Opera Repertoire(* Already Conducted)

Total Page:16

File Type:pdf, Size:1020Kb

Opera Repertoire(* Already Conducted) resia Opera Repertoire (* already conducted) COMPOSER OPERA Asafiev Cinderella * Bizet Carmen * Borodin Prince Igor * Bortnyansky The Falcon * Cimarosa Il Matrimonio Segreto * Donizetti L’elisir d’amore Il Campanello di Notte * Il Falegname di Livonia * Gounod Faust * Humperdinck Haensel und Gretel * Karetnikov The Mystery of Paul the Apostle Leoncavallo Pagliacci * Mascagni Cavalleria Rusticana * Mozart Le nozze di Figaro * Cosi fan tutte Mussorgsky Boris Godunov * Prokofiev The Fiery Angel - The Love of Three Oranges Puccini Tosca * Sour Angelica - Gianni Schicchi * Rachmaninov Aleko * Rimsky-Korsakov The Tzar’s bride * Rubinstein The Demon * Shostakovich Gamblers * Tchaikovsky Eugene Onegin * - Queen of Spades * The Enchantress * – Pique Dame * Iolanta * Verdi La Traviata * Wagner Lohengrin Tristan und Isolde Stanislav Kochanovsky is represented by resia in The Netherlands, Belgium, France, Italy, Spain & Portugal contact: Elisabetta Longardi - [email protected] tel. +3902654161 - www.resiartists.it resia Symphonic Repertoire Agazhanov Serenade for Violin Way of Poet, vocal-symphony poem Bizet Albrechtsberger Carmen Suite No.1 Concerto for Alto Trombone and Orchestra L’Arlesienne Suites Arensky Bloch Variations on Theme by Tchaikovsky Rhapsody for cello and Orchestra “Schelomo” Fantasy for Piano on Theme by Riabinin Borne Arutiunian Carmen-fantasy for Flute and Orchestra Concerto for Trumpet and Orchestra Concerto for Trombone and Orchestra Borodin Symphony No.2 Bach Polovtsian dances from Prince Igor Brandenburg Concertos No.3 & No.4 Concerto E-dur for violin and strings, BWV 1042 Brahms Concerto for Oboe and Violin BWV 1060 Symphonies No.1-4 Orchestral Suite No.2, BWV 1067 Tragic Overture Variations on the Theme by Haydn Barber Concerto for Violin and Orchestra Adagio for String Orchestra Concertos for Piano and Orchestra No.1 & No.2 Concerto for Cello and Orchestra Double Concerto for Violin, Cello and Orchestra School of scandal, overture Serenade No.2 A-Dur, Op.16 Bartok Britten Concerto for Orchestra Simple Symphony, Op.4 Divertimento for Strings Variations on a Theme of Frank Bridge Six Rumanian dances Concerto for Violin and Orchestra Concerto for Piano and Orchestra No.3 Concerto for Piano and Orchestra Concerto for Violin and Orchestra No.2 Bronner Beethoven Time to forgive, Concerto for Balalaika and Strings Symphonies No.1-9 Overtures: Coriolan, King Stephen, Leonore No.3, Bruch Weihe des Hauses, Prometheus Col Nidrei for Cello and Orchestra Egmont, Incidental music after Goethe's play Campogrande Wellington's Victory, Op 91 The Expo Variations (2014) Concertos for Piano and Orchestra No.1-5 Castelnuovo-Tedesco Berg Concerto No.2 for Violin “The Prophets” Lulu—symphony Concerto for Violin and Orchestra Chalaev Concerto for Clarinet and Orchestra (2013) Berlioz “God, the inscrutable” Cantata for contralto, chorus Symphonique Fantastique and orchestra Roman Carnival, overture Romeo et Juliette, Scène d'amour (Love scene) Chausson Poem for Violin and Orchestra Bernstein Candide, overture Stanislav Kochanovsky is represented by resia in The Netherlands, Belgium, France, Italy, Spain & Portugal contact: Elisabetta Longardi - [email protected] tel. +3902654161 - www.resiartists.it resia Chopin Faure Concertos for Piano and Orchestra No.1 & No.2 Pelleas and Melisande Suite, Op. 80 Pavana for Orchestra, Op.50 Copland Concerto for Clarinet and String Orchestra, with Harp Franck and Piano Symphony d-moll Symphonic Variations for Piano and Orchestra Cui Scherzo No.1, Op.82 Gavrilin Anuta, suita Dargomyzhsky Baba-Yaga Gershwin Kazachok An American in Paris Bolero Rhapsody