12 July 2019

Total Page:16

File Type:pdf, Size:1020Kb

12 July 2019 12 July 2019 12:01 AM Heitor Villa-Lobos (1887-1959) Prelude for guitar no.1 in E minor Norbert Kraft (guitar) CACBC 12:06 AM Wolfgang Amadeus Mozart (1756-1791), Franz Danzi (arranger) Duos from Don Giovanni Duo Fouquet (duo), Elizabeth Dolin (cello), Guy Fouquet (cello) CACBC 12:11 AM Juan Crisostomo Arriaga (1806-1826) Stabat Mater Grieg Academy Choir, Bergen Philharmonic Choir, Bergen Philharmonic Orchestra, Juanjo Mena (conductor) NONRK 12:19 AM Marjan Mozetich (b.1948) Fantasia sul linguaggio perduto Amadeus Ensemble CACBC 12:35 AM Francesco Provenzale (c.1624-1704) 2 arias: "Io pur vi miro" & "Me sento 'na cosa" Roberta Invernizzi (soprano), Rosario Totaro (tenor), Cappella della Pieta de Turchini, Antonio Florio (director) ATORF 12:42 AM Giuseppe Verdi (1714-1787) Filippo's aria "Ella giammai m'amo!" from Don Carlo (Act 3) Nicolai Ghiaurov (bass), Orchestra of National Opera of Sofia, Assen Naidenov (conductor) BGBNR 12:52 AM Franz Schubert (1797-1828) Symphony no.4 (D.417) in C minor 'Tragic' Radio Bratislava Symphony Orchestra, Ondrej Lenard (conductor) SKSR 01:21 AM Sergey Rachmaninov (1873-1943) Pieces for four hands (Op.11) Zbignevas Ibelhauptas (piano), Ruta Ibelhauptiene (piano) LTLR 01:35 AM Samuel Barber (1910-1981) Violin Concerto, Op 14 James Ehnes (violin), Vancouver Symphony Orchestra, Bramwell Tovey (conductor) CACBC 02:00 AM Darius Milhaud (1892-1974) "La Cheminee du Roi Rene" (excerpt from "Madrigal-Nocturne") BBC Concert Orchestra GBBBC 02:01 AM Ludwig van Beethoven (1770-1827) Piano Concerto No 1 in C major, Op 15 Alexander Lonquich (piano), Munich Chamber Orchestra, Alexander Lonquich (conductor) DENDR 02:37 AM Ludwig van Beethoven (1770-1827) Violin Sonata no 10 in G major, Op 96 Christian Tetzlaff (violin), Lars Vogt (piano) DENDR 03:02 AM Ludwig van Beethoven (1770-1827) Beethoven String Quartet no 15 in A minor, Op 132 Kuss Quartet DENDR 03:43 AM Johannes Brahms (1833-1897) Variations on a theme by Haydn, Op 56a Oslo Philharmonic Orchestra, Marek Janowski (conductor) NONRK 04:01 AM Cecile Chaminade (1857-1944) Flute Concertino, Op 107 Maria Filippova (flute), Ekaterina Mirzaeva (piano) CZCR 04:09 AM Ludvig Irgens-Jensen (1894-1969) Japanischer Fruhling Ragnhild Heiland Sorensen (soprano), Stavanger Symphony Orchestra, Steven Sloane (conductor) NONRK 04:33 AM Piotr Moss (b.1949) Wiosenno Polish Radio Choir, Wlodzimierz Siedlik (conductor) PLPR 04:42 AM Aloys-Henri-Gerard Fornerod (1890-1965) Concert for 2 violins and piano (Op.16) Sibylle Tschopp (violin), Mirjam Tschopp (violin), Isabel Tschopp (piano) CHSRI 05:00 AM Fryderyk Chopin (1810-1849) Andante spianato and grande polonaise brillante in E flat major Op.22 Lana Genc (piano) HRHRT 05:16 AM Wolfgang Amadeus Mozart (1756-1791) Symphony No 23 in D major, K181 RTV Slovenia Symphony Orchestra, Marko Munih (conductor) SIRTVS 05:27 AM Georg Philipp Telemann (1681-1767) Fantasia in D minor (TWV.33 No.2) Peter Westerbrink (organ) NLNPB 05:32 AM Henry Purcell (1659-1695) Trumpet Suite Blagoj Angelovski (trumpet), Velin Iliev (organ) BGBNR 05:40 AM Jean Sibelius (1865-1957) Ballad (Karelia suite, Op 11) Baltic Sea Youth Philharmonic, Kristjan Järvi (conductor) PLPR 05:48 AM Johann Sebastian Bach (1685-1750) Toccata in D major, BWV 912 Leif Ove Andsnes (piano) NONRK .
