Module 1: Composers of the Romantic Period
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Eifman Ballet of St. Petersburg
Cal Performances Presents Program Friday, May 1, 2009, 8pm Eifman Ballet of St. Petersburg Saturday, May 2, 2009, 8pm Artistic Director Sunday, May 3, 2009, 3pm Boris Eifman, Zellerbach Hall Soloists Maria Abashova, Elena Kuzmina, Natalia Povorozniuk, Eifman Ballet of St. Petersburg Anastassia Sitnikova, Nina Zmievets Boris Eifman, Artistic Director Yuri Ananyan, Dmitry Fisher, Oleg Gabyshev, Andrey Kasyanenko, Ivan Kozlov, Oleg Markov, Yuri Smekalov Company Marina Burtseva, Valentina Vasilieva, Polina Gorbunova, Svetlana Golovkina, Alina Gornaya, Diana Danchenko, Ekaterina Zhigalova, Evgenia Zodbaeva, Sofia Elistratova, Elena Kotik, Yulia Kobzar, Alexandra Kuzmich, Marianna Krivenko, Marianna Marina, Alina Petrova, Natalia Pozdniakova, Victoria Silantyeva, Natalia Smirnova, Agata Smorodina, Alina Solonskaya, Oksana Tverdokhlebova, Lina Choe Sergey Barabanov, Sergey Biserov, Maxim Gerasimov, Pavel Gorbachev, Anatoly Grudzinsky, Vasil Dautov, Kirill Efremov, Sergey Zimin, Mikhail Ivankov, Alexander Ivanov, Andrey Ivanov, Aleksandr Ivlev, Stanislav Kultin, Anton Labunskas, Dmitry Lunev, Alexander Melkaev, Batyr Niyazov, Ilya Osipov, Artur Petrov, Igor Polyakov, Roman Solovyov Ardani Artists Management, Inc., is the exclusive North American management for Eifman Ballet of St. Petersburg. Valentin Baranovsky Valentin Onegin (West Coast Premiere) Choreography by Boris Eifman Ballet in Two Acts Inspired by Alexander Pushkin’s novel, Eugene Onegin Music by Pyotr Il’yich Tchaikovsky and Alexander Sitkovetsky Cal Performances’ 2008–2009 season is sponsored by Wells Fargo Bank. 6 CAL PERFORMANCES CAL PERFORMANCES 7 Program Cast Friday, May 1, 2009, 8pm Onegin Saturday, May 2, 2009, 8pm Sunday, May 3, 2009, 3pm Zellerbach Hall Onegin music Pyotr Il’yich Tchaikovsky (1840–1893) Variations on a Rococo Theme in A major, Op. 33 (1876) Suite No. 3 in G major, Op. -
Miranda Weese Joins Boston Ballet As New Children's Ballet Master And
MEDIA CONTACTS: Jill Goddard, 617.456.6236, [email protected] Sarah Gledhill, 617.456.6264, [email protected] MIRANDA WEESE JOINS BOSTON BALLET AS NEW CHILDREN’S BALLET MASTER AND BOSTON BALLET SCHOOL FACULTY MEMBER FORMER PRINCIPAL DANCER WITH NEW YORK CITY BALLET AND PACIFIC NORTHWEST BALLET BRINGS WEALTH OF EXPERIENCE September 21, 2017 (BOSTON, MA) – Boston Ballet welcomes Miranda Weese, former principal dancer with New York City Ballet and Pacific Northwest Ballet, as the new Children’s Ballet Master. “I was always a big fan of Miranda Weese as a dancer and truly enjoyed her work onstage,” said Artistic Director Mikko Nissinen. “She is dedicated to teaching future generations of dancers and I am pleased to welcome her to the Boston Ballet family.” Weese will work with Boston Ballet School’s students for Company productions including this season’s Mikko Nissinen’s The Nutcracker (auditions for Boston Ballet School students begin Sep 23), Romeo & Juliet, The Sleeping Beauty, and La Sylphide. As a faculty member with Boston Ballet School, she will teach intermediate levels in the Classical Ballet Program and the female levels of the Pre-Professional Program. “Boston Ballet School students will learn and grow so much under Miranda’s tutelage,” said Margaret Tracey, Director of Boston Ballet School. “I am thrilled that she is joining our dedicated and hard-working team.” From San Bernardino, California, Weese trained at Laguna Dance Theatre and School of American Ballet. She danced with New York City Ballet from 1991 through 2007, as an apprentice, corps, soloist, and principal dancer. Her repertoire includes leading roles in George Balanchine’s Apollo, Concerto Barocco, Divertimento No. -
Gardiner's Schumann
