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570895bk RStrauss US:557541bk Kelemen 3+3 3/8/09 8:42 PM Page 1 Antoni Wit Staatskapelle Weimar Antoni Wit, one of the most highly regarded Polish conductors, studied conducting with Founded in 1491, the Staatskapelle Weimar is one of the oldest orchestras in the world, its reputation inextricably linked Richard Henryk Czyz˙ and composition with Krzysztof Penderecki at the Academy of Music in to some of the greatest works and musicians of all time. Franz Liszt, court music director in the mid-nineteenth Kraków, subsequently continuing his studies with Nadia Boulanger in Paris. He also century, helped the orchestra gain international recognition with premières that included Wagner’s Lohengrin in graduated in law at the Jagellonian University in Kraków. Immediately after completing 1850. As Weimar’s second music director, Richard Strauss conducted first performances of Guntram and STRAUSS his studies he was engaged as an assistant at the Warsaw Philharmonic Orchestra by Humperdinck’s Hänsel und Gretel. The orchestra was also the first to perform Strauss’s Don Juan, Macbeth and Death Witold Rowicki and was later appointed conductor of the Poznan´ Philharmonic. He and Transfiguration. After World War II Hermann Abendroth did much to restore the orchestra’s former status and Symphonia domestica collaborated with the Warsaw Grand Theatre, and from 1974 to 1977 was artistic director quality, ultimately establishing it as one of Germany’s leading orchestras. The Staatskapelle Weimar cultivates its of the Pomeranian Philharmonic, before his appointment as director of the Polish Radio historic tradition today, while exploring innovative techniques and wider repertoire, as reflected in its many recordings. -
Richard Strauss - Éléments De Style Jacques Amblard
Richard Strauss - Éléments de style Jacques Amblard To cite this version: Jacques Amblard. Richard Strauss - Éléments de style. 2019. hal-02314490 HAL Id: hal-02314490 https://hal.archives-ouvertes.fr/hal-02314490 Preprint submitted on 12 Oct 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Richard Strauss Éléments de style Jacques Amblard, LESA (EA-3274) Abstract : le compositeur Richard Strauss, souvent taxé de « postromantique » et échappant ainsi à l’histoire, n’en fut pas moins, probablement, le plus important musicien allemand du premier XXe siècle. L’examen détaillé de son parcours nous permet de déceler un romantisme en réalité modernisé, dès la fin du XIXe siècle. La densité n’est plus celle de Wagner mais double chez ce « Richard II ». On pourrait parler de « poly-romantisme ». Ce dernier style se mélange ensuite, d’une façon originale, à partir du Chevalier à la rose, avec un néoclassicisme mozartien. Comment l’équilibre entre une telle densité lyrique et la légèreté mozartienne est-il possible ? Ce miracle dialectique culmine pourtant dans Capriccio. Ce texte fut rédigé en 2014, publié en 2016 dans Brahms (encyclopédie en ligne de l’IRCAM). -
Ctspubs Brochure Nov 2005
THE MUSIC OF CLAUDE T. SMITH CONCERT BAND WORKS ENJOY A CD RECORDING CTS = Claude T. Smith Publications WJ = Wingert-Jones HL = Hal Leonard TITLE GRADE PUBLISHER TITLE GRADE PUBLISHER $1 OF THE MUSIC OF 7.95 each Acclamation..............................................................5 ..............Kalmus Intrada: Adoration and Praise ..................................4 ................CTS All 6 for Across the Wide Missouri (Concert Band) ................3..................WJ Introduction and Caccia............................................3 ................CTS $60 Affirmation and Credo ..............................................4 ................CTS Introduction and Fugato............................................3 ................CTS Claude T. Smith Allegheny Portrait ....................................................4 ................CTS Invocation and Jubiloso ............................................2 ..................HL Allegro and Intermezzo Overture ..............................3 ................CTS Island Fiesta ............................................................3 ................CTS America the Beautiful ..............................................2 ................CTS Joyance....................................................................5..................WJ CLAUDE T. SMITH: CLAUDE T. SMITH: American Folk Trilogy ..............................................3 ................CTS Jubilant Prelude ......................................................4 ..................HL A SYMPHONIC PORTRAIT -
Der Rosenkavalier by Richard Strauss
