DOCSLIB.ORG

(O20) LISTENING LOG: M – R JOHN Mccabe Clarinet Concerto I Don't

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
(O20) LISTENING LOG: M – R JOHN Mccabe Clarinet Concerto I Don't 20 B♭ (O ) LISTENING LOG: M – R JOHN McCABE Clarinet Concerto I don’t recall hearing McCabe’s music, though his name is familiar. Four short movements, pandiatonic, very abstract, soloist intertwining with motifs in the orchestra, lots of timp – recalls beginning of Le Sacre. Andante very slow, suspended. Moderato slightly faster, brings in muted strings. Vivo not overly fast, more fluttering around. (F17) Joybox A 7’ entertainment depicting the bleeps and whistles of a slot machine, or so it says. Novelty: avant garde Brit lite. I thought we’d get three cherries, but alas, it just peters out. Missed possibilities. (N17) HAMISH MacCUNN The Land of the Mountain and the Flood I heard this on CBC and was impressed enough to remember the name. The Scottish flavor is not pronounced, but few enough pieces have any at all. A lovely melodious concert opener. (N10) Yes, I do recall the opening theme, vaguely folkish but not obvious, very homophonic. Warlike bit with cymbals unconvincing, doesn’t last. Build-up towards the end has a whiff of Wagner. Nice. (Ja16) Jeanie Deans [excerpts] MacCunn’s 1894 opera based on The Heart of Midlothian was a hit and has been revived, but only as an historical curiosity. It has palpable Scotticism, uses folk material, vaguely recalls Balfe, Flotow in its old-fashionedness, but there is awareness of Wagner, some chromaticism, reliance on arioso, avoidance of four-square phrasing, no straining after big high notes. More sophisticated than first appears. (N10) The Lay of the Last Minstrel: Final Chorus Pre-Elgarian patriotism – only so so. (N10) The Dowie Dens o’ Yarrow Illustrative tone poem on a heroic and tragic Scots ballad, very pleasant music. (N10) The Ship o’ the Fiend Another tone poem based on a ballad, “The Demon Lover.” The long major key romance is the satanic enticement to the fatal voyage: effective music, but less remarkable than if Mendelssohn had written it himself fifty years earlier. (N10) The beginning is romantic, breaks into stern, deliberate chase music mid-way. (Ja16) EDWARD MacDOWELL Lamia, op 29 Lisztian symphonic poem inspired by Keats. The music concentrates first on the romantic infatuation, then registers the tragic change. But MacDowell cannot manage the serpentine gothic of Keats’s story. Rather pallid. (Ap09) The only one of MacDowell’s tone poems I’ve heard before, and I didn’t find it memorable. Lisztian transformations of a serpentine, then a hunting motif for Lycius, then a love theme. Actually it’s quite nice, just well worn. (N11) Piano Sonata, piano, No 1 in G minor, op 45 “Tragica” MacDowell’s cycle of Sonatas is one of the finest of Romanticism, inexplicably neglected: dramatic, virtuosic, inventive, appealing – over the top. The Tragica is in four movements: First, stormy, dramatic. Second, brief, rhythmically tricky. Largo a passionate outcry, painful protestation (the passage with runs is gorgeous). Finale a heroic song in major. (My11) Piano Sonata, piano, No 2 in G minor, op 50 "Eroica" Another four-movement work, inspired by Arthurian legends and Tennyson’s Idylls. Slow intro, then Allegro, all somber, tragic, bass register. Scherzo is elvish grotesque, flighty. Guinevere movement is marked “Tenderly.” Finale again dramatic, still minor key, builds to two-fisted climax, triumphant major, subsides in desolate coda, a reminiscence of Guinevere before final acquiescence. (My11) Piano Sonata, piano, No 3 in D minor, op 57 “Norse” Dedicated to Grieg, hence the title (though with a nod to Wagner). Begins like the Eroica in deep gloom, rises to heroic sentiment with great rushes of notes. Middle movement spins a wistful melody with harmony rich in sevenths, beautifully atmospheric. Finale is furious combat in propulsive 9/8 to big climax, tragic coda. MacDowell’s most condensed, perhaps