“New Beginnings” Series! I Am Extremely Excited to Be Able to Work with This Ensemble
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Christianialiv
Christianialiv Works from Norway’s Golden Age of wind music Christianialiv The Staff Band of the Norwegian Armed Forces The second half of the 19th century is often called the “Golden Age” of Norwegian music. The reason lies partly in the international reputations established by Johan Svendsen and Edvard Grieg, but it also lies in the fact that musical life in Norway, at a time of population growth and economic expansion, enjoyed a period of huge vitality and creativity, responding to a growing demand for music in every genre. The Staff Band of the Norwegian Armed Forces (to use its modern name) played a key role in this burgeoning musical life not just by performing music for all sections of society, but also by discovering and fostering musical talent in performers and composers. Johan Svendsen, Adolf Hansen, Ole Olsen and Alfred Evensen, whose music we hear on this album, can therefore be called part of the band’s history. Siste del av 1800-tallet er ofte blitt kalt «gullalderen» i norsk musikk. Det skyldes ikke bare Svendsens og Griegs internasjonale posisjon, men også det faktum at musikklivet i takt med befolkningsøkning og økonomiske oppgangstider gikk inn i en glansperiode med et sterkt behov for musikk i alle sjangre. I denne utviklingen spilte Forsvarets stabsmusikkorps en sentral rolle, ikke bare som formidler av musikkopplevelser til alle lag av befolkningen, men også som talentskole for utøvere og komponister. Johan Svendsen, Adolf Hansen, Ole Olsen og Alfred Evensen er derfor en del av korpsets egen musikkhistorie. The Staff Band of the Norwegian Armed Forces / Ole Kristian Ruud Recorded in DXD 24bit/352.8kHz 5.1 DTS HD MA 24/192kHz 2.0 LPCM 24/192kHz + MP3 and FLAC EAN13: 7041888519027 q e 101 2L-101-SABD made in Norway 20©14 Lindberg Lyd AS 7 041888 519027 Johan Svendsen (1840-1911) Symfoni nr. -
Autumn/Winter Season 2021 Concerts at the Bridgewater Hall Music Director Sir Mark Elder Ch Cbe a Warm Welcome to the Hallé’S New Season!
≥ AUTUMN/WINTER SEASON 2021 CONCERTS AT THE BRIDGEWATER HALL MUSIC DIRECTOR SIR MARK ELDER CH CBE A WARM WELCOME TO THE HALLÉ’S NEW SEASON! We are all thrilled to be able to welcome everyone back to The Bridgewater Hall once more for a full, if shortened, Hallé autumn season. As we glimpse normality again, we can, together, look forward to some magnificent music-making. We will announce our spring concerts in October, but until then there are treasures to be discovered and wonderful stories to be told. Many of you will look forward to hearing some of the repertoire’s great masterpieces, heard perhaps afresh after so long an absence. We particularly look forward to performing these works for people new to our concerts, curious and keen to experience something special. 2 THE HALLÉ’S AUTUMN/WINTER SEASON 2021 AT THE BRIDGEWATER HALL My opening trio of programmes includes Sibelius’s ever-popular Second Symphony, Elgar’s First – given its world premiere by the Hallé in 1908 – and Brahms’s glorious Third, tranquil and poignant, then dramatic and peaceful once more. Delyana Lazarova, our already acclaimed Assistant Conductor, will perform Dvoˇrák’s ‘New World’ Symphony and Gemma New will conduct Copland’s euphoric Third, with its finale inspired by the composer’s own Fanfare for the Common Man. You can look forward to Mussorgsky’s Pictures from an Exhibition, in Ravel’s famous arrangement, Nicola Benedetti playing Wynton Marsalis’s Violin Concerto, Boris Giltburg performing Rachmaninov’s Fourth Piano Concerto, Natalya Romaniw singing Richard Strauss’s Four Last Songs and Elisabeth Brauß playing Grieg’s wonderfully Romantic Piano Concerto. -
Repertoire List
APPROVED REPERTOIRE FOR 2022 COMPETITION: Please choose your repertoire from the approved selections below. Repertoire substitution requests will be considered by the Charlotte Symphony on an individual case-by-case basis. The deadline for all repertoire approvals is September 15, 2021. Please email [email protected] with any questions. VIOLIN VIOLINCELLO J.S. BACH Violin Concerto No. 1 in A Minor BOCCHERINI All cello concerti Violin Concerto No. 2 in E Major DVORAK Cello Concerto in B Minor BEETHOVEN Romance No. 1 in G Major Romance No. 2 in F Major HAYDN Cello Concerto No. 1 in C Major Cello Concerto No. 2 in D Major BRUCH Violin Concerto No. 1 in G Minor LALO Cello Concerto