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PROGRAM NOTES Witold Lutosławski Concerto for Orchestra
PROGRAM NOTES by Phillip Huscher Witold Lutosławski Born January 25, 1913, Warsaw, Poland. Died February 7, 1994, Warsaw, Poland. Concerto for Orchestra Lutosławski began this work in 1950 and completed it in 1954. The first performance was given on November 26, 1954, in Warsaw. The score calls for three flutes and two piccolos, three oboes and english horn, three clarinets and bass clarinet, three bassoons and contrabassoon, four horns, four trumpets, four trombones and tuba, timpani, snare drum, side drums, tenor drum, bass drum, cymbals, tam-tam, tambourine, xylophone, bells, celesta, two harps, piano, and strings. Performance time is approximately twenty-eight minutes. The Chicago Symphony Orchestra's first subscription concert performances of Lutosławski's Concerto for Orchestra were given at Orchestra Hall on February 6, 7, and 8, 1964, with Paul Kletzki conducting. Our most recent subscription concert performance was given November 7, 8, and 9, 2002, with Christoph von Dohnányi conducting. The Orchestra has performed this concerto at the Ravinia Festival only once, on June 28, 1970, with Seiji Ozawa conducting. For the record The Orchestra recorded Lutosławski's Concerto for Orchestra in 1970 under Seiji Ozawa for Angel, and in 1992 under Daniel Barenboim for Erato. To most musicians today, as to Witold Lutosławski in 1954, the title “concerto for orchestra” suggests Béla Bartók's landmark 1943 score of that name. Bartók's is the most celebrated, but it's neither the first nor the last work with this title. Paul Hindemith, Walter Piston, and Zoltán Kodály all wrote concertos for orchestra before Bartók, and Witold Lutosławski, Michael Tippett, Elliott Carter, and Shulamit Ran are among those who have done so after his famous example. -
Krzysztof Urbański Principal Guest Conductor
Tokyo Symphony Orchestra <Kawasaki office> Muza Kawasaki Central Tower 5th floor 1310 Omiya cho, Saiwai-ku Kawasaki city, Kanagawa, 212-8554 TEL: +81-(0)44-520-1518 FAX: +81-(0)44-543-1488 http://tokyosymphony.jp Krzysztof Urbański Principal Guest Conductor Krzysztof Urbański starts his new relationship with the Tokyo Symphony Orchestra as Principal Guest Conductor from April 2013. Mr. Urbański made his debut with the Tokyo Symphony in November 2009. In the second concert with the TSO, a subscription concert in June 2011, Mr. Urbański conducted Lutoslawski’s Little Suite, Szymanowski’s Violin Concerto No.2, and Shostakovich’s Symphony No.10 with overwhelming power. September 2013 marks the start of Krzysztof Urbański’s third season as Music Director of Indianapolis Symphony Orchestra. He also continues as Chief Conductor of the Trondheim Symfoniorkester, who appointed him Artistic Leader in recognition of the major contribution he has made to the orchestra. Urbański’s performances this season include the world premiere of Pastorale e capriccio which both orchestras have co-commissioned from Wojciech Kilar. In 2013/14, he takes the Trondheim Symfoniorkester on tour to Vienna, Cologne, Warsaw and Kraków. He also holds the position of Principal Guest Conductor of Tokyo Symphony Orchestra. This season sees debuts with Berliner Philharmoniker and Chicago Symphony Orchestra (at the Ravinia Festival) and the following season with Pittsburgh Symphony Orchestra, Rotterdam Philharmonic Orchestra, Tonkünstler-Orchester Niederösterreich and Münchner Philharmoniker. He will also return to the Philharmonia Orchestra, Wiener Symphoniker, Orquesta y Coro Nacionales de Espana, NDR Sinfonieorchester Hamburg, Finnish Radio Symphony Orchestra and Oslo Philharmonic Orchestra. -
Network Notebook
Network Notebook Fall Quarter 2018 (October - December) 1 A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more. -
Building Cultural Bridges: Benjamin Britten and Russia