most performed Sonata. (My11) Piano Sonata, piano, No 4 in E minor, op 59 “Keltic” Thought by MacDowell and others to be the best of the four. Inspired by Irish legends of Deirdre and Cuchulain from Fiona MacLeod and the young Yeats. Looser, more rhapsodic in structure, but cohesive, not rambling. Semplice slow movement is full of arpeggiated harping – over the top and glorious. Finale a ferocious chase, with Deirdre taking a last bow before the coda. Great stuff. MacDowell’s cycle is limited only by the finite number of available Byronic poses. (My11) Woodland Sketches, op 51 Ten pieces, starting with the enduring Wild Rose. Unlike the Sonatas, nicely understated, but they hang in the memory: the Waterlily, Native Indian material, a glimpse of Uncle Remus, subtle American inflections elsewhere (Trysting Place, Deserted Farm). (My11) Sea Pieces, op 55 Eight pieces, generally ponderous, chordal, 4-bar phrases, emphasis on bass register and getting maximum sonority out of the piano, but at the expense of variety, texture. (My11) Two Fragments after the Song of Roland, op 30 Middle movements of a discarded Roland Symphony. Saracens is a swift, sinister Scherzo. Alda (the heroine) is an Adagio alternating between romantic Amour and Angst. Pleasant but not compelling. The recording is not bad for its age, 1958. (N11) Hamlet, op 22/1 Tone poem contrasts the somber with the swashbuckling Hamlet, followed by romantic theme for Ophelia, very beautiful. More striving turmoil builds to climax in major. (N11) Ophelia, op 22/1 Second of two paired tone poems develops the Ophelia theme from the first. Ophelia is made a naive ingenue surrounded by birdcalls. No sign of madness but for a few dark chords at the end. Both are effective pieces, viable either separately or together. (N11) Lancelot and Elaine, op 25 Tone poem on Tennyson’s poem, based on a detailed program. Details are unimportant: MacDowell is no Straussian realist. But romantic/military aura is clear enough. MacDowell in top form. (N11) Indian Suite, op 48 Just the Dirge movement – why didn’t he record the whole thing? There’s lots of room. I’ve even played the piece. (Je13) JOHN BLACKWOOD McEWEN Quartet No 2 in A minor The second of 19 quartets by Scotch composer unknown to me. I’m underwhelmed. Simple rhythmic idea repeated relentlessly. Andante offers very nice modal, folklike tune, but goes nowhere. Vivace tries to be clever but is not. Finale has tawdry ideas again repeated ad nauseam. Maybe it’s just “early.” The Chilingirian, normally fine, sounds uncommitted. (S10) Quartet No 8 in E♭ Shortish piece in 3 movements, more complex harmony than in No 2, hints of Ravel. Ideas are present but very small. (S10) Quartet No 15 "A Little Quartet 'in modo scotico'" Shortish, unassuming – Scots melodies dressed in frippery. Of the three quartets, this has the advantage of distinct character and raison d'être. (S10) WALTER MacFARREN Concertstück in E minor, piano & orchestra Walter was the younger brother of slightly less obscure George Alexander MacFarren, and this is his only extant work for piano and orchestra. A Concerto is lost. Very nice: The main part is duly Mendelssohnian, as the notes say, but the minor key intro has a pleasing fragrance of Chopin. (Muskoka—Jy14) GUILLAUME de MACHAUT Ballades and virelais There are 7 on the Gothic Voices disc devoted mainly to Solage, limited to 2-part and monophonic pieces in contrast to Solage’s consistent 4-part texture, but having the effect of making Machaut seem the lightweight. “Plus dure que un dyamant” and “Douce dame” are specially nice. If Gothic Voices has a fault, it’s too much sobriety in presentation (in contrast to David Munrow and some flashy groups like Unicorn), but they are the tops in early music. (Jy09) 14 Chansons I’m finding that Machaut’s sound is losing its strangeness: a good thing, I suppose. Here I’m reduced to hearing the music abstractly, since I have only OF texts plus computerized translations (comical!). Melismatic