in D Minor HAYDN Violin Concerto in C Major Violin Concerto in G Major SAINT-SAENS Cello Concerto No. 1 in A Minor Cello Concerto No. 2 in D Minor LALO Symphonie Espagnole for Violin SCHUMANN Cello Concerto in A Minor MENDELSSOHN Violin Concerto in E Minor DOUBLE BASS MONTI Czárdás BOTTESINI Double Bass Concerto No. 2in B Minor MOZART Violin Concerti Nos. 1 – 5 DITTERSDORF Double Bass Concerto in E Major PROKOFIEV Violin Concerto No. 2 in G Minor DRAGONETTI All double bass concerti SAINT-SAENS Introduction & Rondo Capriccioso KOUSSEVITSKY Double Bass Concerto in F# Minor Violin Concerto No. 3 in B Minor HARP SCHUBERT Rondo in A Major for Violin and Strings DEBUSSY Danses Sacrée et Profane (in entirety) SIBELIUS Violin Concerto in D Minor DITTERSDORF Harp Concerto in A Major VIVALDI The Four Seasons HANDEL Harp Concerto in Bb Major, Op. -
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. -
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. -
Tessa Lark, Violin Andrew Armstrong, Piano
Streaming Premiere – Thursday, October 1, 2020, 7pm Tessa Lark, violin Andrew Armstrong, piano Filmed exclusively for Cal Performances on location at Merkin Hall, Kaufman Music Center, New York City, on August 17, 2020. Major support for this program provided by The Bernard Osher Foundation. Patron Sponsors: Nadine Tang and Bruce Smith 1 PROGRAM Béla Bartók (arr. Székely) Romanian Folk Dances, Sz. 56, BB 68 Jocul cu bâtă (Dance with Sticks) Brâul (Sash Dance) Pe loc (Stamping Dance) Buciumeana (Hornpipe Dance) Poarca Românească (Romanian Polka) Mănuntelul (Fast Dance) Eugène Ysaÿe Sonata No. 5 for Solo Violin in G major, Op. 27, Mathieu Crickboom L’Aurore Danse rustique Franz Schubert Fantasy in C major, D. 934 Andante molto Allegretto Andantino (Theme and Variations on “Sei mir gegrüßt”) Allegro vivace INTERMISSION Edvard Grieg Violin Sonata No. 3 in C minor, Op. 45 Allegro molto ed appassionato Allegretto espressivo alla Romanza Allegro animato Maurice Ravel Tzigane – rapsodie de concert Tessa Lark plays a ca.1600 G.P. Maggini violin on loan from an anonymous donor through the Stradivari Society of Chicago. Tessa Lark is represented worldwide by Manhattan-based Sciolino Artist Management (www.samnyc.us). Note: following its premiere, the video recording of this concert will be available on demand through December 30, 2020. 3 PROGRAM NOTES Musical Passports Béla Bartók (1881–1945) “The only true voyage of discovery,” Marcel Romanian Folk Dances, Sz. 56, BB 68 Proust famously wrote, “would be not to visit Béla Bartók’s efforts to bring a scientific rigor to foreign lands but… to behold the universe the study of folk music helped pave the way for through the eyes of another”—through the a new way of thinking about the relationship perceptions, that is, provided by artists. -
Current Review
Current Review Edvard Grieg: Complete Symphonic Works Vol. III aud 92.669 EAN: 4022143926692 4022143926692 Gramophone (Mike Ashman - 2013.09.01) Aadland's Cologne Radio Grieg survey continues The first two discs in this 'Complete Symphonic Works' series (10/11, 11/11) were outstanding. This third is wholly exceptional. The presence of the overture In Autumn and the Old Norwegian Romance with Variations gives the programme a Beechamesque feel. But Aadland and his astonishingly well-integrated German ensemble – by this I mean that they are guided into a natural-sounding Nordic style – need fear nothing by way of competition, not even from the RPO's dream woodwind section. Aadland's Romance – unlike Beecham's it is complete and not marginally reorchestrated – becomes a kind of Norwegian Enigma Variations avant la lettre, mixing a large degree of symphonic seriousness with wit and Griegian nostalgia. The demonstration-class recording showcases a weight and colour of orchestration that puts this Grieg score in the correct but rarely considered position of contemporary to Strauss's early orchestral masterworks. A piece that (sssh, even on the two Beecham recordings) can sound bloated and occasional claims a place here alongside, indeed anticipates, the disguised turn-of-the-century unnamed symphonies of Rachmaninov, Elgar and the like. A similar seriousness but never overblown grandeur informs In Autumn. Aadland has already shown us in this cycle that he is good at correctly scaling miniatures both in joy and in grief. He seconds those achievements here in the characterisation of the Lyric Suite and the Sigurd Jorsalfar music, while the five minutes of Klokkeklang ('Bell-ringing') become a spooky shadow of the BØyg's music in Peer Gynt (eagerly awaited in this series). -
