The Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat

Total Page:16

File Type:pdf, Size:1020Kb

The Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat Wed, Mar 03, 2021 - The Classical Station, WCPE 1 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 00:01:30 10:17 Francoeur Cello Sonata in E Bailey/Dinnerstein 06945 Delos 3326 013491332628 00:12:4726:32 Strauss, R. Concerto in D for Oboe and Klein/Chicago 05855 Teldec 23913 639842391320 Small Orchestra Symphony/Barenboim 00:40:4919:03 Massenet Manon Ballet: Act 2, Scene 1 Orchestra of the Royal 02051 London 414 585 028941458520 Opera House, Covent Garden/Bonynge 01:01:22 08:34 Beethoven Piano Sonata No. 19 in G Sviatoslav Richter 06654 Philips 289 464 028946471029 minor, Op. 49 No. 1 710 01:11:0623:45 Bach, C.P.E. Flute Concerto in A minor Nicolet/Netherlands 03995 Philips 442 592 028944259223 Chamber Orchestra/Zinman 01:36:2123:41 Smyth Violin Sonata in A minor, Op. 7 Little/Lenehan PV1247 Chandos 20030 095115203026 02:01:32 12:21 Berlioz Overture to The Secret Court Dresden State 09043 RCA 65839 828766583922 Judges, Op. 3 Orchestra/Davis 02:14:5310:07 Chopin Scherzo No. 2 in B flat minor, Ivan Moravec 00891 Dorian 90140 053479014023 Op. 31 02:26:00 34:01 Rubbra Symphony No. 2, Op. 45 BBC National 03968 Chandos 9481 095115948125 Orchestra of Wales/Hickox 03:01:3113:40 Heinze Concert Piece in F King/English Chamber 04456 Hyperion 22017 034571120171 Orchestra/Judd 03:16:1129:04 Castelnuovo-Te Concerto No. 2, "The Prophets" Heifetz/Los Angeles 00168 RCA Victor 7872 78635787221 desco Philharmonic/Wallenst ein 03:46:45 13:06 Debussy Estampes Zoltan Kocsis 01079 Philips 412 118 02894121182 04:01:2113:42 Smetana From Bohemia's Woods and Vienna 07914 RCA Red 54331 828765433129 Fields from Má vlast (My Philharmonic/Harnonc Seal Fatherland) ourt 04:16:0305:22 Rachmaninoff Oh, never sing to me again, Fleming/Vienna 13259 Sony 542593 n/a Op. 40 no. 4 Philharmonic/Eschenb Classical ach 04:22:4037:13 Tchaikovsky String Quartet No. 2 in F, Op. Borodin Quartet 01465 EMI 49775 077774977524 22 05:01:2319:45 Beethoven Piano Sonata No. 28 in A, Op. Murray Perahia 05304 Sony 93043 827969304327 101 05:22:0807:34 Hebden Concerto No. 2 in C Cantilena/Shepherd 01996 Chandos 8339 N/A 05:30:42 08:09 Bach Fuga from Sonata No. 2 in A Yuri Liberzon PV1348 Laudable n/a 638266929003 minor, BWV 1003 Records 05:39:5108:56 Saint-Saëns Introduction & Rondo Oistrach/Boston 06919 BMG 60683 090266068326 Capriccioso, Op. 28 Symphony/Munch 05:49:42 09:43 Fill Music: announcer selects 06:01:0008:48 Vivaldi Concerto in D for Transverse Preston/English 01136 Musical 11085Z N/A Flute, RV 429 Concert/Pinnock Heritage Society 06:10:4804:28 Massenet The Last Sleep of the Virgin Robinson/City of 01976 EMI 63024 007777630242 Birmingham 3 Symphony/Fremaux 06:16:1610:40 Mozart Flute Quartet No. 4 in A, K. 298 Grafenauer/Kremer/Ha 03539 Sony 66240 074646624029 gen/Hagen Classical 06:27:5603:04 Boulanger, Lili Nocturne for violin and piano Ibragimova/Tiberghien DownloadHyperion 68204 n/a 06:32:3510:25 Molter Trumpet Concerto in D