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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. -
Rncm Chamber Music Festival Songs Without Words Rncm Chamber Music Festival Songs Without Words
Friday 04 – Sunday 06 March 2016 RNCM CHAMBER MUSIC FESTIVAL SONGS WITHOUT WORDS RNCM CHAMBER MUSIC FESTIVAL SONGS WITHOUT WORDS WELCOME The RNCM Chamber Music Festival plays an enormous role in the story of the College and is a major event in our calendar. Chamber music is at the core at what we do - the RNCM has a proud tradition of chamber ensemble training and our alumni appear with high profile ensembles such as the Elias, Heath and Navarra String Quartets plus the Gould Piano Trio to name but a few. Every year, the Chamber Music Festival goes from strength to strength, presenting the opportunity to see our wonderful students, internationally renowned staff and special guests perform beautiful music across a jam-packed weekend. This year is no exception, as we explore German Romanticism in Songs Without Words. We focus particularly on the music of Mendelssohn and Schumann and our students will be involved in a major composition project, as they are asked to create responses to Mendelssohn’s Songs Without Words. So the Festival will include works from across the 19th century but will also dip into the 20th century with composers such as Richard Strauss. This year’s line-up features some of the finest musicians performing today including the Talich Quartet, Elias Quartet, Michelangelo Quartet, plus RNCM Junior Fellows the Solem Quartet and our International Artist chamber ensemble the Diverso String Quartet. We also welcome chamber groups from Chetham’s, St Mary’s, Junior RNCM, the Royal Irish Academy of Music and Sheffield Music Academy. So please join us and immerse yourself in this weekend of lush musical landscapes. -
Spring 2014 Commencement Program
TE TA UN S E ST TH AT I F E V A O O E L F A DITAT DEUS N A E R R S I O Z T S O A N Z E I A R I T G R Y A 1912 1885 ARIZONA STATE UNIVERSITY COMMENCEMENT AND CONVOCATION PROGRAM Spring 2014 May 12 - 16, 2014 THE NATIONAL ANTHEM THE STAR SPANGLED BANNER O say can you see, by the dawn’s early light, What so proudly we hailed at the twilight’s last gleaming? Whose broad stripes and bright stars through the perilous fight O’er the ramparts we watched, were so gallantly streaming? And the rockets’ red glare, the bombs bursting in air Gave proof through the night that our flag was still there. O say does that Star-Spangled Banner yet wave O’er the land of the free and the home of the brave? ALMA MATER ARIZONA STATE UNIVERSITY Where the bold saguaros Raise their arms on high, Praying strength for brave tomorrows From the western sky; Where eternal mountains Kneel at sunset’s gate, Here we hail thee, Alma Mater, Arizona State. —Hopkins-Dresskell MAROON AND GOLD Fight, Devils down the field Fight with your might and don’t ever yield Long may our colors outshine all others Echo from the buttes, Give em’ hell Devils! Cheer, cheer for A-S-U! Fight for the old Maroon For it’s Hail! Hail! The gang’s all here And it’s onward to victory! Students whose names appear in this program have completed degree requirements. -
MAHLERFEST XXXIV the RETURN Decadence & Debauchery | Premieres Mahler’S Fifth Symphony | 1920S: ARTISTIC DIRECTOR