Recommended publications
  • Mozart-Rezeption in Franz Danzis Der Berggeist1 Adrian Kuhl
    »Feingefühlte Charakteristik« Mozart-Rezeption in Franz Danzis Der Berggeist1 Adrian Kuhl I In der Allgemeinen musikalischen Zeitung erschien am 25. März 1804 ein Artikel über Wolfgang Amadeus Mozarts Opern, in dem der anonyme Autor über Charakteristika von dessen Musiktheater reflektiert: Was aber den meisten Menschen entgeht, ist die feingefühlte Charakteristik, nicht allein der einzelnen Personen, sondern der ganzen Handlung einer jeden Oper. Im Don Juan die Mischung von Erhabenheit und Leichtsinn; im Figaro die joviale Haltung des Ganzen; in der Zauberflöte Munterkeit gepaart mit Würde und feyerlichem Ernste; in Così fan tutte die sanften Halbtinten der feinern Welt- verhältnisse, diese süsse Schwärmerey, die von der Ouvertüre bis zum letzten Ak- kord des Schlusschors das schönste, in allen Theilen harmonischste Ganze ausma- chen, das irgend ein Künstler je hervorzubringen vermochte, in der Entführung aus dem Serail diese Nationalcharakteristik in der erhabensten Darstellung – was überhaupt ein Vorzug Mozart’s, und nur bey ihm in der Grösse anzutreffen ist: diese Einheit des Charakters – wer hat das je gefühlt, bemerkt, bewundert? Wenn aber ein jedes seiner theatralischen Werke das grosse, seltene Verdienst der Einheit und Charakteristik, das Gepräge des feinsten Menschenkenners an der Stirne trägt: welchem soll ich den Vorzug geben?2 1 Der folgende Beitrag basiert auf Teilen meines Vortrags bei der Tagung Mozartvariationen. Franz Danzi und die Mozartverehrung im ausgehenden 18. Jahrhundert, die am 15. Juni 2013 anlässlich des 250. Geburtstages des Komponisten von der Forschungsstelle »Geschichte der Südwestdeutschen Hofmusik im 18. Jahrhundert« der Heidelberger Akademie der Wissen- schaften in Schwetzingen ausgerichtet wurde. 2 [Franz Danzi]: »An meinen Freund«, in: Allgemeine musikalische Zeitung 6 (1804), No.
    [Show full text]
  • The Chamber Music Society of Lincoln Center
    Concerts from the Library of Congress 2013-2014 THE DINA KOSTON AND ROGER SHAPIRO fUND fOR nEW mUSIC THE CHAMBER MUSIC SOCIETY oF LINCOLN CENTER Thursday, April 10, 2014 ~ 8 pm Coolidge Auditorium Library of Congress, Thomas Jefferson Building THE DINA KOSTON AND ROGER SHAPIRO FUND FOR NEW MUSIC Endowed by the late composer and pianist Dina Koston (1929-2009) and her husband, prominent Washington psychiatrist Roger L. Shapiro (1927-2002), the DINA KOSTON AND ROGER SHAPIRO FUND FOR NEW MUSIC supports commissions and performances of contemporary music. Please request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 or [email protected]. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the concerts. Other events are open to all ages. Presented in association with: The Chamber Music Society’s touring program is made possible in part by the Lila Acheson and DeWitt Wallace Endowment Fund. Please take note: Unauthorized use of photographic and sound recording equipment is strictly prohibited. Patrons are requested to turn off their cellular phones, alarm watches, and any other noise-making devices that would disrupt the performance. Reserved tickets not claimed by five minutes before the beginning of the event will be distributed to stand-by patrons. Please recycle your programs at the conclusion of the concert. The Library of Congress Coolidge Auditorium Thursday, April 10, 2014 — 8 pm THE DINA KOSTON AND ROGER SHAPIRO fUND fOR nEW mUSIC THE CHAMBER MUSIC SOCIETY oF LINCOLN CENTER • Gilles Vonsattel, piano Nicolas Dautricourt, violin Nicolas Altstaedt, cello Amphion String Quartet Katie Hyun, violin David Southorn, violin Wei-Yang Andy Lin, viola Mihai Marica, cello Tara Helen O'Connor, flute Romie de Guise-Langlois, clarinet Jörg Widmann, clarinet Ian David Rosenbaum, percussion 1 Program PIERRE JALBERT (B.
