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Concert Program
Chapel Hill Philharmonia Hill Hall — University of North Carolina at Chapel Hill 7:30 p.m. Sunday, May 6, 2012 Donald L. Oehler, Music Director Felix Mendelssohn (1809-1847) Overture to Ruy Blas, Op. 95 Saverio Mercadante (1795-1870) Flute Concerto No. 2 in E minor, Op. 57 Allegro maestoso Jake Beerel, flute 2012 Young Artist Concerto Competition Winner Intermission Johannes Brahms (1833-1897) Variations on a Theme by Haydn, Op. 56a Pyotr Ilyich Tchaikovsky (1840-1893) Romeo and Juliet, Fantasy-Overture after Shakespeare Refreshments Inspirations William Shakespeare conveyed the overwhelming impact of Julius Caesar in imperial Rome: “Why, man, he doth bestride the narrow world like a Colussus.” So might 19th century composers have viewed the figure of Ludwig van Beethoven. With his Symphony No. 3, known as Eroica, composed in 1803, Beethoven radically altered the evolution of symphonic music. The work was inspired by Napoléon Bonaparte’s republican ideals while rejecting that ‘hero’s’ assumption of an imperial mantle. Beethoven broke precedent by employing his art “as a vehicle to convey beliefs,” expanding beyond compositional technique to add the “dimension of meaning and interpretation. All the more remarkable…the high priest of absolute music, effected this change.” (composer W.A. DeWitt) Beethoven, in a word, brought Romanticism to the concert hall, “replac[ing] the Enlightenment cult of reason with a cult of instinct, passion, and the creative genius as virtual demigod. The Romantics seized upon Beethoven’s emotionalism, his sense of the individual as hero.” (composer/writer Jan Swafford) The expression of this new sensibility took many forms, ranging from intensified expression within classical forms, exemplified by Felix Mendelssohn or Johannes Brahms, to the unbridled fervor of Piyotr Ilyich Tchaikovsky, the revolutionary virtuosity and structural innovations of Franz Liszt, the hallucinatory visions of Hector Berlioz, and the megalomania of Richard Wagner. -
Monday, June 30Th at 7:30 P.M. Blue Lake Fine Arts Camp Free Admission
JUNE 2008 Listener BLUE LAKE PUBLIC RADIO PROGRAM GUIDE Monday, June 30th at 7:30 p.m. TheBlue Grand Lake Rapids Fine ArtsSymphony’s Camp DavidFree LockingtonAdmission WBLV-FM 90.3 - MUSKEGON & THE LAKESHORE WBLU-FM 88.9 - GRAND RAPIDS A Service of Blue Lake Fine Arts Camp 231-894-5656 http://www.bluelake.org J U N E 2 0 0 8 H i g h l i g h t s “Listener” Volume XXVI, No.6 “Listener” is published monthly by Blue Lake Public Radio, Route Two, Twin Lake, MI 49457. (231)894-5656. Summer at Blue Lake WBLV, FM-90.3, and WBLU, FM-88.9, are owned and Summer is here and with it a terrific live from operated by Blue Lake Fine Arts Camp Blue Lake and broadcast from the Rosenberg- season of performances at Blue Lake Fine Clark Broadcast Center on Blue Lake’s Arts Camp. Highlighting this summer’s Muskegon County Campus. WBLV and WBLU are public, non-commercial concerts is a presentation of Beethoven’s stations. Symphony No. 9, the Choral Symphony, Blue Lake Fine Arts Camp with the Blue Lake Festival Orchestra, admits students of any race, color, Festival Choir, Domkantorei St. Martin from national or ethnic origin and does not discriminate in the administration of its Mainz, Germany, and soloists, conducted programs. by Professor Mathias Breitschaft. The U.S. BLUE LAKE FINE ARTS CAMP Army Field Band and Soldier’s Chorus BOARD OF TRUSTEES will present a free concert on June 30th, and Jefferson Baum, Grand Haven A series of five live jazz performances John Cooper, E. -
Opis Programa Diplomskog Ispita Diplomski Rad
