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Mario Ferraro 00
City Research Online City, University of London Institutional Repository Citation: Ferraro Jr., Mario (2011). Contemporary opera in Britain, 1970-2010. (Unpublished Doctoral thesis, City University London) This is the unspecified version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/1279/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] CONTEMPORARY OPERA IN BRITAIN, 1970-2010 MARIO JACINTO FERRARO JR PHD in Music – Composition City University, London School of Arts Department of Creative Practice and Enterprise Centre for Music Studies October 2011 CONTEMPORARY OPERA IN BRITAIN, 1970-2010 Contents Page Acknowledgements Declaration Abstract Preface i Introduction ii Chapter 1. Creating an Opera 1 1. Theatre/Opera: Historical Background 1 2. New Approaches to Narrative 5 2. The Libretto 13 3. The Music 29 4. Stage Direction 39 Chapter 2. Operas written after 1970, their composers and premieres by 45 opera companies in Britain 1. -
CHAN 3029 Book Cover.Qxd 24/7/07 4:32 Pm Page 1
CHAN 3029 book cover.qxd 24/7/07 4:32 pm Page 1 CHAN 3029 CHANDOS O PERA I N ENGLISH Sir Charles Mackerras PETE MOOES FOUNDATION CHAN 3029 BOOK.qxd 24/7/07 4:46 pm Page 2 Leosˇ Janácˇek (1854–1928) Osud (Fate) Opera in three acts Libretto by Leosˇ Janácˇek and Fedora Bartosˇová English translation by Rodney Blumer AKG Míla Valková .............................................................................................................. Helen Field Zˇ ivn´y, a composer .............................................................................................. Philip Langridge Míla’s mother ...................................................................................................... Kathryn Harries Act I A poet, A student .................................................................................................... Peter Bronder Dr Suda ........................................................................................................................Stuart Kale First lady .............................................................................................................. Christine Teare Second lady ........................................................................................................ Elizabeth Gaskell Old Slovak woman ................................................................................................ Dorothy Hood Major’s wife .............................................................................................................. Mary Davies Councillor’s wife................................................................................................... -
The Current Great Gate of Kiev Built in 1982 in Kyiv, Ukraine. Photo: ©Mark Laycock
The current Great Gate of Kiev built in 1982 in Kyiv, Ukraine. Photo: ©Mark Laycock Nieweg Chart Pictures at an Exhibition; Картинки c выставки; Kartinki s vystavki; Tableaux d'une Exposition By Modeste Mussorgsky A Guide to Editions Up Date 2018 Clinton F. Nieweg 1. Orchestra editions 2. String Orchestra editions 3. Wind Ensemble/Band editions 4. Chamber Ensemble editions 5. Other non-orchestral arrangements 6. Keyboard editions 7. Sites, Links and Documentation about the 'Pictures' 8. Reference Sources 9. Publishers and Agents In this chart the composer’s name is spelled as cataloged by the publishers. They use Модест Мусоргский, Moussorgski, Musorgskii, Musorgskij, Musorgsky, Mussorgskij, or Mussorgsky. He was inspired to compose Pictures at an Exhibition quickly, completing the piano score in three weeks 2–22 June 1874. Movement Codes 1. Promenade I 2. Gnomus 3. Promenade II 4. The Old Castle 5. Promenade III 6. Tuileries: Children Quarreling at Play 7. Bydło 8. Promenade IV 9. Ballet of Unhatched Chicks 10. Samuel Goldenberg and Schmuÿle 11. Promenade V 12. The Market Place at Limoges - Le Marché 13. Catacombæ (Sepulcrum Romanum) 14. Cum Mortuis in Lingua Mortua 15. Hut on Fowl’s Legs (Baba-Yaga) 16. The Great Gate of Kiev Recordings: For information about recordings of all 606 known arrangements and 1041 recordings (as of August 2015), see the chart by David DeBoor Canfield, President, International Kartinki s vystavki Association. www.daviddeboorcanfield.org Click on Exhibition. Click on Arrangements. For the August 2018 update of 1112 recordings see Canfield in Sites, Links and Documentation about the 'Pictures' below. -
