Classical Music Part Two

Total Page:16

File Type:pdf, Size:1020Kb

Classical Music Part Two PART TWO: CLASSI C A L M U S I C THE ORIGINAL INSTRUMENT MOVEMENT Many a gallon of ink has been splashed about debating the pros and cons of utilizing original instruments in performance. Trying to recreate the past is not a new idea. Opera grew from an attempt to discover Greek drama. The Baron Gottfried van Swieten, a Viennese nobleman and music lover of Dutch birth, encouraged Mozart (and others) to revive the music of Handel (1684–1759), who by the late 1770s was almost forgotten in Vienna. Mozart complied by adjusting and updating the scores of Alexander’s Feast, Ode for St. Cecilia’s Day, Acis and Galetea, and the Messiah. All the Mozart versions have been recorded. Mendelssohn was responsible for the early Victorian rekindling of J.S. Bach. Mozart and Mendelssohn updated the music to make it more palatable. Cer- tainly a first step. Arnold Dolmetsch (1858–1940) moved in the other direction. From a family of instrument builders, Dolmetsch studied and recreated the past. He taught his large family to play his “resurrected” instruments and almost single- handedly revived the recorder and the da Gamba instruments. Wanda Landowska (1877–1959) rekindled interest in the harpsichord, and had an especially loud one made. She performed on many recordings, including one from pre-World War II Paris in which the testing of the defense guns can be heard in the background. In the 1930s, Ben Stad, a Hollander who became an American citizen, founded the American Society of the Ancient Instruments and took upon him- self “the noble mission of bringing to music lovers in this country the works of early composers.” Two sets of ten- and twelve-inch 78-rpm records were issued by Victor. This Music of Early Composers was revived by David Hall in The Record Book (1946). “For those who are interested in the early development of orchestral instruments or who wonder how music of the Sixteenth Century [sic] actually sounded to the concert-goer of that day, this set should hold much of interest. Byrd, Purcell, Frescobaldi, Lully, and Scarlatti are among the early composers represented, all played on instruments of their day. Performances and recording are, for the most part, adequate.” Stad’s recording of Carl Philip Emanuel Bach’s Concerto in D for Orchestra took a definite back seat to the performance of Serge Koussevitsky and the Boston Symphony Orchestra as CLASSICAL MUSIC 71 re-orchestrated by the Russian Maximillian Steinberg which was considered a “must” for anyone’s library. Since the 1960s the steam of the purists has gained in power. Original instrument boys (and girls—gawd forbid) feel that a performance can only reflect the composer’s intention when it is recreated on the instruments in use at the time of composition. They argue (and no one doubts this) that a sackbut, ancestor of the trombone, has a different sound and is played in a different way. It gets more confusing when a fortepiano of Beethoven’s time or better, that of Brahms, is passed by for a modern Steinway. The pur- ists argue that the tone is different, the mechanical action is different, and the volume is different. All affect the outcome. When a sonata is played, the actual playing will be affected by the action. The style of performance will also be affected by the correct size room supporting the right acoustics and the pitch of the instruments tuned to that of the period of composition. If a Beethoven fortepiano is used in a concerto, the orchestra must be downsized to a complement fitting the late eighteenth century, and the tempo markings must match the far faster metronome markings Beethoven is supposed to have specified. The modern instrument guys and gals think this “historical reconstruc- tion” is bunk. They assert that improvements in instrument construction vastly enhance the sound and ease of playing. The bigger and brighter-sounding piano is perfect for the bigger orchestra and improved orchestra instruments. And besides, audiences in today’s large concert halls are used to slightly slower tempo markings, and the higher pitch carries better to sound-weary ears. Does it make a difference? On one side, none at all—enjoyment is enjoyment. But there is a real, easily perceived difference in the sound. The catgut strings have a bit more bite or “cat-in-heat” tang, if you will. The brass instruments, without valves, are often a bit mellower on one hand, but can have an edge which hits the ears in a colorful contrast, because the notes are sometimes not quite “on the money” as the player works with mouth and hand to create the sound. Many old instruments lack the keys for perfect notes and others, like the basset clarinet, sound nothing like a contempory clarinet. The