DOCSLIB.ORG

18 February 2011 Page 1 of 10

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
18 February 2011 Page 1 of 10 Radio 3 Listings for 12 – 18 February 2011 Page 1 of 10 SATURDAY 12 FEBRUARY 2011 Italian serenade for string quartet MAHLER: Symphony No.8 Bartók Quartet Julia Varady, Jane Eaglen, Susan Bullock (soprano); Trudeliese SAT 01:00 Through the Night (b00y6n2b) Schmidt, Jadwiga Rappe (alto); Kenneth Riegel (tenor), Eike John Shea presents the Apollon Musagete Quartet in Concert 5:21 AM Wilm Schulte (baritone); Hans Sotin (bass) / Eton College Boys’ performing Hadyn, Szymanowski and Schubert Verdi, Giuseppe (1813-1901) Choir / London Symphony Chorus / London Philharmonic Overture - 'La forza del destino' Orchestra and Choir / Klaus Tennstedt (conductor) 1:01 AM KBS Symphony Orchestra, Chi-Yong Chung (male) (conductor) LPO LPO-0052 (2 CDs) Haydn, Joseph [1732-1809] String Quartet No. 70 in D minor, op. 71/2, Hob. III:70 5:29 AM MAHLER: Symphony No.9 ('Apponyi') Hasse, Johann Adolfe (1699-1783) Tonhalle Orchestra / David Zinman Quatuor Apollon Musagète Overture to the opera Arminio (1745) RCA 88697746722 (2 CDs) Ekkehard Hering & Wolfgang Kube (oboes), Andrew Joy & 1:18 AM Rainer Jurkiewicz (horns), Akademie für Alte Musik Berlin, MAHLER: Symphony No.2 Szymanowski, Karol [1882-1937] Stephan Mai (director) Kate Royal (soprano), Magdalena Kozena (mezzo-soprano) / Quartet for strings no. 1 (Op.37) in C major Berlin Radio Choir / Berlin Philharmonic / Simon Rattle Quatuor Apollon Musagète 5:36 AM (conductor) Schumann, Clara (1819-1896) EMI 6473632 (2 CDs) 1:36 AM Scherzo for piano in D minor, Op.10 No.1 Rachmaninov, Sergey (1873-1943) Angela Cheng (piano) MAHLER: Symphony No.1 Concerto for piano and orchestra No.3 in D minor (Op.30) Royal Stockholm Orchestra / Sakari Oramo (conductor) Nelson Goerner (piano), Orchestre de la Suisse Romande, 5:41 AM Exton EXCL 00034 (Hybrid SACD) Matthias Aesbacher (conductor) Eno, Brian (b. 1948) arr. Julia Wolfe (b. 1958) Music for Airports 1/2 (1978) MAHLER: Symphony No.2 2:17 AM Bang on a Can All-Stars Ricarda Merbeth (soprano), Bernardo Fink (mezzo-soprano) / Schubert, Franz [1797-1828] Netherlands Radio Choir / Royal Concertgebouw Orchestra / Quartet for strings (D.810) in D minor "Death and the maiden" 5:53 AM Mariss Jansons (conductor) Quatuor Apollon Musagète Kilar, Wojciech (b. 1932) RCO Live RCO 10102 (2 Hybrid SACDs + bonus DVD) Orawa for string orchestra (1988) (Vivo) 2:55 AM Polish Radio Symphony Orchestra, Wojciech Rajski MAHLER: Symphony No.9 Szymanowski, Karol [1882-1937] (conductor) WDR Symphony Orchestra / Jukka-Pekka Saraste (conductor) Vivace Scherzando from Quartet for strings no. 2 (Op.56) Profil PH10035 (CD) Quatuor Apollon Musagète 6:02 AM Bach, Carl Philipp Emmanuel (1714-1788) MAHLER: Symphony No.4 3:01 AM Quartet no.3 in G major (Wq.95/H.539) Rosemary Joshua (soprano) / Orchestra de Champs-Elysees / Handel, Georg Frideric (1685-1759) Les Adieux Philippe Herreweghe (conductor) Concerto Grosso in A major (Op.6 No.11) Out Here PH1 (CD) Barbara Jane Gilbey (violin), Tasmanian Symphony Chamber 6:21 AM Players Nielsen, Carl (1865-1931) MAHLER: Symphony No.9 Quintet for flute, oboe, clarinet, horn & bassoon (Op.43) Lucerne Festival Orchestra / Claudio Abbado (conductor) 3:18 AM Cinque Venti Accentus Music ACC 20214 (DVD) Liszt, Franz (1811-1886) Funérailles - from Harmonies Poétiques et Religieuses: 10 6:45 AM 11.40am Disc of the Week pieces for piano (S.173 No.7) Janácek, Leos (1854-1928) ROSSINI: Stabat Mater François-Frédéric Guy (piano) Suite for Orchestra (Op.3) Anna Netrebko (soprano), Joyce DiDonato (mezzo-soprano), Slovak Radio Symphony Orchestra, Ondrej Lenard (conductor). Lawrence Brownlee (tenor), Ildebrando D’Arcangelo (bass) / 3:33 AM Orchestra e Coro dell’Accademia Nazionale di Santa Cecilia / Paganini, Niccolò (1782-1840) Antonio Pappano (conductor) Concerto for violin and orchestra No.1 in D major (Op.6) SAT 07:00 Breakfast (b00yhq4x) EMI 6405292 (CD) Jaap van Zweden (violin), Netherlands Radio Symphony