Concerto and Aria Application Fall 2021
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PROGRAM NOTES Witold Lutosławski Concerto for Orchestra
PROGRAM NOTES by Phillip Huscher Witold Lutosławski Born January 25, 1913, Warsaw, Poland. Died February 7, 1994, Warsaw, Poland. Concerto for Orchestra Lutosławski began this work in 1950 and completed it in 1954. The first performance was given on November 26, 1954, in Warsaw. The score calls for three flutes and two piccolos, three oboes and english horn, three clarinets and bass clarinet, three bassoons and contrabassoon, four horns, four trumpets, four trombones and tuba, timpani, snare drum, side drums, tenor drum, bass drum, cymbals, tam-tam, tambourine, xylophone, bells, celesta, two harps, piano, and strings. Performance time is approximately twenty-eight minutes. The Chicago Symphony Orchestra's first subscription concert performances of Lutosławski's Concerto for Orchestra were given at Orchestra Hall on February 6, 7, and 8, 1964, with Paul Kletzki conducting. Our most recent subscription concert performance was given November 7, 8, and 9, 2002, with Christoph von Dohnányi conducting. The Orchestra has performed this concerto at the Ravinia Festival only once, on June 28, 1970, with Seiji Ozawa conducting. For the record The Orchestra recorded Lutosławski's Concerto for Orchestra in 1970 under Seiji Ozawa for Angel, and in 1992 under Daniel Barenboim for Erato. To most musicians today, as to Witold Lutosławski in 1954, the title “concerto for orchestra” suggests Béla Bartók's landmark 1943 score of that name. Bartók's is the most celebrated, but it's neither the first nor the last work with this title. Paul Hindemith, Walter Piston, and Zoltán Kodály all wrote concertos for orchestra before Bartók, and Witold Lutosławski, Michael Tippett, Elliott Carter, and Shulamit Ran are among those who have done so after his famous example. -
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International Conference on Arts, Design and Contemporary Education (ICADCE 2016) The Concertizing Clarinet in the Music of the 20th- 21st Centuries Yu Zhao Department of Musical Upbringing and Education Institute of Music, Theatre and Choreography Herzen State Pedagogical University of Russia Saint-Petersburg, Russia E-mail: [email protected] Abstract—The article deals with stating the problem of a clarinet concert of the 20-21 centuries (one should note in research in ontology of the genre of Clarinet Concert in 20-21 this regard S. E. Artemyev‟s full-featured thesis considering centuries. The author identifies genre variants of long forms the Concerto for clarinet and orchestra of the 18th century). for solo clarinet with orchestra or instrumental ensemble and proposes further steps in making such a research, as well. II. A SHORT GUIDE IN THE HISTORY OF THE CLARINET Keywords—instrumental concert; concertizing; concerto; CONCERT GENRE concert genres; genre diversity Studies in the executive mastership are connected with a research of the evolution of the genres of instrumental music. I. INTRODUCTION The initial period of genesis and development of clarinet concert is investigated widely. Contemporary music in its various genres has become in many aspects a subject of scrupulous studies in musicology. It is known that the most early is the composition of Our research deals with professional problematics of the Antonio Paganelli indicated by the author as Concerto per instrumental concert genre, viewed more narrowly, namely, Clareto (1733). Possibly, it was written for chalumeau, the connected with clarinet performance. instrument-predecessor of the clarinet itself. But, before this time clarinet was used as one of the concertizing instruments The purpose of this article is to identify the situation in the genre of Concerto Grosso, particularly by J. -
9. Vivaldi and Ritornello Form
