Boston Symphony Orchestra Concert Programs, Season 114, 1994-1995
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Alshire Records Discography
Alshire Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan Alshire International Records Discography Alshire was located at P.O. Box 7107, Burbank, CA 91505 (Street address: 2818 West Pico Boulevard, Los Angeles, CA 90006). Founded by Al Sherman in 1964, who bought the Somerset catalog from Dick L. Miller. Arlen, Grit and Oscar were subsidiaries. Alshire was a grocery store rack budget label whose main staple was the “101 Strings Orchestra,” which was several different orchestras over the years, more of a franchise than a single organization. Alshire M/S 3000 Series: M/S 3001 –“Oh Yeah!” A Polka Party – Coal Diggers with Happy Tony [1967] Reissue of Somerset SF 30100. Oh Yeah!/Don't Throw Beer Bottles At The Band/Yak To Na Wojence (Fortunes Of War)/Piwo Polka (Beer Polka)/Wanda And Stash/Moja Marish (My Mary)/Zosia (Sophie)/Ragman Polka/From Ungvara/Disc Jocky Polka/Nie Puki Jashiu (Don't Knock Johnny) Alshire M/ST 5000 Series M/ST 5000 - Stephen Foster - 101 Strings [1964] Beautiful Dreamer/Camptown Races/Jeannie With The Light Brown Hair/Oh Susanna/Old Folks At Home/Steamboat 'Round The Bend/My Old Kentucky Home/Ring Ring De Bango/Come, Where My Love Lies Dreaming/Tribute To Foster Medley/Old Black Joe M/ST 5001 - Victor Herbert - 101 Strings [1964] Ah! Sweet Mystery Of Life/Kiss Me Again/March Of The Toys, Toyland/Indian Summer/Gypsy Love Song/Red Mill Overture/Because You're You/Moonbeams/Every Day Is Ladies' Day To Me/In Old New York/Isle Of Our Dreams M/S 5002 - John Philip Sousa, George M. -
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music director patron sponsors Lan Shui a standing ovation for our corporate partners official official official official official airline hotel radio station postage sponsor outdoor media partners Schumann Symphony Spectacular Symphonic Fantasy LEE FOUNDATION Supported by various corporate sponsors and individual donors, the Singapore Symphony Orchestra is a not-for-profit company limited by guarantee and registered under the Charities Order. Singapore Symphony Orchestra 11 Empress Place, Victoria Concert Hall, Singapore 179558 Sat, 30 Jan 10 Company registration no: 197801125M Phone +65 6338 1230 (main) Fax +65 6336 6382 Esplanade Concert Hall E-mail [email protected] Website www.sso.org.sg Performing Home of the SSO All Rights Reserved, National Library Board, Singapore For song title, key in 924 and SMS to 72346. Each SMS costs 30 cents. Service provided by MediaCorp Pte Ltd, 6877 7132. All Rights Reserved, National Library Board, Singapore Sat, 30 Jan 10 Schumann Symphony Spectacular Symphonic Fantasy Singapore Symphony Orchestra Okko Kamu conductor Dang Thai Son piano Robert Schumann Manfred: Overture, Op. 115 12’00 Frédéric Chopin Piano Concerto No. 1 in E minor, Op. 11 39’00 Intermission 20’00 Dang Thai Son will sign autographs at the stall foyer Robert Schumann Symphony No. 4 in D minor, Op. 120 28’00 Concert Duration: 1 hr 50 min All Timings Indicated Are Approximate. All Rights Reserved, National Library Board, Singapore “Today it unquestionably ranks among the world’s best… A world-class orchestra that can switch between such radically divergent styles with virtuosic ease.” American Record Guide March/April 2007 All Rights Reserved, National Library Board, Singapore 03 Singapore Symphony Orchestra A premier Asian orchestra gaining recognition around the world, the Singapore Symphony Orchestra (SSO) aims to enrich the local cultural scene, serving as a bridge between the musical traditions of Asia and the West, and providing artistic inspiration, entertainment and education. -