lines, very ornate, protracting every syllable and line of text, harmony skittish about thirds, rhythms triple and intricate, some hocketing, lots of Machaut cadences, but no extreme complexities of rhythm. “Ma fin est ma commencement.” (Jy09--Muskoka) Messe de Notre Dame The CD begins with motets by Vitry, Pierre de Bruges, Gilles d’Orléans, Bernard de Cluny. Ars Nova, with lots of hocketing (condemned by Pope Paul XXII), parallel fourths, Machaut cadences and half cadences. The texts of some, like the Pierre de Bruges, are roll calls of recognized composers. Alma praises music as heavenly order. Three Gothic organ pieces. The CD ends with Andrieu’s beautiful double ballade on the death of Machaut: la mort Machaut le noble rethouryque. Truly extraordinary. The Mass is sung at slow, steady tempo. It’s familiar enough, though dissonances are introduced by Kandel’s theories, and there are organ divisions between movements. Articulation is smooth, almost placid. Beautifully performed, thoughtful presentation of the great Mass, but still not my ideal performance. (Je12) GEORGE FREDERICK McKAY Evocation Symphony – Symphony for Seattle McKay was an isolated regional composer with an appealing neo-romantic style: someone compared him plausibly to Howard Hanson: tonal, widely spaced chords, lots of sevenths, no great dissonance, touches of Hollywood Indian. First movement has short-breathed phrases, meanders. Andante hovers with oboe solo. Finale is rhythmic, lively, but stops and starts. I had hoped for better. Randall Thompson is far more elegant, with decided character. (Ja11) From a Moonlit Ceremony Short 4-movement orchestral Suite, the two faster movements developing typical “Indian” tunes. Entertaining, no more. (Ja11) Harbor Narrative Travelogue of the Pacific Northwest. Here McKay is an American impressionist in a lavishly orchestrated, colorful series of nine short vignettes, unpretentious, virtually free of formalist constraints. To me the most attractive music here. (Ja11) Sir ALEXANDER CAMPBELL MacKENZIE Violin Concerto in C# minor Reminiscent of Bruch: Not overtly Scottish, very attractive, championed by Sarasate, maybe too fussy in its figurations.
Load more

Recommended publications
  • Choose Yourfavorite Three Concerts
    CHOOSE YOUR FAVORITE THREE CONCERTS. You’ll Save 33% – That’s Up to $200 in Savings with Added Benefits Call 212-875-5656 or visit nyphil.org/CYO33 and use promo code CYO33. ** U.S. Premiere–New York Philharmonic Co-Commission with the London Philharmonic Orchestra *** World Premiere–New York Philharmonic Commission † Commissions made possible by The Marie-Josée Kravis Prize for New Music †New York City Premiere–New York Philharmonic Co-Commission Tuesday Wednesday Thursday Friday Saturday 7:30pm 7:30pm 7:30pm 8:00pm 8:00pm unless otherwise noted unless otherwise noted Conductor Guest Artists Program Esa-Pekka Leila Josefowicz violin RAVEL Mother Goose Suite NOV Salonen Esa-Pekka SALONEN Violin Concerto NOV OCT OCT NOV conductor (New York Concert Premiere) 5 30 31 1 2 SIBELIUS Symphony No. 5 (11:00am) Bernard Miah Persson soprano J.S. BACH Cantata No. 51, Jauchzet Labadie Stephanie Blythe Gott in allen Landen! conductor mezzo-soprano HANDEL “Let the Bright Seraphim” Frédéric Antoun tenor from Samson Andrew Foster- MOZART Requiem NOV NOV NOV Williams bass 7 8 9 Matthew Muckey trumpet New York Choral Artists Joseph Flummerfelt director Alan Gilbert Liang Wang oboe R. STRAUSS Also sprach Zarathustra conductor Glenn Dicterow, violin NOV Christopher ROUSE Oboe Concerto NOV NOV NOV 15 (New York Premiere) 19 14 16 R. STRAUSS Don Juan (2:00pm) Glenn Dicterow, violin Alan Gilbert Paul Appleby tenor BRITTEN Serenade for Tenor, Horn, conductor Philip Myers horn and Strings Kate Royal soprano BRITTEN Spring Symphony Sasha Cooke mezzo-soprano NOV NOV NOV New York Choral Artists 21 22 23 Joseph Flummerfelt director Brooklyn Youth Chorus Dianne Berkun- Menaker director Alan Gilbert Paul Appleby tenor MOZART Symphony No.
