Concert Series
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Brahms Reimagined by René Spencer Saller
CONCERT PROGRAM Friday, October 28, 2016 at 10:30AM Saturday, October 29, 2016 at 8:00PM Jun Märkl, conductor Jeremy Denk, piano LISZT Prometheus (1850) (1811–1886) MOZART Piano Concerto No. 23 in A major, K. 488 (1786) (1756–1791) Allegro Adagio Allegro assai Jeremy Denk, piano INTERMISSION BRAHMS/orch. Schoenberg Piano Quartet in G minor, op. 25 (1861/1937) (1833–1897)/(1874–1951) Allegro Intermezzo: Allegro, ma non troppo Andante con moto Rondo alla zingarese: Presto 23 ACKNOWLEDGMENTS These concerts are part of the Wells Fargo Advisors Orchestral Series. Jun Märkl is the Ann and Lee Liberman Guest Artist. Jeremy Denk is the Ann and Paul Lux Guest Artist. The concert of Saturday, October 29, is underwritten in part by a generous gift from Lawrence and Cheryl Katzenstein. Pre-Concert Conversations are sponsored by Washington University Physicians. Large print program notes are available through the generosity of The Delmar Gardens Family, and are located at the Customer Service table in the foyer. 24 CONCERT CALENDAR For tickets call 314-534-1700, visit stlsymphony.org, or use the free STL Symphony mobile app available for iOS and Android. TCHAIKOVSKY 5: Fri, Nov 4, 8:00pm | Sat, Nov 5, 8:00pm Han-Na Chang, conductor; Jan Mráček, violin GLINKA Ruslan und Lyudmila Overture PROKOFIEV Violin Concerto No. 1 I M E TCHAIKOVSKY Symphony No. 5 AND OCK R HEILA S Han-Na Chang SLATKIN CONDUCTS PORGY & BESS: Fri, Nov 11, 10:30am | Sat, Nov 12, 8:00pm Sun, Nov 13, 3:00pm Leonard Slatkin, conductor; Olga Kern, piano SLATKIN Kinah BARBER Piano Concerto H S ODI C COPLAND Billy the Kid Suite YBELLE GERSHWIN/arr. -
Bibliography
Bibliography Abramiuk, M.A. The Foundations of Cognitive Archaeology. Cambridge & London: The MIT Press, 2012. Abbott, Evelyn, and E.D. Mansfield. Primer of Greek Grammar. Newbury Port, MA: Focus Classical Reprints, 2000 [1893]. Ahl, Frederick. “The Art of Safe Criticism in Greece and Rome.” American Journal of Philology 105 (1984): 174–208. Ahl, Frederick. Metaformations: Soundplay and Wordplay in Ovid and Other Classical Poets. Ithaca and London: Cornell University Press, 1985. Ahl, Frederick. “Making Poets Serve the Established Order: Censoring Meaning in Sophocles, Virgil, and W.S. Gilbert.” Partial Answers 10/2 (2011): 271–301. Alexander, Michelle. The New Jim Crow. New York: The New Press, 2010. Alexanderson, Bengt. “Darius in the Persians.” Eranos 65 (1967): 1–11. Alexiou, Margaret. The Ritual Lament in Greek Tradition. Cambridge: Cambridge Uni- versity Press, 1974. Alfaro, Luis. “Electricidad: A Chicano Take on the Tragedy of Electra.” American Theatre 23/2 (February 2006): 63, 66–85. Alley, Henry M. “A Rediscovered Eulogy: Virginia. Woolf’s ‘Miss Janet Case: Classical Scholar and Teacher.’” Twentieth Century Literature 28/3 (1982): 290–301. Allison, John. Review of Carl Orff: Prometheus (Roland Hermann, Colette Lorand, Fritz Uhl; Bavarian Rundfunks Symphony Orchestra and Women’s Chorus, Rafael Kubelík, cond.; live recording, Munich, 1975), Orfeo C526992I (1999). http://www.classical-music.com/review/orff-2. Andreas, Sr., James R. “Signifyin’ on The Tempest in Mama Day.” In Shakespeare and Appropriation, (eds.) Christy Desmet and Robert Sawyer. London: Routledge, 1999. Aristophanes. Lysistrata, The Women’s Festival and Frogs, (ed.) and trans. Michael Ewans. Norman: Oklahoma University Press, 2011. Armstrong, Richard H. -
Alla Zingarese August 5 and 6
