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557595bk Hummel US 13/6/05 4:20 pm Page 4 Conservatory Special Lyceum and St Petersburg Conservatory with Marina Volf. At the age of nine she performed in one evening’s programme Schumann’s Piano Concerto and Beethoven’s Emperor Concerto, a feat still unprecedented for a child of that age and recognised as a milestone in the history of piano performances. Two years later she performed HUMMEL Mozart’s Piano Concerto No. 24 in Moscow Conservatory’s Great Hall with the Moscow Chamber Orchestra. Polina Osetinskaya attracted major television companies which filmed documentaries of her with two live televised appearances in the United States and Russia in 1985 and 1986, seen by millions on both sides of the Atlantic. At the Violin Concerto ages of eighteen and nineteen she completed two Japanese concert tours, also performing Tchaikovsky’s Concerto No. 1 with the Tokyo Philharmonic. She has appeared as a soloist with the world’s most prestigious orchestras, and in 2002 was a Triumph Award recipient for her outstanding contribution to Russian culture. Her international career brings a Piano and Violin Concerto large repertoire including the most complicated solo, chamber and orchestral programmes, from the early Baroque to the contemporary. She has recorded with the Naxos, Sony, and Bel Air labels. Alexander Trostiansky, Violin • Polina Osetinskaya, Piano Russian Philharmonic Orchestra The Russian Philharmonic Orchestra is firmly rooted in Russia’s rich musical traditions, and has achieved an Russian Philharmonic Orchestra impressive and outstanding musical quality by drawing its musicians from the highest ranks of Russia’s most famous orchestras such as the Moscow Radio Symphony Orchestra, the Russian National Orchestra and the State Symphony Gregory Rose Orchestra.The Russian Philharmonic Orchestra was originally formed as a recording ensemble and has gone on to receive high acclaim also for its concert performances. -
News 2011/12 Boosey & Hawkes · Schott Music Autumn · Winter
News 2011/12 Boosey & Hawkes · Schott Music Autumn · Winter The Solo Piano Collection The Boosey & Hawkes Solo Piano Collection provides the intermediate pianist with exciting repertoire in accessible yet authentic arrangements. Russian Masters Classical Chill-Out 20 Russian classics arranged for 20 relaxing melodies to soothe the intermediate pianist, your soul arranged for the including pieces by 20th-century intermediate pianist, featuring masters Prokofieff, Rachmaninoff all-time favourite repertoire and Shostakovich, alongside along side little-known 19th-century greats Borodin, classical gems. Mussorgsky and Tchaikovsky. ISMN 979-0-060-12389-4 ISMN 979-0-060-12387-0 BH 12389 · in prep. BH 12387 · in prep. Rachmaninoff Best Of British Russian great Sergei Great Britain’s finest 20th - and Rachmaninoff’s most celebrated 21st – century composers are orchestral and choral themes represented in this splendid arranged for the intermediate collection of arrangements for pianist. the intermediate pianist, from ISMN 979-0-060-12390-0 Elgar and Holst to Karl Jenkins BH 12390 · in prep. via Bridge, Britten and Bliss. ISMN 979-0-060-12388-7 BH 12388 · in prep. In preparation for 2012: American Greats Shostakovich BH 12392 · ISMN 979-0-060-12392-4 BH 12395 · ISMN 979-0-060-12395-5 Prokofieff Tango BH 12394 · ISMN 979-0-060-12394-8 BH 12391 · ISMN 979-0-060-12391-7 Boosey & Hawkes is exclusively distributed by Schott Music. MA 5525-01 · 08/11 · 5525-01 MA www.schott-music.com www.boosey.com Dr. Peter Hanser-Strecker Publisher Along with our international partner publishers Boosey & Hawkes and Belaieff, we would like to give you a preview of our interesting selection of music in a variety of styles and levels, from material for beginners through to advanced performance repertoire. -
HERMOUPOLIS SYROS Peter Tiboris General & Artistic Director ΕΛΛΗΝΙΚΗ ΔΗΜΟΚΡΑΤΙΑ ΠΕΡΙΦΕΡΕΙΑ ΝΟΤΙΟΥ ΑΙΓΑΙΟΥ ΔΗΜΟΣ ΣΥΡΟΥ - ΕΡΜΟΥΠΟΛΗΣ