Itunes Store and Spotify Recordings
A+ Music Memory 2016-2017 iTunes Store and Spotify Recordings Bach Pachelbel Canon and Other Baroque Favorites, track 12, Suite No. 2 in B Minor, BWV1067: Badinerie (James Galway, Zagreb Soloists & I Solisti di Zagreb, Universal International BMG Music, 1978). iTunes: https://itunes.apple.com/us/album/pachelbel-canon-other- baroque/id458810023 Spotify: https://open.spotify.com/track/4bFAmfXpXtmJRs2t5tDDui Bartók Bartók: Hungarian Pictures – Weiner: Hungarian Folk Dance – Enescu: Romanian Rhapsodies, track 2, Magyar Kepek (Hungarian Sketches), BB 103: No. 2. Bear Dance (Neeme Järvi & Philharmonia Orchestra, Chandos, 1991). iTunes: https://itunes.apple.com/us/album/bartok-hungarian-pictures/id265414807 Spotify: https://open.spotify.com/track/5E4P3wJnd2w8Cv1b37sAgb Beethoven Beethoven: Piano Sonatas Nos. 8, 14, 23 & 26, track 6, Piano Sonata No. 8 in C Minor, Op. 13 – “Pathétique,” III. Rondo (Allegro), (Alfred Brendel, Universal International Music B.V., 2001) iTunes: https://itunes.apple.com/us/album/beethoven-piano-sonatas- nos./id161022856 Spotify: https://open.spotify.com/track/2Z0QlVLMXKNbabcnQXeJCF Brahms Best of Brahms, track 11, Waltz No. 15 in A-Flat Minor, Op. 59 [Note: This track is mis-named: the piece is in A-Flat Major, from Op. 39] (Dieter Goldmann, SLG, LLC, 2009). iTunes: https://itunes.apple.com/us/album/best-of-brahms/id320938751 Spotify: https://open.spotify.com/track/1tZJGYhVLeFODlum7cCtsa A+ Mu Me ory – Re or n s of Clarke Trumpet Tunes, track 2, Suite in D Major: IV. The Prince of Denmark’s March, “Trumpet Voluntary” (Stéphane Beaulac and Vincent Boucher (ATMA Classique, 2006). iTunes: https://itunes.apple.com/us/album/trumpet-tunes/id343027234 Spotify: https://open.spotify.com/track/7wFCg74nihVlMcqvVZQ5es Delibes Flower Duet from Lakmé, track 1, Lakmé, Act 1: Viens, Mallika, … Dôme épais (Flower Duet) (Dame Joan Sutherland, Jane Barbié, Richard Bonynge, Orchestre national de l’Opéra de Monte-Carlo, Decca Label Group, 2009). -
Fest/Spiel/Haus/ St/Poelten/ 15 April 2019 Schelomo
FEST/SPIEL/HAUS/ ST/POELTEN/ 15 APRIL 2019 SCHELOMO Tonkünstler-Orchester Niederösterreich © Nancy Horowitz © Nancy Niederösterreich Tonkünstler-Orchester TK_MosaikStPoelten_107x190_180920_RZ.indd 2 20.09.18 11:32 Tonkünstler-Orchester Niederösterreich Alisa Weilerstein . Fabien Gabel Montag, 15. April 2019, 19.30 Uhr Festspielhaus St. Pölten, Großer Saal Gesamtdauer: ca. 2 Std. (inkl. Pause) Einführung mit Walter Weidringer 18.30 Uhr, Kleiner Saal Künstlerische Leiterin Festspielhaus St. Pölten: Brigitte Fürle TK_MosaikStPoelten_107x190_180920_RZ.indd 2 20.09.18 11:32 von Elfriede Jelinek Inszenierung: Nikolaus Habjan ab 16.03.2019 Österreichische Erstaufführung www.landestheater.net PROGRAMM Violoncello ALISA WEILERSTEIN Dirigent FABIEN GABEL RICHARD STRAUSS (1864 – 1949) Liebesszene aus der Oper «Feuersnot» op. 50 (1900/01) 7 ’ ERNEST BLOCH (1880 – 1959) «Schelomo» Hebräische Rhapsodie für Violoncello und Orchester (1915/16) 23’ PAUSE ERICH WOLFGANG KORNGOLD (1897 – 1957) Sinfonietta für großes Orchester op. 5 (1911-13) Fließend, mit heiterem Schwunge Scherzo. Molto agitato, rasch und feurig Molto andante (träumerisch) Finale. Patetico – Allegro giocoso 44’ Bitte beachten Sie, dass die tatsächliche Spieldauer von diesen Angaben geringfügig abweichen kann. Das Konzertprogramm