in Blue Rhapsody in Blue (arr. Dokshizer for trumpet) Debussy La Mer Gladkov Nocturnes Suite from Viy Prelude a l’apres-midi d’un faune Rhapsody for Clarinet and Orchestra Glazunov Raimonda, suita Dohnanyi Violin Concerto Concerto No.2 for Violin and Orchestra Gliere Dominguez Concerto for Voice and Orchestra Concerto for Pan Flute, Op.10 Glinka Dukas Two Spanish overtures L’Apprenti sorcier Waltz-Fantasia Russlan and Ludmila, overture and Dances from Dunaevsky Opera Children of Captain Grant, Overture Divertimento Brillante on themes from Bellini's Polka Kuban Cossacks Opera 'La Sonnambula' Dutilleux Gluck Métaboles (1965) Iphigenie en Aulide, overture Dvorak Gotovac Symphony No.9 “From new world” Symphonic Dance Concerto for Violin and Orchestra Concerto for Cello and Orchestra Grieg Slavonic Dances Op.46 & Op.72 Symphonic dances The Noon Witch, Op.108 Peer Gynt Suite No.1, Op.46 Serenade for Strings Op.22 Piano Concerto, Op.16 Serenade for Winds instruments Op.44 Holberg Suite Romance for Violin and orchestra f-moll American Suite, Op 98b Grondahl Concerto for Trombone and Orchestra Elgar Enigma Variations Guilmant In the South (Alassio) Symphony No.1 for Organ and Orchestra Concerto for Cello and Orchestra Gulda Salut d'amour Concerto for Cello and Wind Orchestra (1982) Pomp and Circumstance No.1 D-Dur Stanislav Kochanovsky is represented by resia in The Netherlands, Belgium, France, Italy, Spain & Portugal contact: Elisabetta Longardi - [email protected] tel. +3902654161 - www.resiartists.it resia Gurov Lutoslawski Concerto for Organ, Harp and Orchestra (1983) Symphony No.4 Concerto for Orchestra Haydn Variations on a Theme of Paganini Symphonies No.88, 90, 94, 96, 100, 101, 103, 104 Tragic music for Strings Hindemith Mahler Symphony “Matis der Maler” Symphony No.1 “Titan” Symphony No.2 "Resurrection" Ibert Symphony No.6 “Tragic” Concertino da Camera Das Lied von der Erde Ives Das Lied von der Erde (arr. Shoenberg) The Unanswered Question Lieder eines fahrenden Gesellen Janacek Mallon Taras Bulba, Rhapsody for orchestra Snapshots (1997) Karmanov Martinsson "Musica con Cello" for Cello and Orchestra (2014) Tour de Force "Ich denke Dein..." for Soprano and Orchestra (2014) Khachaturian Masquerade, suite Medtner Spartacus, suites from ballet Concerto No.1 for Piano and Orchestra Concerto for Violin and Orchestra Mendelssohn Kodaly Symphony No.3 “Scottish” Psalmus Hungaricus, Oratorio for tenor, chorus, Symphony No.4 “Italien” orchestra, and organ, Op.13 The Hebrides (Fingal's Cave) - Overture Meeresstille und glückliche Fahrt Lalo A Midsummer Night's Dream, Overture and Le Roid'Ys, overture incidental music Aubade from «Fiesque» Five Songs without words (arr. Hellimacher) Spanish Symphony for Violin and Orchestra Concerto for Violin and Orchestra Lena M. Mitropoulos In the dark (2014) Tafi (Burial) (1915) Liadov Mozart Eigth Russian Folksongs Symphonies NNo.25, 29, 31, 36, 38, 39-41 Baba-Yaga Serenade ("Gran Partita") for 13 winds, К.361/370а The Enchanted Lake Concertone in C, KV.190 Kikimora Overtures: Magic flute, Don Giovanni, Marriage of From bygone days, Op.21 Figaro, La Clemenza di Tito Scherzo Violin Concertos NNo.3-5 Piano Concertos No.16, No.20, No.24, No.25 Ligeti Concerto for Flute and Harpe, KV 299 Requiem Romanian Concerto Mussorgsky Pictures at an exhibition (Orch. Ravel) Liszt Night on the Bold mountain (original version) Les Preludes, Symphonic Poem Night on the Bold mountain (Rimsky-Korsakov Prometheus, Symphonic Poem version) Concertos for Piano and Orchestra Khovanschina, introduction Totentanz Songs and Dances of Death Scherzo Stanislav Kochanovsky is represented by resia in The Netherlands, Belgium, France, Italy, Spain & Portugal contact: Elisabetta Longardi - [email