The HIGH BAROQUE:! Early Baroque High Baroque 1600-1670 1670-1750 The HIGH BAROQUE:! Republic of Venice The HIGH BAROQUE:! Grand Canal, Venice The HIGH BAROQUE:! VIVALDI CONCERTO Antonio Vivaldi (1678-1741) The HIGH BAROQUE:! VIVALDI CONCERTO Antonio VIVALDI (1678-1741) Born in Venice, trains and works there. Ordained for the priesthood in 1703. Works for the Pio Ospedale della Pietà, a charitable organization for indigent, illegitimate or orphaned girls. The students were trained in music and gave frequent concerts. The HIGH BAROQUE:! VIVALDI CONCERTO The HIGH BAROQUE:! VIVALDI CONCERTO The HIGH BAROQUE:! VIVALDI CONCERTO Thus, many of Vivaldi’s concerti were written for soloists and an orchestra made up of teen- age girls. The HIGH BAROQUE:! VIVALDI CONCERTO It is for the Ospedale students that Vivaldi writes over 500 concertos, publishing them in sets like Corelli, including: Op. 3 L’Estro Armonico (1711) Op. 4 La Stravaganza (1714) Op. 8 Il Cimento dell’Armonia e dell’Inventione (1725) Op. 9 La Cetra (1727) The HIGH BAROQUE:! VIVALDI CONCERTO In addition, from 1710 onwards Vivaldi pursues career as opera composer. His music was virtually forgotten after his death. His music was not re-discovered until the “Baroque Revival” during the 20th century. The HIGH BAROQUE:! VIVALDI CONCERTO Vivaldi constructs The Model of the Baroque Concerto Form from elements of earlier instrumental composers *The Concertato idea *The Ritornello as a structuring device *The works and tonality of Corelli The HIGH BAROQUE:! VIVALDI CONCERTO The term “concerto” originates from a term used in the early Baroque to describe pieces that alternated and contrasted instrumental groups with vocalists (concertato = “to contend with”) The term is later applied to ensemble instrumental pieces that contrast a large ensemble (the concerto grosso or ripieno) with a smaller group of soloists (concertino) The HIGH BAROQUE:! VIVALDI CONCERTO Corelli creates the standard concerto grosso instrumentation of a string orchestra (the concerto grosso) with a string trio + continuo for the ripieno in his Op. -
Heralding a New Enlightenment
Peculiarities of Clarinet Concertos Form-Building in the Second Half of the 20th Century and the Beginning of the 21st Century Marina Chernaya and Yu Zhao* Abstract: The article deals with clarinet concertos composed in the 20th– 21st centuries. Many different works have been created, either in one or few parts; the longest concert that is mentioned has seven parts (by K. Meyer, 2000). Most of the concertos have 3 parts and the fast-slowly-fast kind of structure connected with the Italian overture; sometimes, the scheme has variants. Our question is: How does the concerto genre function during this period? To answer, we had to search many musical compositions. Sometimes the clarinet is accompanied by orchestra, other times it is surrounded by an ensemble of instruments. More than 100 concertos were found and analyzed. Examples of such concertos were written by C. Nielsen, P. Boulez, J. Adams, C. Debussy, M. Arnold, A. Copland, P. Hindemith, I. Stravinsky, S. Vassilenko, and the attention in the article is focused on them. A special complete analysis is made as regards “Domaines” for clarinet and 21 instruments divided in 6 groups, by Pierre Boulez that had a great role for the concert routine, based on the “aleatoric” principle. The conclusions underline the significant development of the clarinet concerto genre in the 20th -21st centuries, the high diversity of the compositions’ structures, the considerable expressiveness and technicality together with the soloist’s part in the expressive concertizing (as a rule). Further studies suggest the analysis of stylistic and structural peculiarities of the found compositions that are apparently to win their popularity with performers and listeners. -
PROGRAM NOTES Franz Liszt Piano Concerto No. 2 in a Major
PROGRAM NOTES by Phillip Huscher Franz Liszt Born October 22, 1811, Raiding, Hungary. Died July 31, 1886, Bayreuth, Germany. Piano Concerto No. 2 in A Major Liszt composed this concerto in 1839 and revised it often, beginning in 1849. It was first performed on January 7, 1857, in Weimar, by Hans von Bronsart, with the composer conducting. The first American performance was given in Boston on October 5, 1870, by Anna Mehlig, with Theodore Thomas, who later founded the Chicago Symphony, conducting his own orchestra. The orchestra consists of three flutes and piccolo, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones and tuba, timpani, cymbals, and strings. Performance time is approximately twenty-two minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Liszt’s Second Piano