Harrison Birtwistle Selected Reviews
Harrison Birtwistle Selected Reviews The Last Supper BBC Scottish Symphony Orchestra (January 2017) "The Last Supper was designed as a millennial work. Convened by Ghost (Susan Bickley), Jesus and his disciples survey some of the miseries visited upon the world since their last meeting in Jerusalem. References to looking through “the three zeros of the year 2000” sounded awkward at the time, as did the hurried apologies to “Jews, blacks, Aborigines, women, gypsies [and] homosexuals”, but Birtwistle’s music has worn well. Its heft and humour spring from the page in sharp flecks of pizzicato strings, sinister tattoos from the side drum, coppery, cimbalom-like chords and thick knots of sound from double basses, low woodwind and accordion. The choral writing (sung by the BBC Singers) is superb." - Anna Picard, The Times **** "When The Last Supper was new, in a pre-9/11 world, some of its concerns felt outmoded. How wrong we were. Now it has proved its enduring pertinence." - Fiona Maddocks, The Observer "Birtwistle’s music feels tremendously lyrical, even opulent 17 years after the opera’s premiere. It’s quite often blunt and uncompromising, but the Latin choral motets that accompany Christ’s three visions summon remarkable poise and focus in his choral writing, and his lengthy foot-washing scene, in which Christ humbles himself before each of his disciples in turn, has an astonishing sense of pathos even amid its wailing orchestration that’s only increased by its inexorable repetitions." - David Kettle, The Arts Desk ***** "Birtwistle’s ritualistic writing is marvellous, layer upon layer of skewed time and perspective underpinned by a grim, grand pace unfolding from the bottom of orchestra. -
Modern Trumpet•1
The Art of the Modern Trumpet •1 ENESCU•HINDEMITH•HONEGGER•LIGETI MARTINU° •MAXWELL DAVIES•WILLIAMS Huw Morgan, Trumpet Patricia Ulrich, Piano The Art of the Modern Trumpet • 1 World War Two, Hindemith’s remarkable creativity continued Born in Wales, Christopher Williams graduated from George Enescu • Paul Hindemith • Arthur Honegger • György Ligeti apace: 1939 was a particularly fruitful year, which included Cardiff University and now leads a varied professional life as the birth of the Violin Concerto and sonatas for viola, clarinet, a pianist, composer, conductor, teacher and arranger. Bohuslav Martinů • Peter Maxwell Davies • Christopher J.G. Williams and horn (part of his series of substantial works to challenge Williams is currently Assistant Director of the BBC National The repertoire of The Art of the Modern Trumpet spans a where he composed four morceaux de concours serious amateur performers of virtually every solo Chorus of Wales and a staff accompanist at the Royal Welsh period which can easily be described as the instrument’s (‘competition pieces’) for the internal examinations of the instrument). Arguably, the Sonata for Trumpet and Piano is College of Music and Drama, as well as being in great ‘second golden age’. Almost 150 years after the pinnacle of Paris Conservatoire. Among these works, Légende, his arguably the finest in the cycle – skilfully combining demand as a chamber musician. The kaleidoscopic the virtuoso clarino performer, whose agility in the upper single-movement concert piece written in 1906 and Hindemith’s -
5 Edition, 2018 Gavin Holman