    [Show full text]
  • Canções E Modinhas: a Lecture Recital of Brazilian Art Song Repertoire Marcía Porter, Soprano and Lynn Kompass, Piano
    Canções e modinhas: A lecture recital of Brazilian art song repertoire Marcía Porter, soprano and Lynn Kompass, piano As the wealth of possibilities continues to expand for students to study the vocal music and cultures of other countries, it has become increasingly important for voice teachers and coaches to augment their knowledge of repertoire from these various other non-traditional classical music cultures. I first became interested in Brazilian art song repertoire while pursuing my doctorate at the University of Michigan. One of my degree recitals included Ernani Braga’s Cinco canções nordestinas do folclore brasileiro (Five songs of northeastern Brazilian folklore), a group of songs based on Afro-Brazilian folk melodies and themes. Since 2002, I have been studying and researching classical Brazilian song literature and have programmed the music of Brazilian composers on nearly every recital since my days at the University of Michigan; several recitals have been entirely of Brazilian music. My love for the music and culture resulted in my first trip to Brazil in 2003. I have traveled there since then, most recently as a Fulbright Scholar and Visiting Professor at the Universidade de São Paulo. There is an abundance of Brazilian art song repertoire generally unknown in the United States. The music reflects the influence of several cultures, among them African, European, and Amerindian. A recorded history of Brazil’s rich music tradition can be traced back to the sixteenth-century colonial period. However, prior to colonization, the Amerindians who populated Brazil had their own tradition, which included music used in rituals and in other aspects of life.
    [Show full text]
  • Verifying Modeling and Audiovisual Stimuli As Strategies for Mastering Guedes Peixoto's Maracatú
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School July 2019 Verifying Modeling and Audiovisual Stimuli as Strategies for Mastering Guedes Peixoto's Maracatú Rodrigo Clementino Diniz Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Ethnomusicology Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Clementino Diniz, Rodrigo, "Verifying Modeling and Audiovisual Stimuli as Strategies for Mastering Guedes Peixoto's Maracatú" (2019). LSU Master's Theses. 4977. https://digitalcommons.lsu.edu/gradschool_theses/4977 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. VERIFYING MODELING AND AUDIOVISUAL STIMULI AS STRATEGIES FOR MASTERING GUEDES PEIXOTO´S MARACATÚ A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Music in The School of Music by Rodrigo Clementino Diniz B.M., Universidade Federal de Pernambuco, 2003 August 2019 ACKNOWLEDGMENTS First, my gratitude to Olorum and Orunmila, who endowed me with intelligence, health, tenacity and musical talent, characteristics without which I possibly would not have been able to launch myself on this incredible journey. To my guardian angel, Oyá, who vibrates magnetically in me, for always being by my side, guarding me. Endless thanks to my beloved mother, Francisca Clementino, a warrior woman who gave up so much of her life to raise me by herself.
    [Show full text]
  • June WTTW & WFMT Member Magazine
    Air Check Dear Member, The Guide As we approach the end of another busy fiscal year, I would like to take this opportunity to express my The Member Magazine for WTTW and WFMT heartfelt thanks to all of you, our loyal members of WTTW and WFMT, for making possible all of the quality Renée Crown Public Media Center content we produce and present, across all of our media platforms. If you happen to get an email, letter, 5400 North Saint Louis Avenue or phone call with our fiscal year end appeal, I’ll hope you’ll consider supporting this special initiative at Chicago, Illinois 60625 a very important time. Your continuing support is much appreciated. Main Switchboard This month on WTTW11 and wttw.com, you will find much that will inspire, (773) 583-5000 entertain, and educate. In case you missed our live stream on May 20, you Member and Viewer Services can watch as ten of the area’s most outstanding high school educators (and (773) 509-1111 x 6 one school principal) receive this year’s Golden Apple Awards for Excellence WFMT Radio Networks (773) 279-2000 in Teaching. Enjoy a wide variety of great music content, including a Great Chicago Production Center Performances tribute to folk legend Joan Baez for her 75th birthday; a fond (773) 583-5000 look back at The Kingston Trio with the current members of the group; a 1990 concert from the four icons who make up the country supergroup The Websites wttw.com Highwaymen; a rousing and nostalgic show by local Chicago bands of the wfmt.com 1960s and ’70s, Cornerstones of Rock, taped at WTTW’s Grainger Studio; and a unique and fun performance by The Piano Guys at Red Rocks: A Soundstage President & CEO Special Event.