August 24–28, 2021 Boulder, CO Kenneth Woods Artistic Director SAVE THE DATE MAHLERFEST XXXV May 17–22, 2022 * Gustav Mahler Symphony No. 2 in C Minor Boulder Concert Chorale Stacey Rishoi Mezzo-soprano April Fredrick Soprano Richard Wagner Die Walküre (The Valkyrie), Act One Stacey Rishoi Mezzo-soprano Brennen Guillory Tenor Matthew Sharp Bass-baritone * All programming and artists subject to change KENNETH WOODS Mahler’s First | Mahler’s Musical Heirs Symphony | Mahler and Beethoven MAHLERFEST.ORG MAHLERFEST XXXIV THE RETURN Decadence & Debauchery | Premieres Mahler’s Fifth Symphony | 1920s: ARTISTIC DIRECTOR 1 MAHLERFEST XXXIV FESTIVAL WEEK TUESDAY, AUGUST 24, 7 PM | Chamber Concert | Dairy Arts Center, 2590 Walnut Street Page 6 WEDNESDAY, AUGUST 25, 4 PM | Jason Starr Films | Boedecker Theater, Dairy Arts Center Page 9 THURSDAY, AUGUST 26, 4 PM | Chamber Concert | The Academy, 970 Aurora Avenue Page 10 FRIDAY, AUGUST 27, 8 PM | Chamber Orchestra Concert | Boulder Bandshell, 1212 Canyon Boulevard Page 13 SATURDAY, AUGUST 28, 9:30 AM–3:30 PM | Symposium | License No. 1 (under the Hotel Boulderado) Page 16 SATURDAY, AUGUST 28, 7 PM | Orchestral Concert Festival Finale | Macky Auditorium, CU Boulder Page 17 Pre-concert Lecture by Kenneth Woods at 6 PM ALL WEEK | Open Rehearsals, Dinners, and Other Events See full schedule online PRESIDENT’S GREETING elcome to MahlerFest XXXIV – What a year it’s been! We are back and looking to the future with great excitement and hope. I would like to thank our dedicated and gifted MahlerFest orchestra and festival musicians, our generous supporters, and our wonderful audience. I also want to acknowledge the immense contributions of Executive Director Ethan Hecht and Maestro Kenneth Woods that not only make this festival Wpossible but also facilitate its evolution. -
Trio Pacifica
happy months in Vienna in the company of Brahms. They dined together virtually every day. Kahn got to play his compositions for Brahms. Kahn reported that he and Emil Paur played Kahn’s violin sonata for Brahms, who “sat next to me, turned pages, and purred like a tomcat, from the first note to the last. I took this to be a good omen, and indeed, after each movement Brahms said a few cordial words of praise, which pleased me no end.” SCHOOL OF MUSIC AND DANCE Brahms was very solicitous of Kahn. When Kahn was looking for a place to stay in Vienna, Brahms accompanied him on his wanderings through Vienna. Beall Concert Hall Tuesday evening One evening, Brahms and Kahn were discussing Handel’s Israel In Egypt, a work to which Brahms was very partial but which Kahn did not know. The 8:00 p.m. April 15, 2008 following morning, Brahms sent Kahn the score, with a note appended stat- ing, “Good morning, Mr. Kahn.” On another evening, Brahms arrived with a great treasure, Beethoven’s sketches for his piano sonata, opus 106. Brahms wanted to point out certain passages to Kahn that proved some fascinating insights into Beethoven’s creative process. THE FACULTY ARTIST SERIES One of the special highlights of Kahn’s time with Brahms was the afternoon presents when Brahms, the violinist Joseph Joachim, and the cellist Hausmann played Brahms’ piano trio, opus 101, for Clara Schumann, who was then near 70. Kahn was the only other person allowed to be present. Brahms reminded Kahn “of a fixed star, emitting only its own light. -
Ensemble Émigré Grew out of Concerts Given During the ‘Singing a Song in a Foreign Land’ Project at the Royal College of Music in London
Nos. 473–475 ‘Jeanne Suite’ (1943) ROBERT KAHN 1865–1951 11 No.473a in G: Moderato 1.30 1 Romanze in F minor 4.30 12 No.473b in G: Poco allegretto 0.57 13 No.473c in G: Allegretto vivace 0.45 No.1 from 3 Stücke for cello and piano Op.25 14 No.474 in E minor: Andante sostenuto 1.52 2 ’s ist ein so stiller heil’ger Tag 1.48 15 No.475 in G: Vivace 0.46 No.2 from 7 Gesänge Op.27 9 Lieder nach Gedichten von Christian Morgenstern Op.31 3 Novemberfeier 1.18 16 No.2 Liebesbrief 1.38 No.2 from 6 Lieder und Gesänge Op.20 17 No.8 Die Unke 2.14 4 Idyll No.1 from 6 Lieder Op.52 2.44 18 Feuerbestattung No.5 from 5 Lieder Op.38 2.07 5 Liebestrost No.10 from 10 Lieder Op.42 2.20 19 Gebet No.9 from 9 Lieder im Volkston Op.47 1.36 Tagebuch in Tönen (Leaves from the Tree of Life) Quintet in C minor Op.54* for