Saturday - Katie Derham Orchestra, Kenneth Montgomery (conductor) Katie Derham presents Breakfast. Wake up to music, news and SAT 12:15 Music Matters (b00yhq51) 4:00 AM the occasional surprise. Henley Review, Anna Nicole Smith, Percy Grainger, Daniel Kalliwoda, Johann Wenzel [1801-1866] Harding Morceau de salon for oboe and piano (Op.228) Alexei Ogrintchouk (oboe) Cedric Tiberghien (piano) SAT 09:00 CD Review (b00yhq4z) Presented by Tom Service. Education secretary Michael Gove, Building a Library - Brahms: Four Serious Songs the opera Anna Nicole Smith, the life and music of Percy 4:10 AM Grainger, and an interview with conductor Daniel Harding. Sibelius, Jean (1865-1957) CD Review: Andrew McGregor with all that's new in the world Song of the Earth (Op.93) (1919) of classical music recording including: Email: [email protected] The Academic Choral Society, The Helsinki Cathedral Chorus, Finnish Radio Symphony Orchestra, Ulf Söderblom 9.05am (conductor) PHILIPPE ROGIER: Missa Domine Dominus Noster; Missa SAT 13:00 The Early Music Show (b00yhq53) Domine in Virtute Tue etc. Fretwork Weekend 4:29 AM Magnificat / His Majestys Sagbutts and Cornetts / Philip Cave Dvorák, Antonín (1841-1904) (director) Fretwork - Profile From 'Rusalka': Song to the Moon Linn CKD 348 (Hybrid SACD) Yvonne Kenny (soprano), Melbourne Symphony Orchestra, In the first of this weekend's programmes featuring the viol Vladimir Kamirski (conductor) “Hail, Mother of the Redeemer” consort Fretwork, Lucie Skeaping presents a profile of the VICTORIA: Salve Regina; Missa Alma Redemptoris Mater etc. ensemble, and talks to founder member Richard Boothby. Since 4:36 AM The Sixteen / Harry Christophers (conductor) they formed in 1985 Fretwork has explored a wide range of Locatelli, Pietro Antonio (1695-1764) arr. Geert Bierling Coro COR16088 (CD) music, from the core English consort repertoire, to Introduttione Teatrale in F major (Op.2 No.4) arrangements of JS Bach's keyboard works, to commissioning Geert Bierling (organ) “O Virgo Benedicta”: Music of Marian Devotion many new works. Lucie and Richard chat about the ensembles The Marian Consort / Rory McCleery (conductor) diversity of interests and play music from some of their 4:43 AM DCD34086 (CD) recordings. The programme also includes a look at how to Saint-Saëns, Camille (1835-1921) arr. R. Klugescheid compose for a viol consort, to coincide with the launch of this My Heart At Thy Sweet Voice - Cantabile from 'Samson & “Hanacpachap”: Latin American music at the time of the year's NCEM Young Composers' Award. Delilah' arranged for violin, cello and piano Conquistadores Moshe Hammer (violin), Tsuyoshi Tsutsumi (cello), William Ensemble Elyma / Gabriel Garrido (conductor) Tritt (piano) Pan Classics PC 10230 (CD) SAT 14:00 Radio 3 Lunchtime Concert (b00y6hwc) Renaud Capucon, Frank Braley 4:47 AM 9.30am Building a Library Copland, Aaron (1900-1990) Richard Wigmore surveys the currently available recordings of Live from Wigmore Hall in London, French violinist Renaud El Salón México Brahms’s 4 Serious Songs. Capucon is joined by pianist Frank Braley to perform two San Francisco Symphony Orchestra, Michael Tilson Thomas sonatas by Beethoven - the popular and lyrical Sonata No 5 in F (conductor) Top recommendation: known as the "Spring Sonata", and the virtuosic No 7 in C Thomas Quasthoff (baritone) / Justus Zeyen (piano) minor which is the largest and most substantial of his three Op 5:01 AM DG download 30 sonatas. Debussy, Claude (1862-1918) Golliwog's Cake-walk from Children's Corner Suite (1906-8) 10.20am Donna Coleman (piano) BRAHMS: Piano Quartets Nos. 1 & 3 SAT 15:00 Music Planet (b00y6lt6) Milander Quartet Mountains 5:04 AM Avie AV 2203 (CD) Sáry, László (b.1940) For this major series to accompany BBC One's 'Human Planet', Pebble Playing in a Pot 10.25 New Releases: Mahler Andy Kershaw and Lucy Duran go in search of music from Aurél Holló & Zoltán Rácz (marimbas) Edward Seckerson joins Andrew to discuss new and recent some of the world's remotest locations. This week: Mountains releases of Mahler recordings, including extracts from the 5:14 AM following CDs: Switzerland: Andy takes in a lesson in playing the giant cow- Wolf, Hugo (1860-1903) bell, gets his head around the many regional styles of yodelling, Supported by bbc.co.uk/programmes/ Radio 3 Listings for 12 – 18 February 2011 Page 2 of 10 and records the alphorn quartet Hornroh. 