wird vom ORF aufgezeichnet und am Dienstag, 23. April 2019, ab 14.05 Uhr in der Sendung «Das Ö1 Konzert» im Programm von Radio Österreich 1 in Dolby Digital 5.1 Surround Sound ausgestrahlt. «Radio OE 1 DD», abgespielt über einen digitalen Satelliten-Receiver und eine mehrkanalfähige Audioanlage, ermöglicht die volle Surround-Qualität. RICHARD STRAUSS Liebesszene aus der Oper «Feuersnot» op. 50 Nachdem «Guntram», Richard Strauss’ erste Oper, bei der Uraufführung in Weimar eine freundliche Aufnahme gefunden hatte, sah der Komponist voll Optimismus der Premiere in seiner Geburtsstadt München am 16. -
NORTHERN STARS MUSIC from the NORDIC and BALTIC REGIONS NAXOS • MARCO POLO • ONDINE • PROPRIUS • SWEDISH SOCIETY • DACAPO Northern Stars
NORTHERN STARS MUSIC FROM THE NORDIC AND BALTIC REGIONS NAXOS • MARCO POLO • ONDINE • PROPRIUS • SWEDISH SOCIETY • DACAPO Northern Stars Often inspired by folk tradition, nature, landscape and a potent spirit of independence, the music of Scandinavia, Finland and the Baltic states is distinctive and varied, with each country’s music influenced by its neighbours, yet shaped and coloured by its individual heritage. Traveling composers such as Sweden’s Joseph Kraus introduced 18th and early 19th century classical trends from Germany and Italy, but with national identity gaining increasing importance as Romantic ideals took hold, influential and distinctive creative lines were soon established. The muscular strength of Carl Nielsen’s symphonies grew out of the Danish nationalist vigor shown by Friedrich Kuhlau and Niels Gade, extending to names such as Per Nørgård today. Gade was a teacher of Edvard Grieg, who owes his position as Norway’s leading composer, at least in part, to the country’s traditional folk music and the poignant lyricism of the Hardanger fiddle. The music of Finland is dominated by the rugged symphonies of Jean Sibelius, and his Finlandia ensured his status as an enduring national symbol. Sibelius successfully combined the lessons of Viennese romanticism with a strong Nordic character, and this pragmatic approach has generated numerous contemporary giants such as Aus Sallinen, Einojuhani Rautavaara, Kalevi Aho and Kaija Saariaho. Turbulent history in the Baltic States partially explains a conspicuous individualism amongst the region’s composers, few more so than with Arvo Pärt, whose work distils the strong Estonian vocal tradition into music of striking intensity and crystalline beauty. -
Concerts with the London Philharmonic Orchestra for Seasons 1946-47 to 2006-07 Last Updated April 2007
Artistic Director NEVILLE CREED President SIR ROGER NORRINGTON Patron HRH PRINCESS ALEXANDRA Concerts with the London Philharmonic Orchestra For Seasons 1946-47 To 2006-07 Last updated April 2007 From 1946-47 until April 1951, unless stated otherwise, all concerts were given in the Royal Albert Hall. From May 1951 onwards, unless stated otherwise, all concerts were given in The Royal Festival Hall. 1946-47 May 15 Victor De Sabata, The London Philharmonic Orchestra (First Appearance), Isobel Baillie, Eugenia Zareska, Parry Jones, Harold Williams, Beethoven: Symphony 8 ; Symphony 9 (Choral) May 29 Karl Rankl, Members Of The London Philharmonic Orchestra, Kirsten Flagstad, Joan Cross, Norman Walker Wagner: The Valkyrie Act 3 - Complete; Funeral March And Closing Scene - Gotterdammerung 1947-48 October 12 (Royal Opera House) Ernest Ansermet, The London Philharmonic Orchestra, Clara Haskil Haydn: Symphony 92 (Oxford); Mozart: Piano Concerto 9; Vaughan Williams: Fantasia On A Theme Of Thomas Tallis; Stravinsky: Symphony Of Psalms November 13 Bruno Walter, The London Philharmonic Orchestra, Isobel Baillie, Kathleen Ferrier, Heddle Nash, William Parsons Bruckner: Te Deum; Beethoven: Symphony 9 (Choral) December 11 Frederic Jackson, The London Philharmonic Orchestra, Ceinwen Rowlands, Mary Jarred, Henry Wendon, William Parsons, Handel: Messiah Jackson Conducted Messiah Annually From 1947 To 1964. His Other Performances Have Been Omitted. February 5 Sir Adrian Boult, The London Philharmonic Orchestra, Joan Hammond, Mary Chafer, Eugenia Zareska, -
Download Booklet
SUPER AUDIO CD Randall ScaRlata baRitone • company of muSic tölzeR KnabenchoR • choRuS Sine nomine tonKünStleR-OrcheSteR abSolute enSemble KRiStjan jäRvi Leonard Bernstein,December 1975 Leonard © Don Hunstein/Lebrecht Music & Arts Photo Library LEONARD BERNSTEIN (1918 –1990) MASS A Theatre Piece for Singers, Players and Dancers Text from the Liturgy of the Roman Mass Additional texts by Stephen Schwartz and Leonard Bernstein Randall Scarlata baritone (Celebrant) Company of Music (Street Chorus) Johannes Hiemetsberger chorus master Tölzer Knabenchor (Boys’ Choir) Georg Drexel (solo boy soprano) Gerhard Schmidt-Gaden chorus master Chorus sine nomine (Chorus) Johannes Hiemetsberger chorus master Absolute Ensemble Tonkünstler-Orchester Niederösterreich Alexander Gheorghiu concertmaster Kristjan Järvi 3 Company of Music Chorus master Johannes Hiemetsberger soprano Barbara Achammer (solo) Theresa Dlouhy (solo) Ruth Kraus* (solo) Claudia Meller Absolute Ensemble Elisabeth Wimmer drums/percussion Damien Bassman alto Heidemaria Gruber (solo) bass guitar Lenneke Willemsen* (solo) Mat Fieldes Susanne Katharina Hell Birte Dalbauer-Stokkebaek solo violin Maja Wambersky Vesselin Gellev tenor electric keyboard Bernd Fröhlich (solo) Matt Herskowitz Gernot Heinrich (solo) Bernd Hemedinger (solo) trombone Reinwald Kranner* (solo) Michael Seltzer Dave Moskin* (solo) Jean-Jacques Rousseau clarinet/saxophone Michiyo Suzuki baritone/bass André Bauer* (solo) Günter Haumer (solo) Jörg Espenkott Christoph Wiegelbeyer Clemens Kölbl *guest artist 4 Company of Music -
Ardal-A-C01c[BIS-CD101-Booklet].Pdf
BIS-CD-101 STEREO E A Dl Total playing time: 59'32 BACH, Johann Sebastian (1685-17b0) Concerto in D minor, BWV 1060 t4'42 for Violin, Oboe and String Orchestra E I. Allegro 5'07 @ II. Adagio s',34 tr IIII. Allegro .to/ Okko Kamu, violin; Brynjar Hoff, oboe Canticum Novum Chamber Orchestra conductedby Alf Ardal a Adagio in B minor 4',L7 from the'Easter Oratorio' for Oboe and Orchestra Brynjar Hoff, oboe Canticum Novum Chamber Orchestra conductedUy Alf Ardal Cantata No.82, 'Ich habe genug' 23'L7 for Bass, Oboe and Orchestra r t!.1 I. Aria. Ich habegenung... 7'02 r Lg.l II. Recitative.Ich habegenung... 1'30 tr III. Aria. Schlummertein, ihr mattenAugen... g',20 tr IV. Recitative.Mein Gott! wenn kommt das schone... 1',03 t-d'l V. Aria. Ich freue mich auf meinen Tod... 4',L3 Knut Skram, bass;Brynjar Hoff, oboe Canticum Novum Chamber Orchestra conductedly AHArdal Concerto in D minor, BWV 104{} 16'13 for 2 Violins and String Orchestra @ L Viuace 4'LL E II. Largo 6',42 @ III. Allegro 5'12 Okko Kamu, violin; Leif Segerstam, violin National Museum Chamber Orchestra. Stockholm conductedby Claude G6netay Okko Kamu plays first solo violin until bar 16 in the second movement, then second solo violin Leif Segerstam plays second solo violin until bar 16 in the second movement, then first solo violin Jt seems strange that Johann Sebastian Bach did not make far more - I frequent use of the oboein his instrumental music it was a very common Iinstrument in baroque music, partly because the flute and oboe families were the only usable upper woodwind instruments in serious music: in this context the clarinets had not yet made their breakthrough. -