piano, violin, cello, clarinet and horn (1911) 6 No.500 (Variations on No.1) in A flat: Andante (1943) 6.25 20 I. Allegro non troppo 5.30 7 No.3 in C sharp minor: Allegretto non troppo (1935) 1.18 21 II. Presto assai 3.30 8 No.4 in C sharp minor: 22 III. Andante sostenuto 6.56 Andantino con moto ‘quasi improvisato’ (1935) 1.58 23 IV. Allegro agitato 5.42 9 No.5 in F minor: Assai sostenuto ed espressivo (1935) 2.33 10 No.53 in E: Allegretto con moto (1936) 1.28 * World-premiere recording Total timing: 61.45 ENSEMBLEENSEMBLE ÉÉMIGRÉMIGRÉ Danny Driver piano · Christopher Gould piano Gemma Rosefield cello · Emily Sun violin Ingrid Pearson clarinet · Flora Bain horn Norbert Meyn tenor & director Ensemble Émigré grew out of concerts given during the ‘Singing a Song in a Foreign Land’ project at the Royal College of Music in London. -
The CLEVELAND CHAMBER MUSIC SOCIETY
The CLEVELAND CHAMBER MUSIC SOCIETY presents IN ITS FINAL CONCERT OF THE CURRENT SEASON WILLIAM PRIMROSE, violist Program: W. F. Bach, Beethoven, Hindemith, Brahms 8:30 P. M., TUESDAY, APRIL 12, 1955 ALLEN MEDICAL LIBRARY Tickets: $2.50—Severance Hall, Burrows ★ ★ ★ Announcing The Society’s 1955-1956 Season of Seven Tuesday Evening Concerts SERIES A SERIES B $8.75 $8.75 Oct. 25: Mannes-Gimpel-Silva Nov. 25: George Szell, piano and (Piano) Trio Arthur Grumiaux, violin Feb. 21: Budapest String Quartet with Jan. 10: Curtis String Quartet with . Abraham Skernick, assisting Marc Lifschey, assisting oboist violist *March 20: Virtuosi di Roma Feb. 14: Hungarian String Quartet April 3: Pasquier String Trio ♦March 20: Virtuosi di Roma ^Included in both series SEASON SUBSCRIPTION (7 CONCERTS) $13.75 ★ ★ ★ Tickets for the season and Series A or B may be ordered now at Severance Hall Box Office. THE CLEVELAND CHAMBER MUSIC SOCIETY THE CLEVELAND ORCHESTRA GEORGE SZELL, Conductor FIRST PROGRAM Thursday Evening, March 31, 1955, at 8:30 O’clock Funeral Music, K. 477 Mozart In Memoriam CARL J. VOSBURGH Manager of the Cleveland Orchestra 1933-1955 Symphony No. 5 in E minor, Op. 64 Andante ; Allegro con anima Andante cantabile, con alcuna licenza Valse: Allegro moderato Finale : Andante maestoso ; Allegro vivace INTERMISSION > Tchaikovsky Concerto for Piano and Orchestra No. 1 in B flat minor, Op. 23 Allegro non troppo e molto maestoso ; Allegro con spirito Andantino semplice Allegro con fuoco Assisting Artist: ARTUR RUBINSTEIN STEINWAY PIANO COLUMBIA RECORDS Notice to Thursday Evening Concert-Goers: Remaining Tickets for the Saturday Evening Concert will be Available at the Box Office During the Intermission at Tonight’s Concert. -
Toccata Classics TOCC 0122 Notes
GÜNTERRAPHAELMusicforViolin Sonatina in B minor, Op. 52, for violin and piano (1944) 11:38 1 I. Mässig 5:06 2 II. Breit und gesangvoll 3:18 3 III. Tänzerisch belebt, dabei etwas schwerfällig und derb 3:14 Sonata in E major, Op. 46, No. 2, for solo violin (1940) 11:50 4 I. Sehr langsam 3:40 5 II. Scherzo: Ganze Takte 2:14 6 III. Gemessen 5:56 Duo in G minor, Op. 47, No. 1, for two violins (1940) 10:42 7 I. Mit lebhafter Energie 3:42 8 II. Langsam gehend (in fliessender Bewegung) 2:37 9 III. Nicht zu lebhaft, ein wenig gemächlich 4:23 Sonata in A minor, Op. 46, No. 1, for solo violin (1940)* 8:48 10 I. In Form einer freien Fantasie 3:23 11 II. Ruhig und gesangvoll 3:56 12 III. Äusserst schnell 1:29 Sonata No. 3 in C major, Op. 43, for violin and piano (1936) 17:01 13 I. Vivace 6:51 14 II. Allegretto grazioso 4:47 15 III. Con fuoco 5:23 TT60:12 Pauline Reguig, violin Darius Kaunas, violin [7]–[9]7 9 Emilio Peroni, piano [1]–[3],1 3 [3]–[5]13 15 ����� ������� ����������; *����� ��������� 12 TOCC0122Raphael.indd1 08/06/201014:42:15 GÜNTERRAPHAEL:MUSICFORVIOLIN byMalcolmMacDonald Günter Raphael was born on 30 April 1903 in Berlin, to a family that was Jewish on his father’s side: he was the son of the composer and church musician Georg Raphael (1865–1904), who Recorded in the Kammermusiksaal der Hochschule für Musik und Theater, Rostock, had converted to Protestantism and was director of music at the Matthai Kirche in Berlin. -