The Brass Band Bibliography 5th edition, 2018 Gavin Holman Contents Brass Bands in General ................................................................... 3 Specific Brass Bands .................................................................... 44 Biographical ..................................................................................70 Methods & Performance ............................................................... 81 Music – published and manuscript ............................................. 85 Pedagogy ...................................................................................... 94 Instrumentation & Scoring .......................................................... 96 Conducting .................................................................................... 97 Health & Physiology ..................................................................... 99 Brass Instruments in general ...................................................... 101 Cornets & Trumpets .................................................................... 112 Horns (tenor & alto) .....................................................................115 Baritones & Euphoniums ............................................................ 116 Trombones .................................................................................. 118 Tubas ........................................................................................... 121 Percussion ................................................................................... 123 -
Dramatic Narrative and Musical Discourse in Gawain
twentieth-century music http://journals.cambridge.org/TCM Additional services for twentieth-century music: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here The Shadow of Opera: Dramatic Narrative and Musical Discourse in Gawain DAVID BEARD twentieth-century music / Volume 2 / Issue 02 / September 2005, pp 159 - 195 DOI: 10.1017/S1478572206000259, Published online: 15 August 2006 Link to this article: http://journals.cambridge.org/abstract_S1478572206000259 How to cite this article: DAVID BEARD (2005). The Shadow of Opera: Dramatic Narrative and Musical Discourse in Gawain. twentieth-century music, 2, pp 159-195 doi:10.1017/S1478572206000259 Request Permissions : Click here Downloaded from http://journals.cambridge.org/TCM, IP address: 131.251.254.13 on 25 Feb 2014 twentieth-century music 2/2, 159–195 © 2006 Cambridge University Press doi:10.1017/S1478572206000259 Printed in the United Kingdom The Shadow of Opera: Dramatic Narrative and Musical Discourse in Gawain DAVID BEARD Abstract The opera Gawain (1991; revised 1994 and 1999) brought together Harrison Birtwistle and the poet David Harsent in a reworking of the late fourteenth-century narrative poem Sir Gawain and the Green Knight. That Birtwistle asked Harsent to make a large number of alterations to his original libretto has already been documented. The present article, which draws on the sketching processes of both librettist and composer, reveals the nature and the ramifications of those changes. The discussion is particularly concerned with the contradictions and multiple narrative layers that resulted from the Harsent–Birtwistle collaboration, and with the composer’s suggestion that there is both a secret drama in the orchestra, and instruments that function like unheard voices. -
STRAVINSKY the SOLDIER’S TALE Royal Academy of Music Manson Ensemble MENU
Oliver Knussen Conductor • Dame Harriet Walter Narrator Sir Harrison Birtwistle Soldier • George Benjamin Devil STRAVINSKY THE SOLDIER’S TALE Royal Academy of Music Manson Ensemble MENU Tracklist Credits Producer's Note Programme Note Biographies Oliver Knussen Conductor • Dame Harriet Walter Narrator Sir Harrison Birtwistle Soldier • George Benjamin Devil Royal Academy of Music Manson Ensemble Igor Stravinsky (1882–1971) 1. Fanfare for a New Theatre ..................................................................................................................... 0:47 Peter Maxwell Davies (1934–2016) arr. Oliver Knussen (b. 1952) 2. Canon ad honorem Igor Stravinsky .................................................................................. 2:10 Harrison Birtwistle (b. 1934) 3. Chorale from a Toy Shop – for Igor Stravinsky (2016 version for winds) .... 1:23 4. Chorale from a Toy Shop – for Igor Stravinsky (2016 version for strings) .. 1:25 Stravinsky The Soldier’s Tale Part One 5. Introduction: The Soldier’s March ...................................................................................... 2:38 6. Music for Scene 1: Airs by a Stream .................................................................................. 6:52 7. The Soldier’s March (reprise) ................................................................................................ 4:33 8. Music for Scene 2: Pastorale ........................................................................................................ 4:54 9. Music for the End -