André/Paillard 04276 Erato 45061 022924506123 Chamber Orchestra/Paillard 06:44:0005:15 Svendsen 3rd mvt (Allegretto) from Oslo 01661 NKF 50010 028905001021 Symphony No. 1 in D, Op 4 Philharmonic/Caridis Wed, Mar 03, 2021 - The Classical Station, WCPE 2 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 06:50:15 08:51 Anrooy Piet Hein Rhapsody Netherlands Radio 03512 NM 92060 871330992060 Symphony/Bakels Classics 4 07:00:4108:18 Glazunov Triumphal March, Op. 40 Hong Kong 00515 Records 7001 N/A Philharmonic/Scherme Internation rhorn al 07:09:5910:32 Handel Trio Sonata No. 3 in E flat Convivium 05122 Hyperion 67083 034571170831 07:21:31 08:04 Schumann Overture to Genoveva, Op. 81 London DownloadLSO Live 0818 n/a Symphony/Gardiner 07:30:3508:32 Strauss Jr. Overture to Die Fledermaus Vienna 05888 DG 289 459 028945973029 Philharmonic/KaraJan 730 07:40:42 07:03 Purcell Suite from Abdelazar Tafelmusik/Lamon 05969 Reference 2101 030911210120 Recordings 07:48:4504:24 Higdon Joy Ride from Harp Concerto Kondonassis/Rocheste PV1221 Azica 71327 787867132722 r Philharmonic/Stare 07:54:09 05:36 Respighi Bells of Paris from Ancient Airs CBC Vancouver 03922 CBC 96 059582059623 & Dances, Suite No. 2 Orch/Bernardi 08:01:2005:06 Mendelssohn-H March from The Year (Das Sarah Rothenberg 04145 Arabesque Z6666 026724666629 ensel Jahr) 08:07:41 09:04 Strauss, Josef Village Swallows from Austria Vienna 07129 Decca 10611 028947800347 Philharmonic/Pretre 08:18:0010:16 Hoffmann, Music from The Merry Berlin Radio 00884 Schwann 11627 N/A E.T.A. Musicians Symphony/Zagrosek 08:30:16 08:35 Schubert Impromptu in A flat, D. 899 No. Simone Dinnerstein 10120 Sony 798943 4 08:40:2608:32 Beethoven 1st mvt from Symphony No. 8 Revolutionary & 12618 Archiv 477 8643 028947786436 in F, Op. 93 Romantic Producktio Orchestra/Gardiner n 08:49:58 09:27 Fill Music: announcer selects 09:01:15 10:41 Debussy Prelude to the Afternoon of a Saint Louis 05830 Telarc 80558 089408055829 Faun Symphony/Slatkin 09:12:5632:01 Hoffmeister Piano Concerto in D Blumental/Prague 06187 Brana 0009 821158100929 Chamber Records Orchestra/Zedda 09:46:1213:14 Ravel La Valse NY 04705 Teldec 13133 706301313329 Philharmonic/Masur 10:01:1615:35 Tchaikovsky Capriccio italien, Op. 45 Berlin 07773 DG 00289 n/a Philharmonic/Rostropo 477 6579 vich 10:18:2141:03 Lyapunov Symphony No. 1 in B minor, Russian DownloadNaxos 8.570462 747313046270 Op. 12 Philharmonic/Yablonsk sy 11:01:1408:51 Vivaldi Flute Concerto in F, Op. 10 No. Debost/Chamber 01503 EMI 69143 509997691432 5 Orchestra of 4 Toulouse/Auriacombe 11:11:05 29:49 Berwald Symphony No. 4 in E flat San Francisco 06954 London 436 597 028943659727 Symphony/Blomstedt 11:42:0906:42 Schubert Impromptu in A flat, D. 935 No. Ingrid Haebler 04589 Philips 422 268 028942226821 2 11:49:51 09:03 Bach, C.P.E. String Symphony in E Akademie fur Alte 04942 Harmonia 901622 794881409426 Music Berlin/Mai Mundi 12:00:4403:20 Paradis Sicilienne Kanneh-Mason/orchest PV1098 Decca B002854 602567655190 ra/Green 2 12:05:04 15:52 Handel Suite from the operas Florindo Parley of 05041 Hyperion 67053 