4 andThe Vanishing by Tim Krabbe, BBC Radio 4. He has been Robert Aitken (flute), CBC Vancouver Orchestra, Mario Writer-in-Residence for BBC Radio 4/Children in Need and Bernardi (conductor) Nepal: Lucy meets Sherpa musicians from the Everest Base Writer-on-Attachment at the West Yorkshire Playhouse. Camp, listens to the songs of the mountain children in the 3:20 AM ancient town of Bhaktapur, and enjoys traditional Neplasese Cast: Stravinsky, Igor (1882-1971) folk tunes given the Django Reinhardt treatment in Kathmandu. Petrushka (Burlesque in Four Scenes) Man ..... Khalid Abdalla Ruud van den Brink (piano), Peter Masseurs (trumpet), Jacques Solomon Islands: Andy visits the remote Kwaio people, whose Woman ..... Maryam Hamidi. Zoon (flute), Concertgebouw Orchestra, Riccardo Chailly unique music remains untouched by western influences, and (conductor) who still reserve the right to go head-hunting. SAT 22:30 Hear and Now (b00yhq6n) 3:56 AM Producers: James Parkin and Roger Short. Huddersfield Contemporary Music Festival 2010 Beethoven, Ludwig van (1770-1827) Overture and music from the Ballet Prometheus, Op.43 Episode 5 Danish Radio Concert Orchestra, Hannu Koivula (conductor) SAT 16:00 Jazz Library (b00yhq5f) Ethel Waters highlights from Huddersfield Contemporary Music Festival 4:12 AM 2010, the UK's largest festival of contemporary music. Rodney Bennett, Richard (b. 1936) Powerful, feisty and influential, Ethel Waters was an excellent Tonight's programme includes music from the festival's Aubade for orchestra jazz singer, mainly remembered now for her screen roles in composer in residence Rebecca Saunders, new music from BBC Philharmonic, Rumon Gamba (conductor) such pictures as Cabin in the Sky.
Load more

Recommended publications
  • ITALIAN, PORTUGUESE, SPANISH and LATIN AMERICAN SYMPHONIES from the 19Th Century to the Present
    ITALIAN, PORTUGUESE, SPANISH AND LATIN AMERICAN SYMPHONIES From the 19th Century to the Present A Discography of CDs and LPs Prepared by Michael Herman FRANCO ALFANO (1876-1960, ITALY) Born in Posillipo, Naples. After studying the piano privately with Alessandro Longo, and harmony and composition with Camillo de Nardis and Paolo Serrao at the Conservatorio di San Pietro a Majella, Naples, he attended the Leipzig Conservatory where he completed his composition studies with Salomon Jadassohn. He worked all over Europe as a touring pianist before returning to Italy where he eventually settled in San Remo. He held several academic positions: first as a teacher of composition and then director at the Liceo Musicale, Bologna, then as director of the Liceo Musicale (later Conservatory) of Turin and professor of operatic studies at the Conservatorio di San Cecilia, Rome. As a composer, he speacialized in opera but also produced ballets, orchestral, chamber, instrumental and vocal works. He is best known for having completed Puccini’s "Turandot." Symphony No. 1 in E major "Classica" (1908-10) Israel Yinon/Brandenburg State Orchestra, Frankfurt ( + Symphony No. 2) CPO 777080 (2005) Symphony No. 2 in C major (1931-2) Israel Yinon/Brandenburg State Orchestra, Frankfurt ( + Symphony No. 1) CPO 777080 (2005) ANTONIÓ VICTORINO D'ALMEIDA (b.1940, PORTUGAL) Born in Lisbon.. He was a student of Campos Coelho and graduated from the Superior Piano Course of the National Conservatory of Lisbon. He then studied composition with Karl Schiske at the Vienna Academy of Music. He had a successful international career as a concert pianist and has composed prolifically in various genres including: instrumental piano solos, chamber music, symphonic pieces and choral-symphonic music, songs, opera, cinematic and theater scores.