differences become important when trying to set the flavor and mood of a period. The original instruments can be thrilling, and the crisply etched textural contrasts inform the listener in a unique way. The original instrument players feel their approach should extend back to the earliest music and forward to the symphonies of Bruckner and Brahms. Another performance style has evolved in which the size of the orchestra is now adjusted to match the number of players utilized at the time of com- position, but the music is played on modern instruments. This has brought additional clarity to the works of Haydn and Mozart, not to speak of Bach and Handel, and the “thinner” sound sits easily and familiarly on the ear. During the nineteenth century it was not uncommon to hear the most unoriginal Handel with three or four thousand performers! In 1888, one such concert was recorded 72 SOUND Designer’s COMPANION on an Edison cylinder! The real difficulty becomes one of consistency. The new and old sounds do not mix. The ear is jarred by juxtaposition. As with drinking: never mix, never worry. A GLOSSARY OF VOCAL AND INSTRUMENTAL MUSIC The glossary of music terminology which follows does not pretend to be com- plete nor to replace a thorough musical dictionary. The selected entries are some of the most common items encountered in production work. Following this glossary is another one devoted to the world of dance and related infor- mation. a cappella (It. ah-cahp-PEL-lah). Unaccompanied singing—derived from the early Italian practice of writing for the chapel choir, which by papal decree was not accompanied by any instruments. The cappa (diminutive cappella) was the cloak worn by St. Marin, which he divided to share with a beggar. The remnants were preserved in a sanctuary which was latter called a “cappella.” Thus any small church became a cappella. The German Kapelle is the same, and the musician in charge there became the Kapellmeister. aleatory music. From the Latin word alea, meaning dice. This chancy compositional practice gained a tenuous foothold after WWII with avant- garde composers, including Pierre Boulez and Karlheinz Stockhausen. GLOSSARY The composer gives the conductor or performer the choice of ordering the music: a dicey situation at best. Of course the use of dice is nothing new. Mozart, certainly familiar with the “bones of the devil,” gamely jotted MUSIC down on a sheet of music paper some two-bar phrases of a German TERMS dance. This was accompanied by columns of numbers. He simply threw the dice and found the appointed column and numbers dictating the next phrase. Mozart’s boredom with the rigid structure and fixed rules is evident by his lack of their pursuit. It was simply faster for him to compose. If listening to some of Mozart’s aleatory experiments is desired, K.516F should get you there. alto (It. AL-toe). The proper definition of the word is “high.” Originally alto was used to designate the high male voice, which in late adolescence is moving from the soprano into the tenor range. Today, “counter-tenor” is the alto male voice and “contralto” the female. In catalogues and on choir designations S.A.T.B. means Soprano, Alto, Tenor and Bass. The mezzo-soprano is a female voice now found between the higher soprano and lower contralto, but the lines are often quite blurred. “Sopranist” has become a title for the high alto voice of counter-tenors, or “falsettists,” as they are often designated. Indeed, most very high male voices are falsetto, a head-voice produced by practice and not by surgical means. See castrato for a bit more detail and proof that the Roman Catholic Church at one time practiced birth-control. CLASSICAL MUSIC 73 arabesque. The word alludes to the intricate pattern of interlaced lines found in Arabic art—thus a florid and ornamental melody. Debussy and Schumann are but two who wrote arabesques. aria (It. AH-ree-ah). A song accompanied by some form of instrumental background. In opera, cantatas, and oratorios, the aria becomes grander and the accompaniment more sophisticated. In both secular and sacred music, the aria can become an isolated, virtuostic showpiece for a singer (or instrument) with accompaniment. arie antiche (It. ar-EE-a an-TEESH). Italian arias, usually from the seventeenth century. The “old songs” are sometimes from operas, but always noted for a lovely musical line. Caldara, Durante, Cesti, Alessandro Scarlatti, Bonocini, Fasolo, Bassani and many others contributed to the form. Arie antiche are still grouped together as part of a recital, either on recordings or in live presentations. ars antiqua (Latin ars an-TIK-wa, meaning “old art”). It refers to the music of the Middle Ages, including plainsong and organum; a form of polyphony in which the voices move parallel and in fifths.