Sunday 11 March 2018 7–9pm Barbican Hall LSO SEASON CONCERT GARDINER’S SCHUMANN Schumann Overture: Genoveva Berlioz Les nuits d’été Interval Schumann Symphony No 2 SCHUMANN Sir John Eliot Gardiner conductor Ann Hallenberg mezzo-soprano Recommended by Classic FM Streamed live on YouTube and medici.tv Welcome LSO News On Our Blog This evening we hear Schumann’s works THANK YOU TO THE LSO GUARDIANS WATCH: alongside a set of orchestral songs by another WHY IS THE ORCHESTRA STANDING? quintessentially Romantic composer – Berlioz. Tonight we welcome the LSO Guardians, and It is a great pleasure to welcome soloist extend our sincere thanks to them for their This evening’s performance of Schumann’s Ann Hallenberg, who makes her debut with commitment to the Orchestra. LSO Guardians Second Symphony will be performed with the Orchestra this evening in Les nuits d’été. are those who have pledged to remember the members of the Orchestra standing up. LSO in their Will. In making this meaningful Watch as Sir John Eliot Gardiner explains I would like to take this opportunity to commitment, they are helping to secure why this is the case. thank our media partners, medici.tv, who the future of the Orchestra, ensuring that are broadcasting tonight’s concert live, our world-class artistic programme and youtube.com/lso and to Classic FM, who have recommended pioneering education and community A warm welcome to this evening’s LSO tonight’s concert to their listeners. The projects will thrive for years to come. concert at the Barbican, as we are joined by performance will also be streamed live on WELCOME TO TONIGHT’S GROUPS one of the Orchestra’s regular collaborators, the LSO’s YouTube channel, where it will lso.co.uk/legacies Sir John Eliot Gardiner. -
SWAN LAKE Dear Educators in the Winter Show of Oregon Ballet Theatre’S Student Performance Series (SPS) Students Will Be Treated to an Excerpt from Swan Lake
STUDENT PERFORMANCE SERIES STUDY GUIDE / Feburary 21, 2013 / Keller Auditorium / Noon - 1:00 pm, doors open at 11:30am SWAN LAKE Dear Educators In the winter show of Oregon Ballet Theatre’s Student Performance Series (SPS) students will be treated to an excerpt from Swan Lake. It is a quintessential ballet based on a heart-wrenching fable of true love heroically won and tragically Photo by Joni Kabana by Photo squandered. With virtuoso solos and an achingly beautiful score, it is emblematic of the opulent grandeur of the greatest of all 19th-Century story ballets. This study guide is designed to help teachers prepare students for their trip to the theatre where they will see Swan Lake Act III. In this Study Guide we will: • Provide the entire synopsis for Christopher Stowell’sSwan Lake, consider some of the stories that inspired the ballet, Principal Dancer Yuka Iino and Guest Artist Ruben Martin in Christopher and touch on its history Stowell’s Swan Lake. Photo by Blaine Truitt Covert. • Look closely at Act III • Learn some facts about the music for Swan Lake • Consider the way great dances are passed on to future generations and compare that to how students come to know other great works of art or literature • Describe some ballet vocabulary, steps and choreographic elements seen in Swan Lake • Include internet links to articles and video that will enhance learning At the theatre: • While seating takes place, the audience will enjoy a “behind the scenes” look at the scenic transformation of the stage • Oregon Ballet Theatre will perform Act III from Christopher Stowell’s Swan Lake where Odile’s evil double tricks the Prince into breaking his vow of love for the Swan Queen. -
Unit 7 Romantic Era Notes.Pdf
The Romantic Era 1820-1900 1 Historical Themes Science Nationalism Art 2 Science Increased role of science in defining how people saw life Charles Darwin-The Origin of the Species Freud 3 Nationalism Rise of European nationalism Napoleonic ideas created patriotic fervor Many revolutions and attempts at revolutions. Many areas of Europe (especially Italy and Central Europe) struggled to free themselves from foreign control 4 Art Art came to be appreciated for its aesthetic worth Program-music that serves an extra-musical purpose Absolute-music for the sake and beauty of the music itself 5 Musical Context Increased interest in nature and the supernatural The natural world was considered a source of mysterious powers. Romantic composers gravitated toward supernatural texts and stories 6 Listening #1 Berlioz: Symphonie Fantastique (4th mvmt) Pg 323-325 CD 5/30 https://www.youtube.com/watch?v=QwCuFaq2L3U 7 The Rise of Program Music Music began to be used to tell stories, or to imply meaning beyond the purely musical. Composers found ways to make their musical ideas represent people, things, and dramatic situations as well as emotional states and even philosophical ideas. 