    [Show full text]
  • French Performance Practices in the Piano Works of Maurice Ravel
    Studies in Pianistic Sonority, Nuance and Expression: French Performance Practices in the Piano Works of Maurice Ravel Iwan Llewelyn-Jones Submitted in partial fulfillment of the requirements for the degree Doctor of Philosophy School of Music Cardiff University 2016 Abstract This thesis traces the development of Maurice Ravel’s pianism in relation to sonority, nuance and expression by addressing four main areas of research that have remained largely unexplored within Ravel scholarship: the origins of Ravel’s pianism and influences to which he was exposed during his formative training; his exploration of innovative pianistic techniques with particular reference to thumb deployment; his activities as performer and teacher, and role in defining a performance tradition for his piano works; his place in the French pianistic canon. Identifying the main research questions addressed in this study, an Introduction outlines the dissertation content, explains the criteria and objectives for the performance component (Public Recital) and concludes with a literature review. Chapter 1 explores the pianistic techniques Ravel acquired during his formative training, and considers how his study of specific works from the nineteenth-century piano repertory shaped and influenced his compositional style and pianism. Chapter 2 discusses Ravel’s implementation of his idiosyncratic ‘strangler’ thumbs as articulators of melodic, harmonic, rhythmic and textural material in selected piano works. Ravel’s role in defining a performance tradition for his piano works as disseminated to succeeding generations of pianists is addressed in Chapter 3, while Chapters 4 and 5 evaluate Ravel’s impact upon twentieth-century French pianism through considering how leading French piano pedagogues and performers responded to his trailblazing piano techniques.
    [Show full text]
  • Maurice Ravel Chronology
    Maurice Ravel Chronology by Manuel Cornejo 2018 English Translation by Frank Daykin Last modified date: 10 June 2021 With the kind permission of Le Passeur Éditeur, this PDF, with some corrections and additions by Dr Manuel Cornejo, is a translation of: Maurice Ravel : L’intégrale : Correspondance (1895-1937), écrits et entretiens, édition établie, présentée et annotée par Manuel Cornejo, Paris, Le Passeur Éditeur, 2018, p. 27-62. https://www.le-passeur-editeur.com/les-livres/documents/l-int%C3%A9grale In order to assist the reader in the mass of correspondence, writings, and interviews by Maurice Ravel, we offer here some chronology which may be useful. This chronology attempts not only to complete, but correct, the existent knowledge, notably relying on the documents published herein1. 1 The most recent, reliable, and complete chronology is that of Roger Nichols (Roger Nichols, Ravel: A Life, New Haven, Yale University, 2011, p. 390-398). We have attempted to note only verifiable events with documentary sources. Consultation of many primary sources was necessary. Note also the account of the travels of Maurice Ravel made by John Spiers on the website http://www.Maurice Ravel.net/travels.htm, which closed down on 31 December 2017. We thank in advance any reader who may be able to furnish us with any missing information, for correction in the next edition. Maurice Ravel Chronology by Manuel Cornejo English translation by Frank Daykin 1832 19 September: birth of Pierre-Joseph Ravel in Versoix (Switzerland). 1840 24 March: birth of Marie Delouart in Ciboure. 1857 Pierre-Joseph Ravel obtains a French passport.