BUILDING CULTURAL BRIDGES: BENJAMIN BRITTEN AND RUSSIA Book Review of Benjamin Britten and Russia, by Cameron Pyke Maja Brlečić Benjamin Britten visited Soviet Russia during a time of great trial for Soviet artists and intellectuals. Between the years of 1963 and 1971, he made six trips, four formal and two private. During this time, the communist regime within the Soviet Union was at its heyday, and bureaucratization of culture served as a propaganda tool to gain totalitarian control over all spheres of public activity. This was also a period during which the international political situation was turbulent; the Cold War was at its height with ongoing issues of nuclear armaments, the tensions among the United States, the Soviet Union, and the United Kingdom ebbed and flowed, and the atmosphere of unrest was heightened by the Vietnam War. It was not until the early 1990s that the Iron Curtain collapsed, and the Cold War finally ended. While the 1960s were economically and culturally prosperous for Western Europe, those same years were tough for communist Eastern Europe, where the people still suffered from the aftermath of Stalin thwarting any attempts of artistic openness and creativity. As a result, certain efforts were made to build cultural bridges between West and East, including efforts that were significantly aided by Britten’s engagements. In his book Benjamin Britten and Russia, Cameron Pyke portrays the bridging of the vast gulf achieved through Britten’s interactions with the Soviet Union, drawing skillfully from historical and cultural contextualization, Britten’s and Pears’s personal accounts, interviews, musical scores, a series of articles about Britten published in the Soviet Union, and discussions of cultural and political figures of the time.1 In the seven chapters of his book, Pyke brings to light the nature of Britten’s six visits and offers detailed accounts of Britten’s affection for Russian music and culture. -
Comparison and Contrast of Performance Practice for the Tuba
COMPARISON AND CONTRAST OF PERFORMANCE PRACTICE OF THE TUBA IN IGOR STRAVINSKY’S THE RITE OF SPRING, DMITRI SHOSTAKOVICH’S SYMPHONY NO. 5 IN D MAJOR, OP. 47, AND SERGEI PROKOFIEV’S SYMPHONY NO. 5 IN B FLAT MAJOR, OP. 100 Roy L. Couch, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2006 APPROVED: Donald C. Little, Major Professor Eugene Migliaro Corporon, Minor Professor Keith Johnson, Committee Member Brian Bowman, Coordinator of Brass Instrument Studies Graham Phipps, Program Coordinator of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Couch, Roy L., Comparison and Contrast of Performance Practice for the Tuba in Igor Stravinsky’s The Rite of Spring, Dmitri Shostakovich’s Symphony No. 5 in D major, Op. 47, and Sergei Prokofiev’s Symphony No. 5 in B flat major, Op. 100, Doctor of Musical Arts (Performance), May 2006, 46 pp.,references, 63 titles. Performance practice is a term familiar to serious musicians. For the performer, this means assimilating and applying all the education and training that has been pursued in a course of study. Performance practice entails many aspects such as development of the craft of performing on the instrument, comprehensive knowledge of pertinent literature, score study and listening to recordings, study of instruments of the period, notation and articulation practices of the time, and issues of tempo and dynamics. The orchestral literature of Eastern Europe, especially Germany and Russia, from the mid-nineteenth century through the mid-twentieth century provides some of the most significant and musically challenging parts for the tuba. -
The-Piano-Teaching-Legacy-Of-Solomon-Mikowsky.Pdf
! " #$ % $%& $ '()*) & + & ! ! ' ,'* - .& " ' + ! / 0 # 1 2 3 0 ! 1 2 45 3 678 9 , :$, /; !! < <4 $ ! !! 6=>= < # * - / $ ? ?; ! " # $ !% ! & $ ' ' ($ ' # % %) %* % ' $ ' + " % & ' !# $, ( $ - . ! "- ( % . % % % % $ $ $ - - - - // $$$ 0 1"1"#23." 4& )*5/ +) * !6 !& 7!8%779:9& % ) - 2 ; ! * & < "-$=/-%# & # % %:>9? /- @:>9A4& )*5/ +) "3 " & :>9A 1 The Piano Teaching Legacy of Solomon Mikowsky by Kookhee Hong New York City, NY 2013 2 TABLE OF CONTENTS Preface by Koohe Hong .......................................................3 Endorsements .......................................................................3 Comments ............................................................................5 Part I: Biography ................................................................12 Part II: Pedagogy................................................................71 Part III: Appendices .........................................................148 1. Student Tributes ....................................................149 2. Student Statements ................................................176 -
2018-2019 Season Brochure