Piano Trios Op. 19 & 33
Robert Kahn (1865-1951) Piano Trios op. 19 & 33 Max Brod Trio AUD 903 1940-6 1 Hybrid-SACD UPC-Code: ____________________________________________________________________________________ Johannes Brahms admired only a few fellow musicians as highly as he did Robert Kahn, who was thirty years his junior. The fact that Brahms, in great demand as a composer and stingy when it came to giving lessons, discussed Kahn’s compositions and studied the old masters with him documents their great mutual interest. It may also be regarded as a special distinction that Kahn was the only third party in attendance when Brahms presented his late Clarinet Trio op. 114 to Clara Schumann. Lending their support to this forgotten talent, the members of the Max Brod Trio have now recorded his two Piano Trios op. 19 and op. 33 in the finest sound technology. Here Kahn displays his highly independent compositional mind. The form of his quartets refers more to classical models than to Brahms, while his marked feel for captivating melodies also manifests itself in these works – and especially in the Trio op. 19. This is hardly surprising: at the same time he was composing a considerable number of finely nuanced songs sharpening his sensibility in the lyric dimension. Reviewers from those times, who emphasized the melodious qualities of the trios in flowery metaphors, also found this to their liking. Kahn’s limitation of the trios to three movements leads to a concentration of expression first reached by Brahms in his last works. When Kahn composed his second Piano Trio op. 33 in 1900, he was already very finely established in Berlin’s cultural life. -
REFLECTIONS of a NATION Antigone on the Modern Greek Stage
REFLECTIONS OF A NATION Antigone on the Modern Greek Stage Andria Michael Royal Holloway, University of London Thesis Submitted for the Degree of PhD in Classics 2015 2 Declaration of Authorship I, Andria Michael, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Andria Michael 18 December 2015 3 Abstract This thesis is a study of performances of Sophocles’ Antigone on the modern Greek stage, their political and social resonances, their cultural contexts and their role in the formation and presentation of modern Greek national identity. It is the result of research concerning the revival of ancient Greek drama, in accordance with modern Greek theatre history as well as with the broader history of the modern Greek nation. As a play political in its essence, Antigone has been widely used as a political statement in the Greek revivals from the second half of the nineteenth century onwards. To attempt an examination and analysis of such performances covering this long period of time means to simultaneously examine the key events of the country: the liberation from Ottoman Rule, the early process of formation of the new state, the hotly disputed conflict of the Language Question, the modernist Generation of the 1930s, the Greek Civil War, the Dictatorship of 1967-1974, as well as many other significant events and movements of modern Greek history. The approach of the work is qualitative rather than quantitative. The aim is to choose the specific moments when theatre and politics cross paths, to examine the connections between artistic choices and political incentives, and to highlight the moments which eventually reveal that Antigone has been repeatedly used as a platform for political or politically charged issues, conflicts and agendas. -