    [Show full text]
  • Franz Schubert Complete Works for Violin and Piano Julia
    Volume 1 Franz Schubert Complete Works for Violin and Piano Julia Fischer - Martin Helmchen HYBRID MUL TICHANNEL Franz Schubert (1797 – 1828) Franz Schubert (1797 – 1828) Schubert composed his Violin Sonatas Complete Works for Violin and Piano, Volume 1 in 1816, at a time in life when he was obliged he great similarity between the first to go into teaching. Actually, the main Sonata (Sonatina) for Violin and Piano in D major, D. 384 (Op. 137, No. 1) Tmovement (Allegro molto) of Franz reason was avoiding his military national 1 Allegro molto 4. 10 Schubert’s Sonata for Violin and Piano in service, rather than a genuine enthusiasm 2 Andante 4. 25 D major, D. 384 (Op. posth. 137, No. 1, dat- for the teaching profession. He dedicated 3 Allegro vivace 4. 00 ing from 1816) and the first movement of the sonatas to his brother Ferdinand, who Sonata (Sonatina) for Violin and Piano in A minor, D. 385 (Op. 137, No. 2) the Sonata for Piano and Violin in E minor, was three years older and also composed, 4 Allegro moderato 6. 48 K. 304 by Wolfgang Amadeus Mozart must although his real interest in life was playing 5 Andante 7. 29 have already been emphasised hundreds the organ. 6 Menuetto (Allegro) 2. 13 of times. The analogies are more than sim- One always hears that the three early 7 Allegro 4. 36 ply astonishing, they are essential – and at violin sonatas were “not yet true master- the same time, existential. Deliberately so: pieces”. Yet just a glance at the first pages of Sonata (Sonatina) for Violin and Piano in G minor, D.
    [Show full text]
  • Schiller and Music COLLEGE of ARTS and SCIENCES Imunci Germanic and Slavic Languages and Literatures
    Schiller and Music COLLEGE OF ARTS AND SCIENCES ImUNCI Germanic and Slavic Languages and Literatures From 1949 to 2004, UNC Press and the UNC Department of Germanic & Slavic Languages and Literatures published the UNC Studies in the Germanic Languages and Literatures series. Monographs, anthologies, and critical editions in the series covered an array of topics including medieval and modern literature, theater, linguistics, philology, onomastics, and the history of ideas. Through the generous support of the National Endowment for the Humanities and the Andrew W. Mellon Foundation, books in the series have been reissued in new paperback and open access digital editions. For a complete list of books visit www.uncpress.org. Schiller and Music r.m. longyear UNC Studies in the Germanic Languages and Literatures Number 54 Copyright © 1966 This work is licensed under a Creative Commons cc by-nc-nd license. To view a copy of the license, visit http://creativecommons. org/licenses. Suggested citation: Longyear, R. M. Schiller and Music. Chapel Hill: University of North Carolina Press, 1966. doi: https://doi.org/ 10.5149/9781469657820_Longyear Library of Congress Cataloging-in-Publication Data Names: Longyear, R. M. Title: Schiller and music / by R. M. Longyear. Other titles: University of North Carolina Studies in the Germanic Languages and Literatures ; no. 54. Description: Chapel Hill : University of North Carolina Press, [1966] Series: University of North Carolina Studies in the Germanic Languages and Literatures. | Includes bibliographical references. Identifiers: lccn 66064498 | isbn 978-1-4696-5781-3 (pbk: alk. paper) | isbn 978-1-4696-5782-0 (ebook) Subjects: Schiller, Friedrich, 1759-1805 — Criticism and interpretation.