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Zagreb Repository SVEUČILIŠTE U ZAGREBU MUZIČKA AKADEMIJA VI. ODSJEK IVANA ČULJAK OPIS PROGRAMA DIPLOMSKOG ISPITA DIPLOMSKI RAD ZAGREB, 2018. SVEUČILIŠTE U ZAGREBU MUZIČKA AKADEMIJA VI. ODSJEK OPIS PROGRAMA DIPLOMSKOG ISPITA DIPLOMSKI RAD Mentor: nasl. doc. art. Martin Draušnik Student: Ivana Čuljak Odsjek: VI. odsjek Smjer: Violina Ak. god. 2017/2018 ZAGREB, 2018. DIPLOMSKI RAD ODOBRIO MENTOR nasl. doc. art. Martin Draušnik _________________________ (potpis) U Zagrebu, _________________________ Diplomski rad obranjen________________ Ocjena ____________________________ POVJERENSTVO: 1.__________________________ 2.__________________________ 3._________________________ 4._________________________ 5._________________________ OPASKA: PAPIRNATA KOPIJA RADA DOSTAVLJENA JE ZA POHRANU KNJIŽNICI MUZIČKE AKADEMIJE SAŽETAK Ovaj rad bavi se opisom programa mog diplomskog koncerta. Rad je podijeljen na više poglavlja u kojima ću sažeto obraditi karakteristike skladatelja, te opis skladbi koje ću izvoditi na diplomskom ispitu u obliku opširne programske knjižice. Ključne riječi: diplomski rad, programska knjižica, violina ABSTRACT This paper deals with the description of my graduate concert. The paper is divided in chapters in wich I will give insight into composers characteristics and description of the pieces I will preform in my graduate concert, all written in form of lenghtly program notes. Key words: thesis, program notes, violin SADRŽAJ 1. Uvod 1 2. J. S. Bach; druga partita za solo violinu u d-molu, BWV 1004 2 2.1. Chaconne 3 3. W. A. Mozart 5 3.1. Koncert za violinu i orkestar u G-duru, br.3, K.216; Adagio, Rondeau 6 4. J. Brahms 7 4.1. Sonata za violinu i klavir u d-molu, br.3, op.108 8 5. -
4474134-09A1a4-Booklet-CD98.626
2.K ach intensiver Auseinandersetzung mit dem er „kritische Bericht“, dieser Inbegriff Symbole werden zu Akteuren eines unserer Nsinfonischen Werk Mozarts und Beethovens Dgeduldigsten Forscherfleißes, begegnet Imagination entspringenden Theaters und habe ich meine Liebe zu Haydns Musik zugege- abseits seines Fachbezirks vielfachem Unver- treten, vielleicht auch nur für ein paar Minu- benermaßen erst relativ spät entdeckt. Seither ist ständnis. All diese Hieroglyphen und Linea- ten, wieder ins Rampenlicht einstiger Pracht es mir ein Anliegen, „Papa Haydn“ den Zopf abzu- mente, die vom Schreiber X zur Quelle Y, & Herrlichkeit. Wer war denn wohl der Ko- schneiden, den ihm das 19. und 20. Jahrhundert von zweifelhaften Wasserzeichen zu unech- pist, wer waren die fleißigen Leute, die dem haben wachsen lassen. Die Gesamteinspielung der ten Tintensorten führen – diese kryptischen Hofkapellmeister des Fürsten Nikolaus von Haydn-Sinfonien ist für meine Musiker und mich Überlieferungsnachweise und Stammbäume, Eszterházy bei seiner unablässigen Produkti- eine höchst interessante Aufgabe und eine große fachlich korrekter als „Stemmata“ bezeich- on zur Hand gingen? Für wen notierte Herausforderung, bietet sich doch mit diesem ehr- net: Müssen wir uns wirklich jede noch so „Schreiber F“, wenn ihm noch ein paar geizigen Projekt die einmalige Chance, die Ent- hypothetische Frage stellen lassen, ehe uns Nachtstunden blieben, einen zweiten Stim- wicklung der klassischen Sinfonie hautnah nachzu- die Kontaktaufnahme mit dem eigentlichen mensatz? Wie viele Kreutzer mag er dafür erleben. In Zeiten musikalischen (und gesellschaft- Notentext gestattet wird? bekommen, wen davon möglicherweise er- DEUTSCH lichen) Wandels war Haydn Stürmer, Dränger, Das hängt von der eigenen Art der Be- nährt haben? War’s seine Fehlsichtigkeit, Sucher und Finder zugleich. -
The Role of Clarinet in Op. 114 a Minor Trio Composed by Johannes Brahms for Clarinet, Cello and Piano
Global Journal of Arts, Humanities and Social Sciences Vol.7, No. 3, pp.80-90, March 2019 Published by European Centre for Research Training and Development UK (www.eajournals.org) THE ROLE OF CLARINET IN OP. 114 A MINOR TRIO COMPOSED BY JOHANNES BRAHMS FOR CLARINET, CELLO AND PIANO *İlkay Ak Lecturer, Music Department, Anadolu University, Eskişehir, Turkey ABSTRACT: Sonatas and chamber music works written for clarinetist Richard Mühlfeld by Johannes Brahms, who was one of the most important composers of the second half of Romantic period, in the last years of his life are among the irreplaceable works of clarinet training repertoire. These works which enable the musical improvement for the player are also significant to transfer the stylistic properties of the time. Op. 114 A Minor Trio composed for Clarinet, Cello and Piano by Brahms is among the most important works of chamber music training repertoire and often appears in concerts. The work consists of four parts. The first part is Allegro, the second part is Adagio, the third one is Andantino grazioso and the fourth one is Allegro. In this study, the life and musical identity of Brahms are going to be discussed first and then solo and chamber music works with clarinet are going to be mentioned. Next, the parts which can create technical and musical difficulties for the clarinet performance in Op. 114 A Minor Trio of the composer are determined and the things to decrease these are going to be suggested. KEYWORDS: Romantic Period, Brahms, Mühlfeld, Clarinet, Trio INTRODUCTION: JOHANNES BRAHMS Johannes Brahms (1833-1897) German Johannes Brahms as one of the prominent composers of the second half of 19th century was born on 7 May 1833 as a son of a double bass player. -