Concert Program V: Alla Zingarese August 5 and 6 Friday, August 5 F RANZ JOSEph HAYDN (1732–1809) 8:00 p.m., Stent Family Hall, Menlo School Rondo all’ongarese (Gypsy Rondo) from Piano Trio in G Major, Hob. XV: 25 (1795) S Jon Kimura Parker, piano; Elmar Oliveira, violin; David Finckel, cello Saturday, August 6 8:00 p.m., The Center for Performing Arts at Menlo-Atherton HErmaNN SchULENBURG (1886–1959) AM Puszta-Märchen (Gypsy Romance and Czardas) (1936) PROgram OVERVIEW CharlES ROBERT VALDEZ A lifelong fascination with popular music of all kinds—espe- Serenade du Tzigane (Gypsy Serenade) cially the Gypsy folk music that Hungarian refugees brought to Germany in the 1840s—resulted in some of Brahms’s most ANONYMOUS cap tivating works. The music Brahms composed alla zinga- The Canary rese—in the Gypsy style—constitutes a vital dimension of his Wu Han, piano; Paul Neubauer, viola creative identity. Concert Program V surrounds Brahms’s lusty Hungarian Dances with other examples of compos- JOHANNES BrahmS (1833–1897) PROGR ERT ers drawing from Eastern European folk idioms, including Selected Hungarian Dances, WoO 1, Book 1 (1868–1869) C Hungarian Dance no. 1 in g minor; Hungarian Dance no. 6 in D-flat Major; the famous rondo “in the Gypsy style” from Joseph Haydn’s Hungarian Dance no. 5 in f-sharp minor G Major Piano Trio; the Slavonic Dances of Brahms’s pro- Wu Han, Jon Kimura Parker, piano ON tégé Antonín Dvorˇák; and Maurice Ravel’s Tzigane, a paean C to the Hun garian violin virtuoso Jelly d’Arányi. -
Ax/Kavakos/Ma Trio Sunday 9 September 2018 3Pm, Hall
Ax/Kavakos/Ma Trio Sunday 9 September 2018 3pm, Hall Brahms Piano Trio No 2 in C major Brahms Piano Trio No 3 in C minor interval 20 minutes Brahms Piano Trio No 1 in B major Emanuel Ax piano Leonidas Kavakos violin Yo-Yo Ma cello Part of Barbican Presents 2018–19 Shane McCauley Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel. 020 3603 7930) Confectionery and merchandise including organic ice cream, quality chocolate, nuts and nibbles are available from the sales points in our foyers. Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. If anything limits your enjoyment please let us know The City of London during your visit. Additional feedback can be given Corporation is the founder and online, as well as via feedback forms or the pods principal funder of located around the foyers. the Barbican Centre Welcome A warm welcome to this afternoon’s incarnation that we hear today. What is concert, which marks the opening of the striking is how confidently Brahms handles Barbican Classical Music Season 2018–19. the piano trio medium, as if undaunted by the legacy left by Beethoven. The concert brings together three of the world’s most oustanding and Trios Nos 2 and 3 both date from the 1880s charismatic musicians: pianist Emanuel and were written during summer sojourns Ax, violinist Leonidas Kavakos and – in Austria and Switzerland respectively. cellist Yo-Yo Ma. They perform the three While the Second is notably ardent and piano trios of Brahms, which they have unfolds on a large scale, No 3 is much recorded to great critical acclaim. -
Taking Care of Business in the Age of Hermes Bernie Neville