034571170534 & Daphne Instruments/Holman 12:21:5611:40 Liszt Hungarian Rhapsody No. 1 in F Israel 01935 Sony 44926 07464449262 minor Philharmonic/Mehta Wed, Mar 03, 2021 - The Classical Station, WCPE 3 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 12:34:51 10:07 Fill Music: announcer selects 12:45:5813:27 Bach, J.C.F. Cello Sonata in A Camerata of Cologne 07350 CPO 777 087 761203708727 13:01:1523:08 Adam Selections from Giselle, Act 1 London 02277 Sony 42450 07464424502 Symphony/Tilson Thomas 13:25:5308:38 Larsson Lyric Fantasy, Op. 54 Helsingborg DownloadCPO 777 670 n/a Symphony/Manze 13:35:5124:33 Mozart String Quartet No. 22 in B flat, Alban Berg Quartet 02159 Teldec 72480 090317248028 K. 589 14:02:1434:51 Beethoven Piano Concerto No. 4 in G, Op. Ax/Royal 02054 RCA 5930 07863559302 58 Philharmonic/Previn 14:38:3521:55 Respighi The Pines of Rome Berlin 04698 DG 449 724 028944972429 Philharmonic/KaraJan 15:02:2035:24 Smyth Serenade in D BBC 07192 Chandos 9449 095115944929 Philharmonic/Martinez 15:38:5403:33 Verdi Grand March from Aida (for Boston Pops/Fiedler 02113 RCA 60700 090266070022 orchestra) 15:43:4215:50 Strauss, R. Horn Concerto No. 1 in E flat Bloom/Cleveland 04949 Sony 63123 n/a Orch/Szell 16:00:4707:02 Schubert Impromptu in F minor, D. 935 Radu Lupu 04748 Decca 289 460 028946097526 No. 4 975 16:08:4405:44 Schmelzer French Ballet Tafelmusik/Lamon 02678 Sony 53963 7464 53963 2 16:15:23 10:39 Bach, J.C.F. Sinfonia in B flat Orchestra of St. 02503 Musical 512734K n/a Luke's/Davies Heritage Society 16:26:5706:42 Ravel Menuet antique French National 01643 Denon 1797 081759002804 Orchestra/Inbal 16:34:5407:27 Chavez El Tropico Philharmonic 09047 Sony 88697755 886977555527 Orchestra of the 552 Americas/de la Parra 16:43:16 07:38 Mozart Finale from Piano Concerto No. Ashkenazy/Philharmon 01317 London 411 947 028941194725 17 in G, K. 453 ia 16:51:4908:50 Nicolai Overture to The Merry Wives of Vienna 00123 London 421 170 028942117020 Windsor Philharmonic/Boskovsk y 17:01:5408:24 Haydn, M. Symphony No. 34 in E flat German Chamber 06576 CPO 999 379 761203937929 Academy of Neuss/Goritzki 17:11:13 09:05 Tchaikovsky Pezzo capriccioso, Op. 62 Gendron/Vienna 07908 DG 0000209 028947289425 Symphony/Dohnanyi 17:21:1308:13 Liszt Tarantella from Venice and Frederic Chiu 05859 Harmonia 907263 093046726324 Naples Mundi 17:30:26 05:43 Lehar Merry Widow Waltz Boston Pops/Fiedler 04582 RCA 68793 090266879328 17:37:0407:34 Gluck Dance of the Blessed Spirits Academy of Ancient 01695 L'Oiseau 410 553 028941055323 from Orpheus and Eurydice Music/Hogwood Lyre 17:45:3302:01 Telemann 2nd mvt (Largo) from Concerto Apollo's Fire/Sorrell 12319 Avie 2353 822252235326 in G "in the Polish style" 17:48:2910:56 Bach, C.P.E. Symphony in E flat English Concert/Manze 07207 Harmonia 907403 093046740320 Mundi 18:00:4009:58 Borodin Overture to Prince Igor Philharmonia/Simon 05656 CALA 1029 667549102925 18:11:33 08:10 Bach 1st mvt (Allegro) from Schiff/Chamber 02144 London 425 676 028942567627 Keyboard Concerto No. 2 in E, Orchestra of Europe BWV 1053 18:20:3809:13 Strauss Jr.