    [Show full text]
  • Myths, Legends, Fairy Tales and Folk Tales in Music ______
    ______________________________________________________________________________________________________ Sounds of Enchantment: Myths, Legends, Fairy Tales and Folk Tales in Music ______________________________________________________________________________________________________ Gioacchino ROSSINI Overture from William Tell Felix MENDELSSOHN Scherzo from A Midsummer Night’s Dream Sergei PROKOFIEV Waltz Coda and Midnight from Cinderella, Op. 87 David CROWE How Birds Came Into the World John WILLIAMS Raiders March from Raiders of the Lost Ark Piotr Ilyich TCHAIKOVSKY Scene from Swan Lake Modest MUSSORGSKY / arr. Ravel Baba Yaga and The Great Gate of Kiev from Pictures at an Exhibition HOW TO USE THIS STUDY GUIDE This guide is designed as a curriculum enhancement resource primarily for music teachers, but is also available for use by classroom teachers, parents, and students. The main intent is to aid instructors in their own lesson preparation, so most of the language and information is geared towards the adult, and not the student. It is not expected that all the information given will be used or that all activities are applicable to all settings. Teachers and/or parents can choose the elements that best meet the specific needs of their individual situations. Our hope is that the information will be useful, spark ideas, and make connections. TABLE OF CONTENTS Sounds of Enchantment Overview – Page 4 Program Notes – Page 7 ROSSINI | Overture from William Tell Page 8 MENDELSSOHN | Scherzo from A Midsummer Night’s Dream Page 10 PROKOFIEV | Waltz Coda and Midnight from Cinderella, Op. 87 Page 13 CROWE | How Birds Came Into the World Page 17 WILLIAMS | Raiders March from Raiders of the Lost Ark Page 20 TCHAIKOVSKY | Scene from Swan Lake Page 22 MUSSORGSKY | Baba Yaga and The Great Gate of Kiev from Pictures at an Exhibition Page 24 Activities — Page 27 Student Section— Page 39 CREDITS This guide was originally created for the 2008-2009 Charlotte Symphony Education Concerts by Susan Miville, Chris Stonnell, Anne Stewart, and Jane Orrell.
    [Show full text]
  • Spring 2021 Course Descriptions
    PhD/DMA Programs in Music – Spring 2021 Course Descriptions MUS 81502: Performance Practice: Baroque – Professor Gwendolyn Toth This course, intended for performance majors at the doctoral level, is designed to provide students with an in-depth understanding of what performance practice means and why we study it. Specific course content includes knowledge of the conventions of musical performance during the period 1550-1800, with emphasis on the changes from Renaissance to early baroque, early baroque to high baroque, and high baroque to early classical. Students will also gain acquaintance with the development of musical instruments, music printing, and musician status, as well as changing audiences, during the time frame. First-hand sources of principal pedagogical publications of the period will be used to the extent possible. Students should gain an understanding of performance practice principles (rhetoric, phrasing, ornamentation, improvisation, instrumentation) in different periods from 1550-1800; but equally, will examine applications of performance practice in today’s modern concert world internationally through critical listening. Students should attain sufficient knowledge to run an early music ensemble/collegium or teach a beginning course on historical performance. The format of the course will include introductory lectures, extensive readings, occasional assigned practical written exercises, in-class listening and discussion, area-specific (keyboard, winds, strings, voice) papers comparing recorded modern performances, and a comprehensive final exam. MUS 71500: D.M.A. Topics (Spring) – Professor Anne Stone The second semester DMA Topics course will focus on the various types of scholarly writing encountered by performers in doctoral work and beyond. In addition to reading and analysis/discussion of writing on music from multiple genres by both scholars and performers, weekly writing assignments will include in- class writing, evaluation of classmates’ work, and ongoing work on longer assignments.