Trickster's Way Volume 2 | Issue 1 Article 4 1-1-2003 Taking Care of Business in the Age of Hermes Bernie Neville Follow this and additional works at: http://digitalcommons.trinity.edu/trickstersway Recommended Citation Neville, Bernie (2003) "Taking Care of Business in the Age of Hermes ," Trickster's Way: Vol. 2: Iss. 1, Article 4. Available at: http://digitalcommons.trinity.edu/trickstersway/vol2/iss1/4 This Article is brought to you for free and open access by Digital Commons @ Trinity. It has been accepted for inclusion in Trickster's Way by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. Neville: Taking Care of Business in the Age of Hermes Trickster's Way Vol 2 Taking Care of Business in the Age of Hermes Bernie Neville The Story of Our Times For the past half century, we have been hearing from various sources that human consciousness and culture is undergoing some sort of transformation.[1] The story we hear is sometimes the story of a collapsing civilization and an inevitable global catastrophe and sometimes a story of a coming bright new age, but the pessimistic and optimistic versions have certain themes in common when they address the nature of th contemporary world. The story we hear is a story of complexity and chaos, of the dissolution of boundaries, of deceit, denial and delusion, of the preference for image over substance, of the loss o familial and tribal bonds, of the deregulation of markets, ideas and ethics, of an unwillingness of national leaders to confront reality and tell the truth, of the abandonment of rationality, of the proliferation of information, of a market-place so noisy that nothing can be clearly heard, of a world seen through a distorting lens, of an ever-tightening knot which we cannot unravel, or an ever-unraveling knot which we cannot tighten, of planetary dilemmas so profound that we cannot even think about them sensibly, let alone address them. -
RICE UNIVERSITY Beethoven's Triple Concerto
RICE UNIVERSITY Beethoven's Triple Concerto: A New Perspective on a Neglected Work by Levi Hammer A THESIS SUBMITTED IN PARTIAL FULFULLMENT OF THE REQUIREMENTS FOR THE DEGREE: Master of Music APPROVED, THESIS COMMITTEE: Brian Connelly, Artist Teacher of Shepherd School of Music Richard Lavenda, Professor of Composition, Chair Shepherd School of Music Kfrl11eti1Goldsmith, Professor of Violin Shepherd School of Music Houston, Texas AUGUST2006 ABSTRACT Beethoven's Triple Concerto: A New Perspective on a Neglected Work by Levi Hammer Beethoven's Triple Concerto for piano, violin, and violoncello, opus 56, is one of Beethoven's most neglected pieces, and is performed far less than any of his other works of similar scope. It has been disparaged by scholars, critics, and performers, and it is in need of a re-evaluation. This paper will begin that re-evaluation. It will show the historical origins of the piece, investigate the criticism, and provide a defense. The bulk of the paper will focus on a descriptive analysis of the first movement, objectively demonstrating its quality. It will also discuss some matters of interpretive choice in performance. This thesis will show that, contrary to prevailing views, the Triple Concerto is a unique and significant masterpiece in Beethoven's output. CONTENTS Chapter 1: Introduction 1 Chapter 2: General History of Opus 56 2 Beethoven in 1803-1804 Disputed Early Performance History Current Neglect History of Genre Chapter 3: Criticism and Defense I 7 Generic Criticism Thematic Criticism Chapter 4: Analysis of the First Movement 14 The Concerto Principle Descriptive Analysis Analytic Conclusions Chapter 5: Criticism and Defense II 32 Awkwardness and Prolixity Chapter 6: Miscellany and Conclusions 33 Other Movements and Tempo Issues Other Thoughts on Performance Conclusions Bibliography 40 1 Chapter 1: Introduction The time is 1803, the onset of Beethoven's heroic middle period, and the time of his most fervent work and most productive years. -