Concerto were given at the Auditorium Theatre on March 1 and 2, 1901, with Leopold Godowsky as soloist and Theodore Thomas conducting. Our most recent subscription concert performances were given at Orchestra Hall on March 19, 20, and 21, 2009, with Jean-Yves Thibaudet as soloist and Jaap van Zweden conducting. The Orchestra first performed this concerto at the Ravinia Festival on August 4, 1945, with Leon Fleisher as soloist and Leonard Bernstein conducting, and most recently on July 3, 1996, with Misha Dichter as soloist and Hermann Michael conducting. Liszt is music’s misunderstood genius. The greatest pianist of his time, he often has been caricatured as a mad, intemperate virtuoso and as a shameless and -
BèLa Bartã³k's Concerto for Orchestra
BELA BART6K'S CONCERTO FOR ORCHESTRA WORLDS CONTENDING: BELA, BARTOK'S'" CONCERTO FOR ORCHESTRA By REBECCA LEE GREEN, B.A.(Hons.Mus.) A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University September 1987 MASTER OF ARTS (1987) McMASTER UNIVERSITY (Music Criticism) Hamilton, Ontario TITLE: Worlds Contending: Bela Bart6k's Concerto for Orchestra AUTHOR: Rebecca Lee Green, B.A.(Hons.Mus.) (University of Western Ontario) SUPERVISOR: Professor Paul Rapoport NUMBER OF PAGES: ix, 192 ii Abstract Although the Concerto for Orchestra is Bart6k's largeS~ ! orchestral composition and one of the last works, it has received comparatively little attention in the scholarly literature. One reason for this may be the suggestion that it is artistically inferior, a compromise for the sake of financial success and public acceptance. This position is challenged through an examination of the circumstances surrounding the commission of the work, and its relation to Bart6k's biography. The main body of the thesis deals with the music itself in a comparison of the strengths and weaknesses of nine analytical approaches--the extent of serious criticism on the Concerto. Some of these analyses are more successful than others in discussing the work in a meaningful way. More importantly, the interaction of these analytical methods allowE for the emergence of a pattern in the music which is not evident to the same degree in any of the individual analyses. The interaction of these diverse approaches to the Concerto, which both confirm and contradict each other at various times, provides a wider analytical perspective through which it becomes possible to suggest that the Concerto for Orchestra is characterized by a dynamic principle of conflict or "Worlds Contending," from the title of a poem by Bartbk. -
UW Symphony David Alexander Rahbee, Music Director and Conductor
~n~~~~~~~~ ~A~~~~GTON 399 dll::>\:f \\-~ UW Symphony David Alexander Rahbee, Music director and conductor With .' -Seattl'e·Symphony Horns 7:30 PM November 3, 2017 Meany Theater UW MUSIC 2017-18 SEASON PROGRAM Symphony no. 8, in FMajor, Op. 93 <1812> ...................?:.§..~.?'t.................................. ludwig van Beethoven I I. Allegro vivace con brio (1770·1827) II. Allegretto scherzando 3> III. Tempo di menuetto t IV. Allegro vivace CD 2 - =1F1T/ ?f90 INTERMISSION I?J ~3r ConcertstUck (Concert piece), for 4Horns and Orchestra, in FMajor, Op. 86 <1849> .............. Robert Schumann I. Lebhaft (1810·1856) II. Romanze: Ziemlich langsam Ill. Sehr lebhaft '? "'" 'A co 'fe.' 12. Jeffre~ Fair I Jenn,a Breen I John Turman I Danielle Kuhlmann, horns ~ ........."1 I ~OW Do-w-vl 1;2'1 :3 rt~Wt k <; I Ro.~k-e. I z.p '53 f The Golden Spinning Wheel, Op. 109 <1896> .........................?::.?.:.!2..b................................. Antonin Dvorak --., (1841·1904) PROGRAM NOTES: Program notes by UWSO oboist logan Esterling Symphony No. 8 in FMaior, Op. 93 LUDWIG VAN BEETHOVEN Beethoven composed the majority of the Eighth Symphony, along with his popular Seventh Symphony, during the summer of 1812. Both of these works premiered on the same concert, similar to the premier concert of the Fifth and Sixth Symphony. The humor and lightness of this symphony is often lost among the towering Seventh and Ninth Symphonies, which are performed much more often. According to various accounts ofthe premiere, audiences were baffled as to why Beethoven chose to include this piece on the program. Beethoven was troubled by how audiences reacted to this piece, to which he commented "That's because it is so much better than the other." Despite such negative responses, Beethoven still thought of his "little symphony in F" as one of his best works. -