Recommended publications
  • ARSC Journal, Spring 1992 69 Sound Recording Reviews
    SOUND RECORDING REVIEWS Chicago Symphony Orchestra: The First Hundred Years CS090/12 (12 CDs: monaural, stereo; ADD)1 Available only from the Chicago Symphony Orchestra, 220 S. Michigan Ave, Chicago, IL, for $175 plus $5 shipping and handling. The Centennial Collection-Chicago Symphony Orchestra RCA-Victor Gold Seal, GD 600206 (3 CDs; monaural, stereo, ADD and DDD). (total time 3:36:3l2). A "musical trivia" question: "Which American symphony orchestra was the first to record under its own name and conductor?" You will find the answer at the beginning of the 12-CD collection, The Chicago Symphony Orchestra: The First 100 Years, issued by the Chicago Symphony Orchestra (CSO). The date was May 1, 1916, and the conductor was Frederick Stock. 3 This is part of the orchestra's celebration of the hundredth anniversary of its founding by Theodore Thomas in 1891. Thomas is represented here, not as a conductor (he died in 1904) but as the arranger of Wagner's Triiume. But all of the other conductors and music directors are represented, as well as many guests. With one exception, the 3-CD set, The Centennial Collection: Chicago Symphony Orchestra, from RCA-Victor is drawn from the recordings that the Chicago Symphony made for that company. All were released previously, in various formats-mono and stereo, 78 rpm, 45 rpm, LPs, tapes, and CDs-as the technologies evolved. Although the present digital processing varies according to source, the sound is generally clear; the Reiner material is comparable to RCA-Victor's on-going reissues on CD of the legendary recordings produced by Richard Mohr.
    [Show full text]
  • Final Dissertation Document
    Abstract Title of Dissertation: INFLUENCES AND TRANSFORMATIONS: 19TH- CENTURY SOLO AND COLLABORATIVE PIANO REPERTOIRE Miori Sugiyama, Doctor of Musical Arts, 2012 Dissertation Directed by: Professor Rita Sloan School of Music, Piano Division This dissertation is an exploration of the inter-relationships of genres in the collaborative piano repertoire, particularly in music of the 19th century, an especially important period for collaborative piano repertoire. During this time, much of the repertoire gave equal importance to the piano in duo and ensemble repertoire. Starting with Schubert, and becoming more apparent with the development of the German lied, the piano became a more integral part of any composition, the piano part being no longer simplistic but rather a collaborative partner with its own voice. Mendelssohn transformed the genre of lieder by writing them, without their words, for solo piano. In addition to creating some of the greatest and most representative lieder in the Romantic period, composers such as Schumann, Brahms, and Strauss continued the evolution of the sonata by writing works that were more technically demanding on the performer, musically innovative, and structurally still evolving. In the case of Chopin who wrote mostly piano works, a major influence came from the world of opera, particularly the Bel Canto style. In exploring two specific genres, vocal and instrumental piano works by these composers; it is fascinating to see how one genre translates to another genre. This was especially true in the vocal and instrumental works by Schubert, Schumann, Brahms, Chopin, and Strauss. All of these composers, with the exception of Chopin, contributed equally to both the song and sonata genres.