protected] tel. +3902654161 - www.resiartists.it resia Nielsen Piano Concerto No.2 (for the Left Hand) in D major Flute concerto Tzigane Rhapsody for Violin and Orchestra Introduction and allegro Panufnik Sinfonia Sacra (1963) Respighi Pini di Roma Part Fratres (1977) Rimsky-Korsakov Scheherazade Pejacevic Sadko, tableau musical Fantasie Concertante for Piano and Orchestra Easter festival overture Invisible City of Kitezh, Suite Penderezki Three wonders from Tsar Saltan Symphony No.2 “Christmas” (1979/80) Rossini Petrov La gazza landra, Overture Film Music Il barbiere di Siviglia, Overture Poulenc La Cenerentola, Overture “Aubade”, concerto chorégraphique for Piano and 18 Saint-Saens Instruments La Muse et le Poete Gloria for Soprano, Choir and Orchestra Rouet d’Omphale, Poeme Symphonique, Op.31 Concerto for Organ and Orchestra Bacchanale from Samson and Delilah Concerto for two Pianos and Orchestra Les Noces de Prométhée, cantate Prokofiev Concertos for Piano and Orchestra No.2 & No.5 Symphonies NNo.1-7 Concertos for Cello and Orchestra No.1 & No.2 Symphonic song for big orchestra, Op.57 Concerto for Violin and Orchestra No.3 Scythian suite, op.20 Introduction and Rondo Capriccioso Romeo and Juliette, suites The Love for Three Oranges, suite Sarasate Symphony-Concerto for Cello and Orchestra Zigeunerweisen Op.20 Violin Concerto No.1 & No.2 Carmen fantasy Piano Concertos NNo.1-5 Schnittke Pulkkis Pianissimo for large orchestra (1968), Op.47 Trial (2005) Suite in old style (1972), Op.80 Concerto for Piano and Strings (1979) Raats Gogol-Suite (1980) Nonett (1968) Cello Concert No.1 (1986) Rachmaninov Schoenberg Symphonies NNo.1, 2, 3 Chamber Symphony No.1, Op.9 Symphony Dances Variations for Orchestra Op.31 Concertos for Piano and Orchestra NNo.1-4 Pelleas und Melisande Rhapsody on Theme by Paganini Verklaerte Nacht Symphonic Poem «The Isle of Dead» «The Rock» Schreiner Vocalise "Immer kleiner" for Clarinet and Orchestra Ravel Schubert Daphnis and Chloe, Suite No.2 Symphonies No.5, No.8 “Unfinished”, No.9 "Grand" La Valse, poème chorégraphique pour orchestre Schumann Le Tombeau de Couperin Symphonies No.1, No.4 Piano Concerto No.1
Recommended publications
  • The Inextricable Link Between Literature and Music in 19Th
    COMPOSERS AS STORYTELLERS: THE INEXTRICABLE LINK BETWEEN LITERATURE AND MUSIC IN 19TH CENTURY RUSSIA A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment Of the Requirements for the Degree Master of Music Ashley Shank December 2010 COMPOSERS AS STORYTELLERS: THE INEXTRICABLE LINK BETWEEN LITERATURE AND MUSIC IN 19TH CENTURY RUSSIA Ashley Shank Thesis Approved: Accepted: _______________________________ _______________________________ Advisor Interim Dean of the College Dr. Brooks Toliver Dr. Dudley Turner _______________________________ _______________________________ Faculty Reader Dean of the Graduate School Mr. George Pope Dr. George R. Newkome _______________________________ _______________________________ School Director Date Dr. William Guegold ii TABLE OF CONTENTS Page CHAPTER I. OVERVIEW OF THE DEVELOPMENT OF SECULAR ART MUSIC IN RUSSIA……..………………………………………………..……………….1 Introduction……………………..…………………………………………………1 The Introduction of Secular High Art………………………………………..……3 Nicholas I and the Rise of the Noble Dilettantes…………………..………….....10 The Rise of the Russian School and Musical Professionalism……..……………19 Nationalism…………………………..………………………………………..…23 Arts Policies and Censorship………………………..…………………………...25 II. MUSIC AND LITERATURE AS A CULTURAL DUET………………..…32 Cross-Pollination……………………………………………………………...…32 The Russian Soul in Literature and Music………………..……………………...38 Music in Poetry: Sound and Form…………………………..……………...……44 III. STORIES IN MUSIC…………………………………………………… ….51 iii Opera……………………………………………………………………………..57