Harrison Birtwistle Duet 1 Alistair Mackie Trumpet Mark Van De Wiel Clarinet David Hockings Percussion Sinfonietta Shorts Are B
Harrison Birtwistle Duet 1 Alistair Mackie trumpet Mark van de Wiel clarinet David Hockings percussion Sinfonietta Shorts are bite-sized pieces of new music from today's leading composers, commissioned and premiered by principal players of the London Sinfonietta. The series started in 2008 to celebrate the ensemble's 40th birthday, and the works created for it have enduring relevance as introductions to the best new music of our time. Harrison Birtwistle Duet 1 Sir Harrison Birtwistle created the first short piece The Message (Duet 1) for the London Sinfonietta in 2008, as a ‘birthday card’ for their 40th anniversary concert. He then decided to write more duets for different occasions over the past few years. Bourdon (Duet 2) for violin and viola was performed at a commemorative event for the publisher Bill Colleran. Duet 3 for cor anglais and bassoon was created as a surprise for a supporter of his work, Nicholas Prettejohn. There are now five pieces in the sequence, and this evolving set may well take other forms in the future as the composer sees fit. © Andrew Burke, Chief Executive, London Sinfonietta Duet 1 is a conversation for two instruments. The original title, The Message, derives from a sculpture by Bob Law on which is inscribed ‘the purpose of life is to pass the message on’. Harrison Birtwistle Sir Harrison Birtwistle is internationally regarded as one of the most striking and individual composers today. His unique soundworld runs the full gamut from large-scale operatic and orchestral canvases, rich in mythical and primitivist power, to intimate chamber works, contemplative in their lyricism. -
Der Auf Orpheus (Und/Oder Eurydike)
Reinhard Kapp Chronologisches Verzeichnis (in progress) der auf Orpheus (und/oder Eurydike) bezogenen oder zu beziehenden Opern, Kantaten, Instrumentalmusiken, literarischen Texte, Theaterstücke, Filme und historiographischen Arbeiten (Stand: 5. 10. 2018) Für Klaus Heinrich Da das primäre Interesse bei der folgenden Zusammenstellung musikgeschichtlicher Art ist, stehen am Anfang der Einträge die Komponisten, soweit es sich um musikalische Werke handelt – auch dann, wenn die zeitgenössische Einschätzung wohl eher den Librettisten die Priorität eingeräumt hätte. Unter einem bestimmten Jahr steht wiederum die Musik an erster Stelle, gefolgt von Theater, Film, Dichtung und Wissenschaft. Vielfach handelt es sich um Nachrichten aus zweiter Hand; ob etwa die genannten Stücke sich erhalten haben, ließ sich noch nicht in allen Fällen ermitteln. Doch ist u.U. die bloße Tatsache der Aufführung schon Information genug. Musik- bzw. literaturwissenschaftliche Sekundärliteratur zu einzelnen Stücken bzw. Texten wurde in der Regel nicht verzeichnet. Die Liste beruht nicht auf systematischen Erhebungen, daher sind die Angaben von unterschiedlicher Genauigkeit und Zuverlässigkeit. Ergänzungen und Korrekturen werden dankbar entgegengenommen. Eine erste rudimentäre Version erschien in: talismane. Klaus Heinrich zum 70. Geburtstag , hsg. v. Sigrun Anselm und Caroline Neubaur, Basel – Frankfurt/M. 1998, S.425ff. Orphiker: Schule philosophierender Dichter, benannt nach ihrem legendären Gründer Orpheus – 8./7. Jh. v. Chr. Ischtars Fahrt in das Land ohne Heimkehr (altsumerische Vorform des Mythos, ins dritte vorchristliche Jahrtausend zurückreichend) – aufgezeichnet im 7. Jh. v. Chr. Ibykos (Lyriker), Fragment aus zwei Worten „berühmter Orpheus“ – 6. Jh. v. Chr. Unter den Peisistratiden soll Onomakritos am Tyrannenhof die Orphischen Gedichte gesammelt haben – 6. Jh. v. Chr.? Simonides v. Keos (?), Fragment 62 (bzw. -