    [Show full text]
  • Spring/Summer 2016
    News for Friends of Leonard Bernstein Spring/Summer 2016 High-brow, Low-brow, All-brow Bernstein, Gershwin, Ellington, and the Richness of American Music © VICTOR © VICTOR KRAFT by Michael Barrett uch of my professional life has been spent on convincing music lovers Mthat categorizing music as “classical” or “popular” is a fool’s errand. I’m not surprised that people s t i l l c l i n g t o t h e s e d i v i s i o n s . S o m e w h o love classical masterpieces may need to feel reassured by their sophistication, looking down on popular culture as dis- posable and inferior. Meanwhile, pop music fans can dismiss classical music lovers as elitist snobs, out of touch with reality and hopelessly “square.” Fortunately, music isn’t so black and white, and such classifications, especially of new music, are becoming ever more anachronistic. With the benefit of time, much of our country’s greatest music, once thought to be merely “popular,” is now taking its rightful place in the category of “American Classics.” I was educated in an environment that was dismissive of much of our great American music. Wanting to be regarded as a “serious” musician, I found myself going along with the thinking of the times, propagated by our most rigid conservatory student in the 1970’s, I grew work that studiously avoided melody or key academic composers and scholars of up convinced that Aaron Copland was a signature. the 1950’s -1970’s. These wise men (and “Pops” composer, useful for light story This was the environment in American yes, they were all men) had constructed ballets, but not much else.
    [Show full text]
  • Czech Philharmonic
    Biography Czech Philharmonic “The Czech Philharmonic is among the very few orchestras that have managed to preserve a unique identity. In a music world that is increasingly globalized and uniform, the Orchestra’s noble tradition has retained authenticity of expression and sound, making it one of the world's artistic treasures. When the orchestra and Czech government asked me to succeed beloved Jiří Bělohlávek, I felt deeply honoured by the trust they were ready to place in me. There is no greater privilege for an artist than to become part of and lead an institution that shares the same values, the same commitment and the same devotion to the art of music.” Semyon Bychkov, Chief Conductor & Music Director The 125 year-old Czech Philharmonic gave its first concert – an all Dvořák programme which included the world première of his Biblical Songs, Nos. 1-5 conducted by the composer himself - in the famed Rudolfinum Hall on 4 January 1896. Acknowledged for its definitive interpretations of Czech composers, whose music the Czech Philharmonic has championed since its formation, the Orchestra is also recognised for the special relationship it has to the music of Brahms and Tchaikovsky - friends of Dvořák - and to Mahler, who gave the world première of his Symphony No. 7 with the Orchestra in 1908. The Czech Philharmonic’s extraordinary and proud history reflects both its location at the very heart of Europe and the Czech Republic’s turbulent political history, for which Smetana’s Má vlast (My Homeland) has become a potent symbol. The Orchestra gave its first full rendition of Má vlast in a brewery in Smíchov in 1901; in 1925 under Chief Conductor Václav Talich, Má vlast was the Orchestra’s first live broadcast and, five years later, the first work that the Orchestra committed to disc.