Recommended publications
  • The String Quartets of George Onslow First Edition
    The String Quartets of George Onslow First Edition All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Edition Silvertrust a division of Silvertrust and Company Edition Silvertrust 601 Timber Trail Riverwoods, Illinois 60015 USA Website: www.editionsilvertrust.com For Loren, Skyler and Joyce—Onslow Fans All © 2005 R.H.R. Silvertrust 1 Table of Contents Introduction & Acknowledgements ...................................................................................................................3 The Early Years 1784-1805 ...............................................................................................................................5 String Quartet Nos.1-3 .......................................................................................................................................6 The Years between 1806-1813 ..........................................................................................................................10 String Quartet Nos.4-6 .......................................................................................................................................12 String Quartet Nos. 7-9 ......................................................................................................................................15 String Quartet Nos.10-12 ...................................................................................................................................19 The Years from 1813-1822 ...............................................................................................................................22
    [Show full text]
  • Baroque Ensemble Program 12-6-18.Pdf
    Our ensemble uses a set of baroque bows patterned after existing historic examples BYU – IDAHO DEPARTMENT OF MUSIC PRESENTS from the early 18th century. These bows are lighter, shorter, and have a slight outward curve resulting in characteristic baroque articulation -- a strong, quick down bow and a light, softer up bow, meant to emphasize the inequalities of strong and weak beats. Basso continuo refers to the preferred harmonic accompaniment used during the baroque era. From a printed bass line with a few harmonic clues indicated as numerical “figures,” musicians improvised chordal accompaniments which best fit the unique qualities of their instruments and supported the upper solo lines -- similar to the way a modern jazz rhythm section will “comp” behind a vocal or saxophone solo. This single bass line might include a colorful variety of both melodic and chord playing instruments. Tonight’s basso continuo section includes: • Harpsichord, featuring plucked brass strings across a light wood frame, resulting in a delicate, transparent tone which contrasts with the strong iron frame and hammered tone of the modern piano • Baroque style organ, using a mechanical “tracker” mechanism instead of electronics to route air to each pipe This evening’s performance features suites, sinfonia and concerti by prominent composers from the 17th and early 18th century: § The prolific Antonio Vivaldi is known for his development of three- movement concerto form. An extravagant violinist, he carried the nickname “il prete roso” (the red priest) because of his red hair. § Johann Heinrich Schmelzer was recognized in his day as Vienna's foremost violin virtuoso and a leading composer.
    [Show full text]
  • Symposium Programme
    Singing a Song in a Foreign Land a celebration of music by émigré composers Symposium 21-23 February 2014 and The Eranda Foundation Supported by the Culture Programme of the European Union Royal College of Music, London | www.rcm.ac.uk/singingasong Follow the project on the RCM website: www.rcm.ac.uk/singingasong Singing a Song in a Foreign Land: Symposium Schedule FRIDAY 21 FEBRUARY 10.00am Welcome by Colin Lawson, RCM Director Introduction by Norbert Meyn, project curator & Volker Ahmels, coordinator of the EU funded ESTHER project 10.30-11.30am Session 1. Chair: Norbert Meyn (RCM) Singing a Song in a Foreign Land: The cultural impact on Britain of the “Hitler Émigrés” Daniel Snowman (Institute of Historical Research, University of London) 11.30am Tea & Coffee 12.00-1.30pm Session 2. Chair: Amanda Glauert (RCM) From somebody to nobody overnight – Berthold Goldschmidt’s battle for recognition Bernard Keeffe The Shock of Exile: Hans Keller – the re-making of a Viennese musician Alison Garnham (King’s College, London) Keeping Memories Alive: The story of Anita Lasker-Wallfisch and Peter Wallfisch Volker Ahmels (Festival Verfemte Musik Schwerin) talks to Anita Lasker-Wallfisch 1.30pm Lunch 2.30-4.00pm Session 3. Chair: Daniel Snowman Xenophobia and protectionism: attitudes to the arrival of Austro-German refugee musicians in the UK during the 1930s Erik Levi (Royal Holloway) Elena Gerhardt (1883-1961) – the extraordinary emigration of the Lieder-singer from Leipzig Jutta Raab Hansen “Productive as I never was before”: Robert Kahn in England Steffen Fahl 4.00pm Tea & Coffee 4.30-5.30pm Session 4.