We Are TEN – in This Issue
RVW No.31 NEW 2004 Final 6/10/04 10:36 Page 1 Journal of the No.31 October 2004 EDITOR Stephen Connock RVW (see address below) Society We are TEN – In this issue... and still growing! G What RVW means to me Testimonials by sixteen The RVW Society celebrated its 10th anniversary this July – just as we signed up our 1000 th new members member to mark a decade of growth and achievement. When John Bishop (still much missed), Robin Barber and I (Stephen Connock) came together to form the Society our aim was to widen from page 4 appreciation of RVW’s music, particularly through recordings of neglected but high quality music. Looking back, we feel proud of what we have achieved. G 49th Parallel World premieres Through our involvement with Richard Hickox, and Chandos, we have stimulated many fine world by Richard Young premiere recordings, including The Poisoned Kiss, A Cotswold Romance, Norfolk Rhapsody No.2, page 14 The Death of Tintagiles and the original version of A London Symphony. Our work on The Poisoned Kiss represents a special contribution as we worked closely with Ursula Vaughan Williams on shaping the libretto for the recording. And what beautiful music there is! G Index to Journals 11-29 Medal of Honour The Trustees sought to mark our Tenth Anniversary in a special way and decided to award an International Medal of Honour to people who have made a remarkable contribution to RVW’s music. The first such Award was given to Richard Hickox during the concert in Gloucester and more . -
Concert Program
Chapel Hill Philharmonia Donald L. Oehler, Music Director Kenan Music Building University of North Carolina at Chapel Hill 3:00 p.m. Sunday, October 21, 2012 A Children’s Concert “The Three Bs: Bach, Beethoven & Brahms” National Anthem Johannes Brahms (1833 – 1897) Hungarian Dances Nos. 1, 3, 5 Piano: Gabriel Crist & Quin Cullen (Dance No. 5) Garth Molyneux (b. 1958) Variations on a Theme of Brahms Johann Sebastian Bach (1685 – 1750) Concerto in D minor for Two Violins, 1st mvmt Soloists from Piedmont Youth & Family Orchestra Ludwig van Beethoven (1770 – 1827) Symphony No. 5 in C minor (1st mvmt) Joined by members of the Youth Orchestra Johann Strauss, Sr. (1804 – 1849) Radetzky March Please silence all cell phones and other noise-emitting electronic devices before the program begins. All unauthorized sound and/or video recordings are prohibited during this performance. The Three Bs: Bach, Beethoven and Brahms Imagine a time before the iPod – before YouTube – before radio and TV – before Blue Ray, DVDs, CDs, clunky black vinyl phonograph records – before the very first recording cylinder invented by Thomas Edison in 1877. Imagine that you want to listen to the latest, greatest music. How do you do it? You have two choices. You can track down the musicians who created it and go to hear them perform live. Or, if their songs have been published, you can get hold of the sheet music and play it yourself. Either way, you must follow the ad- vice of singer Tom Chapin and “join yourself to the harmony of music made by hand.” Today the Chapel Hill Philharmonia and the Piedmont Youth and Family Orchestra invite you to do exactly that. -
University of Oklahoma Graduate College Analyses