8 Art Forms Close relationship Literature among all the art Shakespeare forms Poe Bronte Composers drew Drama inspiration from other Schiller fine arts Hugo Art Goya Constable Delacroix 9 Nationalism and Exoticism Composers used music as a tool for highlighting national identity. Instrumental composers (such as Bedrich Smetana) made reference to folk music and national images Operatic composers (such as Giuseppe Verdi) set stories with strong patriotic undercurrents. Composers took an interest in the music of various ethnic groups and incorporated it into their own music. -
Herminie a Performer's Guide to Hector Berlioz's Prix De Rome Cantata Rosella Lucille Ewing Louisiana State University and Agricultural and Mechanical College
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2009 Herminie a performer's guide to Hector Berlioz's Prix de Rome cantata Rosella Lucille Ewing Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Ewing, Rosella Lucille, "Herminie a performer's guide to Hector Berlioz's Prix de Rome cantata" (2009). LSU Doctoral Dissertations. 2043. https://digitalcommons.lsu.edu/gradschool_dissertations/2043 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. HERMINIE A PERFORMER’S GUIDE TO HECTOR BERLIOZ’S PRIX DE ROME CANTATA A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music and Dramatic Arts by Rosella Ewing B.A. The University of the South, 1997 M.M. Westminster Choir College of Rider University, 1999 December 2009 DEDICATION I wish to dedicate this document and my Lecture-Recital to my parents, Ward and Jenny. Without their unfailing love, support, and nagging, this degree and my career would never have been possible. I also wish to dedicate this document to my beloved teacher, Patricia O’Neill. You are my mentor, my guide, my Yoda; you are the voice in my head helping me be a better teacher and singer. -
Classical Repertoire List for Junior Division
CLASSICAL REPERTOIRE LIST FOR JUNIOR DIVISION 12-14 years of age Must be 12 by January 1, 2019 Dancers must perform a variation from the approved senior category list below. Variation must be performed on pointe. We strongly advise our participants to choose the variation that is appropriate to their age and skill level. Classical solos may not be longer than 2:30. Ballet (Choreographer) • Coppelia (A. St. Leon) Pas de Deux and all Variations • Diana & Acteon (A. Vaganova) Pas de Deux and Variations • Don Quixote (M. Petipa) Pas de Deux and all Variations • Fairy Doll (S. Legat) • Flower Festival at Genzano (A. Bournonville) Pas de Deux and all Variations • Giselle (J. Perrot, J. Coralli) Variation of Giselle, Act I Peasant Pas de Deux and Variations, Pas de Deux Variations from Act II • Harlequinade (M. Petipa) Pas De Deux and Variations • La Bayadere (M. Petipa) Three Shade Variations, Act III; Gamzatti Variation, Pas de Deux and Variations, Bronze Idol, Nikia Variation (Nikia Variation is not accepted for competition, unless under 2:30 minutes.) Please note: Gamzatti Temple Variation (Choreography - N. Makarova) - is NOT accepted (or judges can lower your score). • La Esmeralda (M. Petipa) Pas de Deux and all Variations • La Fille Mal Gardee (B. Nijinska, D. Romanoff) Pas de Deux and all Variations • La Sylphide (A. Bournonville) Pas de Deux and all Variations • Laurencia (V. Chabukiani) • Le Corsaire (M. Petipa) Pas d'Esclave and Variations, Odalisque Variations, Jardin Anime, Act III Pas de Deux and Variations • Les Sylphides/Chopiniana (M. Fokine) Male and Female Mazurkas, Waltz # 7 and Waltz # 11, Prelude • Napoli (A. -
Hector Berlioz Harold in Italy, Op. 16