    [Show full text]
  • Was Schön, Was Herrlich Heißen Kann ...«
    »... alles, was schön, was herrlich heißen kann ...« Kammermusikkonzert »Kleine Serenade« Im Rahmen des Themenjahres 2020 »Unendlich schön. Monumente für die Ewigkeit« Schlossgarten Schwetzingen am Minervatempel 19 Uhr, 26. August 2020 PROGRAMM CARLO GIUSEPPE TOESCHI (1731–1788) Flötenquartett in C-Dur aus: Six simphonies ou quatuors dialogués, Paris [ca. 1764] Allegro grazioso – Menuetto FERDINAND FRÄNZL (1767–1833) Flötenquartett in D-Dur aus: Deux Quatuors [...] op. 10, Augsburg [ca. 1810] Allegro – Andante – Allegretto FRANZ DANZI (1763-1826) Flötenquartett in d-Moll aus: Trois Quatuors […] op. 56, Offenbach (1819) Allegretto – Andantino – Allegretto Menuetto – Allegretto Manches schöne Bauwerk überdauert seine Zeit und wird von der Nachwelt immer noch bewundert. Carl Theodor von der Pfalz hat sich nicht nur mithilfe der Bau- oder Kunstwerke Denkmäler errichten lassen, sondern ging als Begründer der berühmten kurpfälzischen Hofkapelle in die Musikgeschichte ein. Die Virtuosen und Komponisten seiner Hofmusik waren europaweit bekannt und leisteten gewichtige Beiträge vornehmlich auf dem Gebiet der Instrumentalmusik. Ihre Sinfonien und Konzerte hätte man mit einem antiken Minerva- oder Apollo-Tempel vergleichen können. Selbst in kleineren Dimensionen wie in den Werken für kammermusikalische Besetzungen waren sie mitunter federführend. Als die Quartettbesetzung mit einer Flöte, genannt Flötenquartett, ab den 1760er Jahren immer populärer wurde, erfreute sich diese Modeerscheinung auch in Mannheim großer Beliebtheit. Der Konzertmeister und ab 1773 der Kabinettmusikdirektor Carlo Giuseppe Toeschi komponierte – höchstwahrscheinlich ursprünglich für die Musizierstunden seines Dienstherren Carl Theodor – ca. 30 Flötenquartette, die vornehmlich in Paris publiziert wurden. Toeschi wurde zum Vorreiter auf diesem Gebiet, obwohl noch andere Musikerkollegen wie Christian Cannabich, Ignaz Fränzl oder Jean Baptist Wendling Flötenquartette schrieben. Selbst als die Hofkapelle nach München umsiedelte, wurde diese Tradition fortgeführt.
    [Show full text]
  • MR 2292 DANZI Concert Piece.Qxp 19.02.2008 15:53 Seite 4
    MR 2292 DANZI Concert Piece.qxp 19.02.2008 15:53 Seite 4 Preface Franz Danzi was baptised in Schwetzingen on 15 June 1763. His father was a cellist in the famous Mannheim orchestra, and Franz also joined the orchestra as cellist at the age of 15. After a spell as Kapellmeister in Stuttgart (where he became friends with Weber), Danzi moved to Karlsruhe in 1812. He died there on 13 April 1826. Danzi’s compositions covered the whole spectrum from opera, church music, orchestral works to chamber music. His works for clarinet include three solo pieces for clarinet and or- chestra, a concertante for clarinet and flute, a sonata for clarinet & piano, a sonata for bas- sethorn and piano and eight wind quintets (the works for which he is principally known today). The present work was published by Breitkopf & Härtel around 1813 and this arrangement for clarinet and piano is based on a copy of the original edition in the Deutsche Staatsbib- liothek in Berlin. The title page reads: “Pot-pourri pour la Clarinette avec accompagnement de deux Violons, Viola et Basse, Flûte, 2 Hautbois, 2 Bassons et 2 Cors ad libitum par F. Danzi, op. 45.” The wind parts do not add anything of melodic interest, but feature more or less entirely in the tuttis. The title of the work has here been changed to “Concert Piece No. 1” as Danzi’s later two “Pot-pourris” have already been published as “Concert Pieces Nos. 2 and 3.” There are very few dynamic markings in the original edition. In fact, the clarinet solo part contains only three (in mm.