POWERFUL PERFORMANCES SEASON 2018-19 SEASON Dear Friends, ZORÁ STRING QUARTET Sunday September 23 2018 ........................................................... 9 It’s with a great deal of joy and excitement that we unveil our 39th Season of performances. Can you JULIA BULLOCK SOPRANO believe we’re almost at the big four-oh mark? It’s such Sunday October 21 2018 ............................................................. 9 a privilege to be here, thriving, and to be able to IGOR LEVIT PIANO present you with great artists such as those listed on Sunday November 4 2018 ..........................................................15 the following pages. Each season is special; each brings its own unique musical revelations. ANDREA LUCCHESINI PIANO Sunday November 18 2018 ........................................................ The 2018-19 Season sees the return (after an absence 16 of 18 years) of Evgeny Kissin, one of the great pianists SIMON KEENLYSIDE BARITONE of our time. I can’t tell you how fortunate we are that he has included Vancouver on Sunday November 25 2018 .........................................................21 one of his very rare visits to the west coast. Another wonderful pianist from our ZOLTÁN FEJÉRVÁRI PIANO distant past, Italian Andrea Lucchesini, will be heard on the Classic Afternoons at the Sunday January 27 2019 ........................................................... Chan Centre Series. His last visit to Vancouver was in 1988 when he performed at the 10 Vancouver Playhouse. He is the first musician I ever re-booked before the actual concert, BEHZOD ABDURAIMOV PIANO and, as a result, he came to us three seasons in a row. Speaking of three… the other Sunday February 10 2019 .......................................................... 16 remarkable pianists on our Classic Afternoons series include Yevgeny Sudbin, Behzod FILIPPO GORINI PIANO Abduraimov, and Igor Levit. -
Summer 2012 Boston Symphony Orchestra
boston symphony orchestra summer 2012 Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 131st season, 2011–2012 Trustees of the Boston Symphony Orchestra, Inc. Edmund Kelly, Chairman • Paul Buttenwieser, Vice-Chairman • Diddy Cullinane, Vice-Chairman • Stephen B. Kay, Vice-Chairman • Robert P. O’Block, Vice-Chairman • Roger T. Servison, Vice-Chairman • Stephen R. Weber, Vice-Chairman • Vincent M. O’Reilly, Treasurer William F. Achtmeyer • George D. Behrakis • Alan Bressler • Jan Brett • Susan Bredhoff Cohen, ex-officio • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Nancy J. Fitzpatrick • Michael Gordon • Brent L. Henry • Charles H. Jenkins, Jr. • Joyce G. Linde • John M. Loder • Carmine A. Martignetti • Robert J. Mayer, M.D. • Aaron J. Nurick, ex-officio • Susan W. Paine • Peter Palandjian, ex-officio • Carol Reich • Edward I. Rudman • Arthur I. Segel • Thomas G. Stemberg • Theresa M. Stone • Caroline Taylor • Stephen R. Weiner • Robert C. Winters Life Trustees Vernon R. Alden • Harlan E. Anderson • David B. Arnold, Jr. • J.P. Barger • Leo L. Beranek • Deborah Davis Berman • Peter A. Brooke • Helene R. Cahners • James F. Cleary† • John F. Cogan, Jr. • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett • Mrs. John H. Fitzpatrick • Dean W. Freed • Thelma E. Goldberg • Mrs. Béla T. Kalman • George Krupp • Mrs. Henrietta N. Meyer • Nathan R. Miller • Richard P. Morse • David Mugar • Mary S. Newman • William J. Poorvu • Irving W. Rabb† • Peter C. Read • Richard A. Smith • Ray Stata • John Hoyt Stookey • Wilmer J. Thomas, Jr. • John L. Thorndike • Dr. Nicholas T. Zervas Other Officers of the Corporation Mark Volpe, Managing Director • Thomas D. -
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. -
Edinburgh International Festival 1962
WRITING ABOUT SHOSTAKOVICH Edinburgh International Festival 1962 Edinburgh Festival 1962 working cover design ay after day, the small, drab figure in the dark suit hunched forward in the front row of the gallery listening tensely. Sometimes he tapped his fingers nervously against his cheek; occasionally he nodded Dhis head rhythmically in time with the music. In the whole of his productive career, remarked Soviet Composer Dmitry Shostakovich, he had “never heard so many of my works performed in so short a period.” Time Music: The Two Dmitrys; September 14, 1962 In 1962 Shostakovich was invited to attend the Edinburgh Festival, Scotland’s annual arts festival and Europe’s largest and most prestigious. An important precursor to this invitation had been the outstanding British premiere in 1960 of the First Cello Concerto – which to an extent had helped focus the British public’s attention on Shostakovich’s evolving repertoire. Week one of the Festival saw performances of the First, Third and Fifth String Quartets; the Cello Concerto and the song-cycle Satires with Galina Vishnevskaya and Rostropovich. 