    [Show full text]
  • For Release: Tk, 2013
    FOR RELEASE: January 23, 2013 SUPPLEMENT CHRISTOPHER ROUSE, The Marie-Josée Kravis COMPOSER-IN-RESIDENCE WORLD PREMIERE of SYMPHONY NO. 4 at the NY PHIL BIENNIAL New York Premiere of REQUIEM To Open Spring For Music Festival at Carnegie Hall New York Premiere of OBOE CONCERTO with Principal Oboe Liang Wang RAPTURE at Home and on ASIA / WINTER 2014 Tour Rouse To Advise on CONTACT!, the New-Music Series, Including New Partnership with 92nd Street Y ____________________________________ “What I’ve always loved most about the Philharmonic is that they play as though it’s a matter of life or death. The energy, excitement, commitment, and intensity are so exciting and wonderful for a composer. Some of the very best performances I’ve ever had have been by the Philharmonic.” — Christopher Rouse _______________________________________ American composer Christopher Rouse will return in the 2013–14 season to continue his two- year tenure as the Philharmonic’s Marie-Josée Kravis Composer-in-Residence. The second person to hold the Composer-in-Residence title since Alan Gilbert’s inaugural season, following Magnus Lindberg, Mr. Rouse’s compositions and musical insights will be highlighted on subscription programs; in the Philharmonic’s appearance at the Spring For Music festival; in the NY PHIL BIENNIAL; on CONTACT! events; and in the ASIA / WINTER 2014 tour. Mr. Rouse said: “Part of the experience of music should be an exposure to the pulsation of life as we know it, rather than as people in the 18th or 19th century might have known it. It is wonderful that Alan is so supportive of contemporary music and so involved in performing and programming it.” 2 Alan Gilbert said: “I’ve always said and long felt that Chris Rouse is one of the really important composers working today.
    [Show full text]
  • Vi Saint Petersburg International New Music Festival Artistic Director: Mehdi Hosseini
    VI SAINT PETERSBURG INTERNATIONAL NEW MUSIC FESTIVAL ARTISTIC DIRECTOR: MEHDI HOSSEINI 21 — 25 MAY, 2019 facebook.com/remusik.org vk.com/remusikorg youtube.com/user/remusikorg twitter.com/remusikorg instagram.com/remusik_org SPONSORS & PARTNERS GENERAL PARTNERS 2019 INTERSECTIO A POIN OF POIN A The Organizing Committee would like to express its thanks and appreciation for the support and assistance provided by the following people: Eltje Aderhold, Karina Abramyan, Anna Arutyunova, Vladimir Begletsov, Alexander Beglov, Sylvie Bermann, Natalia Braginskaya, Denis Bystrov, Olga Chukova, Evgeniya Diamantidi, Valery Fokin, Valery Gergiev, Regina Glazunova, Andri Hardmeier, Alain Helou, Svetlana Ibatullina, Maria Karmanovskaya, Natalia Kopich, Roger Kull, Serguei Loukine, Anastasia Makarenko, Alice Meves, Jan Mierzwa, Tatiana Orlova, Ekaterina Puzankova, Yves Rossier, Tobias Roth Fhal, Olga Shevchuk, Yulia Starovoitova, Konstantin Sukhenko, Anton Tanonov, Hans Timbremont, Lyudmila Titova, Alexei Vasiliev, Alexander Voronko, Eva Zulkovska. 1 Mariinsky Theatre Concert Hall 4 Masterskaya M. K. Anikushina FESTIVAL CALENDAR Dekabristov St., 37 Vyazemsky Ln., 8 mariinsky.ru vk.com/sculptorstudio 2 New Stage of the Alexandrinsky Theatre 5 “Lumiere Hall” creative space TUESDAY / 21.05 19:00 Mariinsky Theatre Concert Hall Fontanka River Embankment 49, Lit A Obvodnogo Kanala emb., 74А ensemble für neue musik zürich (Switzerland) alexandrinsky.ru lumierehall.ru 3 The N. A. Rimsky-Korsakov 6 The Concert Hall “Jaani Kirik” Saint Petersburg State Conservatory Dekabristov St., 54A Glinka St., 2, Lit A jaanikirik.ru WEDNESDAY / 22.05 13:30 The N. A. Rimsky-Korsakov conservatory.ru Saint Petersburg State Conservatory Composer meet-and-greet: Katharina Rosenberger (Switzerland) 16:00 Lumiere Hall Marcus Weiss, Saxophone (Switzerland) Ensemble for New Music Tallinn (Estonia) 20:00 New Stage of the Alexandrinsky Theatre Around the Corner (Spain, Switzerland) 4 Vyazemsky Ln.