    [Show full text]
  • Ballades À Cor Perdu
    JEUDI 12 ET VENDREDI 13 MARS 2020 20H PMC - SALLE ÉRASME BALLADES À COR PERDU SMETANA DIRECTION La Fiancée vendue, CORNELIUS MEISTER ouverture COR MOZART STEFAN DOHR Concerto pour cor n°4 en mi bémol majeur K 495 VON ZEMLINSKY Die Seejungfrau BEDRICHˇ SMETANA (1824-1884) La Fiancée vendue, ouverture (1866) 6’ WOLFGANG AMADEUS MOZART (1756-1791) Concerto pour cor n°4 en mi bémol majeur K. 495 (1786) 17’ I. Allegro moderato II. Romanza : Andante III. Rondo : Allegro vivace ALEXANDER VON ZEMLINSKY (1871-1942) Die Seejungfrau, fantaisie d'après le conte d’Hans Christian Andersen (1905) 45’ I. Sehr mässig bewegt II. Sehr bewegt, rauschend III. Sehr gedehnt, mit schmerzvollem Ausdruck DIRECTION CORNELIUS MEISTER COR STEFAN DOHR 2 À l’origine, Stefan Dohr apprend l’alto et, après avoir entendu le célèbre corniste Hermann Baumann, il en conclut que « ce cor sonne mieux que mon alto ». Aujourd’hui, Stefan est le cor solo de l’Orchestre philharmonique de Berlin. À Strasbourg, il montrera toute l’étendue de son talent en interprétant Mozart. Cornelius Meister dirigera l’une des plus belles œuvres de Zemlinsky que l’on entend peu en concert, Die Seejungfrau (La Sirène) d’après le conte d’Andersen. Armin Jordan l’avait révélée au public strasbourgeois en 2002. 3 Smetana fut l’un des artisans de l’émergence d’une musique natio- nale tchèque et signa l’un des pre- miers chœurs en langue tchèque : La Chanson tchèque en 1860. Ce musicien-citoyen conçut son métier comme une mission patriotique, se dévouant à l’enseignement et, à partir de 1861, exclusivement au Théâtre national.
    [Show full text]
  • INFORMATION to USERS This Manuscript Has Been Reproduced
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 THE COMPLETED SYMPHONIC COMPOSITIONS OF ALEXANDER ZEMLINSKY DISSERTATION Volume I Presented in Partial Fulfillment of the Requirement for the Degree Doctor of Philosophy In the Graduate School of The Ohio State University By Robert L.
    [Show full text]
  • Die Seejungfrau Zemlinsky
    Zemlinsky Die Seejungfrau NETHERLANDS PHILHARMONIC ORCHESTRA MARC ALBRECHT Cover image: derived from Salted Earth (2017), cling to them. Has Zemlinsky’s time come? photo series by Sophie Gabrielle and Coby Baker Little mermaid in a fin-de-siècle https://www.sophiegabriellephoto.com garment Or is the question now beside the point? http://www.cobybaker.com In that Romantic vein, the Lyric Symphony ‘I have always thought and still believe remains Zemlinsky’s ‘masterpiece’: frequently that he was a great composer. Maybe performed, recorded, and esteemed. His his time will come earlier than we think.’ operas are now staged more often, at least Arnold Schoenberg was far from given to in Germany. In that same 1949 sketch, Alexander von Zemlinsky (1871-1942) exaggerated claims for ‘greatness’, yet he Schoenberg praised Zemlinsky the opera could hardly have been more emphatic in composer extravagantly, saying he knew the case of his friend, brother-in-law, mentor, not one ‘composer after Wagner who could Die Seejungfrau (Antony Beaumont edition 2013) advocate, interpreter, and, of course, fellow satisfy the demands of the theatre with Fantasy in three movements for large orchestra, after a fairy-tale by Andersen composer, Alexander Zemlinsky. Ten years better musical substance than he. His ideas, later, in 1959, another, still more exacting his forms, his sonorities, and every turn of the 1 I. Sehr mäßig bewegt 15. 56 modernist critic, Theodor W. Adorno, wrote music sprang directly from the action, from 2 II. Sehr bewegt, rauschend 17. 06 in surprisingly glowing terms. Zemlinsky the scenery, and from the singers’ voices with 3 III.