31 DSCH JOURNAL No. 37 – July 2012 Edinburgh International Festival 1962 Rostropovich and Vishnevskaya in Edinburgh Week two heralded performances of the Preludes & Fugues for Piano, arias from Lady Macbeth of Mtsensk, the Sixth, Eighth and Ninth Symphonies, the Third, Fourth, Seventh and Eighth String Quartets and Shostakovich’s orches- tration of Musorgsky’s Khovanschina. Finally in week three the Fourth, Tenth and Twelfth Symphonies were per- formed along with the Violin Concerto (No. 1), the Suite from Lady Macbeth of Mtsensk, the Three Fantastic Dances, the Cello Sonata and From Jewish Folk Poetry. -
Boston Symphony Orchestra Concert Programs, Season 110, 1990-1991, Subscription
&Bmm HHH 110th Season 19 9 0-91 Boston Symphony Orchestra Seiji Ozawa, Music Director 90th Anniversary of Symphony Hall m<K Only The few will own an aldemars. Only the few will seek the exclusivity that comes with owning an Audemars Piguet. Only the few will recognize wn more than a century of technical in- f\Y novation; today, that innovation is reflected in our ultra-thin mech- Memars Piguet anical movements, the sophistica- tion of our perpetual calendars, and more recently, our dramatic new watch with dual time zones. Only the few will appreciate The CEO Collection which includes a unique selection of the finest Swiss watches man can create. Audemars Piguet makes only a limited number of watches each year. But then, that's something only the few will understand. SHREVECRUMP &LOW JEWELERS SINCE 1800 330BOYLSTON ST., BOSTON, MASS. 02116 (617) 267-9100 • 1-800-225-7088 THE MALL AT CHESTNUT HILL • SOUTH SHORE PLAZA Seiji Ozawa, Music Director Grant Llewellyn and Robert Spano, Assistant Conductors One Hundred and Tenth Season, 1990-91 Trustees of the Boston Symphony Orchestra, Inc. Nelson J. Darling, Jr., Chairman Emeritus J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer David B. Arnold, Jr. Avram J. Goldberg Mrs. August R. Meyer Peter A. Brooke Mrs. R. Douglas Hall III Mrs. Robert B. Newman James F. Cleary Francis W. Hatch Peter C. Read John F. Cogan, Jr. Julian T. Houston Richard A. -
2016 Program Booklet
Rebecca Penneys Piano Festival Fourth Year July 12 – 30, 2016 University of South Florida, School of Music 4202 East Fowler Avenue, Tampa, FL The family of Steinway pianos at USF was made possible by the kind assistance of the Music Gallery in Clearwater, Florida Rebecca Penneys Ray Gottlieb, O.D., Ph.D President & Artistic Director Vice President Rebecca Penneys Friends of Piano wishes to give special thanks to: The University of South Florida for such warm hospitality, USF administration and staff for wonderful support and assistance, Glenn Suyker, Notable Works Inc., for piano tuning and maintenance, Christy Sallee and Emily Macias, for photos and video of each special moment, and All the devoted piano lovers, volunteers, and donors who make RPPF possible. The Rebecca Penneys Piano Festival is tuition-free for all students. It is supported entirely by charitable tax-deductible gifts made to Rebecca Penneys Friends of Piano Incorporated, a non-profit 501(c)(3). Your gifts build our future. Donate on-line: http://rebeccapenneyspianofestival.org/ Mail a check: Rebecca Penneys Friends of Piano P.O. Box 66054 St Pete Beach, Florida 33736 Become an RPPF volunteer, partner, or sponsor Email: [email protected] 2 FACULTY PHOTOS Seán Duggan Tannis Gibson Christopher Eunmi Ko Harding Yong Hi Moon Roberta Rust Thomas Omri Shimron Schumacher D mitri Shteinberg Richard Shuster Mayron Tsong Blanca Uribe Benjamin Warsaw Tabitha Columbare Yueun Kim Kevin Wu Head Coordinator Assistant Assistant 3 STUDENT PHOTOS (CONTINUED ON P. 51) Rolando Mijung Hannah Matthew Alejandro An Bossner Calderon Haewon David Natalie David Cho Cordóba-Hernández Doughty Furney David Oksana Noah Hsiu-Jung Gatchel Germain Hardaway Hou Jingning Minhee Jinsung Jason Renny Huang Kang Kim Kim Ko 4 CALENDAR OF EVENTS University of South Florida – School of Music Concerts and Masterclasses are FREE and open to the public Donations accepted at the door Festival Soirée Concerts – Barness Recital Hall, see p.