    [Show full text]
  • Relatório De Estágio a Influência Do Maestro Na Performance Musical
    Relatório de estágio A influência do maestro na performance musical dos ensembles José Alberto Martins Ventura 20120081 Orientadores Professor José Filomeno Raimundo Professor José Carlos Leitão Martins de Oliveira Relatório Final de Estágio apresentado ao Instituto Politécnico de Castelo Branco para cumprimento dos requisitos necessários para obtenção do grau de Mestre em Ensino de Música, Formação Musical e Música de Conjunto, realizado sob a orientação científica do Professor Doutor José Filomeno Raimundo, Diretor da Escola Superior de Artes Aplicadas do Instituto Politécnico de Castelo Branco e coorientação do Professor José Carlos Leitão Martins de Oliveira, Professor da Escola Superior de Artes Aplicadas do Instituto Politécnico de Castelo Branco. Setembro 2014 II Composição do júri Presidente do júri Professor Adjunto convidado da Escola Superior de Artes Aplicadas, Pedro Miguel Reixa Ladeira Vogais Professora Doutora Rosário Iglésias Professora na Universidade da Extremadura Professor Doutor José Filomeno Martins Raimundo Professor Coordenador da Escola Superior de Artes Aplicadas III IV Dedicatória À Inês e ao João. V VI Agradecimentos Quero agradecer à minha esposa e aos meus filhos, pelo apoio e paciência ao longo deste caminho em que muitas vezes estive ausente. Agradeço também aos professores cooperantes da JOBRA toda a ajuda e conselhos que me deram para crescer como profissional, bem como à Instituição pela permissão de estágio. A todos os intervenientes na minha pesquisa, em particular aos maestros que tiraram algum do seu tempo para me ajudar. Gostaria de agradecer toda a disponibilidade, empenho, aconselhamento, paciência e sensível mestria dos Professores da Escola Superior de Artes Aplicadas de Castelo Branco. VII “A música é muitas vezes tomada como um simples meio de distração, de evasão ou de divertimento superficial, quando pode ser e, é realmente, a expressão daquilo que o ser humano tem em si de mais profundo”.
    [Show full text]
  • Doc Nº 16 Abril 2011
    Nº16 abril 2011 DOSSIER Antonio Miró Proyecto Educativo de la OCNE Oliver Knussen: oficio y fascinación HABLAMOS CON: Entrevista al subdirector del CNE POSTALES ILUMINADAS Los poemas sinfónicos de Richard Strauss Coro Nacional de España El extraño destino de la Rubén Gimeno, director Midori, violín Ekaterina Gubanova, mezzosoprano «Cuando Sergei Eisenstein acudió a mí a finales de mayo en nombre de Tercera de Mahler Obras de Shostakovich, los estudios Mosfilm, con la proposición de que yo escribiera la música Tchaikovsky y Prokofiev para el filme Alexander Nevsky acepté con placer, pues le tenía una gran Es, sin duda, la más larga entre las sinfonías de Gustav Mahler: 13, 14 y 15-V-2011 admiración por su extraordinario talento. Mi interés aumentaba a medida raro es que su interpretación baje de los cien minutos, en que el trabajo avanzaba, pues además de un brillante director de cine y cuanto a la longitud del discurso. un gran ser humano, Eisenstein resultó ser un excelente músico». SHLIFSTEIN, S.: Sergei Prokofiev: Autobiography, Articles, Reminiscenses, Universal Los efectivos tampoco son peque- más la obra que aquí se reseña), Press of the Pacific, 2000. ños: enorme orquesta, coro feme- que en 1919, 29 de noviembre, nino, escolanía y voz de contralto abordaba la pieza con la Wiener solista. Y, sin embargo, frente a la Tonkünstler Orchester, el Coro de la «Estamos saliendo de una pequeña sala de proyección. Y aunque en este casi desaparición del repertorio de Ópera de Viena y la mezzo Hermine momento son las doce de la noche estoy completamente tranquilo. A las páginas más accesibles, tales co- Kittel, que el 8 de junio del año once horas cincuenta y cinco minutos en punto entrará por la puerta de mo la Sinfonía núm.