    [Show full text]
  • Beauty and the Beast
    BEAUTY AND THE BEAST CHARACTER DESCRIPTIONS: BELLE (Stage Age: 18-30) Belle is the original fairy tale heroine–kind, gentle, and beautiful–but with an important 21st Century twist. She is a strong, intelligent, spirited and independent young woman. Belle is the moral conscience of the story, elevated by her thoughts and deeds. The maturity and depth of her character allow her to see the true beauty and spirit within The Beast, and to love him for it. This role requires a very strong singer who portrays innocence with her singing and speaking voice. MezzoSoprano: Low A-High F THE BEAST (Stage Age: 21-35) The Beast’s tortured soul is evident for all to see. He is paying the ultimate price for a moment of mean-spiritedness, and wishes beyond wishing that he could rectify his mistake. There is anger and menace in The Beast’s appearance and behavior, but increasingly we see his soft and endearing side as he interacts with Belle. It becomes clear that he is a loving, feeling, human being trapped within a hideous creature’s body. This role requires a very strong singer, and the actor must have a strong speaking voice and stage presence. Baritone: A–High F GASTON (Stage Age: 21-35) Gaston is the absolute antithesis of The Beast. Although he is physically handsome, he is shallow, completely self-centered, not very bright, and thrives on attention. However, when his ego is bruised he becomes a very dangerous foe for The Beast, Belle and Maurice. This role requires a strong singer and character actor who moves well.
    [Show full text]
  • DAS WESENTLICHE IST DIE MUSIK Das Ewige Wunderkind Fazil Say, Verliebt in Mozart, Mittlerweile 45 Jahre Alt, Hat Schon Immer Mit Seiner Heimat Gehadert
    DAS WESENTLICHE IST DIE MUSIK Das ewige Wunderkind Fazil Say, verliebt in Mozart, mittlerweile 45 Jahre alt, hat schon immer mit seiner Heimat gehadert. Die Türkei ist ihm einfach zu religiös, zu nationalistisch und, unter dem kunstfernen Übervater Recep Tayyip Erdoğan, dem Präsidenten, viel zu autoritär. Süddeutsche Zeitung, 17. Juli 2015 4 PROGRAMM 5 29. MAI 16 Sonntag 16.00 Uhr Abo-Konzert D/6 PHILHARMONIE BERLIN MARKUS POSCHNER FELIX MENDELSSOHN ALEXANDER ZEMLINSKY Ferhan & Ferzan Önder / BARTHOLDY (1871 – 1942) Klaviere (1809 –1847) „Die Seejungfrau“ – Rundfunk-Sinfonieorchester „Die Hebriden“ – Fantasie in drei Teilen für Berlin Konzertouvertüre h-Moll op. 26 großes Orchester nach dem Märchen von 14.45 Uhr, Südfoyer FAZIL SAY Hans Christian Andersen Einführung von Steffen Georgi (geb. 1970) > Sehr mäßig bewegt „Gezi Park I“ – > Sehr bewegt, rauschend Konzert für zwei Klaviere und > Sehr gedehnt, mit Konzert mit Orchester op. 48 schmerzvollem Ausdruck > Abend und der > Nacht > Polizeirazzia Übertragung heute Abend, 20.03 Uhr. Bundesweit. In Berlin auf 89,6 MHz. PAUSE Das Konzert wird außerdem übernommen von › Schwedischer Rundfunk › Portugiesischer Rundfunk › Tschechischer Rundfunk › Katalanischer Rundfunk › Australian Broadcasting Company 6 7 ROMANTIK VOM ATLANTIK Die Oper und die sinfonische WILDE WINDE UM Dichtung waren Mendelssohns und Brahms’ Sache nicht. Aber EINEN FALSCHEN deswegen ist ihre Musik nicht SÄNGER weniger beredt. Angesichts der mit Händen zu greifenden Natur- Im Frühjahr 1829 dirigierte schilderungen in der so genann- der 20-jährige Mendelssohn in ten absoluten Musik löst sich London (wie vorher in Berlin) der Streit um schildernde oder Bachs Matthäuspassion, spielte um reflektierende Musik in jenen Klavierkonzerte von Weber und Nebel auf, der vor der Inselgrup- Beethoven und stellte im Lande pe der Hebriden genauso aus Shakespeares seine „Sommer- dem Meer aufsteigt wie vor den nachtstraum“-Ouvertüre vor.