Andrei Korobeinikov Mikhail Gaiduk Lahti Symphony Orchestra
Andrei Korobeinikov piano Mikhail Gaiduk trompette Lahti Symphony Orchestra Okko Kamu direction Dimitri Chostakovitch (1906-1975) 2 Concerto pour piano et trompette n° 1 18. XIV Adagio 2'34 en ut mineur opus 35 19. XV Allegretto 1'04 1. Allegretto 6'01 20. XVI Andantino 1'01 2. Lento 8'33 21. XVII Largo 2'21 3. Moderato 1'48 22. XVIII Allegretto 0'50 4. Allegro con brio 6'53 23. XIX Andantino 2'10 24. XX Allegretto furioso 0'39 Vingt-quatre Préludes opus 34 25. XXI Allegretto poco moderato 0'40 5. I Moderato 1'21 26. XXII Adagio 3'01 6. II Allegretto 0'52 27. XXIII Moderato 0'47 7. III Andante 2'13 28. XXIV Allegretto 1'13 8. IV Moderato 2'16 9. V Allegro vivace 0'25 Concerto pour piano n° 2 en fa majeur 10. VI Allegretto 1'13 opus 102 11. VII Andante 1'45 29. Allegro 7'21 12. VIII Allegretto 0'53 30. Andante 7'33 13. IX Presto 0'35 31. Allegro (attacca) 5'42 14. X Moderato non troppo 2'03 15. XI Allegretto 0'50 16. XII Allegro non troppo 1'18 17. XIII Moderato 1'58 Durée : 78' 3 DIMITRI CHOSTAKOVITCH (1906-1975) Chostakovitch avec seulement trois partitions importantes et • 24 Préludes, op.34 (1933) véritablement réussies, les 24 Préludes op.34, le Concerto • Concerto n°1 pour piano, trompette et cordes, op.35, op.35 et les 24 Préludes et Fugues op.87. On est tenté de en ut mineur, (1933) rapprocher les Préludes op.34 des Visions fugitives op.22 • Concerto n°2 pour piano et orchestre, op.102, composées exactement au même âge par Prokofiev mais les en fa majeur (1957) univers psychologique et esthétique restent foncièrement dif- férents. -
Orchestral Works He Had Played in His 35-Year Tenure in the Orchestra
KALEVI AHO ORCHESTRAL WORKS KALEVI AHO – a composer of contrasts and surprises alevi Aho (born in Finland in 1949) possesses one of today’s most exciting creative voices. A composer with one foot in the past and one in the pres- K ent, he combines influences from the most disparate sources and transforms them through his creative and emotional filter into something quite unique. He does not believe in complexity simply for the sake of it. His music always communicates directly with the listener, being simultaneously ‘easy’ yet ‘difficult’, but never banal, over-intellectual, introvert or aloof. In his own words, “A composer should write all sorts of works, so that something will always evoke an echo in people in different life situations. Music should come to the help of people in distress or give them an ex- perience of beauty.” Kalevi Aho is equally natural and unaffected in his symphonies and operas as he is in his intimate musical miniatures. Monumental landscapes painted in broad brush- strokes go hand in hand with delicate watercolours, serious artistic confessions and humour. The spectrum of human emotions is always wide, and he never lets his lis- teners off lightly. He poses questions and sows the seeds of thoughts and impulses that continue to germinate long after the last note has died away. “His slightly unassuming yet always kind appearance is vaguely reminiscent of Shosta- kovich, while his musical voice, with its pluralistic conception of the world and its intricate balance between the deliberately banal and the subtle, is undoubtedly closer to late Mahler.” It is easy to agree with this anonymous opinion of Kalevi Aho. -