R Obert Schum Ann's Piano Concerto in AM Inor, Op. 54
Order Number 0S0T795 Robert Schumann’s Piano Concerto in A Minor, op. 54: A stemmatic analysis of the sources Kang, Mahn-Hee, Ph.D. The Ohio State University, 1992 U MI 300 N. Zeeb Rd. Ann Arbor, MI 48106 ROBERT SCHUMANN S PIANO CONCERTO IN A MINOR, OP. 54: A STEMMATIC ANALYSIS OF THE SOURCES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Mahn-Hee Kang, B.M., M.M., M.M. The Ohio State University 1992 Dissertation Committee: Approved by Lois Rosow Charles Atkinson - Adviser Burdette Green School of Music Copyright by Mahn-Hee Kang 1992 In Memory of Malcolm Frager (1935-1991) 11 ACKNOWLEDGMENTS I would like to express my gratitude to the late Malcolm Frager, who not only enthusiastically encouraged me In my research but also gave me access to source materials that were otherwise unavailable or hard to find. He gave me an original exemplar of Carl Relnecke's edition of the concerto, and provided me with photocopies of Schumann's autograph manuscript, the wind parts from the first printed edition, and Clara Schumann's "Instructive edition." Mr. Frager. who was the first to publish information on the textual content of the autograph manuscript, made It possible for me to use his discoveries as a foundation for further research. I am deeply grateful to him for giving me this opportunity. I express sincere appreciation to my adviser Dr. Lois Rosow for her patience, understanding, guidance, and insight throughout the research. -
The Development of the Russian Piano Concerto in the Nineteenth Century Jeremy Paul Norris Doctor of Philosophy Department of Mu
The Development of the Russian Piano Concerto in the Nineteenth Century Jeremy Paul Norris Doctor of Philosophy Department of Music 1988 December The Development of the Russian Piano Concerto in the Nineteenth Century Jeremy Paul Norris The Russian piano concerto could not have had more inauspicious beginnings. Unlike the symphonic poem (and, indirectly, the symphony) - genres for which Glinka, the so-called 'Father of Russian Music', provided an invaluable model: 'Well? It's all in "Kamarinskaya", just as the whole oak is in the acorn' to quote Tchaikovsky - the Russian piano concerto had no such indigenous prototype. All that existed to inspire would-be concerto composers were a handful of inferior pot- pourris and variations for piano and orchestra and a negligible concerto by Villoing dating from the 1830s. Rubinstein's five con- certos certainly offered something more substantial, as Tchaikovsky acknowledged in his First Concerto, but by this time the century was approaching its final quarter. This absence of a prototype is reflected in all aspects of Russian concerto composition. Most Russian concertos lean perceptibly on the stylistic features of Western European composers and several can be justly accused of plagiarism. Furthermore, Russian composers faced formidable problems concerning the structural organization of their concertos, a factor which contributed to the inability of several, including Balakirev and Taneyev, to complete their works. Even Tchaikovsky encountered difficulties which he was not always able to overcome. The most successful Russian piano concertos of the nineteenth century, Tchaikovsky's No.1 in B flat minor, Rimsky-Korsakov's Concerto in C sharp minor and Balakirev's Concerto in E flat, returned ii to indigenous sources of inspiration: Russian folk song and Russian orthodox chant. -
Program No / Eng Sommer / Summer 2014 Komponisthjemmene / the Composers’ Homes
PROGRAM NO / ENG SOMMER / SUMMER 2014 KOMPONISTHJEMMENE / THE COMPOSERS’ HOMES LYSØEN OLE BULL MUSEUM TROLDHAUGEN EDVARD GRIEG MUSEUM SILJUSTØL HARALD SÆVERUD MUSEUM Innhold Velkommen 3 Velkommen / Velcome Troldhaugen, Lysøen og Siljustøl er Norges mest betydningsfulle musikkhistoriske kulturminner. De er også noen av Vestlandets 4 Lysøen Ole Bull Museum mest naturskjønne og inspirerende eiendommer. Ole Bull, Edvard 6 Troldhaugen Edvard Grieg Museum Grieg og Harald Sæverud skapte hjem der kunsten, naturen og fantasien kunne møtes. I dag representerer Lysøen, Troldhaugen 8 Siljustøl Harald Sæverud Museum og Siljustøl et unikt musikalsk landskap med til sammen nesten 10 Program Lysøen sommer /summer 2014 1000 mål norsk natur, fascinerende arkitektur og minner om musikerne som erobret verden. 