    [Show full text]
  • Britten Connections a Guide for Performers and Programmers
    Britten Connections A guide for performers and programmers by Paul Kildea Britten –Pears Foundation Telephone 01728 451 700 The Red House, Golf Lane, [email protected] Aldeburgh, Suffolk, IP15 5PZ www.brittenpears.org Britten Connections A guide for performers and programmers by Paul Kildea Contents The twentieth century’s Programming tips for 03 consummate musician 07 13 selected Britten works Britten connected 20 26 Timeline CD sampler tracks The Britten-Pears Foundation is grateful to Orchestra, Naxos, Nimbus Records, NMC the following for permission to use the Recordings, Onyx Classics. EMI recordings recordings featured on the CD sampler: BBC, are licensed courtesy of EMI Classics, Decca Classics, EMI Classics, Hyperion Records, www.emiclassics.com For full track details, 28 Lammas Records, London Philharmonic and all label websites, see pages 26-27. Index of featured works Front cover : Britten in 1938. Photo: Howard Coster © National Portrait Gallery, London. Above: Britten in his composition studio at The Red House, c1958. Photo: Kurt Hutton . 29 Further information Opposite left : Conducting a rehearsal, early 1950s. Opposite right : Demonstrating how to make 'slung mugs' sound like raindrops for Noye's Fludde , 1958. Photo: Kurt Hutton. Britten Connections A guide for performers and programmers 03 The twentieth century's consummate musician In his tweed jackets and woollen ties, and When asked as a boy what he planned to be He had, of course, a great guide and mentor. with his plummy accent, country houses and when he grew up, Britten confidently The English composer Frank Bridge began royal connections, Benjamin Britten looked replied: ‘A composer.’ ‘But what else ?’ was the teaching composition to the teenage Britten every inch the English gentleman.
    [Show full text]
  • Heinrich Neuhaus and Alternative Narratives of Selfhood in Soviet Russi
    ‘I wish for my life’s roses to have fewer thorns’: Heinrich Neuhaus and Alternative Narratives of Selfhood in Soviet Russia Abstract Heinrich Neuhaus (1888—1964) was the Soviet era’s most iconic musicians. Settling in Russia reluctantly he was dismayed by the policies of the Soviet State and unable to engage with contemporary narratives of selfhood in the wake of the Revolution. In creating a new aesthetic territory that defined himself as Russian rather than Soviet Neuhaus embodied an ambiguous territory whereby his views both resonated with and challenged aspects of Soviet- era culture. This article traces how Neuhaus adopted the idea of self-reflective or ‘autobiographical’ art through an interdisciplinary melding of ideas from Boris Pasternak, Alexander Blok and Mikhail Vrubel. In exposing the resulting tension between his understanding of Russian and Soviet selfhood, it nuances our understanding of the cultural identities within this era. Finally, discussing this tension in relation to Neuhaus’s contextualisation of the artistic persona of Dmitri Shostakovich, it contributes to a long- needed reappraisal of his relationship with the composer. I would like to gratefully acknowledge the support of the Guildhall School that enabled me to make a trip to archives in Moscow to undertake research for this article. Dr Maria Razumovskaya Guildhall School of Music & Drama, London Word count: 15,109 Key words: identity, selfhood, Russia, Heinrich Neuhaus, Soviet, poetry Contact email: [email protected] Short biographical statement: Maria Razumovskaya completed her doctoral thesis (Heinrich Neuhaus: Aesthetics and Philosophy of an Interpretation, 2015) as an AHRC doctoral scholar at the Royal College of Music in London.
    [Show full text]
  • Benjamin Britten in the Music Culture of the Soviet Union in the 1960S (To the 100Th Anniversary of the Composer's Birth)
    International Journal of Humanities and Social Science Vol. 3 No. 14 [Special Issue - July 2013] Benjamin Britten in the Music Culture of the Soviet Union in the 1960s (to the 100th Anniversary of the Composer's Birth) Alexander Rossinsky Department of Art Altai State University Russia Ekaterina Vorontsova Department of History Altai State University Russia Abstract The period of the 1960-s was difficult and controversial. Former allies of the anti-Hitler coalition turned to be on different sides of the acute ideological struggle which nearly led to the world war. Tremendous work was carried by artists, musicians who united disparate peoples into the community calling for the universal values. The central place in such the sphere of music belongs to one of the greatest composers of the 20th century, Benjamin Britten. Together with the Soviet musicians he pushed the world back from the sharp ideological confrontation. Keywords: B.Brittten, P.Pears, USSR, M.Rostropovich, G.Vishnevskaya, D.Shostakovich, symphonic and chamber music. The events unfolding in the world, which had survived the most destructive war in the history of human civilization, were dramatic and characterised by multi-vector directions of their development. The countries that joined the anti-Hitler coalition in the 40s, in the 60s were experiencing the peak of their ideological hostility, teetering on the verge of unleashing the third world war. At the same time, the Soviet Union, headed the unpredictable and highly controversial leader Nikita Khrushchev, pursued a policy of flirtations with liberalism in an attempt to overcome the cult of personality of Joseph Stalin and remove the notorious “Iron Curtain”, which for decades had protected the USSR from Western influence.