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 Octavian and the Composer: Principal Male Roles in Opera Composed for the Female Voice by Richard Strauss Melissa Lynn Garvey Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC OCTAVIAN AND THE COMPOSER: PRINCIPAL MALE ROLES IN OPERA COMPOSED FOR THE FEMALE VOICE BY RICHARD STRAUSS By MELISSA LYNN GARVEY A Treatise submitted to the Department of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2010 The members of the committee approve the treatise of Melissa Lynn Garvey defended on April 5, 2010. __________________________________ Douglas Fisher Professor Directing Treatise __________________________________ Seth Beckman University Representative __________________________________ Matthew Lata Committee Member The Graduate School has verified and approved the above-named committee members. ii I’d like to dedicate this treatise to my parents, grandparents, aunt, and siblings, whose unconditional love and support has made me the person I am today. Through every attended recital and performance, and affording me every conceivable opportunity, they have encouraged and motivated me to achieve great things. It is because of them that I have reached this level of educational achievement. Thank you. I am honored to thank my phenomenal husband for always believing in me. You gave me the strength and courage to believe in myself. You are everything I could ever ask for and more. Thank you for helping to make this a reality. -
Classics 3: Program Notes Overture to Candide Leonard Bernstein Born in Lawrence, Massachusetts, August 25, 1918
Classics 3: Program Notes Overture to Candide Leonard Bernstein Born in Lawrence, Massachusetts, August 25, 1918; died in New York, October 14, 1990 After collaborating on The Lark, a play with incidental music about Joan of Arc, Leonard Bernstein and Lillian Hellman turned their attention in 1954 to Voltaire’s novella Candide. They thought it the perfect vehicle to make an artistic statement against political intolerance in American society, just as Voltaire had done in eighteenth-century France. After bringing in poet Richard Wilbur to write the lyrics, they worked intermittently on Candide for two years. Enormous amounts of money were spent on the production, which opened in Boston on October 29, 1956. Though many critics called it brilliant, the production failed financially; after moving to New York in December, it was shut down after just seventy-three performances. Everyone had someone to blame, but many thought it failed because of audience confusion about its hybrid nature—was it an opera, operetta, or a musical? Leonard Bernstein: celebrating his The story revolves around the illegitimate Candide, who centennial loves and is loved in return by Cunegonde, daughter of nobility. They are plagued by myriad disasters, which lead them from Westphalia to Lisbon, Paris, Cadiz, Buenos Aires, Eldorado, Surinam, and finally Venice, where they are united at last. Bernstein’s often witty, sometimes tender music has been considered the work’s greatest asset, both in the initial failed production and in later successful versions. The Overture, possibly Bernstein’s most frequently performed piece, perfectly captures the mockery and satire as well as the occasional introspective moment of Voltaire’s masterful creation. -
Temporada D'òpera 1984 -1985
GRAN TEATRE DEL LICEU TEMPORADA D'ÒPERA 1984 -1985 SALOME EAU SAUVAGE EXTRÊME Christian Dior EAU DE TCHLETTE CONCBiTRÉE C-Kristian Dior PAPIS inventa Eau Sauvage Extrême Eau Sauvage Extrême: aún más intenso aún más presente aún más Eau Sauvage. GRAN TEATRE DEL LICEU Temporada d'òpera 1984/85 CONSORCI OKI. GRAN TEATRE DEE LICEU (;knerali·|'\t de cataeenva aji ntament de a\rceu)na s(k:ietat del cran teatre del i.icel SAAB 900 Turbo 168: 2000 cm.'; 4 válvulas por cilindro; doble árbol de levos; intercooler y sistemo A.P.C.; 175 C.V.:5velocidodes; 210l<m/h; oceleroción de 0-100 km: 8,75sg; consumo 90km/h:7,l 1,120km/h:9,5l;troccióndelontera. A más de 200 km. por hora, el mundo combla. Por eso es indispensa¬ ble poder confiar en el vehículo que los alcance. Plenamente, como se puede confiar en un SAAB. Poraue el SAAB es un coche concebido en uno de los centros más avanzados del mundo en tecnología aeronáu¬ tico: SAAB SCANIA. Incorporando los últimos avances de su potencia tecnolágico, SAAB presenta el nuevo SAAB 900 Turbo-16, equipado con el revolucionario motor turbo de 16 vál¬ vulas e intercooler, que desarrolla 175 CV. Lo tecnología elevado o la máximo potencia, que Vd. puede comprobar en su concesionario SAAB. Personalidad en coche koÜnUc Tenor Viñas, 8 - BARCELONA- Tel: 200 73 08 m SALOMÉ Drama musical en 1 acte segons el poema homònim d'Oscar WÜde Música de Richard Strauss Dijous, 7 de febrer de 1985, a les 21 h., funció num. -
THROUGH LIFE and LOVE Richard Strauss