    [Show full text]
  • Monday Playlist
    December 23, 2019: (Full-page version) Close Window “I pay no attention whatever to anybody's praise or blame. I simply follow my own feelings.” — WA Mozart Start Buy CD Program Composer Title Performers Record Label Stock Number Barcode Time online The Christmas Tree, and A Pine Forest in Sleepers, Awake! 00:01 Buy Now! Tchaikovsky Dresden State Orchestra/Poschner Sony Classic 88875031652 888750316523 Winter ~ The Nutcracker, Op. 71 Lute Suite in A minor (originally C minor), 00:10 Buy Now! Bach Julian Bream RCA 5841 07863558412 BWV 997 00:31 Buy Now! Mozart Violin Concerto No. 5 in A, K. 219 "Turkish" Frang/Arcangelo/Cohen Warner Classics 0825646276776 825646276776 01:01 Buy Now! Mendelssohn Piano Trio No. 2 in C minor, Op. 66 Perlman/Ma/Ax Sony Classical 52192 886975219223 St. Olaf Choir/Nidaros Cathedral Girls' 01:32 Buy Now! Traditional O come, all ye faithful St. Olaf Records 3501 610295350126 Choir/Armstrong/Brevik 01:38 Buy Now! Mercadante Flute Concerto in E minor Galway/I Solisti Veneti/Scimone RCA 7703 07863577032 02:01 Buy Now! Lauridsen O magnum mysterium Los Angeles Master Chorale/Salamunovich RCM 19605 707651960522 02:07 Buy Now! Leontovych Carol of the Bells Los Angeles Master Chorale/Salamunovich RCM 19605 707651960522 02:09 Buy Now! Schubert Symphony No. 1 in D, D. 82 Hanover Band/Goodman Nimbus 5198 083603519827 02:38 Buy Now! Brahms Cello Sonata No. 1 in E minor, Op. 38 Nelsova/Johannesen CBC 2018 059582201824 Christmas at the Opera House, with Bob 03:00 Buy Now! Chapman Symphony No. 1 in G minor, Op.
    [Show full text]
  • Musique, Théâtre, Causeries Analysis of Radio Programming Broadcast in Québec Between 1922 and 1939 : Music, Theatre and Talks Marie-Thérèse Lefebvre
    Document généré le 27 sept. 2021 22:18 Les Cahiers des dix Analyse de la programmation radiophonique sur les ondes québécoises entre 1922 et 1939 : musique, théâtre, causeries Analysis of Radio Programming broadcast in Québec between 1922 and 1939 : music, theatre and talks Marie-Thérèse Lefebvre Numéro 65, 2011 Résumé de l'article Élément essentiel de la modernisation du Québec, la radio a-t-elle été URI : https://id.erudit.org/iderudit/1007776ar également un véhicule des idées nouvelles qui se développent dans les années DOI : https://doi.org/10.7202/1007776ar 1930 ? L’analyse de la programmation de la musique, du théâtre et des causeries démontre que les choix d’émissions ont obéi davantage à la logique Aller au sommaire du numéro marchande qu’à la volonté de participer aux changements qui ont marqué ces années. Éditeur(s) Les Éditions La Liberté ISSN 0575-089X (imprimé) 1920-437X (numérique) Découvrir la revue Citer cet article Lefebvre, M.-T. (2011). Analyse de la programmation radiophonique sur les ondes québécoises entre 1922 et 1939 : musique, théâtre, causeries. Les Cahiers des dix, (65), 179–225. https://doi.org/10.7202/1007776ar Tous droits réservés © Les Éditions La Liberté, 2011 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal.