Graduate Recital Kaylin Romero, Violoncello Antonio Vivaldi (1678-1741) Cello Concerto in F Major, RV 411 Duration: 6 Minutes Th
Graduate Recital Kaylin Romero, violoncello Antonio Vivaldi (1678-1741) Cello Concerto in F major, RV 411 Duration: 6 minutes This brief concerto, scored for cello, strings, and harpsichord, is a shining example of Vivaldi’s musical dexterity. Common to works of this time and characteristic of Vivaldi’s concertos, the piece follows a fast-slow-fast structure, which adheres to a particular harmonic pattern: the first movement is presented in the tonic key, followed by the slow movement in relative minor. In the final movement, Vivaldi brings us back to the tonic to create a sense of cohesion. In addition, Vivaldi’s use of patterns also invigorates his rhythms and melodies, allowing audiences to easily receive the piece. This work also shows Vivaldi’s commitment to fully exploring the possibilities of the cello, evidenced by the high register passages that began being introduced as the instrument became more modernized. The combination between soaring melodic lines and choppy syncopation present in this work was extremely innovative for its time and provided inspiration for the next generation of composers. Overall, Vivaldi’s Cello Concerto in F displays the explorative nature and musical curiosity that shaped the development of Baroque music. Sergei Rachmaninoff (1873-1943) Sonata in G minor for Cello and Piano, Op. 19, “I: Lento- Allegro moderato,” “III: Andante” Duration: 18 minutes Reeling from the failed reception of his Symphony No.1 in 1897, Rachmaninoff struggled to regain his mental and creative health. After a long slump, he completed his Sonata for Cello and Piano in 1901, making this piece the last of Rachmaninoff’s chamber works. -
PROGRAM NOTES by Phillip Huscher
PROGRAM NOTES by Phillip Huscher Wolfgang Mozart – Piano Concerto No. 20 in D Minor, K. 464 Born January 27, 1756, Salzburg, Austria. Died December 5, 1791, Vienna, Austria. Piano Concerto No. 20 in D Minor, K. 464 Mozart entered this concerto in his catalog on February 10, 1785, and performed the solo in the premiere the next day in Vienna. The orchestra consists of one flute, two oboes, two bassoons, two horns, two trumpets, timpani, and strings. At these concerts, Shai Wosner plays Beethoven’s cadenza in the first movement and his own cadenza in the finale. Performance time is approximately thirty-four minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Mozart’s Piano Concerto no. 20 were given at Orchestra Hall on January 14 and 15, 1916, with Ossip Gabrilowitsch as soloist and Frederick Stock conducting. Our most recent subscription concert performances were given on March 15, 16, and 17, 2007, with Mitsuko Uchida conducting from the keyboard. The Orchestra first performed this concerto at the Ravinia Festival on July 6, 1961, with John Browning as soloist and Josef Krips conducting, and most recently on July 8, 2007, with Jonathan Biss as soloist and James Conlon conducting. This is the Mozart piano concerto that Beethoven admired above all others. It’s the only one he played in public (and the only one for which he wrote cadenzas). Throughout the nineteenth century, it was the sole concerto by Mozart that was regularly performed—its demonic power and dark beauty spoke to musicians who had been raised on Beethoven, Chopin, and Liszt. -
San Diego Symphony Orchestra a Jacobs Masterworks Concert