“Stolen Music” Debussy Prélude À L’Après-Midi D’Un Faune, Arr
Press Release For immediate release Linos Piano Trio Prach Boondiskulchok (piano) Konrad Elias-Trostmann (violin) Vladimir Waltham (cello) “Stolen Music” Debussy Prélude à l’après-midi d’un faune, arr. Linos Piano Trio Dukas L’apprenti sorcier, arr. Linos Piano Trio Schönberg Verklärte Nacht, arr. Eduard Steuermann Ravel La Valse, arr. Linos Piano Trio Watch the Introductory Video CAvi-music in partnership with the Bayerischer Rundfunk Cat. No: AVI_8553035 Release: 18 June 2021 This new recording from the Linos Piano Trio presents four iconic works from the turn of the 20th Century. The three French works, transcribed for piano trio by the Linos players themselves, are recorded for the first time here, while the Verklärte Nacht arrangement harks back to the inception of the Linos Piano Trio in 2007. Transcriptions have long served as a precursor to modern day recordings. Works for larger ensembles were transcribed for smaller groups to make music at home, and the piano trio was among the favourite combinations for this purpose, with its rich sonic possibilities apt at recreating the orchestral sound. This aspect of the genre has fascinated the Linos Piano Trio from the beginning, its first ever performance being of Schönberg’s Verklärte Nacht in the arrangement by Eduard Steuermann. Since 2016, the Linos Piano Trio has been taking this idea further, creating a series of its own transcriptions with the aim of reimagining each work as if originally conceived for piano trio. The transcriptions are all created collaboratively, evolving through experimentation and refinement, seeking the most colourful distillation of the original versions. -
PROGRAM NOTES the Level of Intimacy Is Even More Pronounced in the Third Movement, Aptly Named Tears and Specifically Inspired by Words from the Russian Poet Tyutchev
JANUARY 29, 2016 – 7:30 PM FRANZ JOSEPH HAYDN Trio for Violin, Cello and Piano in G Major, Hob. XV:25, “Gypsy” Andante Poco adagio cantabile Gypsy Rondo Andrew Wan violin / Astrid Schween cello / Anton Nel piano ALEXANDER BORODIN String Quintet in F minor Allegro con brio Andante ma non troppo Menuetto Finale: Prestissimo—Adagio—Prestissimo Tessa Lark violin / Scott Yoo violin / Che-Yen Chen viola / Bion Tsang cello / Yegor Dyachkov cello INTERMISSION SERGEI RACHMANINOFF Suite No. 1 for Two Pianos, Op. 5, “Fantaisie-tableaux” Barcarole A Night for Love Tears Russian Easter Gloria Chien piano / William Wolfram piano SEASON SPONSORSHIP PROVIDED BY DIANA CAREY FRANZ JOSEPH HAYDN energetic rondo theme alternating with a series (1732–1809) of similarly scurrying episodes, the music hurtles Trio for Violin, Cello and Piano in G Major, forward with unstoppable momentum. Hob. XV:25, “Gypsy” (1795) ALEXANDER BORODIN Franz Joseph Haydn, whose combined string (1833–1887) quartets and symphonies account for almost 200 String Quintet in F minor (1853–54) works in his ample canon, wrote 45 piano trios plus more than a hundred others for the extinct Alexander Borodin was undoubtedly history’s most baryton (the cello-like instrument played by the successful amateur composer, treating music as a composer’s employer at the Esterháza estate in beloved hobby secondary to his dual profession as Hungary). Note that his piano trios fall under the a chemist and surgeon. His musical education was heading “Keyboard Music” in the current Grove scanty, that in chemistry quite the contrary. Scientific Dictionary. Why? Simply because until the trios journals of the time praised his scientific work, of Beethoven and Schubert, the cello and violin while fellow composers—spurred by the advocacy parts were more-or-less discretionary, in large of Balakirev—applauded his musical efforts. -