presented by MidAmerica Productions of New York and the Municipality of Syros-Hermoupolis NAMED BEST FESTIVAL OF GREATER GREECE IN 2011 JULY 9th to 22nd 2012 HERMOUPOLIS SYROS PETER TIBORIS GENERAL & ARTISTIC DIRECTOR ΕΛΛΗΝΙΚΗ ΔΗΜΟΚΡΑΤΙΑ ΠΕΡΙΦΕΡΕΙΑ ΝΟΤΙΟΥ ΑΙΓΑΙΟΥ ΔΗΜΟΣ ΣΥΡΟΥ - ΕΡΜΟΥΠΟΛΗΣ ΓΙΑΝΝΗΣ ΔΕΚΑΒΑΛΛΑΣ ΔΗΜΑΡΧΟΣ ΣΥΡΟΥ - ΕΡΜΟΥΠΟΛΗΣ Μετά την Τιμητική Διάκριση σε Πολιτιστικό Οργανισμό που δραστηριοποιείται στην Πε- ριφέρεια για το έτος 2011 με την οποία βραβεύτηκε το Διεθνές Φεστιβάλ Αιγαίου από την Ένωση Ελλήνων θεατρικών και μουσικών κριτικών, θα έχουμε την ευκαιρία να το απολαύ- σουμε για 8η συνεχή χρονιά στο νησί μας. Ο Πήτερ Τιμπόρις, ένας αξιόλογος μαέστρος διεθνούς φήμης, από το 2000 έχει προ- σφέρει τα μέγιστα στην πολιτιστική πρόοδο της Ερμούπολης και του νησιού μας γενικό- τερα. Κάθε χρόνο το πρόγραμμα του είναι και μία έκπληξη για το φιλότεχνο κοινό, που κατακλύζει από όλο τον κόσμο το Θέατρο Απόλλων. Ένα ολόκληρο επιτελείο από καλλιτέ- χνες, μουσικούς, χορευτές, χορωδούς και τεχνικούς βρίσκεται σε απόλυτο συντονισμό για την υλοποίηση και την ανάδειξη των παραστάσεων εξαιρετικής ποιότητας που συμβάλ- λουν στην προβολή του νησιού μας, διεθνώς. Επιθυμώ να εκφράσω τα θερμά μου συγχαρητήρια προς τον αγαπητό φίλο και Συρια- νό Πήτερ Τιμπόρις για το σπουδαίο Φεστιβάλ. Είναι ιδιαίτερη τιμή για τη Σύρο να φιλοξενεί κορυφαίους μουσικούς και καλλιτέχνες παγκόσμιας εμβέλειας, ενώ αξίζει επίσης να ση- μειωθεί η οργανωτική προσπάθεια του κ. Τιμπόρις στον οποίο με απόφαση του Δημοτικού Συμβουλίου, θα απονεμηθεί αυτή τη χρονιά, το μετάλλιο της πόλης μας. Παράλληλα θα ήθελα να ευχαριστήσω θερμά τη διοίκηση και το προσωπικό του Ορ- γανισμού Πολιτισμού και Αθλητισμού Σύρου που συνέβαλαν ουσιαστικά στην συνδιοργά- νωση του Φεστιβάλ με την εταιρεία MidAmerica Productions που διευθύνει ο κ. -
Stockhausen STIMMUNG & COSMIC PULSES
Stockhausen STIMMUNG & COSMIC PULSES Monday 20 November 2017 7.30pm, Hall Stockhausen STIMMUNG interval 30 minutes Stockhausen COSMIC PULSES Singcircle Gregory Rose bass/director Jacqueline Barron soprano Zoë Freedman soprano Heather Cairncross mezzo-soprano Guy Elliott tenor Angus Smith tenor Rolando Paolo Guerzoni Paolo Rolando Robert Henke laser artist Kathinka Pasveer sound projection Stephen Montague assistant sound projection Reinhard Klose sound engineer Part of Barbican Presents 2017–18 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 Karlheinz Stockhausen was a towering figure the 10th anniversary of Stockhausen’s in the history of 20th- and 21st-century music, death (which falls next month), but also one who literally changed the sound of the 40th anniversary of Singcircle’s first music and the way we listen to it. Tonight’s performance of the work in the Round concert presents two seminal works from House. It is also the last-ever performance opposite ends of his career. It is intended of STIMMUNG by Singcircle. -
STIMMUNG Rory Bradell
FACULTAD DE ARTES Y CIENCIAS MUSICALES CENTRO DE ESTUDIOS ELECTROACÚSTICOS STIMMUNG Rory Bradell Traducción del inglés de Pablo Cetta EL PROCESO COMPOSITIVO Stimmung fue realizada por encargo de la ciudad de Colonia para el ensamble coral Collegium Vocale de la Rheinische Musikschule. Stockhausen escribió la obra durante los meses de Febrero y Marzo de 1968, mientras vivía en Connecticut. Previamente, había visitado Méjico, donde fue influenciado por los antiguos templos. En una conversación con Jonathan Cott, expresa la importancia de su visita para la creación de Stimmung. Lo más importante para la composición de Stimmung fue que recién regresaba de Méjico, donde permanecí un mes caminando a través de las ruinas, visitando Oaxaca, Mérida, y Chichen Itza, convirtiéndome en maya, azteca y español, volviéndome parte del pueblo. Los nombres mágicos de los dioses aztecas conforman el texto de Stimmung, y también su espacio. Me sentaba por horas en una misma piedra, observando las proporciones de algunos templos mayas, con sus tres alas, mirando el modo en que se encontraban ligeramente fuera de fase. Reviví ceremonias, que podían ser sumamente crueles. La crueldad religiosa no aparece en la obra, sólo los sonidos, y el sentimiento de las planicies mejicanas con sus edificios recortando el cielo –la quietud, por un lado, y los cambios súbitos, por el otro. [1] Stockhausen relata su experiencia del paisaje mejicano en el lenguaje musical de Stimmung. Como oyentes, podemos apreciar aspectos “fuera de fase”, como la superposición temporal de modelos silábicos. Este tipo de técnica fue muy usada en la década del 60 por los compositores minimalistas, como La Monte Young, Steve Reich y Terry Riley. -