    [Show full text]
  • 24. November 2019, 17:00 Uhr 25. November 2019, 19:30 Uhr Opernhaus
    3. SINFONIEKONZERT KLANG RAUSCHMaurice Ravel Claude Debussy Alexander Zemlinsky 24. NOVEMBER 2019, 17:00 UHR 25. NOVEMBER 2019, 19:30 UHR OPERNHAUS Maurice Ravel (1875–1937) Menuet antique (1895/1929) Claude Debussy (1862–1918) La Mer (1903–1905) Drei sinfonische Skizzen für Orchester 1. De l’aube à midi sur la mer (Vom Morgengrauen bis zum Mittag auf dem Meer) 2. Jeux de vagues (Spiel der Wellen) 3. Dialogue du vent et de la mer (Dialog zwischen Wind und Meer) – Pause – Alexander Zemlinsky (1871–1942) Lyrische Sinfonie op. 18 (1922/23) in sieben Gesängen nach Gedichten von Rabindranath Tagore für Orchester, eine Sopran- und eine Baritonstimme 1. Ich bin friedlos, ich bin durstig nach fernen Dingen (Langsam) 2. Mutter, der junge Prinz muss an unsrer Türe vorbeikommen (Lebhaft) 3. Du bist die Abendwolke (Sehr ruhig und mit innigem, ernstem Ausdruck – Adagio) 4. Sprich zu mir Geliebter (Langsam) 5. Befrei mich von den Banden deiner Süße, Lieb! (Feurig und kraftvoll) 6. Vollende denn das letzte Lied (Andante) 7. Friede, mein Herz (Molto Adagio) HANNOVERSCHE ERSTAUFFÜHRUNG Niedersächsisches Staatsorchester Hannover SOLIST*IN Aga Mikolaj (Sopran), Michael Kupfer-Radecky (Bariton) DIRIGENT Jordan de Souza KONZERT AUF EINEN BLICK Um 1900 wurden die Orchesterbesetzungen groß und größer, die Klänge rauschhafter, die Inhalte exotischer. Drei Werke des Fin de Siècle stehen heute auf dem Pro- gramm. Mit Maurice Ravels Menuet antique erklingt ein historischer Tanz, gekleidet in ein klanglich verführerisches Orchestergewand. In Claude Debussys sinfonischen Skiz- zen La Mer verwandelt sich die Natur selbst in Musik: das Orchester murmelt, wogt und rauscht, glitzert, gleißt und blendet, um das Spiel der Wellen und den Dialog von Wind und Meer hörbar zu machen.
    [Show full text]
  • Escher String Quartet
    carte blanche concert i: Escher String Quartet ALEXANDER VON ZEMLINSKY (1871–1942) July 23 String Quartet no. 1, op. 4 (1896) Allegro con fuoco Wednesday, July 23, 8:00 p.m., Stent Family Hall, Menlo School Allegretto Breit und kräftig Vivace e con fuoco String Quartet no. 2, op. 15 (1913–1915) PROGRAM OVERVIEW Sehr mäßig – Heftig und liedenschaftlich – Andante mosso – Etwas rascher Adagio The four string quartets of Alexander von Zemlinsky represent Schnell (die Achtel) one of the most powerful cycles of the modern quartet Andante – Allegro molto – Langsam – Andante literature. Composed over a period spanning four decades, IntermissiON the cycle chronicles critical points of the composer’s life and String Quartet no. 3, op. 19 (1924) career. Following the Romantically Brahmsian First Quartet, the Allegretto: Gemachlich, innig bewegt Second, written in response to a spurned marriage proposal, Thema mit Variationen: Geheimnisvoll bewegt, nich zu schnell – Variationen I–VII Romanze: Sehr mäßige Achtel, Andante sostenuto NCHE CONCERTS turns turbulent. In his Third Quartet, Zemlinsky departs from Burleske: Sehr lebhaft, Allegro moderato A his earlier tonal language towards an Expressionist idiom String Quartet no. 4, op. 25 (1936) L influenced by his famous brother-in-law, Arnold Schoenberg. Präludium: Poco adagio B The final quartet is written as an homage to Zemlinsky’s dear Burleske: Vivace friend and colleague, Alban Berg. Adagietto: Adagio Intermezzo: Allegretto Barcarole (Thema mit Variationen): Poco adagio RTE RTE Finale: Doppelfuge: Allegro molto energico SPECIAL THANKS A Escher String Quartet: Adam Barnett-Hart, Aaron Boyd, violins; Pierre Lapointe, viola; Music@Menlo dedicates this performance to Darren H.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 53,1933-1934, Subscription Series