THROUGH LIFE AND LOVE Richard Strauss Louise Alder soprano Joseph Middleton piano Richard Strauss (1864-1949) THROUGH LIFE AND LOVE Youth: Das Mädchen 1 Nichts 1.40 Motherhood: Mutterschaft 2 Leises Lied 3.13 16 Muttertänderlei 2.27 3 Ständchen 2.42 17 Meinem Kinde 2.52 4 Schlagende Herzen 2.29 5 Heimliche Aufforderung 3.16 Loss: Verlust 18 Die Nacht 3.02 Longing: Sehnsucht 19 Befreit 4.54 6 Sehnsucht 4.27 20 Ruhe, meine Seele! 3.54 7 Waldseligkeit 2.54 8 Ach was Kummer, Qual und Schmerzen 2.04 Release: Befreiung 9 Breit’ über mein Haupt 1.47 21 Zueignung 1.49 Passions: Leidenschaft 22 Weihnachtsgefühl 2.26 10 Wie sollten wir geheim sie halten 1.54 23 Allerseelen 3.22 11 Das Rosenband 3.15 12 Ich schwebe 2.03 Total time 64.48 Partnership: Liebe Louise Alder soprano 13 Nachtgang 3.01 Joseph Middleton piano 14 Einerlei 2.53 15 Rote Rosen 2.19 2 Singing Strauss Coming from a household filled with lush baroque music as a child, I found Strauss a little later in my musical journey and vividly remember how hard I fell in love with a recording of Elisabeth Schwarzkopf singing Vier Letze Lieder, aged about 16. I couldn’t believe from the beginning of the first song it could possibly get any more ecstatic and full of emotion, and yet it did. It was a short step from there to Strauss opera for me, and with the birth of YouTube I sat until the early hours of many a morning in my tiny room at Edinburgh University, listening to, watching and obsessing over Der Rosenkavalier’s final trio and presentation of the rose. -
III CHAPTER III the BAROQUE PERIOD 1. Baroque Music (1600-1750) Baroque – Flamboyant, Elaborately Ornamented A. Characteristic
III CHAPTER III THE BAROQUE PERIOD 1. Baroque Music (1600-1750) Baroque – flamboyant, elaborately ornamented a. Characteristics of Baroque Music 1. Unity of Mood – a piece expressed basically one basic mood e.g. rhythmic patterns, melodic patterns 2. Rhythm – rhythmic continuity provides a compelling drive, the beat is more emphasized than before. 3. Dynamics – volume tends to remain constant for a stretch of time. Terraced dynamics – a sudden shift of the dynamics level. (keyboard instruments not capable of cresc/decresc.) 4. Texture – predominantly polyphonic and less frequently homophonic. 5. Chords and the Basso Continuo (Figured Bass) – the progression of chords becomes prominent. Bass Continuo - the standard accompaniment consisting of a keyboard instrument (harpsichord, organ) and a low melodic instrument (violoncello, bassoon). 6. Words and Music – Word-Painting - the musical representation of specific poetic images; E.g. ascending notes for the word heaven. b. The Baroque Orchestra – Composed of chiefly the string section with various other instruments used as needed. Size of approximately 10 – 40 players. c. Baroque Forms – movement – a piece that sounds fairly complete and independent but is part of a larger work. -Binary and Ternary are both dominant. 2. The Concerto Grosso and the Ritornello Form - concerto grosso – a small group of soloists pitted against a larger ensemble (tutti), usually consists of 3 movements: (1) fast, (2) slow, (3) fast. - ritornello form - e.g. tutti, solo, tutti, solo, tutti solo, tutti etc. Brandenburg Concerto No. 2 in F major, BWV 1047 Title on autograph score: Concerto 2do à 1 Tromba, 1 Flauto, 1 Hautbois, 1 Violino concertati, è 2 Violini, 1 Viola è Violone in Ripieno col Violoncello è Basso per il Cembalo. -
History of Music
HISTORY OF MUSIC THE ROMANTIC ERA Created by J. Rogers (2015) 2 GOWER COLLEGE SWANSEA MUSIC Table of Contents Romantic Era Introduction (1830 – 1910) ............................................. 4 Programme Music ........................................................................................ 5 Concert Overture .............................................................................................. 5 Programme Symphony ....................................................................................... 6 Symphonic Poem ................................................................................................. 9 Romantic Piano Music ............................................................................... 11 Lieder and Song-cycles .............................................................................. 12 Opera and Music Dramas ......................................................................... 15 Italian Opera ..................................................................................................... 15 Music Dramas ................................................................................................... 16 Leitmotifs in The Ring ..................................................................................... 17 GOWER COLLEGE SWANSEA 3 MUSIC History of Music The History of Music can be broadly divided into separate periods of time, each with its own characteristics or musical styles. Musical style does not, of course, change overnight. It can often be a gradual process -
Rehearing Beethoven Festival Program, Complete, November-December 2020