Tableaux D'une Exposition
Tableaux d'une exposition ORCHESTRE PHILHARMONIQUE DE RADIO FRANCE HÅKAN HARDENBERGER direction er VENDREDI1 DÉCEMBRE 20H AARON COPLAND Fanfare for the Common Man (5 minutes environ) MAGNUS LINDBERG Ottoni (création française) (13 minutes environ) GUNTHER SCHULLER Symphonie pour cuivres et percussion opus 16 1. Andante – Allegro - Andante 2. Vivace 3. Lento desolato 4. Quasi cadenza - Allegro. (18 minutes environ) – Entracte – MODESTE MOUSSORGSKI ORCHESTRATION D'ELGAR HOWARTH Tableaux d’une exposition Promenade - Gnomus - Promenade - Il Vecchio castello - Promenade - Tuileries - Bydlo - Promenade - Ballet des poussins dans leurs coques - Samuel Goldenberg et Schmuyle - Promenade - Limoges, le marché - Catacombes - Cum mortuis in lingua mortua - La cabane sur des pattes de poule - La Grande Porte de Kiev (35 minutes environ) ORCHESTRE PHILHARMONIQUE DE RADIO FRANCE HÅKAN HARDENBERGER direction Ce concert sera diffusé en direct sur France Musique, également disponible sur francemusique.com AARON COPLAND 1900-1990 d’impôts sur le revenu. » Réponse amusée de Copland : « Je suis entièrement Fanfare for the Common Man d’accord pour honorer le Common Man au moment des déclarations d’impôts sur Composée en 1942. Créée le 12 mars 1943 par l’Orchestre symphonique de Cincinnati dirigé par Eugène le revenu. » Goossens. Manuscrit conservé à la Bibliothèque du Congrès de Washington. Nomenclature : 4 cors, Connaissant un succès immédiat, cette courte page pour cuivres et 3 trompettes, 3 trombones, 1 tuba. percussions (écrite bénévolement) retentira dans le final de saTroisième Symphonie, et sera utilisée d’innombrables fois jusqu’à ce jour. De funérailles en inaugurations politiques, de rencontres sportives en films publicitaires, de musique de recrutement « Ceci est le combat entre un monde esclave et un monde libre. -
Andrew Watts Countertenor Jeffrey Lloyd-Roberts Tenor BBC Singers • London Sinfonietta David Atherton Conductor 2 Harrison a Sound from Elsewhere by Paul Griffi Ths
Andrew Watts countertenor Jeffrey Lloyd-Roberts tenor BBC Singers • London Sinfonietta David Atherton conductor 2 Harrison A sound from elsewhere by Paul Griffi ths Birtwistle The eternal and immense Will not be bent by us. (Rilke: ‘Der Schauende’) Photo: Hanya Chlala / Arenapal.com 1 Angel Fighter 31’09 In accepting a commission from the Stravinsky, was producing one sacred Leipzig Bach Festival for a work to story after another: Canticum sacrum Andrew Watts countertenor Angel Jeffrey Lloyd-Roberts tenor Jacob be performed in the very church, the (1955), A Sermon, a Narrative and BBC Singers Thomaskirche, that had witnessed the a Prayer (1961), The Flood (1962), London Sinfonietta fi rst performances of the St Matthew Abraham and Isaac (1963). Now, David Atherton conductor Passion and so much else, Birtwistle having reached a similar age, he does Commissioned for Bachfest Leipzig 2010 was agreeing to wrestle with one of the the same: The Last Supper (1998- 2 In Broken Images 18’21 great angels of his destiny. There had 9), The Ring Dance of the Nazarene London Sinfonietta been circlings before, in arrangements (2003), Angel Fighter (2010). of keyboard pieces and arias, but never David Atherton conductor The predecessor’s presence may be Commissioned by MITO SettembreMusica / London Sinfonietta had he come so close. felt not only in the genre but also in However, the angel in the Biblical the bare textures and sparse fi gures 3 Virelai (Sus une fontayne) 3’55 narrative of Jacob’s wrestling declines of the opening, with its bassoon duo London Sinfonietta to give his name, and the spirit Birtwistle and sustained string chord, introducing David Atherton conductor takes hold of in Angel Fighter may not the work’s tight-drawn, luminous Live Recordings be so simply inferred from the work’s harmonic vocabulary and simultaneously circumstances.