    [Show full text]
  • The Concert Hall As a Medium of Musical Culture: the Technical Mediation of Listening in the 19Th Century
    The Concert Hall as a Medium of Musical Culture: The Technical Mediation of Listening in the 19th Century by Darryl Mark Cressman M.A. (Communication), University of Windsor, 2004 B.A (Hons.), University of Windsor, 2002 Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the School of Communication Faculty of Communication, Art and Technology © Darryl Mark Cressman 2012 SIMON FRASER UNIVERSITY Fall 2012 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for “Fair Dealing.” Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Approval Name: Darryl Mark Cressman Degree: Doctor of Philosophy (Communication) Title of Thesis: The Concert Hall as a Medium of Musical Culture: The Technical Mediation of Listening in the 19th Century Examining Committee: Chair: Martin Laba, Associate Professor Andrew Feenberg Senior Supervisor Professor Gary McCarron Supervisor Associate Professor Shane Gunster Supervisor Associate Professor Barry Truax Internal Examiner Professor School of Communication, Simon Fraser Universty Hans-Joachim Braun External Examiner Professor of Modern Social, Economic and Technical History Helmut-Schmidt University, Hamburg Date Defended: September 19, 2012 ii Partial Copyright License iii Abstract Taking the relationship
    [Show full text]
  • Early Fifteenth Century
    CONTENTS CHAPTER I ORIENTAL AND GREEK MUSIC Section Item Number Page Number ORIENTAL MUSIC Ι-6 ... 3 Chinese; Japanese; Siamese; Hindu; Arabian; Jewish GREEK MUSIC 7-8 .... 9 Greek; Byzantine CHAPTER II EARLY MEDIEVAL MUSIC (400-1300) LITURGICAL MONOPHONY 9-16 .... 10 Ambrosian Hymns; Ambrosian Chant; Gregorian Chant; Sequences RELIGIOUS AND SECULAR MONOPHONY 17-24 .... 14 Latin Lyrics; Troubadours; Trouvères; Minnesingers; Laude; Can- tigas; English Songs; Mastersingers EARLY POLYPHONY 25-29 .... 21 Parallel Organum; Free Organum; Melismatic Organum; Benedica- mus Domino: Plainsong, Organa, Clausulae, Motets; Organum THIRTEENTH-CENTURY POLYPHONY . 30-39 .... 30 Clausulae; Organum; Motets; Petrus de Cruce; Adam de la Halle; Trope; Conductus THIRTEENTH-CENTURY DANCES 40-41 .... 42 CHAPTER III LATE MEDIEVAL MUSIC (1300-1400) ENGLISH 42 .... 44 Sumer Is Icumen In FRENCH 43-48,56 . 45,60 Roman de Fauvel; Guillaume de Machaut; Jacopin Selesses; Baude Cordier; Guillaume Legrant ITALIAN 49-55,59 · • · 52.63 Jacopo da Bologna; Giovanni da Florentia; Ghirardello da Firenze; Francesco Landini; Johannes Ciconia; Dances χ Section Item Number Page Number ENGLISH 57-58 .... 61 School o£ Worcester; Organ Estampie GERMAN 60 .... 64 Oswald von Wolkenstein CHAPTER IV EARLY FIFTEENTH CENTURY ENGLISH 61-64 .... 65 John Dunstable; Lionel Power; Damett FRENCH 65-72 .... 70 Guillaume Dufay; Gilles Binchois; Arnold de Lantins; Hugo de Lantins CHAPTER V LATE FIFTEENTH CENTURY FLEMISH 73-78 .... 76 Johannes Ockeghem; Jacob Obrecht FRENCH 79 .... 83 Loyset Compère GERMAN 80-84 . ... 84 Heinrich Finck; Conrad Paumann; Glogauer Liederbuch; Adam Ile- borgh; Buxheim Organ Book; Leonhard Kleber; Hans Kotter ENGLISH 85-86 .... 89 Song; Robert Cornysh; Cooper CHAPTER VI EARLY SIXTEENTH CENTURY VOCAL COMPOSITIONS 87,89-98 ...