Kodály and Orff: a Comparison of Two Approaches in Early Music Education
ZKÜ Sosyal Bilimler Dergisi, Cilt 8, Sayı 15, 2012 ZKU Journal of Social Sciences, Volume 8, Number 15, 2012 KODÁLY AND ORFF: A COMPARISON OF TWO APPROACHES IN EARLY MUSIC EDUCATION Yrd.Doç.Dr. Dilek GÖKTÜRK CARY Karabük Üniversitesi Safranbolu Fethi Toker Güzel Sanatlar ve Tasarım Fakültesi Müzik Bölümü [email protected] ABSTRACT The Hungarian composer and ethnomusicologist Zoltán Kodály (1882-1967) and the German composer Carl Orff (1895-1982) are considered two of the most influential personalities in the arena of music education during the twentieth-century due to two distinct teaching methods that they developed under their own names. Kodály developed a hand-sign method (movable Do) for children to sing and sight-read while Orff’s goal was to help creativity of children through the use of percussive instruments. Although both composers focused on young children’s musical training the main difference between them is that Kodály focused on vocal/choral training with the use of hand signs while Orff’s main approach was mainly on movement, speech and making music through playing (particularly percussive) instruments. Finally, musical creativity via improvisation is the main goal in the Orff Method; yet, Kodály’s focal point was to dictate written music. Key Words: Zoltán Kodály, Carl Orff, The Kodály Method, The Orff Method. KODÁLY VE ORFF: ERKEN MÜZİK EĞİTİMİNDE KULLANILAN İKİ METODUN BİR KARŞILAŞTIRMASI ÖZET Macar besteci ve etnomüzikolog Zoltán Kodály (1882-1967) ve Alman besteci Carl Orff (1895-1982) geliştirmiş oldukları farklı 2 öğretim metodundan dolayı 20. yüzyılda müzik eğitimi alanında en etkili 2 kişi olarak anılmaktadırlar. Kodály çocukların şarkı söyleyebilmeleri ve deşifre yapabilmeleri için el işaretleri metodu (gezici Do) geliştirmiş, Orff ise vurmalı çalgıların kullanımı ile çocukların yaratıcılıklarını geliştirmeyi hedef edinmiştir. -
Guide to Repertoire
Guide to Repertoire The chamber music repertoire is both wonderful and almost endless. Some have better grips on it than others, but all who are responsible for what the public hears need to know the landscape of the art form in an overall way, with at least a basic awareness of its details. At the end of the day, it is the music itself that is the substance of the work of both the performer and presenter. Knowing the basics of the repertoire will empower anyone who presents concerts. Here is a run-down of the meat-and-potatoes of the chamber literature, organized by instrumentation, with some historical context. Chamber music ensembles can be most simple divided into five groups: those with piano, those with strings, wind ensembles, mixed ensembles (winds plus strings and sometimes piano), and piano ensembles. Note: The listings below barely scratch the surface of repertoire available for all types of ensembles. The Major Ensembles with Piano The Duo Sonata (piano with one violin, viola, cello or wind instrument) Duo repertoire is generally categorized as either a true duo sonata (solo instrument and piano are equal partners) or as a soloist and accompanist