Greek Cinema - 100 Years of Film History 1900-2000, Volume 1/ Trifon Tzavalas Tzavalas, Trifon, 2012 P
GREEK CINEMA Volume 1 100 Years of Film History 1900-2000 Trifon Tzavalas © Copyright 2012, Trifon Tzavalas and the Hellenic University Club of Southern California. All rights reserved. Work may not be reproduced without permission by Trifon Tzavalas or the publisher. Quoting is permitted with a reference to the source and a notice to the publisher at [email protected]. Please use this e-mail to inform the editor of any errors. Published by the Hellenic University Club of Southern California PO Box 45581 Los Angeles, CA 90045-0581 USA Library of Congress Catalog-in-Publication Data Tzavalas, Trifon, 1935- Greek Cinema - 100 Years of Film History 1900-2000, Volume 1/ Trifon Tzavalas Tzavalas, Trifon, 2012 p. cm Includes bibliographical references and index, 1. Motion Pictures Arrived in Greece. 2. The Silent Greek Movies. 3. The Period of Talking Movies Begins. 4. The Decade of 1951 – 1960. 5. The Decade of 1961 – 1970, 6. The Years 1971 – 1975, 7. The Years 1976 – 2000, References: Hellenic Movies That Participated in Domestic and Foreign Festivals, 1949 – 2000; Greek Performers in Foreign Films Productions: Actresses, Actors; Bibliography ISBN-13: 978-1-938385-11-7 (PDF) 791.976 Published in the United States of America First Edition 2012 10 9 8 7 6 5 4 3 2 1 ____________________________________________ DONATION INFORMATION The Hellenic University Club of Southern California is a Non-Profit Cultural Organization and its publications are intended to help readers and researchers enhance the knowledge and understanding of Greek cultural heritage. For more information on its activities go to: www.huc.org Use of this book is free; however we kindly request a donation of $5.00 per printed volume of the work. -
Music and Composers in Nineteenth-Century Europe
INTERNATIONAL CONFERENCE JEWISHNESS & THE ARTS: MUSIC AND COMPOSERS IN 19TH-CENTURY EUROPE Rome, Accademia Filarmonia Romana 13-15 October 2015 Organized by Centro Studi Opera Omnia Luigi Boccherini and Palazzetto Bru Zane in collaboration with Ad Parnassum Journal under the auspices of Presidenza Assemblea Capitolina and Comunità Ebraica di Roma ORGANIZED BY in collaboration with under the Auspices of CENTRO STUDI OPER A OMNI A LUIGI BOCCHERINI www.luigiboccherini.org JEWISHNESS & THE ARTS: MUSIC AND COMPOSERS IN 19TH-CENTURY EUROPE INTERNATIONAL CONFERENCE Rome, Accademia Filarmonia Romana 13-15 October 2015 Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca Palazzetto Bru Zane - Centre de musique romantique française, Venice in collaboration with Ad Parnassum Journal under the auspices of Presidenza Assemblea Capitolina Comunità Ebraica di Roma ef Advisory Board Bella Brover-Lubovsky (Hebrew University, Israel) Luiz Guilherme Goldberg (Universidade Federal de Pelotas, Brazil) Jehoash Hirshberg (Hebrew University, Israel) Étienne Jardin (Palazzetto Bru Zane, Venice) Tony Levy (CNRS-Université Paris 7) Luca Lévi Sala (Yale University – Conference Director) Patrizia Veroli (Italian Association for Research in Dance, Rome) Conference Committee Simone Ciolfi (St. Mary’s College, Rome – Notre Dame, IN) Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini, Lucca) Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini, Lucca) Keynote Speaker Jehoash Hirshberg (Hebrew University, Israel) TUESDAY 13 OCTOBER 10.00-10.30: Welcome and Registration 10.30-11.00: Opening • Welcome address • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini) • Étienne Jardin (Palazzetto Bru Zane, Venice) • Luca Lévi Sala (Yale University – Conference Director) 11.00-13.00: Dissemination & Collective Representations 1 (Chair: Luiz Guilherme Goldberg, Universidade Federal de Pelotas, Brazil) • Ivana Gortan-Carlin (Juraj Dobrila University of Pula, Croatia, Dpt.