    [Show full text]
  • A Listening Guide for the Indispensable Composers by Anthony Tommasini
    A Listening Guide for The Indispensable Composers by Anthony Tommasini 1 The Indispensable Composers: A Personal Guide Anthony Tommasini A listening guide INTRODUCTION: The Greatness Complex Bach, Mass in B Minor I: Kyrie I begin the book with my recollection of being about thirteen and putting on a recording of Bach’s Mass in B Minor for the first time. I remember being immediately struck by the austere intensity of the opening choral singing of the word “Kyrie.” But I also remember feeling surprised by a melodic/harmonic shift in the opening moments that didn’t do what I thought it would. I guess I was already a musician wanting to know more, to know why the music was the way it was. Here’s the grave, stirring performance of the Kyrie from the 1952 recording I listened to, with Herbert von Karajan conducting the Vienna Philharmonic. Though, as I grew to realize, it’s a very old-school approach to Bach. Herbert von Karajan, conductor; Vienna Philharmonic (12:17) Today I much prefer more vibrant and transparent accounts, like this great performance from Philippe Herreweghe’s 1996 recording with the chorus and orchestra of the Collegium Vocale, which is almost three minutes shorter. Philippe Herreweghe, conductor; Collegium Vocale Gent (9:29) Grieg, “Shepherd Boy” Arthur Rubinstein, piano Album: “Rubinstein Plays Grieg” (3:26) As a child I loved “Rubinstein Plays Grieg,” an album featuring the great pianist Arthur Rubinstein playing piano works by Grieg, including several selections from the composer’s volumes of short, imaginative “Lyrical Pieces.” My favorite was “The Shepherd Boy,” a wistful piece with an intense middle section.
    [Show full text]
  • The Rite of Spring
    The Rite of Spring This weekend we’re afforded the opportunity to experience two seldom-heard works: Dvořák’s piano concerto and Lili Boulanger’s dark-night-of-the-soul set to music, D’un soir triste. Stravinsky’s The Rite of Spring — a watershed in the history of Western classical music — comprises the second half. ILI BOULANGER Born 21 August 1893; Paris, France Died 15 March 1918; Mézy-sur-Seine, France D’un soir triste Composed: 1918 First performance: 6 March 1921; Paris, France (chamber work), 9 May 1992; San Francisco, California (orchestral work) Last MSO performance: MSO premiere Instrumentation: 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, suspended cymbals, tam tam), harp, celeste, strings Approximate duration: 9 minutes Lili Boulanger was the younger sister of the noted teacher, conductor, and composer Nadia Boulanger (1887-1979). As a child, she accompanied Nadia to classes at the Paris Conserva- toire. She later studied organ with Louis Vierne. Lili also sang and played piano, violin, cel- lo, and harp. The first woman to receive the Prix de Rome — in 1913, for her cantata Faust et Hélène — her composing life was brief but productive. Her most important works are her psalm settings and other large-scale choral pieces. Fauré admired and promoted her music. D’un soir triste (On a Sad Evening) was written in the final months of her life (often beset by illness, she died at the early age of 24), along with a shorter companion piece, D’un matin de printemps (On a Morning in Spring).