ensemble. For our purposes here we are only discussing the former. Duo sonatas have existed since the Baroque era, and Johann Sebastian Bach has many examples, all with “continuo” accompaniment that comprises full partnership. His violin sonatas, especially, are treasures, and can be performed equally effectively with harpsichord, fortepiano or modern piano. Haydn continued to develop the genre; Mozart wrote an enormous number of violin sonatas (mostly for himself to play as he was a professional-level violinist as well). -
Ravel Compiled by David Barker
An A to Z of the Piano Trio Repertoire Discography & Review Index: Maurice Ravel Compiled by David Barker Project Index Abbot Trio (+ Haydn 43, Mendelssohn 1) Artenius Trio Afka 544 (+ Debussy, Tchemberdji: Bow dances, Andante) Abegg Trio Charade CHA3038 (+ Debussy) Intercord 860866 Beaux Arts Trio Tacet 075 (+ Violin sonata; Debussy: Sonatas) Eloquence 4683062 Ahn Trio (+ Introduction & Allegro, Quartet) (+ Villa-Lobos 1) Eloquence 4768458 Chesky 124 (in “Ravel: Complete Edition”) Decca 4783725 Trio Albeneri (+ Chausson) (+ Faure) Philips 4111412 Forgotten Records FR991 (+ Violin sonata, String quartet) Philips 4541342 Alma Trio (+ Brahms 1) Naxos 9.80667 Hanssler Classics HC93715 [review] Altenberg Trio Wien Bekova Sisters (+ Martin, Faure) (+ Martinu 1) Challenge Classics CC72022 Chandos CHAN9452 Amatis Trio Blakemore Trio (+ Britten: Intro & Allegro, Enescu 1) (+ Beethoven 5) CAvi Music 8553477 [review] Blue Griffin BGR275 Angelus Trio Borodin Trio (+ Cortes, Grieg: Violin sonata 2) (+ Debussy: Violin & cello sonatas) Orion LAN0401 Chandos CHAN8458 Trio Arché Caecilian Trio (+ Tchaikovsky) (+ String quartet, Violin sonata; Saint-Saens 1, Real Sound 112 Lalo, Faure: Trios; Debussy, Roussel & Faure: String quartets) Trio Archipel VoxBox CD3X3031 (+ Chausson) (in “1914: The Year in Music”) Cypres CYP1612 Menuetto Classics 4803308079 Arden Trio Trio Carracilly (+ Saint-Saens 2) (in Ravel: Complete chamber works) Delos DE3055 Calliope CAL3822/3 Trio Arpeggio Trio Cérès (+ Bloch: Nocturnes, Haydn 44) (+ Faure, Hersant) Gallo VDECD1119 Oehms -
John Wilson / Repertoire / Concerti
John Wilson / Repertoire / Concerti J.S. Bach Concerto No. 1 in D minor for Keyboard and String Orchestra, BWV 1052 Concerto for Flute, Violin and Keyboard in A minor, BWV 1044 Concerto for Two Harpsichords in C minor, BWV 1060 Barber Piano Concerto, Op. 38 Beethoven Piano Concerto No. 1 in C major, Op. 15 Piano Concerto No. 2 in B-flat major, Op. 19 Piano Concerto No. 3 in C minor, Op. 37 Piano Concerto No. 4 in G major, Op. 58 Piano Concerto No. 5 in E-flat major, Op. 73 Bernstein Symphony No. 2 “The Age of Anxiety” Brahms Piano Concerto No.1 in D minor, Op. 15 Chopin Piano Concerto No. 1 in E minor, Op. 11 Piano Concerto No. 2 in F minor, Op. 21 Copland Piano Concerto Cowell Piano Concerto Falla Concerto for Harpsichord Gershwin Rhapsody in Blue Piano Concerto in F Second Rhapsody Variations on ‘I Got Rhythm’ Grieg Piano Concerto in A minor, Op. 16 Lecuona Rapsodia Cubana Liszt Piano Concerto No. 1 in E-flat, S. 124 Piano Concerto No. 2 in A, S. 125 Totentanz, S 126 Macdowell Piano Concerto No. 2 in D minor, Op. 23 Messiaen Oiseaux exotiques Turangalîla-Symphonie Mozart Piano Concerto No. 9 in E-flat major, K. 271 Piano Concerto No. 17 in B-flat major, K. 595 Piano Concerto No. 20 in D minor, K. 466 Poulenc Concerto for Two Pianos in d minor, FP 61 Rachmaninoff Piano Concerto No. 1 in F-sharp minor, Op. 1 Piano Concerto No. 2 in C minor, Op.