    [Show full text]
  • Ravel Tzigane Imslp
    Ravel tzigane imslp Continue Joseph Maurice Ravel ʒozɛf mɔʁis ʁavɛl is a French composer, pianist and conductor. He is often associated with Impressionism with his elder contemporary Claude Debussy, although both composers rejected the term. In the 1920s and 1930s, Ravel was considered France's greatest living composer. Born into a musical-loving family, Ravel studied at the Royal College of Music of France, the Paris Conservatory; he was not well regarded by his conservative establishment, whose bias against him caused a scandal. After leaving the conservatory, Ravel found his own way as a composer, developing a style of great clarity that included elements of baroque, neoclassicism and, in his later works, jazz. He liked to experiment with the musical form, as in his most famous work, Bolero (1928), in which repetition takes the place of development. He made several orchestral arrangements of music by other composers, of which his version of Mussorgsky's 1922 paintings on the exhibition is the most famous. As a slow and painstaking worker, Ravel composed fewer works than many of his contemporaries. His works included piano pieces, chamber music, two piano concerts, ballet music, two operas (each less than an hour) and eight song cycles; he wrote no symphonies and only one religious work (Kaddish). Many of his works exist in two versions: first the piano score and then the orchestration. Some of his piano music, such as Gaspar de la Nuit (1908), are exceptionally difficult to play, and his intricate orchestral works such as Daphnis and Chloe (1912) require a skilful balance in performance.
    [Show full text]
  • Un-Raveling the Relationships Between Piano and Orchestra in Le Tombeau De Couperin
    THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE SCHOOL OF MUSIC UN-RAVELING THE RELATIONSHIPS BETWEEN PIANO AND ORCHESTRA IN LE TOMBEAU DE COUPERIN IAN DUH SPRING 2016 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in Music and Science with honors in Music Reviewed and approved* by the following: Gerardo Edelstein Professor of Music Thesis Supervisor Mark Ballora Associate Professor of Music Technology Honors Adviser * Signatures are on file in the Schreyer Honors College. i ABSTRACT In this thesis I examine the relationship between piano and orchestra with a particular interest in how knowledge of orchestral textures affects the musical decision-making of a pianist. Such an examination requires introductory discussions of related topics, including historically interesting relationships between the piano and orchestra and how the pianist controls sound. Brief and necessarily non-exhaustive versions of these discussions are included, but the focus of this thesis is score analysis of piano and orchestra versions of Le Tombeau de Couperin by Maurice Ravel, which focuses on how instrumentation choice in the composer’s reimagining of the same work might influence the pianist who finds him or herself dissatisfied with the decisions he or she is able to make using only the piano score. ii TABLE OF CONTENTS LIST OF FIGURES ..................................................................................................... iii Chapter 1 Introduction and Background .....................................................................
    [Show full text]
  • Scheherazade Domingo  Novembro H Grande Auditório Do Centro Cultural De Belém
    TEMPORADA 2020 | 2021 ORQUESTRA METROPOLITANA DE LISBOA SCHEHERAZADE DOMINGO NOVEMBRO H GRANDE AUDITÓRIO DO CENTRO CULTURAL DE BELÉM António Rosado * Piano Adrian Leaper Maestro * Artista Associado da Metropolitana na Temporada 2020/2021 Maurice Ravel Concerto para Piano e Orquestra em Sol Maior Nikolai Rimsky-Korsakov Scheherazade, Op. 35 FUNDADORES PATROCINADOR PATROCINADORES PRINCIPAL © Marcos Sobral © Marcos SCHEHERAZADE Maurice Ravel (1875-1937) Concerto para Piano e Orquestra em Sol Maior (1931) (duração aproximada: 23 min.) I. Allegramente II. Adagio assai III. Presto Nikolay Rimsky-Korsakov (1844-1908) Scheherazade, Op. 35 (1888) (duração aproximada: 45 min.) I. O mar e o navio de Sinbad II. A história do príncipe Kalender III. O jovem príncipe e a jovem princesa IV. Festa em Bagdade - O mar - Naufrágio dos barcos nas rochas Na conceção de uma imagem para 2020/2021 que o extraordinário acervo de imagens publicado na página correspondesse aos tempos de exceção que estamos a viver, «EverydayCovid» no Instagram, descobrimos um silêncio decidimos colocar a música em diálogo com um discurso que diz muito, pelo modo certeiro como combina imagético que se tornou estranhamente familiar e que se dramaticidade e informação. deve à qualidade do nosso fotojornalismo. Ao percorrermos IMAGEM DE CAPA Marcos Sobral nasceu em Lisboa. Seguindo a sua paixão O Cais do Sodré, o mais emblemático local noturno da capital, MARCOS SOBRAL por fotografia, rumou a Barcelona em 2004 para estudar completamente deserto num sábado à noite. no Instituto de Estudos Fotográficos da Catalunha, onde se marcos_sobral_photography especializou em Fotografia de Viagem, Fotografia de Nu e Fotografia de Moda. Desde então tem publicado na National Geographic, Altair, Blue Travel, P3, PARQ Magazine, entre muitas outras, e venceu vários prémios fotográficos, tais como «Commended Award - Wildlife Photographer Of The Year 2013» ou o «Urban Photographer Of The Year 2015».