    [Show full text]
  • Halle, the City of Music a Journey Through the History of Music
    HALLE, THE CITY OF MUSIC A JOURNEY THROUGH THE HISTORY OF MUSIC 8 WC 9 Wardrobe Ticket office Tour 1 2 7 6 5 4 3 EXHIBITION IN WILHELM FRIEDEMANN BACH HOUSE Wilhelm Friedemann Bach House at Grosse Klausstrasse 12 is one of the most important Renaissance houses in the city of Halle and was formerly the place of residence of Johann Sebastian Bach’s eldest son. An extension built in 1835 houses on its first floor an exhibition which is well worth a visit: “Halle, the City of Music”. 1 Halle, the City of Music 5 Johann Friedrich Reichardt and Carl Loewe Halle has a rich musical history, traces of which are still Johann Friedrich Reichardt (1752–1814) is known as a partially visible today. Minnesingers and wandering musicographer, composer and the publisher of numerous musicians visited Giebichenstein Castle back in the lieder. He moved to Giebichenstein near Halle in 1794. Middle Ages. The Moritzburg and later the Neue On his estate, which was viewed as the centre of Residenz court under Cardinal Albrecht von Brandenburg Romanticism, he received numerous famous figures reached its heyday during the Renaissance. The city’s including Ludwig Tieck, Clemens Brentano, Novalis, three ancient churches – Marktkirche, St. Ulrich and St. Joseph von Eichendorff and Johann Wolfgang von Moritz – have always played an important role in Goethe. He organised musical performances at his home musical culture. Germany’s oldest boys’ choir, the in which his musically gifted daughters and the young Stadtsingechor, sang here. With the founding of Halle Carl Loewe took part. University in 1694, the middle classes began to develop Carl Loewe (1796–1869), born in Löbejün, spent his and with them, a middle-class musical culture.
    [Show full text]
  • Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
    Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support.
    [Show full text]
  • APPENDIX 1 Inventories of Sources of English Solo Lute Music
    408/2 APPENDIX 1 Inventories of sources of English solo lute music Editorial Policy................................................................279 408/2.............................................................................282 2764(2) ..........................................................................290 4900..............................................................................294 6402..............................................................................296 31392 ............................................................................298 41498 ............................................................................305 60577 ............................................................................306 Andrea............................................................................308 Ballet.............................................................................310 Barley 1596.....................................................................318 Board .............................................................................321 Brogyntyn.......................................................................337 Cosens...........................................................................342 Dallis.............................................................................349 Danyel 1606....................................................................364 Dd.2.11..........................................................................365 Dd.3.18..........................................................................385
    [Show full text]
  • Programa Del Otoño Musical Soriano 2016
    PRESIDENCIA DE HONOR S.A.R LA INFANTA Dª MARGARITA DE BORBÓN Y EL EXCMO. SR. D. CARLOS ZURITA. DUQUES DE SORIA Director Festival: Jose Manuel Aceña Notas al programa: Sonia Gonzalo Delgado Diseño y maquetación: Estudioayllón Impresión: Imprenta Provincial de Soria Organiza: Plaza Mayor s/n. 42071· SORIA Tel: 975 23 41 14 / 975 23 28 69 [email protected] www.soria.es/festivalmusical Dep. Leg: SO - 55/2016 Saluda del Alcalde Estimados amigos, estimadas amigas, Gracias por compartir un año más esta cita con la música y la cultura en nuestra Ciudad que es el Otoño Musical Soriano. Como podrán com- probar en este programa de mano, la vigesimocuarta edición de nuestro Festival refleja su carácter accesible, atractivo, completo y ambicioso que reedita la conexión mágica con ustedes, el público, verdadero artífice de que el Otoño Musical Soriano se supere año a año, convirtiéndose en uno de los principales festivales musicales a nivel europeo. Así lo atestigua el galardón “EFFE Label”, recibido el pasado año desde la Asociación Eu- ropea de Festivales como marca de calidad del Otoño Musical Soriano. A punto de celebrar 25 años de historia desde que el trabajo y el cariño del Maestro Odón Alonso hacia Soria alumbrara esta cita por primera vez, las máximas de compromiso con el talento artístico y la excelen- cia internacional están presentes desde la inauguración a la clausura gracias a la labor de su Director, el Maestro José Manuel Aceña, quien ha sabido comprender y transmitir el legado del Maestro Alonso. Sirvan estas líneas para reconocer una vez más su trabajo al frente del Festival.