Extract from Text
DISCOVER music of th e 20 th CENTURY Contents page Track list 4 Music of the Twentieth Century , by David McCleery 9 I. Introduction 10 II. Pointing the Way Forward 13 III. Post-Romanticism 17 IV. Serialism and Twelve-Tone Music 24 V. Neoclassicism 34 VI. An English Musical Renaissance 44 VII. Nationalist Music 55 VIII. Music from Behind the Iron Curtain 64 IX. The American Tradition 74 X. The Avant Garde 85 XI. Beyond the Avant Garde 104 XII. A Second Musical Renaissance in England 118 XIII. Into the Present 124 Sources of featured panels 128 A Timeline of the Twentieth Century (music, history, art and architecture, literature) 130 Further Listening 150 Composers of the Twentieth Century 155 Map 164 Glossary 166 Credits 179 3 DISCOVER music of th e 20 th CENTURY Track List CD 1 Claude Debussy (1862–1918) 1 Prélude à l’après-midi d’un faune 10:33 BRT Philharmonic Orchestra, Brussels / Alexander Rahbari 8.550262 Arnold Schoenberg (1874–1951) Five Piano Pieces, Op. 23 2 Walzer 3:30 Peter Hill, piano 8.553870 Alban Berg (1885–1935) Violin Concerto 3 Movement 1: Andante – Scherzo 11:29 Rebecca Hirsch, violin / Netherlands Radio Symphony Orchestra / Eri Klas 8.554755 Anton Webern (1883–1945) Five Pieces, Op. 10 4 Sehr ruhig und zart 0:39 5 Lebhaft und zart bewegt 0:32 6 Sehr langsam und äußerst zart 1:43 7 Fließend, äußerst zart 0:33 4 DISCOVER music of th e 20 th CENTURY 8 Sehr fließend 1:03 Ulster Orchestra / Takuo Yuasa 8.554841 Maurice Ravel (1875–1937) Le Tombeau de Couperin 9 Forlane: Allegretto 6:30 Klára Körmendi, piano 8.550254 Igor Stravinsky (1882–1971) Petrushka 10 First Tableau: The Shrove-Tide Fair 5:08 11 The Mountebank 1:49 Philharmonia Orchestra / Robert Craft 8.557500 Pulcinella 12 Vivo 1:41 Bournemouth Sinfonietta / Stefan Sanderling 8.553181 Ralph Vaughan Williams (1872–1958) Symphony No. -
Tocc0284notes.Pdf
AN AUTOBIOGRAPHICAL OUTLINE by Gregory Rose I began musical studies on the violin and piano at a young age, becoming a chorister at Salisbury Cathedral in 1956, following in the footsteps of my father, the conductor, composer and teacher Bernard Rose. He was an inspiration to me, and later I studied with him at Magdalen College, Oxford, where I was also an ‘Academical Clerk’ (choral scholar) in the college choir that he directed, from 1967 to 1970. I also studied with two former pupils of Schoenberg: Hans Jelinek at the Vienna Music Academy in 1966 and Egon Wellesz at Oxford University in 1968. Although I began composing while young, the first compositions I recognise date from the late 1960s: choral and small-ensemble pieces influenced by my interest in the contemporaneous European avant-garde composers. Since then, I have composed much orchestral, instrumental and choral music, including Birthday Ode for Aaron Copland (chamber orchestra, 1990), Tapiola Sunrise (string orchestra, 1998), Cristalflood (voices and orchestra, 2001), Thambapanni (orchestra, 2004), and no fewer than fifteen settings of the Mass, including Missa Sancta Pauli Apostoli (choir and organ, 2006), which won the Liturgical category of the British Composer Awards in 2006. Recent works include three song-cycles: Avebury Stone Circles (2013), Dancing in Sun-split Clouds (2013) and The Song of Solomon (2014), as well as Garden of the Gods (2013) for recorders and piano, Red Planet (ensemble, 2013–14), and The Melodic Thread (2014) for cimbasso (a cross between a trombone and tuba) and harp. In 1998 I completed the unfinished Violin Concerto of Johann Nepomuk Hummel, which I then recorded with the Russian Philharmonic Orchestra for Naxos. -
2017/18 Season