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE ANALYSES OF ORGAN ETUDES OPP. 38, 66 AND 72 BY RACHEL LAURIN A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By SILVIYA MATEVA Norman, Oklahoma 2016 ANALYSES OF ORGAN ETUDES OPP. 38, 66 AND 72 BY RACHEL LAURIN A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. John Schwandt, Chair ______________________________ Dr. Sarah Ellis ______________________________ Dr. Eugene Enrico ______________________________ Dr. Vicki Schaeffer ______________________________ Dr. Maeghan Hennessey © Copyright by SILVIYA MATEVA 2016 All Rights Reserved. Table of Contents List of Tables …………………………………………………………………………... v List of Examples …………………………………………………………………….…. v Abstract ……………………………………………………………………………… viii Introduction………………………….………………………………………………..... 1 Chapter 1: Rachel Laurin: Biography.……..…………………………………………… 2 Chapter 2: Ken Cowan and Isabelle Demers: The relationship between composer and commissioners……...…..……………………………………………….…….... 9 Chapter 3: Analyses of Etudes Opp. 38, 66 and 72….………………………………... 19 Étude Héroïque, Op. 38……………………………………………………….. 21 Étude-Caprice, Op. 66………………………………………………………… 44 Symphonic Etude for Solo Pedal, Op. 72……………………………………... 64 Chapter 4: Conclusion……….....…………………………………………………..... 101 Bibliography…………………………………...…………………………………...... 106 Appendix: Organ Works by Rachel Laurin………………………………………….. 107 iv List of Tables Table 1. Op. 38, section outline ………………………………………………….…… 22 Table 2. Op. 66, section outline ………………………………………………...…….. 45 Table 3. Op. 72, Isabelle Demers’ name inscription in variation titles ……………..... 65 Table 4. Op. 72, tonal and metrical outline of the variations ………………………… 99 List of Examples Example 1. Op. 38, mm. 1-8 …………………………………………….…………… 24 Example 2. Op. 38, mm. 15-17 ………………………………………………………. 25 Example 3. Op. 38, mm. 24-31 ………………………………………………………. 26 Example 4. Op. 38, mm. 34-38 ………………………………………………………. 28 Example 5. Op. 38, mm. 38-43 ………………………………………………………. 29 Example 6. Op. 38, mm. -
Joseph Haydn, Op 76 No 5 in D Major Transcript
Joseph Haydn, Op 76 No 5 in D major Transcript Date: Thursday, 18 March 2010 - 12:00AM Location: Museum of London Haydn: Quartet Op. 76 No. 5 Professor Roger Parker 18/3/2010 Today's lecture is about Haydn's Op. 76 No. 5, and with it we come to the last of our three Haydn string quartets, all of them from the Op. 76 collection. In the last lecture, on Op. 76 No. 2, I mentioned something about how Haydn had fared in the two centuries since he wrote these marvellous quartets: how writers and listeners had, during those two centuries, tried to come to terms with him and his music; and also how that coming-to-terms changed with the changing times. For the nineteenth century, that great age of biography, the efforts were hampered by difficulties over what we might (anachronistically) call Haydn's "personality", an area that proved hard to grasp for Romantic sensibilities. While it was easy to paint seductive pictures of bewigged Mozart as the eternal child-genius, and of bad-hair-day Beethoven as titanic and sublime, Haydn seemed, in this period at least, close to being a Man Without Qualities. It was already well known, after all, that for most of his life he had been little more than a loyal servant in an aristocratic household (that of the fabulously wealthy Esterhazy family). When public fame came in the 1790s of Paris and London, he was elderly by the standards of the day...almost a relic from another age. And so the figure emerged of "Papa" Haydn: not a stern patriarch, but something much more homely: the composer of repertoire choral works and a few symphonies and quartets; the man who made the eternal Mozart and the sublime Beethoven possible, but who in the process seemed to fade into the shadows. -
Concert Program Interpreters
Concert Program Interpreters Harnackhaus, June 11, 7 p.m. Kammerchor der Auenkirche The Chamber Choir of Auenkirche is a semi-professional vocal ensemble that presents sacred and secular music at a high level of musical excellence – under Vocal Ensemble: Kammerchor der Auenkirche the professional leadership of Jörg Strodthoff. The wide repertoire includes Conduction & Piano: Jörg Strodthoff among others works by Johann Sebastian Bach, Johannes Brahms, Orlando di Lasso, Felix Mendelssohn, Max Reger, Johann Schein, Heinrich Schütz, and Tho- Treble Recorder: Andrea Wissel-Romefort mas Weelkes. Johann Christian Schickardt (1682 - 1762) Jörg Strodthoff Sonata for treble recorder and basso continuo, d minor, op. 1, no. 2 Jörg Strodthoff received a broad training in piano, song accompaniment, har- (Adagio, Grave, Allemanda) mony and counterpoint, composition and choral conducting at the Hanover Uni- versity of Music and Drama. From 1986 he led the