    [Show full text]
  • Český Spolek Pro Komorní Hudbu 125. Sezona 2019 / 2020 ČESKÁ FILHARMONIE
    Český spolek pro komorní hudbu 125. sezona 2019 / 2020 ČESKÁ FILHARMONIE ČESKÝ SPOLEK PRO KOMORNÍ HUDBU 125. sezona 2019 /2020 ZŘIZOVATELEM JE MINISTERSTVO KULTURY ČESKÉ REPUBLIKY CESKAFILHARMONIE.CZ FACEBOOK.COM/CESKAFILHARMONIE ČESKÝ SPOLEK PRO KOMORNÍ HUDBU OBSAH 04 Úvodní slovo 06 Kalendárium koncertů Abonentní koncerty I 11 Cyklus II 21 Cyklus HP 33 Hudební podvečery DK 43 Dopolední koncerty 52 Mimořádný koncert Informace 56 Informace o vstupenkách 60 Dopravní informace 62 Dvořákova síň 64 Sukova síň 65 Sál Martinů 67 Kontakty OBSAH 3 ČESKÝ SPOLEK PRO KOMORNÍ HUDBU ČESKÝ SPOLEK PRO KOMORNÍ HUDBU Během dlouhých desetiletí své existence Věřím, že i v tomto novém termínu ÚVODNÍ musel Český spolek pro komorní hudbu zůstanete příjemné atmosféře Podvečerních často překonávat řadu politických i jiných koncertů věrni. ataků a nekompromisně bojovat za svou SLOVO Vážení posluchači, Rada Českého spolku nezávislost, zejména během obou světových pro komorní hudbu i vedení České válek a v období totality, která tvrdě filharmonie si velmi váží vašeho trvalého Vážení posluchači a milí příznivci komorní potlačovala spolkový život. Až ve svobodném zájmu o spolkové koncerty. Jubilejní sezonu hudby, státě, začátkem devadesátých let minulého jsme připravovali s maximální rozvahou století, získal Spolek jistotu jako svébytná otevíráte programový katalog Českého a péčí. Budeme se tedy opět pravidelně a samostatná složka České filharmonie. spolku pro komorní hudbu, který letos setkávat na našich koncertech a společně se vstupuje do své jubilejní 125. sezony. Slavnostní sezona samozřejmě vyžaduje těšit z posluchačských zážitků, které nám Právě tolik let uběhlo od okamžiku, kdy výjimečné programy. Oba hlavní svou výrazovou hloubkou a bohatstvím 10. října 1894 členové legendárního Českého koncertní cykly proto tentokrát dostávají emocí může poskytnout jen komorní kvarteta ve složení Karel Hoffmann, své specifické názvy.