ST JOHN’S SMITH SQUARE 2017/18 SEASON Spring Edition Patron HRH The DuchessBook of Cornwall online sjss.org.uk 1 © Matthew Andrews CONTENTS —— 1 Welcome 2 Spring 2018 Listings 29 Holy Week Festival Listings 35 Summer 2018 Listings 47 Muffat Festival 48 Schools Listings 49 Young Artists 50 Support Us 52 Over 300 years of history 54 Booking Information 55 How to find us 56 Footstool Restaurant 2 Box Office020 7222 1061 2017/18 SEASON WELCOME TO ST JOHN’S SMITH SQUARE —— With our 2017/18 programme we Our partnership with Southbank Centre continue our core mission to provide continues for one more season, with a home for Baroque music within the three remaining concerts from their UK’s only concert hall dating from the International Piano Series this Spring. Baroque period whilst equally championing new music. International St John’s Smith Square is unique amongst artists sit comfortably alongside London’s concert halls; it is the oldest, emerging talent as St John’s Smith yet most flexible, concert hall in London Square continues to provide a vital and we are very proud that we are able and unique central London home for to offer a programme which is so diverse the best in community music. yet filled with events and festivals of deep integrity. Festival programming remains a key feature at St John’s Smith Square this I hope you will find the programme season. We are delighted to host our stimulating and interesting and I would second Holy Week Festival, as a mirror be very interested to hear any thoughts to our Christmas celebrations, which will and comments about your experiences feature a unique mix of liturgical and at St John’s Smith Square. -
Download Booklet
CoMA Open Score Contemporary Music for All London Sinfonietta • Gregory Rose conductor 1 Philip Cashian Mechanik 2’37 2 Donnacha Dennehy A Fatal Optimist 4’08 3 Alexander Campkin Counting my Numberless Fingers 5’14 4 Tansy Davies Feather and Groove 6’45 5 Amoret Abis When (ensemble with solo cello) 9’14 6 Philip Venables Dutch Courage 4’24 7 Paul Burnell Four Minutes, Four Daydreams 4’20 8 Naomi Pinnock Four Humours 5’58 9 Roxanna Panufnik CoM(A)Chord 1’32 10 Howard Jones The Illusion of Progress 8’44 11 Michael Nyman In C Interlude 5’08 Total timing 59’30 Contemporary music for all Open Score is a logical outcome of a philosophy of inclusivity that underpins the aims and activities of Contemporary Music for All (CoMA). Launched in 1993, initially as a national contemporary music summer school based at Wortley Hall – the trade union, Labour and Co-operative movements’ educational centre near Sheffield – its tutors were Diana Burrell, Simon Foxley, Mary King, Stephen Langridge, Gillian Moore, Daryl Runswick, John Tilbury, Tim Yealland and Judith Weir. Its purpose was to create an environment where amateur and professional musicians could come together to share their passion for new music. The CoMA summer school serves as the focus for commissioning new works suitable for amateur performance and Michael Finnissy’s Plain Harmony was the first such work to be commissioned, and the first to be flexibly scored. Ten years on, in 2003, this approach to instrumentation was to become central to CoMA’s commissioning policy following an invitation from Tate Liverpool for CoMA ensembles to perform music created in response to works in its Modern British Art postcard collection. -
TOCC0558DIGIBKLT.Pdf
SOME NOTES ON MY NOTES by Gregory Rose My earliest days were spent in the Cotswold village of Bampton, famous for its Morris dancing, and I have had the joy of being a freelance musician, conducting and composing, since 1974. I began musical studies on the violin and piano at a young age, becoming a chorister at Salisbury Cathedral in 1956, following in the footsteps of my father, the conductor, composer and teacher Bernard Rose (1916–96). My father was an inspiration to me, and later I studied with him at Magdalen College, Oxford, where from 1967 to 1970 I was also an ‘Academical Clerk’ (choral scholar) in the college choir. I studied with two former pupils of Schoenberg, too: Hans Jelinek at the Vienna Music Academy in 1966 and Egon Wellesz at Oxford University in 1968. Although I began writing music when I was around ten years old, my first recognised compositions date from the late 1960s: choral and