orchestra of the Medical School in Hanover and received a teaching position at the University of Göttingen Daniel Friderici (1584 - 1638) (harmony and counterpoint). Parallel a concert career as organist, harpsichordist "Drei schöne Dinge fein", folk song, in "Servia musicalis" (Musikalisches and pianist for song accompaniment and chamber music evolved. In 1989, he Sträußlein), Lübeck 1617 received a call to the traditional A-position as church musician of the Auenkirche in Berlin-Wilmersdorf. His priorities include, in addition to shaping of worship, Hans Leo Haßler (1564 - 1612) leadership of the choir – with regular performances of the works of classical ora- "Cantate domino", motet torio literature -, the chamber choir and the brass circle, as well as artistic organ playing and improvisation at the historical organ. -
Music Academy of the West Archives PA Mss 65
http://oac.cdlib.org/findaid/ark:/13030/kt9m3nd615 No online items Guide to the Music Academy of the West archives PA Mss 65 Finding aid prepared by David Seubert and Danielle Hoffman, 2007; revised by Zachary Liebhaber, 2019. UC Santa Barbara Library, Department of Special Research Collections University of California, Santa Barbara Santa Barbara 93106-9010 [email protected] URL: http://www.library.ucsb.edu/special-collections 2007; 2019 Guide to the Music Academy of PA Mss 65 1 the West archives PA Mss 65 Title: Music Academy of the West archives Identifier/Call Number: PA Mss 65 Contributing Institution: UC Santa Barbara Library, Department of Special Research Collections Language of Material: English Physical Description: 102 linear feet(117 document boxes, 19 half document boxes, 784 audiotape reels, 38 videocassettes) Date (inclusive): 1946-2014 Abstract: Audio and video recordings of Music Academy of the West concerts, recitals and masterclasses dating from 1961 to 2001, as well as Music Academy of the West organizational records dating from 1946 to 2012. Physical Location: Special Research Collections, UC Santa Barbara Library Access Restrictions The collection is open for research. Access copies must be made before listening to recordings. Use Restrictions Copyright has not been assigned to the Department of Special Research Collections, UCSB. All requests for permission to publish or quote from manuscripts must be submitted in writing to the Head of Special Research Collections. Permission for publication is given on behalf of the Department of Special Research Collections as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which also must be obtained. -
The Seven Last Words Project Cathedral of St
The Seven Last Words Project Cathedral of St. John the Divine Photo by Claudio Papapietro Support the next generation of performing artists Thank you for being an important part of this performance as an engaged audience member. You can do even more to support Juilliard’s remarkable young artists by making a tax-deductible gift of scholarship today. Your donation supports financial aid for our dedicated students and encourages their development and growth as performing artists. With more than 90% of students qualifying for financial aid, your donation truly does make a difference. Give now at giving.juilliard.edu/fromyourseat Or call (212) 799-5000, ext. 278 Thank you for your support! The Juilliard School presents The Seven Last Words Project Tuesday, April 16, 2019, 7:30pm Cathedral of St. John the Divine 1047 Amsterdam Avenue, New York City JOSEPH HAYDN The Seven Last Words of Christ (1732-1809) Introduzione: Maestoso ed Adagio Sonata I: Pater, dimitte illis, quia nesciunt, quid faciunt (“Father, forgive them, for they know not what they do”) JESSICA MEYER Father, forgive them (b. 1974) Chiara Fasani Stauffer, Violin Ruiqi Ren, Violin Danika Paskvan, Viola Sydney ZumMallen, Cello Sonata II: Hodie mecum eris in paradiso (“Verily, I say to you, today you will be with me in paradise”) COLIN JACOBSEN Verily (b. 1978) Manami Mizumoto, Violin Shelby Yamin, Violin Yi Hsuan Ethan Lin, Viola Madeleine Bouïssou, Cello (Program continues) Juilliard's full-scholarship Historical Performance program was established and endowed in 2009 by the generous support of Bruce and Suzie Kovner. Please make certain that all electronic devices are turned off during the performance.