    TCHAIKOVSKY FESTIVAL SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Commonwealth 1492 FIFTY-THIRD SEASON, 1933-1934 CONCERT BULLETIN OF THE INC. Dr. SERGE KOUSSEVITZKY, Conductor WITH HISTORICAL AND DESCRIPTIVE * NOTES BY PHILIP HALE AND JOHN N. BURK COPYRIGHT, 1934, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. BENTLEY W. WARREN President HENRY B. SAWYER . Vice-President ERNEST B. DANE Treasurer ALLSTON BURR ROGER I. LEE ' HENRY B. CABOT WILLIAM PHILLIPS ERNEST B. DANE HENRY B. SAWYER N. PENROSE HALLOWELL EDWARD A. TAFT M. A. DE WOLFE HOWE BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager 1113 Sofa me reAutt ol uecwti e/ uatwta^ eocfiewience mib {omnAanu e6> <mau= lied tor- efuctevit man= <meme?i£ e/JweAwiu ok (oxemtcr* cwid\j mibfe Old Colony Trust Company 17 COURT STREET, BOSTON Allied with The First National Bank of Boston EXECUTOR * TRUSTEE * GUARDIAN * CONSERVATOR * AGENT 1114 Frontispiece '. Page 1116 Title Pages 1113-1117 Programmes 1119-1120-1121 Trustees' Report 1141 List of Subscribers to the Deficit and Endowment Funds 1142 Analytical Notes: Peter Hitch Tchaikovsky: Biographical Sketch 1122 Symphony No. 1 in G minor 1126 Symphony No. 5 in E minor 1132 Symphony No. 6 in B minor, "Pathetique" 1138 Pianoforte Concerto No. 1 in B-flat minor 1148 String Quartet No. 1 in D major 1150 Trio for Violin, Violoncello and Pianoforte 1152 List of Works Performed this Season at the Friday After- noon and Saturday Evening Concerts 1155 List of Works Performed this Season at the Monday Evening and Tuesday Afternoon Concerts 1165 Pop Announcement 1167 Announcement for Next Season 1169 Teachers' Directory 1170—1172 Personnel Opposite page 1 172 1115 .....
    [Show full text]
  • 12-02-2019 Queen of Spades Eve.Indd
    PYOTR ILYICH TCHAIKOVSKY the queen of spades conductor Opera in three acts Vasily Petrenko Libretto by Modest Tchaikovsky production Elijah Moshinsky and the composer, based on the story by Alexander Pushkin set and costume designer Mark Thompson Monday, December 2, 2019 lighting designer 7:30–11:05 PM Paul Pyant choreographer John Meehan revival stage director Peter McClintock The production of The Queen of Spades was made possible by a generous gift from the Lila Acheson and DeWitt Wallace Endowment Fund, established by the founders of The Reader’s Digest Association, Inc. general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2019–20 SEASON The 73rd Metropolitan Opera performance of PYOTR ILYICH TCHAIKOVSKY’S the queen of spades conductor Vasily Petrenko in order of vocal appearance tchekalinsky the governess Paul Groves* Jill Grove sourin masha Raymond Aceto* Leah Hawkins** count tomsk y / plutus master of ceremonies Alexey Markov Patrick Cook hermann chloë Yusif Eyvazov Mané Galoyan prince yeletsk y tchaplitsky Igor Golovatenko Arseny Yakovlev** lisa naroumov Lise Davidsen Mikhail Svetlov the countess Larissa Diadkova catherine the gre at Sheila Ricci pauline / daphnis Elena Maximova piano solo Lydia Brown* Monday, December 2, 2019, 7:30–11:05PM KEN HOWARD / MET OPERA A scene from Chorus Master Donald Palumbo Tchaikovsky’s The Musical Preparation John Keenan, Yelena Kurdina, Queen of Spades Lydia Brown*, and Natalia Katyukova* Assistant Stage Directors Gregory Keller and Paula Williams Children’s Chorus Director Anthony Piccolo Prompter Yelena Kurdina Met Titles Sonya Haddad Assistant to the Costume Designer Charlotte Bird Scenery, properties, and electrical props constructed and painted in Metropolitan Opera Shops Costumes executed by Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department This performance uses strobe-light and gunshot effects.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 123, 2003-2004