    [Show full text]
  • Reconsidering the Nineteenth-Century Potpourri: Johann Nepomuk Hummel’S Op
    Reconsidering the Nineteenth-Century Potpourri: Johann Nepomuk Hummel’s Op. 94 for Viola and Orchestra A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Performance Studies Division of the College-Conservatory of Music 2018 by Fan Yang B. M., Hong Kong Academy for Performing Arts, 2008 M. M., Hong Kong Academy for Performing Arts, 2010 D. M. A. Candidacy, University of Cincinnati, 2013 Abstract The Potpourri for Viola and Orchestra, Op. 94 by Johann Nepomuk Hummel is available in a heavily abridged edition, entitled Fantasy, which causes confusions and problems. To clarify this misperception and help performers choose between the two versions, this document identifies the timeline and sources that exist for Hummel’s Op. 94 and compares the two versions of this work, focusing on material from the Potpourri missing in the Fantasy, to determine in what ways it contributes to the original work. In addition, by examining historical definitions and composed examples of the genre as well as philosophical ideas about the faithfulness to a work—namely, idea of the early nineteenth-century work concept, Werktreue—as well as counter arguments, this research aims to rationalize the choice to perform the Fantasy or Potpourri according to varied situations and purposes, or even to suggest adopting or adapting the Potpourri into a new version. Consequently, a final goal is to spur a reconsideration of the potpourri genre, and encourage performers and audiences alike to include it in their learning and programming.
    [Show full text]
  • Kammermusikfest 3.–9. Juni 2013
    KAMMERMUSIKFEST 3.– 9. JUNI 2013 Planungsstand: 13. März 2013 KÜNSTLERISCHE LEITUNG: LARS VOGT Liebe Kammermusikfreunde! Dear Friends of Chamber Music, Unser Hauptsponsor RWE för - A further highlight is planned dert das „Schülerkonzert“ mit 500 for 7 June: a “Night with Schu - Ein außergewöhnliches musikali - An exceptional musical program - Jugend lichen aus Schulen unserer mann”, featuring Düren author sches Programm und Künstler von me with internationally renowned Region. Dieter Kühn and three pianists. Weltruhm – dies alles er war tet Sie artists awaits you at this year‘s Als weiteres High light ist am 7. You are warmly invited to at - bei unserem diesjähri gen Kammer - Chamber Music Festival SPAN - Juni eine „Schumann-Nacht“ mit tend the public rehearsals at Haus musikfest SPANNUNGEN: Musik im NUNGEN: dem Dü rener Schrift steller Die ter Schönblick , where the music jour - RWE-Kraftwerk Heimbach. Lars Vogt and his friends will Kühn und drei Pia nisten geplant. nalist Pe dro Obiera will be holding Lars Vogt und seine Freunde be focusing in particular on early Zum Besuch der öffent lichen introductory presentations on the werden sich insbesondere mit and late works by great compo - Proben in Haus Schönblick laden concerts, and where Norbert Ely Früh- und Spätwerken großer sers to offer the public fascina - wir herzlich ein. Dort wird auch will speak on the subject ”Early Kom ponisten aus einander setzen ting insights into their works and der Musikjournalist Pedro Obie ra and Late Works – a Relation - und damit dem their development. seine Konzerteinführungen und ship”. Publikum interes - This year we are inviting three Norbert Ely einen Vortrag zum Our media part - sante Perspekti - scholarship holders: Byol Kang Thema „Frühe und späte Werke – ner, Deutschland - ven auf ihre Wer - (violin), and Danae Dörken and eine Beziehungskiste“ halten.