    [Show full text]
  • Charles Reiner Collection
    Charles Reiner Collection Marvin Duchow Music Library McGill University Montréal, Québec, Canada 2010 Finding Aid Prepared by Elliott Cairns Edited by Cynthia A. Leive Latest Revision: July 2010 Collection Summary Title: Charles Reiner Collection Span Dates: 1924?–2006 Bulk Dates: (bulk 1950–1989) Call No.: Creator: Reiner, Charles, 1924–2006 Size: Language: Collection material in English, French, German, Italian, Spanish, Mandarin, and Hungarian Repository: Marvin Duchow Music Library, Schulich School of Music, McGill University, Montréal, Québec, Canada Abstract: The Charles Reiner Collection consists of correspondence, newspaper reviews and clippings, performance programmes, personal documents including legal material, photographs, writings, published and unpublished music by Reiner and other composers, audio and visual recordings of Reiner and other performers, books, and awards. Of particular interest is correspondence from Rudolf Serkin, Alfred Cortot, and Kurt Waldheim; legal documents from both before and after Reiner’s immigration to Canada; and the extensive collection of programmes and newspaper clippings that document Reiner’s extensive performance career. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalogue. They are grouped by name of person or organisation, by subject or location, and by occupation and listed alphabetically therein. Personal Names Blume, Helmut, 1914–1998—Correspondence. 1 Brott, Alexander, 1915–2005—Correspondence. Brott, Lotte, 1922–1998—Correspondence. Cortot, Alfred, 1877–1962—Correspondence. Duchow, Rebecca—Correspondence. Firkusny, Rudolf, 1912–1994—Correspondence. Janigro, Antonio, 1918–1989—Correspondence. Reiner, Charles, 1924–2006—Archives. Reiner, Charles, 1924–2006—Autographs. Reiner, Charles, 1924–2006—Correspondence. Ricci, Ruggiero, 1918– —Correspondence. Serkin, Irene, 1917–1998—Correspondence.
    [Show full text]
  • February 22, 2012 SUPPLEMENT CHRISTOPHER ROUSE
    FOR RELEASE: February 22, 2012 SUPPLEMENT CHRISTOPHER ROUSE THE 2012–13 MARIE-JOSÉE KRAVIS COMPOSER-IN-RESIDENCE First Season of Two-Year Term: WORLD PREMIERE, SEEING, PHANTASMATA Advisory Role on CONTACT!, with WORLD, U.S., AND NEW YORK PREMIERES, Led by JAYCE OGREN and ALAN GILBERT _____________________________________ “I just love the Philharmonic musicians: I love working with them, and they play my music with incredible commitment. As a kid in Baltimore I grew up with their recordings, and then, of course, I also heard them on the Young People’s Concerts on television. I’ve always had a special feeling for the Philharmonic because the musicians have always played like they really meant it, with such energy and commitment; and when I got older and wrote music that they played, they did it the same way. I’m thrilled to be able to work with them more closely.” — Christopher Rouse _______________________________________ Christopher Rouse has been named The Marie-Josée Kravis Composer-in-Residence at the Philharmonic, and will begin his two-year tenure in the 2012–13 season. He is the second composer to hold this title, following the tenure of Magnus Lindberg. The Pulitzer Prize- and Grammy Award-winning American composer will be represented by three works with the Philharmonic this season in concerts conducted by Alan Gilbert: Phantasmata, February 21 and 22, 2013; a World Premiere–New York Philharmonic Commission, April 17–20, 2013, which will also be taken on the EUROPE / SPRING 2013 tour; and the reprise of Seeing for Piano and Orchestra (commissioned by the Philharmonic and premiered in 1999), June 20–22, 2013, performed by Emanuel Ax, the 2012–13 Mary and James G.
    [Show full text]