    [Show full text]
  • Jascha Heifetz, David Oistrakh, Joseph Szigeti: Their Contributions to the Violin Repertoire of the Twentieth Century Jae Won (Noella) Jung
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Jascha Heifetz, David Oistrakh, Joseph Szigeti: Their Contributions to the Violin Repertoire of the Twentieth Century Jae Won (Noella) Jung Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC JASCHA HEIFETZ, DAVID OISTRAKH, JOSEPH SZIGETI: THEIR CONTRIBUTIONS TO THE VIOLIN REPERTOIRE OF THE TWENTIETH CENTURY By Jae Won (Noella) Jung A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2007 Copyright © 2007 Jae Won (Noella) Jung All Rights Reserved The members of the Committee approve the treatise of Jae Won (Noella) Jung on March 2, 2007. ____________________________________ Karen Clarke Professor Directing Treatise ____________________________________ Jane Piper Clendinning Outside Committee Member ____________________________________ Alexander Jiménez Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGMENTS First of all, I would like to express my sincere appreciation to my advisor, Professor Karen Clarke, for her guidance and support during my graduate study at FSU and I am deeply grateful for her advice and suggestions on this treatise. I would also like to thank the rest of my doctoral committee, Professor Jane Piper Clendinning and Professor Alexander Jiménez for their insightful comments. This treatise would not have been possible without the encouragement and support from my family. I thank my parents for their unconditional love and constant belief, my sister for her friendship, and my nephew Jin Sung for his precious smile.
    [Show full text]
  • Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
    1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue.
    [Show full text]
  • 25 Stars Still Rising: Where Are They Now? 10 Years of New Artists of the Month June 2018 on the Cover
    25 Stars Still Rising: Where are They Now? 10 Years of New Artists of the Month june 2018 ON THE COVER 1. KYLE ABRAHAM 1 2 3 4 5 CHOREOGRAPHER JUNE 2010 2. LEAH CROCETTO SOPRANO AUGUST 2010 3. MASON BATES 6 7 8 9 10 COMPOSER JUNE 2009 4. DU YUN COMPOSER MAY 2011 11 12 13 14 15 5. MIRGA GRAZNYTEˇ ˙-TYLA CONDUCTOR SEPTEMBER 2015 6. PATRICIA KOPATCHINSKAJA VIOLINIST DECEMBER 2013 7. SHEKU KANNEH-MASON 16 17 18 19 20 CELLIST JANUARY 2017 8. ROBERT FAIRCHILD DANCER JANUARY 2011 21 22 23 24 25 9. MICHAEL GILBERTSON COMPOSER MARCH 2016 10. RENE ORTH COMPOSER NOVEMBER 2015 11. QUINN KELSEY BARITONE MAY 2010 12. SEAN PANIKKAR 16. TAMARA STEfaNOVICH 21. CAROLINE GOULDING TENOR PIANIST VIOLINIST NOVEMBER 2010 MARCH 2010 DECEMBER 2009 13. SPERANZA SCAPPUCCI 17. LIONEL BRINGUIER 22. DANIIL TRIFONOV CONDUCTOR CONDUCTOR PIANIST NOVEMBER 2014 APRIL 2009 AUGUST 2011 14. ADAM PLACHETKA 18. TESSA LARK 23. JOSHUA ROMAN BARITONE VIOLINIST CELLIST/COMPOSER FEBRUARY 2009 AUGUST 2012 AUGUST 2009 15. CHRISTOPHER ALLEN 19. WARD STARE 24. OMER MEIR WELLBER CONDUCTOR CONDUCTOR CONDUCTOR JULY 2015 NOVEMBER 2011 JUNE 2014 20. DI WU 25. CORINNE WINTERS PIANIST SOPRANO MAY 2009 JANUARY 2012 Introduction Every month for nearly ten years, Musical America has featured a New Artist on our home page: someone Stephanie Challener Publisher and Managing Editor with a special talent that, for the most part, hasn’t yet been “discovered.” Speranza Scappucci had only been Susan Elliott conducting for two years when we found her in 2014, Editor, MusicalAmerica.com News and Special Reports but we sensed her “novice” status wouldn’t last long.
    [Show full text]