Harri Ahmas Symphony No. 1
Harri Ahmas Symphony No.1 Lahti Symphony Orchestra Okko Kamu AHMAS, Harri (b.1957) Symphony No.1 (2001–02) (Music Finland) 39'22 1 q = 54–56 11'45 2 q = 116–120 7'39 3 q = 48–50 – attacca – 8'13 4 h = 96 11'22 Lahti Symphony Orchestra (Sinfonia Lahti) Okko Kamu conductor 2 Harri Ahmas: Symphony No.1 The Lahti-based composer and performing musician Harri Ahmas (b.1957) studied composition under Einar Englund and Einojuhani Rautavaara. Ahmas started piano lessons when he was ten, but seven years later changed to the bassoon. For most of the 1980s he was a member of the Finnish Radio Sym phony Orchestra, until he was appointed principal bassoonist of the Lahti Sym phony Orchestra in 1989. In addition to his orchestral work, Ahmas is an active chamber musician. As a com- poser his catalogue of works contains pieces in many different genres: over the years he has written not only three symphonies but also a number of concertos with orchestral accompaniment, orchestral works, works for wind band, a large amount of chamber music, two chamber operas, the score to the music play Itämaan tähti (Star of the East), the six-movement mass Kumartakaa valkeaa (Bow towards the Light) and various arrangements for orchestra, for example of hymns and folk songs. Many of Ahmas’s works have been written in response to commissions but, accord ing to the composer, the First Symphony was composed as the result of a need to write something just for himself, for a change. Ahmas has stated that in general his music does not have an ideological basis: ‘Most important of all are the emotional reactions that the listener has to the music. -
Gala Concert Programme Gala Concert of the Slovak Philharmonic Orchestra
Gala Concert Programme GALA CONCERT OF THE SLOVAK PHILHARMONIC ORCHESTRA May 4, 2018 8 p.m. Konzerthaus Berlin (Großer Saal) Gendarmenmarkt 5 – 6, 10117 Berlin Slovak Philharmonic Rastislav Štúr, conductor Dalibor Karvay, violin Ján Levoslav Bella: Concert Piece in Hungarian Style Jana Kmit´ová: Secondary Thoughts for Large Orchestra Antonín Dvorˇák: Violin Concerto in A Minor, Op. 53 Allegro ma non troppo – Adagio ma non troppo – Finale: Allegro giocoso ma non troppo Dear friends, It is with great pleasure that I welcome you to this concert of the Slo- vak Philharmonic Orchestra, which is being held to mark the twenty- fifth anniversary of the establishment of the Slovak Republic. The independent Slovak Republic was born a quarter of a century ago – the first democratic state of the Slovaks, of which we can be rightly proud. Slovakia’s story has been anything but straightfor- ward, yet we have come a long way in the past twenty-five years. I can gladly say that Slovakia has been able to make good use of the unique potential of European integration. Over the course of twenty- five years of hard work, we have become a democratic and prosperous country – and a constituent of the safest, freest, most prosperous and best-governed part of the world. On 1st May, Slovakia celebrated 14 years of EU membership. This membership has been a natural homecoming to the family of democratic countries of Europe, from which we, together with other countries in the region, had been ripped out as a result of decisi- ons made by others. Our membership in the North Atlantic Treaty Organization is also crucial, providing a prerequisite for our prosperity by sharing responsibility for common security.