14 Fødselsdagskonsert og hagefest / Birtday concert and garden party at Troldhaugen 16 Konserter på Troldhaugen 2014 / Concerts at Troldhaugen 2014 Velkommen! 18 Konsertbuss til lunsjkonsertene / Concert bus to the lunchtime concerts Sigurd Sandmo 20 Program Troldhaugen: Ukens pianist / Pianist of the week Direktør 33 Grieg in a nutshell – Talks on Grieg Welcome Troldhaugen, Lysøen and Siljustøl are the most significant cultu- ral heritage sites in the history of Norwegian music. They are also perhaps Western Norway’s most scenic and inspirational esta- tes. Ole Bull, Edvard Grieg and Harald Sæverud created homes where art, nature and fantasy came together. Today, Troldhaugen, Lysøen and Siljustøl represent a unique musical landscape with a grand total -
TCNJ Orchestra Repertoire • Bach
TCNJ Orchestra Repertoire • Bach - Brandenburg No. 1 • Bach - Brandenburg No. 3 for Strings • Bach: Brandenburg Concerto No.5 • Barber: 1st Essay for Orchestra • Bartók - Magyar Képek (Hungarian Pictures) • Bartók - Roumanian Dances • Beethoven: Symphony No. 5 • Beethoven: Symphony No.6 (Pastorale) • Beethoven - Coriolanus • Beethoven - Egmont • Beethoven - Fidelio • Beethoven - Piano Concerto No. 3 in C Minor • Beethoven - The Ruins of Athens • Beethoven: Choral Fantasie • Beethoven: Leonora No.3 • Beethoven: Violin Concerto in D • Bernstein - Candide • Bernstein - Symphonic Dances from West Side Story • Bizet - Carmen Suites 1 & 2 • Bizet - Jeux d'Enfants • Britten - Soirées Musicales Op. 9 • Bruch Violin Concerto No.1 in E minor Op.26 • Castelnuovo Tedesco - Concerto in D (Guitar) • Chabrier - Espana • Chabrier: Habanera • Chaminade - Concertino for Flute and Orchestra • Copland - Billy the Kid • Copland - Rodeo • Creston - Accordion Concerto • De Falla - Scenes and Dances from the "Three Cornered Hat" • Debussy - Petite Suite • Debussy - Prélude á l'après midi d'un Faune • Delius - The Walk to the Paradise Garden • Dvořák - Symphony No. 8 in G • Dvořák – Piano Quintet, Op. 81 • Dvořák: Symphony No.9 (From the New World) • Elgar: Cello Concerto in E minor • Elgar-Nimrod from 'The Enigma Variations' • Fauré - Bergamaster Suite • Fauré - Prelude from Pelleas and Melisande • Gershwin - Rhapsody in Blue • Gershwin: Cuban Overture • Ginestera - Danza del Trigo from "Estancia" • Glazunov-Violin Concerto in A Minor • Glinka - Russlan and Ludmilla • Gounod - Faust - Ballet Music • Grieg - Notturno from 'Lyric Suite' Op. 54 No. 3 • Grieg - Piano Concerto in A Minor Op 6 • Grieg - Triumphal March from "Sigurd Jorsalfar" • Haas- Sieben Klangräume • Haydn - Symphony No. 49 in F minor • Humperdink-Hansel and Gretel (Prelude) • Ives - The Unanswered question • Ives: Central Park in the Dark • Khachaturian: "Masquerade" Suite • Kodaly: Hary Janos • Lalo - Scherzo in D minor • Lalo: Le Roi d'Ys • Lecuona - Spanish Dances • Leighton – Festive • Mahler – Symphony No. -
Edvard Grieg (1843 - 1907)
EDVARD GRIEG (1843 - 1907) When Edvard Grieg grew up, Bergen was a small and busy European town. All through its past as a Hanseatic city, Bergen had established a net of connections that made it the only continental Norwegian city. The main business was the trade with fish and other products typical for the coast. There was a close contact with the rest of Europe, a fact that is easily retraceable in the origin of the bergener. Most of the families within the city limits had ancestors in Denmark, Germany, Scotland, England, the Netherlands and other European nations. Bergen was also a meltingpot for the population along the Norwegian coast. Edvard Griegøs family was a typical Bergen- family: His great grandfather Alexander Greig (later changed to Grieg) came to the city from Cairnbulg close to Aberdeen in Scotland in the 1770s. He founded the family business, which was trade with dried fish and lobster across the North sea. The raising of a child in a bourgeois family in the 19th century Norway often included teaching of music or other forms of art. Edvard Grieg´s grandparents were active in the society of music "Musikkselskapet Harmonien", one of the worlds oldest orchestras, founded in 1765. Edvard Grieg was also so lucky to have the best piano teacher in Bergen as a mother. Gesine Hagerup had studied at the musicconservatory in Hamburg, Germany, an education that usually was offered only to men. She played with "Harmonien" and at chamber music concerts in Bergen. CHILDHOOD AND YOUTH Edvard Grieg was born in Bergen 15th of June 1843, in the family´s house in Strandgaten 152.