SAN DIEGO SYMPHONY ORCHESTRA A JACOBS MASTERWORKS CONCERT December 4, 5 and 6, 2015 LUDWIG VAN BEETHOVEN Leonore Overture No. 3, Op. 72b JEAN SIBELIUS Violin Concerto in D minor, Op. 47 Allegro moderato Adagio di molto Allegro; ma non tanto Karen Gomyo, violin INTERMISSION IGOR STRAVINSKY Le sacre du printemps (The Rite of Spring) PART I: Adoration of the Earth Introduction The Augurs of Spring – Dances of the Young Girls Ritual of Abduction Spring Rounds Ritual of the Rival Tribes Procession of the Sage The Sage Dance of the Earth PART II: The Sacrifice Introduction Mystic Circle of the Young Girls Glorification of the Chosen One Evocation of the Ancestors Ritual Action of the Ancestors Sacrificial Dance (The Chosen One) Leonore Overture No. 3, Op. 72b LUDWIG VAN BEETHOVEN Born December 16, 1770, Bonn Died March 26, 1827, Vienna (Approx. 14 minutes) No other work gave Beethoven more trouble than his only opera, Leonore, which he retitled Fidelio during its final revision. This tale of political idealism, resistance to tyranny and marital fidelity comes to a climax when the heroine Leonore prepares to sacrifice her life to protect her imprisoned husband Florestan from the evil Pizarro. The couple is saved at the last minute by the arrival of the good minister Don Fernando, who has Pizarro arrested. Beethoven’s problems with the opera, which occupied him over a span of 11 years and took him through three different versions, are reflected in his problems devising a suitable overture: Fidelio is doubtless the only opera in existence to have four different overtures. -
A Study of Tyzen Hsiao's Piano Concerto, Op. 53
A Study of Tyzen Hsiao’s Piano Concerto, Op. 53: A Comparison with Rachmaninoff’s Piano Concerto No. 2 D.M.A Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Lin-Min Chang, M.M. Graduate Program in Music The Ohio State University 2018 D.M.A. Document Committee: Professor Steven Glaser, Advisor Dr. Anna Gowboy Dr. Kia-Hui Tan Copyright by Lin-Min Chang 2018 2 ABSTRACT One of the most prominent Taiwanese composers, Tyzen Hsiao, is known as the “Sergei Rachmaninoff of Taiwan.” The primary purpose of this document is to compare and discuss his Piano Concerto Op. 53, from a performer’s perspective, with the Second Piano Concerto of Sergei Rachmaninoff. Hsiao’s preferences of musical materials such as harmony, texture, and rhythmic patterns are influenced by Romantic, Impressionist, and 20th century musicians incorporating these elements together with Taiwanese folk song into a unique musical style. This document consists of four chapters. The first chapter introduces Hsiao’s biography and his musical style; the second chapter focuses on analyzing Hsiao’s Piano Concerto Op. 53 in C minor from a performer’s perspective; the third chapter is a comparison of Hsiao and Rachmaninoff’s Piano Concertos regarding the similarities of orchestration and structure, rhythm and technique, phrasing and articulation, harmony and texture. The chapter also covers the differences in the function of the cadenza, and the interaction between solo piano and orchestra; and the final chapter provides some performance suggestions to the practical issues in regard to phrasing, voicing, technique, color, pedaling, and articulation of Hsiao’s Piano Concerto from the perspective of a pianist. -
Cello Concerto in B Minor, Op. 104 ANTONÍN DVORÁK
I believe Prokofiev is the most imaginative orchestrator of all time. He uses the percussion and the special effects of the strings in new and different ways; always tasteful, never too much of any one thing. His Symphony No. 5 is one of the best illustrations of all of that. JANET HALL, NCS VIOLIN Cello Concerto in B Minor, Op. 104 ANTONÍN DVORÁK BORN September 8, 1841, near Prague; died May 1, 1904, in Prague PREMIERE Composed 1894-1895; first performance March 19, 1896, in London, conducted by the composer with Leo Stern as soloist OVERVIEW During the three years that Dvořák was teaching at the National Conservatory of Music in New York City, he was subject to the same emotions as most other travelers away from home for a long time: invigoration and homesickness. America served to stir his creative energies, and during his stay, from 1892 to 1895, he composed some of his greatest scores: the “New World” Symphony, the Op. 96 Quartet (“American”), and the Cello Concerto. He was keenly aware of the new musical experiences to be discovered in the land far from his beloved Bohemia when he wrote, “The musician must prick up his ears for music. When he walks he should listen to every whistling boy, every street singer or organ grinder. I myself am often so fascinated by these people that I can scarcely tear myself away.” But he missed his home and, while he was composing the Cello Concerto, looked eagerly forward to returning. He opened his heart in a letter to a friend in Prague: “Now I am finishing the finale of the Cello Concerto.