    [Show full text]
  • Bio Hong Coleman May 2017
    Meesun Hong Coleman is concertmaster of the Kammerakademie Potsdam as well as the Haydn Philharmonie, where she regularly leads/directs symphonic concerts and features as soloist. In addition, she is a member of the Camerata Bern, where she is also regular guest director and soloist, and is professor of violin and chamber music at the Bruckner Universität Linz. She has accepted numerous invitations to lead the Deutsche Kammerphilharmonie Bremen, Mahler Chamber Orchestra, Stuttgart Chamber Orchester, Munich Chamber Orchestra, Scottish Chamber Orchestra, Kammerorchester Basel, Het Gelders Orkest, and as principal with the Australian Chamber Orchestra, as well as regular guest of the Chamber Orchestra of Europe. As an orchestral director, she has worked with such soloists as Alexander Lonquich, Kristian Bezuidenhout, Fazil Say, Jean-Quihen-Queryas, das Avishai Cohen Trio (Jazz) as well as tango legend Richard Galliano. " "An avid chamber musician, Meesun has collaborated with Erich Höbarth, Antje Weithaas, Benjamin Schmid, Heinz Holliger, Hariolf Schlichtig, Jörg Widmann, Nobuko Imai, Denes Varjon, Patrick and Thomas Demenga, Sergio Azzolini, Esther Hoppe, Ruth Ziesak, Jeremy Denk, among others. She has performed several tours with Cuarteto Casals, with whom she performed recently in the Wigmore Hall, Schubertiade, Salzburg Festival and Gstaad Festival. In addition, she has performed in other chamber music formations in virtually all of the other major European music festivals, including the Luzern Festival, Edinburgh Festival, Schleswig Holstein, Rheingau Festival, Ittingen Pfingstkonzerte, Kunstfest Weimar, and IMS Prussia Cove. As a Baroque violinist, she has soloed with Enrico Onofri, Rachel Podger, Amandine Beyer, and Chiara Banchini, and as leader/soloist of the Kammerorchester Basel in an internationally broadcast Weihnachtsoratorium.
    [Show full text]
  • Alexander Lonquich Pianoforte E Direzione
    in collaborazione con Comune di Ravenna Assessorato alla Cultura Orchestra da Camera di Mantova Alexander Lonquich pianoforte e direzione Musiche di Ludwig van Beethoven (1770 – 1827) Martedì 25 maggio 2021 RAVENNA – Teatro Alighieri ore 20 L’Orchestra da Camera di Mantova nasce nel 1981 e s’impone da subito all’attenzione generale per brillantezza tecnica, assidua ricerca della qualità sonora, sensibilità ai problemi stilistici. Tanto che nel 1997 i critici musicali italiani le assegnano il Premio “Franco Abbiati”, quale miglior complesso da camera, capace di riproporre «un momento di incontro esecutivo alto tra tradizione strumentale italiana e repertorio classico». La sede dell’Orchestra da Camera di Mantova è il Teatro Bibiena di Mantova, autentico gioiello di architettura e acustica. Nel corso della trentennale vita artistica l’Orchestra collabora con alcuni tra i più apprezzati direttori e solisti del panorama internazionale. Dal 1993, l’Orchestra è impegnata nel rilancio delle attività musicali della sua città, attraverso la stagione concertistica “Tempo d’Orchestra” che ospita regolarmente alcuni fra i principali solisti, gruppi cameristici e orchestre a livello internazionale. Nel maggio 2013 ha dato vita al Mantova Chamber Music Festival “Trame Sonore”, manifestazione che si svolge nei principali luoghi d’arte cittadini e ha da subito ottenuto un’attenzione e una partecipazione straordinarie. La prossima edizione è in programma dal 29 maggio al 2 giugno 2021 . Nel 1977 Alexander Lonquich ha vinto il Primo Premio al Concorso Casagrande: da allora ha tenuto concerti in tutti i principali centri musicali del mondo; la sua attività lo ha visto impegnato con direttori d’orchestra quali Claudio Abbado, Ton Koopman, Emmanuel Krivine, Heinz Holliger, Sandor Vègh e molti altri.
