DOCSLIB.ORG

Repertoire Major Choral Works Prepared and Performed Adams

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Repertoire Major Choral Works Prepared and Performed Adams Repertoire Major choral works prepared and performed Adams, John Harmonium Bach, J. S. St. Matthew Passion, St. John Passion Mass in B Minor Magnificat in D major Christmas Oratorio Cantatas No. 4: Christ lag in Todesbanden No. 50: Nun is das heil und die Kraft No. 61: Nun komm, der Heiden Heiland No. 80: Ein feste Burg No. 82: Ich habe genug No. 106: Gottes Zeit ist die allerbeste Zeit No. 142: Uns ist ein Kind geboren No. 150: Nach dir her verlanget mich Motets Singet dem Herr ein neues lied Der geisthilft unser schwachheit auf Jesu, meine freue Lobet den Herrn, alle Heiden Barber, Samuel Prayers of Kierkegaard Beethoven, Ludwig van Mass in C Missa solemnis Symphony No. 9 (Choral Symphony) Choral Fantasy Elegiac Song Christ On The Mount of Olives Berlioz, Hector Requiem Te Deum La Damnation de Faust Bernstein, Leonard Chichester Psalms Symphony No. 3 (Kaddish) MASS Missa Brevis Bloch, Ernest Sacred Service (Avodath hakodesh) Brahms, Johannes Ein deutsches Requiem Nänie Schiksalslied Triumphlied, Alto Rhapsody Britten, Benjamin Ceremony of Carols Hymn to St. Cecelia War Requiem Bruckner, Anton Mass No. 2 in E minor Mass No. 3 in F minor Te Deum Psalm 150 Cherubini, Luigi Requiem in C minor Copland, Aaron In the Beginning Old American Folk Songs Durufle, Maurice Requiem Dvořák, Antonin Stabat Mater Te Deum Mass in D major Elgar, E. Dream of Gerontius Sospiri Fauré, G. Requiem Gershwin, G. Porgy and Bess excerpts Ginestera, Alberto The Lamentations of Jeremiah Goodall, Howard Eternal Light: A Requiem Every Purpose Under the Heaven: The King James Bible Oratorio Handel, G. F. Messiah Israel in Egypt Alexander’s Feast Haydn, Joseph The Creation The Seasons Missa in tempore belli Missa in Angustiis Schöpfungsmesse Harmoniemesse Te Deum Hindemith, Paul When Lilacs Last in the Dooryard Bloom’d Honegger, Arthur Le roi David (King David) Une cantata de Noël Jenkins, Karl The Armed Man: A Mass for Peace Stella Natalis Gloria Kodály, Zoltan Budavari Te Deum Missa Brevis Mahler, Gustav Symphony No. 2 (The Resurrection) Symphony No. 3, Symphony No. 8 (Symphony of a Thousand) Das klangende Lied Mendelssohn, Felix Elijah, St. Paul Die erste Walpurgisnacht Mozart, W. A. Great Mass in C Minor Coronation Mass Requiem Vesperae solennes de confessore Missa Brevis in G major Missa Brevis in F major Missa Brevis in B-flat major Regina Coeli Te Deum Davide Penitente Orff, Carl Carmina Burana Catulli Carmina Poulenc, Francis Gloria Mass in G Quatre motets pour le temps de Noël Concerto for Organ Prokofiev, Sergey Alexander Nevsky Puccini, Giacomo Messa di Gloria Rachmaninoff, Sergei The Bells Vespers (All Night Vigil) Rossini, Giocchino Petite messe solennelle Rouse, Christopher Karolju Rutter, John Requiem Gloria Te Deum Schönberg, Arnold Gurre-Lieder Friede auf Erden Schostakovich, Dimitri Symphony No. 13 in B-flat major (Babi-yar) Schubert, Franz Mass No. 2 in G major Mass No. 5 in A-flat major Mass No. 6 in E-flat major Siegel, Lawrence Kaddish (World Premiere) Stravinsky, Igor Symphony of Psalms Les noces Requiem Canticles Vom Himmel Hoch Thompson, Randall The Peaceable Kingdom The Testament of Freedom The Nativity According to St. Luke Frostiana: Seven Country Songs Tippett, Michael Five Spirituals (from A Child of Our Time) Vaughn Williams, Ralph Dona nobis pacem Hodie Symphony No. 1 (A Sea Symphony) Five Mystical Songs Fantasia on Christmas Carols Serenade to Music, Three Shakespeare Songs Flos campi Verdi, Giuseppe Quattro pezzi sacri Requiem Selected opera choruses Vivaldi, Antonio Gloria Magnificat, Dixit Dominus Beatus vir Walton, William Belshazzar’s Feast .