    S^i BOSTON SYMPHONY ^a SUfiJi V V V ' V ' V V *J V V "J 2OO3-2OO4 SEASON V v JAMES LEVINE MUSIC DIRECTORlDESIGNATE BERNARD HAITINK PRINCIPAL GUESBCONDUCTO SEIJI OZAWA MUSIC DIRECTOR LAUREATE . Invite the entire string section for cocktails. With floor plans from 2,300 to over Phase One of this 5,000 square feet, you can entertain magnificent property is in grand style at Longyear. 100% sold and occupied. Enjoy 24-hour concierge service, Phase Two is now under con- single-floor condominium living struction and being offered by at its absolute finest, all Sotheby's International Realty & harmoniously located on Hammond Residential Real Estate an extraordinary eight- GMAC. Priced from $1,500,000. acre gated community atop prestigious Call Hammond at (617) 731-4644, Fisher Hill ext. 410. LONGYEAR at urisner Jiill BROOKLINE CORTLAND IIIIIHIQ3 PROPERTIES INC. International Realty REAL ESTATE SWfetfS %'. 1 n JHHbI^^^L 4 ^ K ^^Sftl-T III I I I I II Landry&Arcari ORIENTAL RUGS & CARPETING Your Source for Knowledge, Inspiration & Value Boston Since 1938 Salem 333 Stuart St. www.landryandarcari.com Route 1A 617-399-6500 Open 7 Days 800-649-5909 Affiliated with James Levine, Music Director Designate Bernard Haitink, Principal Guest Conductor Seiji Ozawa, Music Director Laureate 123rd Season, 2003-2004 Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman John F. Cogan, Jr., Vice-Chairman Robert P. O'Block, Vice-Chairman Nina L. Doggett, Vice-Chairman Roger T. Servison, Vice-Chairman Ed Linde, Vice-Chairman Vincent M. O'Reilly, Treasurer Harlan E. Anderson Diddy Cullinane, Edna S.
    [Show full text]
  • Die Seejungfrau
    ZEMLINSKY DieThe Mermaid Seejungfrau Sinfonietta, Op. 23 Helsinki Philharmonic Orchestra John Storgårds ALEXANDER ZEMLINSKY ALEXANDER ZEMLINSKY (1871–1942) Die Seejungfrau (The Mermaid) 47:36 Fantasie in drei Sätzen für großes Orchester nach einem Märchen von Andersen 1 I Sehr mässig bewegt 15:48 2 II Sehr bewegt, rauschend 17:16 3 III Sehr gedehnt, mit schmerzvollem Ausdruck 14:32 World premiere recording of the new critical version (2013) by Antony Beaumont (b. 1949) Sinfonietta, Op. 23 21:35 4 I Sehr lebhaft 8:39 5 II Ballade 6:31 6 III Rondo 6:25 World premiere recording of version for Chamber Orchestra (2013) by Roland Freisitzer (b. 1973) HELSINKI PHILHARMONIC ORCHESTRA JOHN STORGÅRDS, conductor 3 ZEMLINSKY: DIE SEEJUNGFRAU (THE MERMAID) / SINFonietta OP. 23 Zemlinsky sketched out the opening bars of Die Seejungfrau in February 1902. He had envisioned the work as a single-movement symphonic poem divided into four sections. As ideas began to flow, however, he saw that they would fill three movements and cover rather more of Andersen’s story than originally intended. As work progressed, he found himself dismantling the programmatic scaffolding and softening the story-line into a panorama of moods and colours. He had prepared a detailed programme for the first movement, but in the event he discarded it together with many musical sketches of a purely illustrative character. In the second movement he reduced the narrative to a handful of cue-words, while the third included no programmatic references at all. Nevertheless he persisted in referring to the work as his ‘symphonic poem’. At the world première it was billed, more appropriately, as a ‘Fantasy for Orchestra’.
    [Show full text]