    [Show full text]
  • Concerti 2020
    TEATRO COMUNALE LUCIANO PAVAROTTI CONCERTI 2020 5 novembre ore 17.30 e ore 21 Alexander Lonquich Orchestra da Camera di Mantova Integrale dei concerti per pianoforte e orchestra di Ludwig van Beethoven TEATRO COMUNALE 2020.2021 LUCIANO PAVAROTTI TEATRO COMUNALE LUCIANO PAVAROTTI TEATRO COMUNALE LUCIANO PAVAROTTI Alexander Lonquich Direttore e solista Orchestra da Camera di Mantova Omaggio per il 250° anniversario della nascita di Ludwig van Beethoven (1770 – 1827) Ore 17.30 Concerto n. 2 op. 19 in si bemolle maggiore Allegro con brio Adagio Rondò. Allegro molto Concerto n. 1 op. 15 in do maggiore Allegro con brio Largo Rondò. Allegro Concerto n. 3 op. 37 in do minore Allegro con brio Largo Rondò. Allegro Ore 21 Concerto n. 4 op. 58 in sol maggiore Allegro moderato Andante con moto Rondò. Vivace Concerto n. 5 op. 73 in mi bemolle maggiore Allegro Adagio un poco mosso Rondò. Allegro Note al programma di Susanna Franchi Ludwig van Beethoven L’intreccio, per noi smaliziati ascoltatori del 2020, sembra la sceneggiatura di un film di Hollywood: Beethoven al pianoforte esegue per la prima vol- ta in pubblico il suo Concerto n. 2 in si bemolle maggiore op. 19, sul podio c’è Antonio Salieri, è il 29 marzo 1795 al Burgtheater di Vienna; il 16 dicembre 1795 e l’8 gennaio 1796 Beethoven suona al pianoforte il Concerto K466 di Mozart e ripropone il suo Concerto n. 2, stavolta sul podio c’è Haydn. Mozart Salieri Haydn Beethoven, che intreccio! Ma riavvolgiamo il filo: quello che noi conoscia- mo come il Secondo concerto per pianoforte e or- chestra è in realtà il primo composto da Beetho- ven, solo è stato pubblicato dopo e per questo la numerazione è cronologicamente “sbagliata”, e per questo nei due concerti di oggi, nei quali Alexander Lonquich propone l’integrale dei con- certi per pianoforte e orchestra di Beethoven, lo esegue giustamente come primo.
    [Show full text]
  • 2016/17 Season Preview and Appeal
    2016/17 SEASON PREVIEW AND APPEAL The Wigmore Hall Trust would like to acknowledge and thank the following individuals and organisations for their generous support throughout the THANK YOU 2015/16 Season. HONORARY PATRONS David and Frances Waters* Kate Dugdale A bequest from the late John Lunn Aubrey Adams David Evan Williams In memory of Robert Easton David Lyons* André and Rosalie Hoffmann Douglas and Janette Eden Sir Jack Lyons Charitable Trust Simon Majaro MBE and Pamela Majaro MBE Sir Ralph Kohn FRS and Lady Kohn CORPORATE SUPPORTERS Mr Martin R Edwards Mr and Mrs Paul Morgan Capital Group The Eldering/Goecke Family Mayfield Valley Arts Trust Annette Ellis* Michael and Lynne McGowan* (corporate matched giving) L SEASON PATRONS Clifford Chance LLP The Elton Family George Meyer Dr C A Endersby and Prof D Cowan Alison and Antony Milford L Aubrey Adams* Complete Coffee Ltd L American Friends of Wigmore Hall Duncan Lawrie Private Banking The Ernest Cook Trust Milton Damerel Trust Art Mentor Foundation Lucerne‡ Martin Randall Travel Ltd Caroline Erskine The Monument Trust Karl Otto Bonnier* Rosenblatt Solicitors Felicity Fairbairn L Amyas and Louise Morse* Henry and Suzanne Davis Rothschild Mrs Susan Feakin Mr and Mrs M J Munz-Jones Peter and Sonia Field L A C and F A Myer Dunard Fund† L The Hargreaves and Ball Trust BACK OF HOUSE Deborah Finkler and Allan Murray-Jones Valerie O’Connor Pauline and Ian Howat REFURBISHMENT SUMMER 2015 Neil and Deborah Franks* The Nicholas Boas Charitable Trust The Monument Trust Arts Council England John and Amy Ford P Parkinson Valerie O’Connor The Foyle Foundation S E Franklin Charitable Trust No.
    [Show full text]