    [Show full text]
  • Swr2 Programm Kw 49
    SWR2 PROGRAMM - Seite 1 - KW 49 / 04. - 10.12.2017 Jean-Baptiste Marella: Verhältnisse als Michail Bulgakows Montag, 04. Dezember Suite Nr. 1 A-Dur Roman “Der Meister und Margarita”, in Alexandre Lagoya, Ida Presti (Gitarre) dem das Machtzentrum des 0.05 ARD-Nachtkonzert Samuel Wesley: aufsteigenden Staatskommunismus als Michael Haydn: Allegro molto aus der Sinfonie D-Dur Hort von Psychosen und Absurditäten Sinfonie G-Dur P 16 London Mozart Players gezeichnet wird. Es war das “neue”, MDR Sinfonieorchester Leitung: Matthias Bamert sozialistische Moskau, das Bulgakow Leitung: Howard Arman beschrieb – es hatte das kaiserliche St. Peter Tschaikowsky: 6.00 SWR2 am Morgen Petersburg abgelöst, das eher für Variationen über ein Rokoko-Thema darin bis 8.00 Uhr: Weltoffenheit und europäische op. 33 u. a. Globales Tagebuch, Ausrichtung stand. Moskau dagegen Claudio Bohórquez (Violoncello) Pressestimmen, Meinung, Heute in war die alte Hauptstadt, weit entfernt MDR Sinfonieorchester den Feuilletons und Kulturgespräch von den westlichen Metropolen, von Leitung: Hendrik Vestmann Napoleon und Hitler vergeblich Gioacchino Rossini: 6.00 SWR2 Aktuell belagert. Modest Mussorgsky hat die Streichersonate Nr. 1 G-Dur düstere Machtzentrale in seinem “Boris Thüringisches Kammerorchester 6.20 SWR2 Zeitwort Godunow” beschrieben – und natürlich Weimar 04.12.1926: Agatha Christie wird stattete sich der Moskauer Adel und Leitung: Martin Hoff vermisst die Kirche immer auch mit Musik aus. Franz Schubert: Von Ursula Wegener Im 19. Jahrhundert bekam Moskau 4 Impromptus
    [Show full text]
  • BH Program FINAL
    MUSIC BEFORE 1800 Louise Basbas, Director Blue Heron Christmas at the Courts of 15th-Century France & Burgundy Scott Metcalfe, director and harp Jennifer Ashe, Pamela Dellal, Martin Near, Daniela Tosic Michael Barrett, Owen McIntosh, Jason McStoots, Stefan Reed, Mark Sprinkle, Sumner Tompson Cameron Beauchamp, Paul Guttry Laura Jeppesen, vielle and rebec; Charles Weaver, lute and voice Advent O clavis David (O-antiphon for December 20) plainchant Factor orbis Jacob Obrecht (1457/8 - 1505) O virgo virginum (O-antiphon for December 24) plainchant O virgo virginum Josquin Desprez (c. 1455 - 1521) Conditor alme siderum (alternatim hymn for Advent) Guillaume Du Fay (c. 1397 - 1474) Ave Maria gratia dei plena Antoine Brumel (c. 1460 - c. 1512) Christmas O admirabile commercium / Verbum caro factum est Johannes Regis (c. 1425 - 1426) INTERMISSION Christmas Letabundus (Christmas sequence) Guillaume Du Fay Praeter rerum seriem Adrian Willaert (c. 1490 - 1562 New Year’s Day La plus belle et doulce figure Nicolas Grenon (c. 1380 - 1456) Dieu vous doinst bon jour et demy Guillaume Malbecque (c. 1400 - 1465) Dame excellent ou sont bonté, scavoir Baude Cordier (d. 1397/8?) De tous biens playne (instrumental) Johannes Tinctoris (c. 1435 - 1511?) Margarite, fleur de valeur Gilles Binchois (c. 1400 - 1460) Ce jour de l’an voudray joie mener Guillaume Du Fay Christmas Gloria Spiritus et alme Johannes Ciconia (c. 1370 - 1412) Nato canunt omnia Antoine Brumel Tis concert is sponsored, in part, by the Florence Gould Foundation, Music Before 1800’s programs are supported, in part, by public funds from the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature and the New York City Department of Cultural Affairs in partnership with the City Council.
    [Show full text]