    [Show full text]
  • Ravel (1875-1937)
    FRENCH CONCERTOS From the 19th Century to the Present A Discography of CDs and LPs Prepared by Michael Herman Edited by Stephen Ellis Maurice Ravel (1875-1937) Born in Ciboure, Pyrénées-Atlantiques, Aquitaine. He studied piano as a child and later was trained at the Paris Conservatory initially by Eugène Anthiôme and Charles de Bériot but later on more importantly in counterpoint by André Gédalge and composition by Gabriel Fauré. His musical career was devoted almost exclusively to composition and he excelled at whatever genre he worked in, from opera and ballet to wonderful creations for orchestra, instrumental combinations, voice and, especially, the piano. Ravel wrote no symphonies but the ballet "Daphnis et Chloé" is listed here because Ravel called it a "Symphonie Choréographique." His larger orchestral works written for the concert hall are his Piano Concerto in G, Piano Concerto in D for the Left Hand, Rapsodie Espagnole and Boléro. Most of his other famous orchestral pieces are Ravel's own orchestrations of his piano works. Though his music is markedly different from that of Debussy, the two are considered the twin giants of French musical impressionism. Concerto for Piano in G major (1929-31) Joaquín Achúcarro (piano)/Gilbert Varga/Basque National Orchestra ( + Piano Concerto in D and Alborada del Gracioso) CLAVES CD 50-2101 (2001) Pierre-Laurent Aimard (piano)/Pierre Boulez/Cleveland Orchestra ( + Piano Concerto in D and Miroirs) DEUTSCHE GRAMMOPHON 4778770 (2010) Rolf-Dieter Arens (piano)/Heinz Rogner/Berlin Radio Symphony Orchestra ( + Franck: Symphonic Variations, Françaix: Piano Concertino and Falla: Nights in the Gardens of Spain ) BERLIN CLASSICS BC 3024-2 (1994) (original LP release: ETERNA 828004) (1988) Martha Argerich (piano)/Claudio Abbado/Berlin Philharmonic Orchestra ( + Gaspard de la Nuit and Prokofiev: Piano Concerto No.
    [Show full text]
  • PB 5299 Vorwort 5.Ak.Qxp 29.11.2007 12:11 Seite 1
    PB 5299 Vorwort_5.Ak.qxp 29.11.2007 12:11 Seite 1 Vorwort Entstehung und erste Aufführungen Immer wieder kehrte er in seinen Geburtsort Ciboure, unweit der spa- Die Entstehungsgeschichte des Bolero ist dem spanischen Komponis- nischen Grenze zurück. Diese Heimatverbundenheit erklärt den spür- ten Joaquin Nin1 und der Geigerin Hélène Jourdan-Morhange2 zu ver- baren Einfluss baskischer und spanischer Tänze auf seine Musik. Ra- danken. Ravel hatte von Ida Rubinstein den Auftrag erhalten, sechs vels erste spanische Komposition, die berühmte Habanera der Sites Stücke aus der Iberia von Isaac Albeniz für ein neues Ballett mit dem auriculaires für zwei Klaviere, entstand acht Jahre vor Debussys Soirée Titel Fandango zu orchestrieren. Anlässlich einer Begegnung mit Nin dans Grenade. Ravel orchestrierte sie später und übernahm sie unver- Ende Juni 1928 erfuhr er jedoch, dass schon eine Orchestrierung von ändert als dritten Satz in die Rapsodie espagnole. Dieses Klangfarben- Enrique Fernandez Arbos existierte. Sichtlich verärgert, entschied sich stück par excellence mit einem wiederholten Ton (cis) markiert den Be- Ravel, etwas Eigenes zu orchestrieren. Ohne sich um die Handlung zu ginn einer Reihe von Kompositionen mit einer Ostinato-Dramaturgie, kümmern, suchte er dafür ein geeignetes Motiv. Einige Wochen spä- als deren Höhepunkt der Bolero gelten darf. Dazu zählen Werke wie ter war ihm klar, wie das Ersatzstück aussehen sollte: „Keine Form im die Pavane pour une Infante défunte, die in die literarische Vergan- eigentlichen Sinn, keine Durchführung, keine oder fast keine Modula- genheit Spaniens führt oder auch Alborada del Gracioso aus der tion; ein Thema wie bei Padilla, Rhythmus und Orchester.“3 Überlie- Sammlung Miroirs, dessen Titelheld direkt der spanischen Komödie fert ist auch die Erinnerung von Gustave Samazeuilh an Ravels Aufent- entsprungen ist.