small-ensemble pieces influenced by my interest in the contemporary European avant-garde. Since then, I have composed much orchestral, instrumental and choral music. My works include the Birthday Ode for Aaron Copland (chamber orchestra, 1990) recorded here, Tapiola Sunrise (string orchestra, 1998), Cristalflood (voices and orchestra, 2001), Thambapanni (orchestra, 2004) and twenty settings of the Mass, including the Missa Sancta Pauli Apostoli (choir and organ, 2006), which won the Liturgical category of the British Composer Awards in 2006. My music-theatre work Danse macabre, completed in 2011, was described by one reviewer1 as ‘an absorbing musical masterpiece’ – to my obvious satisfaction. -
Fifty Contemporary Choreographers
FIFTY CONTEMPORARY CHOREOGRAPHERS Fifty Contemporary Choreographers is a unique and authoritative guide to the lives and work of today’s most prominent choreographers. Those included represent a wide range of dance genres, from ballet to postmodern. Among those whose work is discussed are Matthew Bourne, William Forsythe, Mark Morris and Twyla Tharp. The book locates each choreographer’s style in the context of contemporary dance theatre, and shows its influence upon modern dance. Each entry includes: • a critical essay • a short biography • a list of choreographic works • a detailed bibliography An introduction by Deborah Jowitt of The Village Voice provides a superb overview of the world of modern dance, making this an invaluable reference source for all students and critics, dancers and general readers. Martha Bremser is a freelance editor and writer, and edited the much praised International Dictionary of Ballet (St James Press, 1993). Routledge Key Guides Ancient History: Key Themes and Approaches Neville Morley Cinema Studies: The Key Concepts (Second Edition) Susan Hayward Eastern Philosophy: Key Readings Oliver Leaman Fifty Eastern Thinkers Diané Collinson, Kathryn Plant and Robert Wilkinson Fifty Contemporary Choreographers Edited by Martha Bremser Fifty Key Contemporary Thinkers John Lechte Fifty Key Jewish Thinkers Dan Cohn-Sherbok Fifty Key Thinkers on History Marnie Hughes-Warrington Fifty Key Thinkers in International Relations Martin Griffiths Fifty Major Philosophers Diané Collinson Key Concepts in Cultural Theory Andrew -
TOCC0482DIGIBKLT.Pdf
MY CHORAL LIFE by Gregory Rose My earliest days were spent in the Cotswold village of Bampton, famous for its Morris dancing, and I have had the joy of being a freelance musician, conducting and composing, since 1974. I began musical studies on the violin and piano at a young age, becoming a chorister at Salisbury Cathedral in 1956, following in the footsteps of my father, the conductor, composer and teacher Bernard Rose (1916–96). My father was an inspiration to me, and later I studied with him at Magdalen College, Oxford, where from 1967 to 1970 I was also an ‘Academical Clerk’ (choral scholar) in the college choir. I studied with two former pupils of Schoenberg, too: Hans Jelinek at the Vienna Music Academy in 1966 and Egon Wellesz at Oxford University in 1968. Although I began writing music when I was around ten years old, my frst recognised compositions date from the late 1960s: choral and small-ensemble pieces infuenced by my interest in the contemporary European avant-garde. Since then, I have composed much orchestral, instrumental and choral music. My works include a Birthday Ode for Aaron Copland (chamber orchestra, 1990), Tapiola Sunrise (string orchestra, 1998), Cristalfood (voices and orchestra, 2001), Tambapanni (orchestra, 2004), and nearly twenty settings of the Mass, including the Missa Sancta Pauli Apostoli (choir and organ, 2006), which won the Liturgical category of the British Composer Awards in 2006. My music-theatre work Danse macabre, completed in 2011, was described by one reviewer1 as ‘an absorbing musical masterpiece’ – to my obvious satisfaction. Tere are nine song-cycles, including Avebury Stone Circles (2013), Dancing in Sun-split Clouds (2013), Te Song of Solomon (2014), Aphrodite and Adonis (2015), Five Schwitters Songs (2015) and Bird Songs for Loré, Book 1 (2017).