CONCERTS FROM THE LIBRARY OF CONGRESS 2020-2021 Friends of Music The Da Capo Fund in the Library of Congress The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress (RE)HEARING BEETHOVEN FESTIVAL November 20 - December 17, 2020 The Library of Congress Virtual Events We are grateful to the thoughtful FRIENDS OF MUSIC donors who have made the (Re)Hearing Beethoven festival possible. Our warm thanks go to Allan Reiter and to two anonymous benefactors for their generous gifts supporting this project. The DA CAPO FUND, established by an anonymous donor in 1978, supports concerts, lectures, publications, seminars and other activities which enrich scholarly research in music using items from the collections of the Music Division. The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress was created in 1992 by William Remsen Strickland, noted American conductor, for the promotion and advancement of American music through lectures, publications, commissions, concerts of chamber music, radio broadcasts, and recordings, Mr. Strickland taught at the Juilliard School of Music and served as music director of the Oratorio Society of New York, which he conducted at the inaugural concert to raise funds for saving Carnegie Hall. A friend of Mr. Strickland and a piano teacher, Ms. Hull studied at the Peabody Conservatory and was best known for her duets with Mary Howe. Interviews, Curator Talks, Lectures and More Resources Dig deeper into Beethoven's music by exploring our series of interviews, lectures, curator talks, finding guides and extra resources by visiting https://loc.gov/concerts/beethoven.html How to Watch Concerts from the Library of Congress Virtual Events 1) See each individual event page at loc.gov/concerts 2) Watch on the Library's YouTube channel: youtube.com/loc Some videos will only be accessible for a limited period of time. -
PROGRAM NOTES Ludwig Van Beethoven Overture to Fidelio
PROGRAM NOTES by Phillip Huscher Ludwig van Beethoven Born December 16, 1770, Bonn, Germany. Died March 26, 1827, Vienna, Austria. Overture to Fidelio Beethoven began to compose Fidelio in 1804, and he completed the score the following year. The first performance was given on November 20, 1805, at the Theater an der Wien in Vienna. Beethoven revised the score in preparation for a revival that opened there on March 29, 1806. For a new production in 1814, he made substantial revisions and wrote the overture performed at these concerts. The overture wasn’t ready in time for the premiere on May 23, 1814, in Vienna’s Kärntnertor Theater, but it was played at the second performance. The overture calls for an orchestra consisting of two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, two trombones, timpani, and strings. Performance time is approximately six minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Beethoven’s Overture to Fidelio were given at the Auditorium Theatre on December 14 and 15, 1894, with Theodore Thomas conducting. Our most recent subscription concert performances of the overture (and the complete opera) were given at Orchestra Hall on May 26, 28, and 31, 1998, with Daniel Barenboim conducting. The Orchestra first performed this overture at the Ravinia Festival on July 16, 1938, with Willem van Hoogstraten conducting, and most recently on July 30, 2008, with Sir Andrew Davis conducting. Nothing else in Beethoven’s career caused as much effort and heartbreak as the composition of his only opera, which took ten years, inspired four different overtures, and underwent two major revisions and a name change before convincing Beethoven that he was not a man of the theater. -
Program Notes
Program Notes Program Notes by April L. Racana Wed. October 19 The 105th Tokyo Opera City Subscription Concert 10 19 Macbeth was Verdi’s tenth opera, years in developing Italian opera. The Giuseppe Verdi (1813-1901) composed originally in 1847, and revised effectiveness of these sonorities to Opera“Luisa Miller” Overture (Ca. 6min) significantly in 1865. Based on the convey the heights and depths of each Shakespeare play, the composer worked of the character’s emotions as well as Ballet Music from Opera“Macbeth” (ca. 12 min) closely with Francesco Maria Piave (and set the stage for his operas and draw the later Andrea Maffei) to create the libretto. audience into each scene is a testament Verdi has been quoted as saying that the to the talents of Verdi’s writing. In Giuseppe Verdi is known as one of becomes a victim of her male love- bard was “one of my very special poets, addition, they have withstood the test of the primary figures contributing to the interest, who she knows as Carlo, but and I have had him in my hands from time with audiences, even though the development of Italian opera during the who is really Rodolfo, the son of a local earliest youth, and I read and re-read him operas themselves have, at times, had time when Italian nationalism was on the count. Rodolfo, in turn loves her, but continually.” So much so that he would limited performances. rise. By the time La Traviata was staged is tricked into poisoning both her and go on to compose two more operas based in 1853, Verdi had already composed himself.