Load more

Recommended publications
  • Carmina Burana Carl Orff (1895–1982) Composed: 1935–1936 Style: Contemporary Duration: 58 Minutes
    Carmina Burana Carl Orff (1895–1982) Composed: 1935–1936 Style: Contemporary Duration: 58 minutes The Latin title of tonight’s major work, translated literally as “Songs of Beuren,” comes from the Abby of Benediktbeuren where a book of poems was discovered in 1803. The Abbey is located about 30 miles south of Munich, where the composer Carl Orff was born, educated, and spent most of his life. The 13th century book contains roughly 200 secular poems that describe medieval times. The poems, written by wandering scholars and clerics known as Goliards, attack and satirize the hypocrisy of the Church while praising the self-indulgent virtues of love, food, and drink. Their language and form often parody liturgical phrases and conventions. Similarly, Orff often uses the styles and conventions of 13th century church music, most notably plainchant, to give an air of seriousness and reverence to the texts that their actual meaning could hardly demand. In addition to plainchant, however, the eclectic musical material relies upon all kinds of historical antecedents— from flamenco rhythms (no. 17, “Stetit puella”) to operatic arias (no. 21, “Intrutina”) to chorale texture (no. 24, “Ave formosissima”). The 24 poems that compose Carmina Burana are divided into three large sections— “Springtime,” “In the Tavern,” and “Court of Love” —plus a prologue and epilogue. The work begins with the chorus “Fortuna imperatrix mundi,” (“Fortune, Empress of the World”), which bemoans humankind’s helplessness in the face of the fickle wheel of fate. “Rising first, then declining, hateful life treats us badly, then with kindness, making sport of our desires.” After a brief morality tale, “Fortune plango vunera,” the “Springtime” section begins.
    [Show full text]
  • American International School of Vienna Choral Program Invited to Perform Carmina Burana in New York City’S Avery Fisher Hall New York, N.Y
    FOR IMMEDIATE RELEASE: American International School of Vienna Choral Program Invited to Perform Carmina Burana in New York City’s Avery Fisher Hall New York, N.Y. – March 28, 2013 Outstanding music program Distinguished Concerts International New York City (DCINY) announced receives special invitation today that director Kathy Heedles and the American International School Choirs have been invited to participate in a performance of ‘Carmina Burana’ on the DCINY Concert Series in New York City. This performance at Lincoln Center’s Avery Fisher Hall is on March 10, 2014. These outstanding musicians will join with other choristers to form the Distinguished Concerts Singers International, a choir of distinction. Conductor Vance George will lead the performance and will serve as the clinician for the residency. Why the invitation was extended Dr. Jonathan Griffith, Artistic Director and Principal Conductor for DCINY states: “The American International School students and their director received this invitation because of the quality and high level of musicianship demonstrated by the singers on a previous performance of ‘O Fortuna’ from ‘Carmina Burana’. It is quite an honor just to be invited to perform in New York. These wonderful musicians not only represent a high quality of music and education, but they also become ambassadors for the entire community. This is an event of extreme pride for everybody and deserving of the community’s recognition and support.” The singers will spend 5 days and 4 nights in New York City in preparation for their concert. “The singers will spend approximately 9-10 hours in rehearsals over the 5 day residency.” says Griffith.