PROGRAM NOTES by Phillip Huscher Hector Berlioz Born December 11, 1803, Côte-Saint-André, France. Died March 8, 1869, Paris, France. Harold in Italy, Op. 16 Berlioz composed Harold in Italy in 1834. The first performance was given on November 23 of that year in Paris. The score calls for solo viola and an orchestra consisting of two flutes and piccolo, two oboes and english horn, two clarinets, four bassoons, four horns, two cornets and two trumpets, three trombones and tuba, timpani, snare drum, triangle, cymbals, harp, and strings. Performance time is approximately forty-two minutes. The Chicago Symphony Orchestra's first performances of Berlioz's Harold in Italy were given on subscription concerts at the Auditorium Theatre on March 11 and 12, 1892 with August Junker as soloist and Theodore Thomas conducting. At one of the first performances of his blockbuster Symphonie fantastique, Hector Berlioz noticed that a man stayed behind in the empty concert hall after the ovations had ended and the musicians were packing up to go home. He was, as Berlioz recalls in his Memoirs, "a man with long hair and piercing eyes and a strange, ravaged countenance, a creature haunted by genius, a Titan among giants, whom I had never seen before, the first sight of whom stirred me to the depths." The man stopped Berlioz in the hallway, grabbed his hand, and "uttered glowing eulogies that thrilled and moved me to the depths. It was Paganini." Paganini, is, of course, Italian-born Nicolò Paganini, among the first of music's one-name sensations. In 1833, the year he met Berlioz, Paganini was one of music's greatest celebrities, known for the almost superhuman virtuosity of his violin playing as well as his charismatic, commanding presence. -
Orchestral Conducting in the Nineteenth Century," Edited by Roberto Illiano and Michela Niccolai Clive Brown University of Leeds
Performance Practice Review Volume 21 | Number 1 Article 2 "Orchestral Conducting in the Nineteenth Century," edited by Roberto Illiano and Michela Niccolai Clive Brown University of Leeds Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Performance Commons, and the Other Music Commons Brown, Clive (2016) ""Orchestral Conducting in the Nineteenth Century," edited by Roberto Illiano and Michela Niccolai," Performance Practice Review: Vol. 21: No. 1, Article 2. DOI: 10.5642/perfpr.201621.01.02 Available at: http://scholarship.claremont.edu/ppr/vol21/iss1/2 This Book Review is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized editor of Scholarship @ Claremont. For more information, please contact [email protected]. Book review: Illiano, R., M. Niccolai, eds. Orchestral Conducting in the Nineteenth Century. Turnhout: Brepols, 2014. ISBN: 9782503552477. Clive Brown Although the title of this book may suggest a comprehensive study of nineteenth- century conducting, it in fact contains a collection of eighteen essays by different au- thors, offering a series of highlights rather than a broad and connected picture. The collection arises from an international conference in La Spezia, Italy in 2011, one of a series of enterprising and stimulating annual conferences focusing on aspects of nineteenth-century music that has been supported by the Centro Studi Opera Omnia Luigi Boccherini (Lucca), in this case in collaboration with the Società di Concerti della Spezia and the Palazzetto Bru Zane Centre de musique romantique française (Venice). -
Music and Ideas from Mozart to the Jazz Age Spring, 2016 Professor
Music and Ideas from Mozart to the Jazz Age Spring, 2016 Professor James H. Johnson Department of History, Rm. #403 Office Hours: Monday, Wednesday 3:00-5:00, Thursday 12:30-2:00 and by appointment 226 Bay State Road [email protected] Music and Ideas from Mozart to the Jazz Age is a senior-level seminar focusing on understanding music in its historical and cultural context. Masterworks of the repertoire from the eighteenth century to jazz of the 1950s are at the center of the course, and their musical and textual features will receive significant attention. The political and intellectual climate, dynamics of patronage, composition and expectations of audiences, and changing social status