    [Show full text]
  • O Compositor Fernando Lopes-Graça E a Sociedade De Concertos Sonata (Lisboa, 1942-1960)
    Resonancias vol. 21, n°40, enero-junio 2017, pp. 71-110 / Artículos Modernismo e internacionalismo como programa: o compositor Fernando Lopes-Graça e a sociedade de concertos Sonata (Lisboa, 1942-1960) Teresa Cascudo Área de Música, Departamento de Ciencias Humanas, Universidad de La Rioja [email protected] Resumo Durante o século XX, não foram infrequentes as organizações musicais que respondiam às seguintes características: estarem dirigidas por compositores, dedicarem-se à produção e programação de concertos preenchidos por novas obras e terem uma dimensão local. Entre 1942 e 1960, Lisboa contou com uma organização que apresentava as características mencionadas: a sociedade Sonata, fundada pelo compositor Fernando Lopes-Graça (1906- 1994), uma figura fundamental para a história da música erudita em Portugal. A relevância da Sonata tem, de facto, muito a ver com a importância que Lopes-Graça tem para a história cultural portuguesa, mas prende-se sobretudo com a atividade que desenvolveu durante perto de duas décadas. Neste artigo, debruçar-me-ei em primeiro lugar sobre o papel que Lopes- Graça teve na definição das linhas programáticas da Sonata e, em particular, sobre a forma como determinadas ideias sobre o moderno em música, desenvolvidas por Lopes-Graça nas suas colaborações jornalísticas, se plasmaram na orientação dada a esta organização musical. Centrar-me-ei ainda num outro aspecto. Refiro-me ao esforço desenvolvido por estabelecer vínculos internacionais. Estudo em particular a passagem da Sonata pela Sociedade Internacional de Música Contemporânea (SIMC). Utilizo como fonte primaria principal o arquivo administrativo da sociedade, conservado na Academia de Amadores de Música, em Lisboa. Como apéndice, o artigo proporciona o listado do repertório completo interpretado nos concertos da Sonata em Lisboa.
    [Show full text]
  • Influência Pedagógica De Helena Sá E Costa Através Da Música De Câmara
    UNIVERSIDADE CATÓLICA PORTUGUESA A INFLUÊNCIA DA PRÁTICA DE MÚSICA DE CÂMARA NA PEDAGOGIA DA PIANISTA HELENA SÁ E COSTA Dissertação apresentada à Universidade Católica Portuguesa para obtenção do grau de Mestre em Ensino de Música Ana Raquel Barbosa dos Reis Cunha ESCOLA DAS ARTES Porto, julho de 2016 UNIVERSIDADE CATÓLICA PORTUGUESA A INFLUÊNCIA DA PRÁTICA DE MÚSICA DE CÂMARA NA PEDAGOGIA DA PIANISTA HELENA SÁ E COSTA Dissertação apresentada à Universidade Católica Portuguesa para obtenção do grau de Mestre em Ensino de Música Por Raquel Cunha sob a orientação de Professora Doutora Sofia Lourenço Porto, julho de 2016 AGRADECIMENTOS Agradeço a orientação da Professora Doutora Sofia Lourenço, no tempo que me concedeu na elaboração desta dissertação e na sua disponibilidade incansável e encorajadora com que sempre me orientou no processo de trabalho. À Escola das Artes do Porto da Universidade Católica Portuguesa, que me proporcionou as ferramentas necessárias para a elaboração desta investigação. Aos discípulos de Helena Sá e Costa, participantes nas entrevistas: Álvaro Teixeira Lopes, Caio Pagano, Fausto Neves, Fátima Travanca, Fernanda Salema, Helena Rocha, José Paulo Ribeiro da Silva, Manuela Gouveia e Sofia Lourenço; bem como ao colega e amigo de Helena Sá e Costa, o professor Luiz de Moura Castro. Aos professores e alunos da Academia de Música de Vilar do Paraíso que participaram nos inquéritos realizados, mostrando a sua disponibilidade para responder no período de tempo pedido. Ao musicólogo e amigo de infância, Tiago Manuel da Hora, pelas preciosas indicações para a realização das notas biográficas apresentadas em anexo. Gostaria de agradecer ainda aos meus pais e amigos mais próximos, pela presença e incentivo constantes e o apoio fundamental da Doutora Isabel Barbosa, minha prima, na reta final da elaboração deste trabalho.
    [Show full text]