    [Show full text]
  • Concert: Carmina Burana by Carl Orff Ithaca College Choral Union
    Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 4-17-2005 Concert: Carmina Burana by Carl Orff Ithaca College Choral Union Ithaca College Symphony Orchestra Lawrence Doebler Jeffrey Grogan Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Ithaca College Choral Union; Ithaca College Symphony Orchestra; Doebler, Lawrence; and Grogan, Jeffrey, "Concert: Carmina Burana by Carl Orff" (2005). All Concert & Recital Programs. 4790. https://digitalcommons.ithaca.edu/music_programs/4790 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. ITHACA COLLEGE CHORAL UNION ITHACA COLLEGE SYMPHONY ORCHESTRA Lawrence Doebler, conductor CARMINA BURANA by Carl Orff Randie Blooding, baritone Deborah Montgomery-Cove, soprano Carl Johengen, tenor Ithaca College Women's Chorale, Janet Galvan, conductor Ithaca College Chorus, Janet Galvan, conductor Ithaca College Choir, Lawrence Doebler, conductor Ithaca College Symphony Orchestra, Jeffrey Grogan, conductor Charis Dimaris and Read Gainsford, pianists Members of the Ithaca Children's Choir Community School of Music and Arts Janet Galvan, artistic director Verna Brummett, conductor Ford Hall Sunday, April 17, 2005 4:00 p.m. ITHACA THE OVERTURE TO THE SCHOOL FOR SCANDAL Samuel Barber Ithaca College Symphony
    [Show full text]
  • Mouvance and Authorship in Heinrich Von Morungen
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Songs of the Self: Authorship and Mastery in Minnesang Permalink https://escholarship.org/uc/item/87n0t2tm Author Fockele, Kenneth Elswick Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Songs of the Self: Authorship and Mastery in Minnesang by Kenneth Elswick Fockele A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in German and Medieval Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Niklaus Largier, chair Professor Elaine Tennant Professor Frank Bezner Fall 2016 Songs of the Self: Authorship and Mastery in Minnesang © 2016 by Kenneth Elswick Fockele Abstract Songs of the Self: Authorship and Mastery in Minnesang by Kenneth Elswick Fockele Doctor of Philosophy in German and Medieval Studies University of California, Berkeley Professor Niklaus Largier, Chair Despite the centrality of medieval courtly love lyric, or Minnesang, to the canon of German literature, its interpretation has been shaped in large degree by what is not known about it—that is, the lack of information about its authors. This has led on the one hand to functional approaches that treat the authors as a class subject to sociological analysis, and on the other to approaches that emphasize the fictionality of Minnesang as a form of role- playing in which genre conventions supersede individual contributions. I argue that the men who composed and performed these songs at court were, in fact, using them to create and curate individual profiles for themselves.
    [Show full text]
  • “O Fortuna” from Carl Orff's Carmina Burana Movement Idea by Cristi Cary Miller
    “O Fortuna” from Carl Orff's Carmina Burana Movement Idea by Cristi Cary Miller May be used with the listening lesson for “O Fortuna” from Carmina Burana by Carl Orff in the October/November 2010, Volume 11, No. 2 issue of Music Express. Formation: Partners forming concentric circles, inside circle facing outward. Each dancer holds a scarf in right hand. INTRO “O Fortuna”: Outside circle slowly raises scarf in the air and waves it R/L. “Velut luna”: Inside circle repeats action. “Statu variabilis”: With arms still raised above head, partners circle each other CW and return to starting position, facing to their R. SECTION ONE Line 1 Beats 1-6: Circles walk to their R (inside CCW, outside CW), waving scarves downward L/R on the beats. Beats 7-12: All turn in place with scarves in air. Line 2 Beats 1-6: Repeat above going in opposite direction and back to part- ners. Beats 7-12: All turn in place with scarves in air. Line 3 Beats 1-12: Circles walk to their R, waving scarves downward L/R on the beats, stopping at partners on opposite side of circle. SECTION TWO Line 1 Beats 1-6: Outside circle only walks to their R, waving scarves down- ward L/R on the beats; inside circle stays in place. Beats 7-12: Outside circle dancers turn in place with scarves in the air and hold position. Line 2 Beats 1-6: Inside circle only walks to their R, waving scarves downward L/R on the beats; outside circle stays in place.