of the artist will be considered in understanding the creation, performance, and reception of music. Critical musical essays and works of literature and philosophy from the period will illuminate each work’s intellectual setting, and recent historical and musicological scholarship will provide a range of approaches for understanding music in context. Historical approaches will draw from methods now employed in cultural and intellectual history. Familiarity with classical music (or a willingness to discover it) is strongly recommended for those wishing to take the course. The ability to read music is not required but will be advantageous. Required Recordings (links listed on Blackboard Learn website) Wolfgang Amadeus Mozart, Don Giovanni (1787) Ludwig van Beethoven, Symphony No. 9 (1824) Franz Schubert, Songs to texts by Goethe Hector Berlioz, Symphonie Fantastique -
Peter Tchaikovsky Symphony No. 4 in F Minor, Op. 36
PROGRAM NOTES by Phillip Huscher Peter Tchaikovsky Born May 7, 1840, Viatka, Russia. Died November 18, 1893, Saint Petersburg, Russia. Symphony No. 4 in F Minor, Op. 36 Tchaikovsky began this symphony in May 1877 and completed it on January 19, 1878. The first performance was given in Moscow on March 4, 1878. The score calls for two flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones and tuba, timpani, triangle, cymbals, bass drum, and strings. Performance time is approximately forty-four minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Tchaikovsky’s Fourth Symphony were given at the Auditorium Theatre on November 3 and 4, 1899, with Theodore Thomas conducting. Our most recent subscription concert performance was given at Orchestra Hall on November 10, 2006, with Ludovic Morlot conducting. The Orchestra first performed this symphony at the Ravinia Festival on July 17, 1936, with Willem van Hoogstraten conducting, and most recently on July 31, 1999, with Christoph Eschenbach conducting. The Chicago Symphony Orchestra recorded Tchaikovsky’s Fourth Symphony under Rafael Kubelík in 1951 for Mercury, under Sir Georg Solti for London in 1984, under Claudio Abbado for CBS in 1988, and under Daniel Barenboim for Teldec in 1997. Tchaikovsky was at work on his Fourth Symphony when he received a letter from Antonina Milyukova claiming to be a former student of his and declaring that she was madly in love with him. Tchaikovsky had just read Pushkin’s Eugene Onegin, hoping to find an opera subject, and he saw fateful parallels between Antonina and Pushkin’s heroine, Tatiana. -
Le Corsaire Overture, Op. 21
Any time Joshua Bell makes an appearance, it’s guaranteed to be impressive! I can’t wait to hear him perform the monumental Brahms Violin Concerto alongside some fireworks for the orchestra. It’s a don’t-miss evening! EMILY GLOVER, NCS VIOLIN Le Corsaire Overture, Op. 21 HECTOR BERLIOZ BORN December 11, 1803, in Côte-Saint-André, France; died March 8, 1869, in Paris PREMIERE Composed 1844, revised before 1852; first performance January 19, 1845, in Paris, conducted by the composer OVERVIEW The Random House Dictionary defines “corsair” both as “a pirate” and as “a ship used for piracy.” Berlioz encountered one of the former on a wild, stormy sea voyage in 1831 from Marseilles to Livorno, on his way to install himself in Rome as winner of the Prix de Rome. The grizzled old buccaneer claimed to be a Venetian seaman who had piloted the ship of Lord Byron during the poet’s adventures in the Adriatic and the Greek archipelago, and his fantastic tales helped the young composer keep his mind off the danger aboard the tossing vessel. They landed safely, but the experience of that storm and the image of Lord Byron painted by the corsair stayed with him. When Berlioz arrived in Rome, he immersed himself in Byron’s poem The Corsair, reading much of it in, of all places, St. Peter’s Basilica. “During the fierce summer heat I spent whole days there ... drinking in that burning poetry,” he wrote in his Memoirs. It was also at that time that word reached him that his fiancée in Paris, Camile Moke, had thrown him over in favor of another suitor.