIKGESCHICHTE AN DER ABTEILUNG FÜR MUSIKWISSENSCHAFT DER UNIVERSITÄT MOZARTEUM ANNA BAHR-MILDENBURG GEBORENE MARIE ANNA WILHELMINE ELISABETH BELLSCHAN VON MILDENBURG, VOR DER EHE SELBST ALS ANNA VON MILDENBURG TITULIERT, VERHEIRATETE ANNA BAHR-MILDENBURG SÄNGERIN, GESANGSPÄDAGOGIN UND OPERNREGISSEURIN * 29. NOVEMBER 1872 IN WIEN † 27. JÄNNER 1947 IN WIEN Die in den zeitgenössischen Medien als „eine der bedeutendsten Erscheinungen der deutschen Bühne“ (zit. nach Willnauer 2005, S. 22), als „eine der letzten großen Sängerinnen des alten Wien“ (Link 1) gefeierte Künstlerin Anna Bellschan von Mildenburg wuchs in einer österreichischen Offiziersfamilie auf. Ihre musikalische Begabung, die früh erkannt und bereits im Kindesalter mit Gesangs- und Klavierunterricht gefördert wurde, führt sie in ihrer autobiographischen Schrift Erinnerungen auf den Großvater mütterlicherseits, einen international erfolgreichen Sänger, dessen Leben und Wirken sie als Kind besonders beeindruckt hatte, zurück. Seine Fortsetzung fand der Gesangsunterricht auch nach ihrem Umzug in die nahe Triest gelegene Provinzstadt Görz, die sie als Heimat empfand, erwachte doch dort ihr Wunsch, Künstlerin zu werden. Auf Intervention des Lustspieldichters Julius Rosen hin und mit Unterstützung ihrer Gesangslehrerin Helene Rieckhoff- Pessiack absolvierte die damals 19-Jährige ein Vorsingen an der Wiener Hofoper und wurde zur ersten Privatschülerin der berühmten Altistin Rosa Papier-Paumgartner,
    [Show full text]
  • Season 2016-2017
    23 Season 2016-2017 Thursday, May 18, at 8:00 Friday, May 19, at 8:00 The Philadelphia Orchestra Saturday, May 20, at 8:00 Sunday, May 21, at 2:00 Yannick Nézet-Séguin Conductor Karen Cargill Mezzo-soprano Women of the Philadelphia Symphonic Choir Amanda Quist Director The American Boychoir Fernando Malvar-Ruiz Music Director Mahler Symphony No. 3 in D minor Part I I. Kräftig. Entschieden Part II II. Tempo di menuetto: Sehr mässig III. Comodo. Scherzando. Ohne Hast IV. Sehr langsam. Misterioso— V. Lustig im Tempo und keck im Ausdruck— VI. Langsam. Ruhevoll. Empfunden This program runs approximately 1 hour, 40 minutes, and will be performed without an intermission. The May 18 concert is sponsored by Ballard Spahr. The May 19 concert is sponsored by Elia D. Buck and Caroline B. Rogers. The May 20 concert is sponsored by Wells Fargo. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit WRTI.org to listen live or for more details. 24 Please join us immediately following the May 18-20 performances for free Postlude recitals. May 18 Jeremy Flood Organ J.S. Bach Prelude and Fugue in G major, BWV 541 Brahms from Eleven Chorale Preludes, Op. 122: V. Schmücke dich, o liebe Seele VII. O Gott, du frommer Gott X. Herzlich tut mich verlangen XI. O Welt, ich muss dich lassen Vierne from Symphony No. 1, Op. 14: VI. Final May 19-20 Peter Richard Conte Organ Elgar from Organ Sonata No. 1 in G major, Op. 28: I.
    [Show full text]
  • Anna Bahr-Mildenburg Pdf, 221 KB
    Die Stadt Salzburg im Nationalsozialismus Ein Projekt der Stadt Salzburg Mildenburggasse Anna Bahr-Mildenburg Opernsängerin, Dramaturgin, Dozentin am Mozarteum * 29. November 1872 in Wien † 27. Jänner 1947 in Wien Straßenbenennung: Herbst 1935 Lage: Parsch; von der Bürglsteinstraße nach Süden. Die Opernsängerin, Dramaturgin und Dozentin Kammersängerin Prof. Anna Bahr- Mildenburg wurde am 29. November 1872 in Wien als Tochter des k.k. Offiziers Major Theodor Bellschan von Mildenburg und seiner Ehefrau Anna, geborene Butsch, geboren1. Ihr Großvater war der 1805 geborene Konzert- und Opernsänger Fidelis Butsch2. Die Familie lebte zunächst in Wien, dann in Klagenfurt, später in Görz (damalige Gefürstete Grafschaft Görz und Gradisca im Österreichischen Küstenland, heute Gorizia in Italien). Ab dem siebten Lebensjahr erhielt Anna von Mildenburg, damals noch in Klagenfurt, Klavier- und Gesangsunterricht bei Karl Weidt, in Görz von Helene Rieckhoff-Pessiack3. Im Alter von 17 Jahren nahm Anna von Mildenburg weiterhin in Görz regelmäßige Gesangsstunden, gegen elterliche Widerstände löste sie ihre Verlobung mit einem Leutnant und ging nach Wien4. Auf Bitten ihrer Gesangslehrerin Rieckhoff-Pessiack hatte sie einen Anhörtermin beim Direktor der Wiener Hofoper Wilhelm Jahn erhalten, der sie an Rosa Papier-Paumgartner weiterempfahl. Bei dieser nahm sie Privatunterricht. Als Papier Professorin am Wiener Konservatorium wurde, nahm sie Mildenburg dorthin mit. Am Konservatorium erhielt Mildenburg bei August Stoll, Oberregisseur der Hofoper, erstmals dramatischen Unterricht. Dafür fehlte ihr anfänglich das Talent, die Koordination zwischen Gesang und Bewegung gelang nicht5, die Sängerin wurde für „vollkommen bühnenunfähig“6 gehalten. Dennoch wurde sie bereits 1895 von Bernhard Pollini für das Hamburger Stadttheater engagiert, wo sie unter der Regie von Gustav Mahler debütierte, der sie künstlerisch förderte und mit dem sie auch eine Beziehung einging.
    [Show full text]