    [Show full text]
  • Of Music PROGRAM
    SHEPHERD SCHOOL SYMPHONY ORCHESTRA RICE CHORALE HOUSTON CHILDREN'S CHORUS CHAMBER CHOIR Larry Rachleff, conductor Friday, April23, 1993 8:00p.m. Stude Concert Hall "-' sfkteherd RICE UNIVERSITY Sc~ol Of Music PROGRAM Fanfare for a Great City Arthur Gottschalk (b. 1952) Variations on a Theme of Joseph Haydn, Op. 56a Johannes Brahms (1833-1897) INTERMISSION Carmina Burana Carl Orff ( 1895-1982) Rice Chorale Houston Children's Chorus Chamber Choir Kelley Cooksey, soprano Francisco Almanza, tenor Robert Ames, baritone In consideration of the performers and members of the audience, please check audible paging devices with the ushers and silence audible timepieces. The taking of photographs and the use of recording equipment are prohibited. SHEPHERD SCHOOL SYMPHONY ORCHESTRA Violin I Viola (cont.) Oboe Trumpet (cont.) Julie Savignon, Erwin Foubert Margaret Butler Troy Rowley concertmaster Patrick Horn Kyle Bruckmann David Workman Claudia Harrison Stephanie Griffin Jeffrey Champion Trombone Barbara Wittenberg Bin Sun Dione Chandler Wade Demmert Jeanine Tiemeyer Andrew Weaver Karen Friedman David Ford Kristin Lacey Sharon Neufeld ~ Brent Phillips Mihaela Oancea English Horn Cello Kyle Bruckmann Inga Ingver Tuba Katherine de Bethune, Yenn Chwen Er Clarinet Jeffrey Tomberg principal Yoong-han Chan Benjamin Brady Danny Urban ~ Jeanne Jaubert Magdalena Villegas Joanne Court Scott Brady Timpani and Tanya Schreiber Kelly Cramm Mary Ellen Morris Percussion Rebecca Ansel Martin van Maanen Robin Creighton Douglas Cardwell Eitan Ornoy X in-Yang Zhou Amy
    [Show full text]
  • Fortuna Imperatrix Mundi Fortuna, Herrscherin Der Welt
    CARMINA BURANA TEXT ÜBERSETZTUNG Fortuna Imperatrix Mundi Fortuna, Herrscherin der Welt 1. O Fortuna Schicksal O Fortuna velut Luna Schicksal, wie der Mond dort oben, statu variabilis, so veränderlich bist Du, semper crescis aut decrescis ; wächst Du immer oder schwindest!- vita detestabilis Schmählich ist das Leben hier! nunc obdurat et tunc curat Erst misshandelt, dann verwöhnt es ludo mentis aciem, spielerisch den schwachen Sinn. egestatem, potestatem Dürftigkeit, Grossmächtigkeiten, dissolvit ut glaciem. schmilzet es, als wär’s nur Eis. Sors immanis et inanis, Schicksal, ungeschlacht und eitel, rota tu volubilis, bist ein immer rollend Rad: status malus vana salus schlimm Dein Wesen, Glück als Wahn bloss, semper dissolubilis, fort bestehend im Zergehen! obumbrata et velata Überschattet und verschleiert michi quoque niteris ; überkommst Du gar auch mich. nunc per ludum dorsum nudum Durch Dein Spiel mit schierer Bosheit fero tui sceleris. trag ich meinen Buckel nackt. Sors salutis et virtutis Wohlergehen, rechter Wandel michi nunc contraria sind zuwider mir zurzeit. est affectus et defectus Wie mein Will’, so meine Schwäche semper in angaria. finden sich in Sklaverei. Hac in hora sine mora Drum zur Stunde ohne Säumen corde pulsum tangite ; greifet in die Saiten Ihr! quod per sortem sternit fortem, Dass das Schicksal auch den Starken mercum omnes plangite ! Hinstreckt: Das beklagt mit mir! 2. Fortunae plango vulnera Die Wunden, die Fortuna schlug Fortunae plango vulnera Die Wunden, die Fortuna schlug, stillantibus ocellis, beklag’ich feuchten Auges, quod sua michi munera weil sie mir missgesinnt entzieht, subtrahit rebellis. was sie mir selbst gegeben. Verum est, quod legitur Wahr ist’s, was man lesen kann fronte capillata, von dem Schopf des Glückes, sed plerumque sequitur meist zeigt die Gelegenheit occasio calvata.
    [Show full text]
  • Program KYRIE 1
    Program KYRIE 1. Kyrie GLORIA 2. Gloria 3. Laudamus te 4. Gratias 5. Domine 6. Qui tollis 7. Quoniam 8. Jesu Christe / Cum sancto spiritu h h Intermission CREDO 9. Credo 10. Et incarnatus est 11. Crucifixus 12. Et resurrexit 13. Et in Spiritum Sanctum 14. Et unam sanctam 15. Et vitam venturi h h Pause Program Notes SANCTUS Requiem While many people are familiar with the story of Wolfgang Amadeus Mozart’s , K. 626, which was Mass left in C unfinished minor upon Mozart’s death, far fewer people are aware that Mozart left an even more Requiem BENEDICTUS16. Sanctus ambitious vocal work, the “Great” , K. 427 (K. 417a), incomplete as well. If the tale of the Mass in C is minor the basis of great drama—as demonstrated in the 1984 Academy Award-winning flm 17. Benedictus Amadeus—then the mystery of the is its musical AGNUS DEI equivalent. After two hundred years of sleuthing and speculation, it remains unclear why Mozart composed the mass, as well as why he never comple ted it. 18. Agnus Dei Although Mozart had written a number of masses while employed by 19. Dona nobis pacem the Prince Archbishop of Salzburg, Hieronymus von Colloredo, he was Mass in C minor hh gone from the prince’s court for over a year when he began to compose the in the summer of 1782. Mozart’s single piece of correspondence concerning the mass only adds to the mystery. In a letter dated January 14, 1783, to his father Leopold, Mozart wrote elliptically that “the score of half of a mass, which is still lying here waiting to be finished, is the best proof that I really made the promise.” While the promise Mozart alluded to in the letter has traditionally been interpreted as an olive branch to his father, who had not approved of Mozart’s recent marriage, or as an ode of thanksgiving to his wife Constanze, recent research hints that Mozart had promised his father that he would reconcile with Archbishop Colloredo.
    [Show full text]
  • Symphony Band Chamber Winds Michael Haithcock, Conductor
    SYMPHONY BAND CHAMBER WINDS MICHAEL HAITHCOCK, CONDUCTOR NICHOLAS BALLA, KIMBERLY FLEMING & JOANN WIESZCZYK, GRADUATE STUDENT CONDUCTORS Friday, February 12, 2021 Hill Auditorium 8:00 PM Il barbiere di Siviglia: Overture (1816) Gioachino Rossini (1792–1868) arr. Wenzel Sedlak JoAnn Wieszczyk, conductor Three Dances and Final Scene from Der Mond (1939) Carl Orff Dance 1 (1895–1982) Dance 2 arr. Friedrich K. Wanek Final Scene Dance 3 JoAnn Wieszczyk, conductor Selene (Moon Chariot Rituals) (2015) Augusta Reed Thomas (b. 1964) arr. Cliff Colnot Intermission Timbuktuba (1995) Michael Daugherty (b. 1954) Nicholas Balla, conductor Bull’s-Eye (2019) Viet Cuong (b. 1990) Kimberly Fleming, conductor Symphony for Brass and Timpani (1956) Herbert Haufrecht Dona Nobis Pacem (1909–1998) Elegy Jubilation THe use of all cameras and recording devices is strictly prohibited. Please turn off all cell phones and pagers or set ringers to silent mode. ROSSINI, IL BARBIERE DI SIVIGLIA: OVERTURE If the music of Rossini’s overture to Il barbiere di Siviglia (THe Barber of Seville) seems to have a peculiar amount of swashbuckling surge and vigor for a comic opera prelude, it is because the overture originally was composed for an earlier opera, Aureliano in Palmira, a historical work based on the Crusades. In fact, it is believed that Rossini used this music two other times be- fore this opera. The composer’s recycling provides an interesting contrast with Beethoven, who composed four different overtures before arriving at a final version for his only opera,Fidelio . The once-perceivedSturm und Drang of Rossini’s overture has been blunted by association, not only by the composer’s accompanying setting of the Beaumarchais comedy, but also by its jocular appearances in a Bugs Bunny cartoon, the Beatles’ filmHelp , and an episode of Seinfeld.
    [Show full text]
  • Christoph Mayr Mphil Thesis
    THE SACRED-SECULAR DISTINCTION IN MUSIC DURING THE EIGHTEENTH AND NINETEENTH CENTURIES IN AUSTRIA AND BAVARIA Christoph David Mayr A Thesis Submitted for the Degree of MPhil at the University of St Andrews 2015 Full metadata for this item is available in Research@StAndrews:FullText at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/6924 This item is protected by original copyright The Sacred–Secular Distinction in Music during the Eighteenth and Nineteenth Centuries in Austria and Bavaria Christoph David Mayr This thesis is submitted in partial fulfilment for the degree of MPhil at the University of St Andrews 26 September 2014 Submission of corrections: 20 April 2015 1. Candidate’s declarations: I, Christoph David Mayr, hereby certify that this thesis, which is approximately 43,000 words in length, has been written by me, and that it is the record of work carried out by me, or principally by myself in collaboration with others as acknowledged, and that it has not been submitted in any previous application for a higher degree. I was admitted as a research student in September 2010 and as a candidate for the degree of MPhil in May 2013; the higher study for which this is a record was carried out in the University of St Andrews between 2010 and 2014. Date signature of candidate 2. Supervisor’s declaration: I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of MPhil in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree.
    [Show full text]
  • Program and Abstracts 
    American Musicological Society HOUSTON November 13 -16, 2003 Program and Abstracts Program and Abstracts of Papers Read at the American Musicological Society Sixty-Ninth Annual Meeting November –, Hyatt Regency Hotel, Houston, Texas AMS 2003 Annual Meeting Edited by Jann Pasler Chair, AMS Program Committee Local Arrangements Committee Howard Pollack, Chair, Paula Eisenstein Baker, Gregory Barnett, Matthew Dirst, Ann Fairbanks, Rhonda Furr, Larissa Jackson, Yvonne Kendall, Elizabeth Morrison, Jane Perkyns, John Snyder, Kathy Wallace AMS Performance Committee Julie Cumming, Chair, Don O. Franklin, Neal Zaslaw AMS Program Committee Jann Pasler, Chair, Susan Boynton, Elizabeth Hudson, Jeffrey Kallberg, Robert Kendrick, Michael Tusa The AMS gratefully acknowledges the support of Yamaha Corporation for their dona- tion of pianos used during the Annual Meeting, and the Moores School of Music, Uni- versity of Houston, for their administrative support in preparation for the meeting. Program and Abstracts of Papers Read (ISSN -) is published annually for the An- nual Meeting of the American Musicological Society, where one copy is distributed to attendees free of charge. Additional copies may be purchased from the Society for $. per copy ($. for non-members and institutions) plus $. postage and handling ($. overseas). Contact the Society at S. th St., Philadelphia, PA - (tel. /- , fax /-, e-mail [email protected]) to order. Copyright © by the American Musicological Society, Inc. All rights reserved. Contents 24 History as Myth 26 Voice and
    [Show full text]
  • CARMINA BURANA Thursday, March 28 at 7 P.M
    CLASSICAL SERIES 2018/19 SEASON CARMINA BURANA Thursday, March 28 at 7 p.m. Friday and Saturday, March 29-30 at 8 p.m. Sunday, March 31 at 2 p.m. RYAN McADAMS, guest conductor SARAH KIRKLAND Something for the Dark SNIDER AUGUSTA READ EOS (Goddess of the Dawn), a Ballet for Orchestra THOMAS I. Dawn V. Spring Rain II. Daybright and Firebright VI. Golden Chariot III. Shimmering VII. Sunlight IV. Dreams and Memories INTERMISSION ORFF Carmina burana Fortuna Imperatrix Mundi (Fortune, Empress of the World) Part I. Primo vere (In Springtime) Uf dem anger (On the lawn) Part II. In taberna (In the Tavern) Part III. Cour d’amours (The Court of Love) Blanziflor et Helena (Blanchefleur and Helen) Fortuna Imperatrix Mundi JENNIFER ZETLAN, soprano | NICHOLAS PHAN, tenor | HUGH RUSSELL, baritone KANSAS CITY SYMPHONY CHORUS, CHARLES BRUFFY, chorus director LAWRENCE CHILDREN’S CHOIR, CAROLYN WELCH, artistic director *See program insert for Carmina Burana text and translation. The 2018/19 season is generously sponsored by Friday’s concert sponsored by SHIRLEY and BARNETT C. HELZBERG, JR. JIM AND JUDY HEETER Saturday’s concert sponsored by The Classical Series is sponsored by CAROL AND JOHN KORNITZER Guest Conductor Ryan McAdams sponsored by ANN MARIE TRASK Additional support provided by R. Crosby Kemper, Jr. Fund Podcast available at kcsymphony.org KANSAS CITY SYMPHONY 43 Kansas City Symphony PROGRAM NOTES By Ken Meltzer SARAH KIRKLAND SNIDER (b. 1973) Something for the Dark (2016) 12 minutes Piccolo, 2 flutes, 2 oboes, English horn, 3 clarinets, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, bass drum, chimes, crotales, cymbals, glockenspiel, marimba, sleigh bells, snare drum, suspended cymbals, tam-tam, tom-toms, triangle, vibraphone, harp, piano, celesta and strings.
    [Show full text]