JOHN TURNER DISCOGRAPHY William Alwyn – Chamber Music
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Akron Symphony: “American Journey” at E.J. Thomas Hall (September 19) by Daniel Hathaway
Akron Symphony: “American Journey” at E.J. Thomas Hall (September 19) by Daniel Hathaway Pianist Philip Thomson joined music director Christopher Wilkins and the Akron Symphony Orchestra in a spirited concert on Saturday, September 19 at E.J. Thomas Hall. The “American Journey” began in Mexico with Aaron Copland’s El Salón México, stopped in Texarkana, Texas for Clint Needham’s Southern Air, and traveled to somewhere in the Wild West for Copland’s Rodeo before meeting up with George Gershwin in New York. Gershwin followed his 1924 Rhapsody in Blue a year later with a true concerto for piano and orchestra — the Concerto in F — which paid closer homage to classical forms while taking its melodic, rhythmic, and harmonic cues from American music of the 1920s. Writing in the New York Tribune, the composer noted that the opening movement is based on a Charleston rhythm, the slow movement is “a purer form” of the American blues, and the finale is “an orgy of rhythms, starting violently, and keeping the same pace throughout.” Longtime University of Akron piano professor Philip Thomson embraced the classical and contemporary elements of the concerto with equal enthusiasm, contributing technically brilliant and soulful playing throughout the engaging work. Wilkins and the orchestra wrapped colorful orchestral textures around Thomson’s fine fingerwork. The string section sounded full and vibrant, and soloists — especially principal trumpet Scott Johnston, English hornist Mary Kausek, and concertmaster Alan Bodman — added lusciously to the pianoorchestral conversation. The perpetual motion finale was as precise as it was thrilling. Copland’s El Sálon México was inspired by his visit to a seedy, southoftheborder nightclub in 1932, his 1942 Rodeo by the success of a previous “cowboy ballet,” Billy the Kid, in 1938. -
Piano Study Centre Piano Lecture and Master Class
Piano Study Centre Piano Lecture and Master Class Opportunity to All Piano Students Beginner, Intermediate and Advanced Levels Date: Saturday 22nd November from 4.00pm – 6.30pm Location: In Central London near Russell Square Theme of Lecture: The Craft of Practising (Free to our students) Please send e-mail: [email protected] to register your interest Send text message or Phone: 07950 491461 Professor: Philip Fowke Pianist, Professor and Senior Fellow of Keyboard at Trinity College of Music (Trinity Laban Conservatoire of Music and Dance) The Craft of Practising Philip Fowke writes: Gordon Green, my revered and much beloved teacher, used to refer to the craft of practising. This made an impression upon me, all the more vivid when he likened the pianist to a master joiner with his box of tools, sharpened, polished and oiled. As the joiner adds to his collection of tools over the years becoming accustomed to some yet discovering new ones along the way, so the pianist has to build up a box of treasured tools to facilitate the process of learning and practising. Philip Fowke discusses what we mean by “practice”, what it entails, the analysis of fingering, the avoidance of needless repetition, and strategies for overcoming technical or musical problems. The myth of legato fingering will also be addressed as will the inappropriate use of the word “tension”. Economy of movement, choreography of the keyboard and posture will also be discussed. Extra information from PSC Famous British-born pianist Stephen Hough’s piano teacher was Gordon Green. Stephen and Professor Philip studied with the same piano teacher. -
2013-2014 Master Class-Phillip Evans (Piano)
Phillip Evans Piano Masterclass Wednesday, January 22, 2014 at 10:00 a.m. Amarnick-Goldstein Concert Hall Boca Raton, Fla. Sonata No. 4 in F-sharp Major, Op. 30 Alexander Scriabin Andante (1872-1915) Prestissimo volando Stephen Seto, piano Sonata No. 2 in E-flat Major, Op. 120 Johannes Brahms Allegro appassionato (1833-1897 John Hong, clarinet Jihong Park, piano Concerto No. 1 in E Minor, Op. 11 Frederic Chopin Allegro maestoso (1810-1849) Aneliya Novikova, piano Roberta Rust, orchestral piano Phillip Evans has concertized and given master classes throughout the world, including performances in Italy, Greece, Turkey, Germany, Bulgaria, Yugoslavia, Taiwan, Indonesia and the United States. He has given special concerts in the U.S. Ambassador’s residences in Yugoslavia, Greece and Turkey. The New York Times reviewed him as follows: “Phillip Evans can be ranked among our major pianists....Deepest musical insights...in a word, masterful.” He has served on the faculties of the Juilliard and the Manhattan Schools of Music, and his students have been major prize-winners in many international piano competitions, including the Tschaikovsky in Moscow, the Gina Bachauer, Leeds, the Bartok-Prokofieff-Kabalevsky and the Queen Elizabeth in Belgium. They have performed with leading orchestras throughout the world, including the New York Philharmonic, Philadelphia, San Francisco, Chicago, Houston, Minneapolis and St. Louis Symphonies. Evans’ special affinity for the music of Bela Bartok was acknowledged by the Pulitzer prize-winning critic Harold Schonberg in his book The Great Pianists: “Phillip Evans in Bartok, Roslyn Tureck in Bach.” His series of Bartok CDs received extraordinary reviews, such as the following from George Jellinek of The New York Times: “Evans played both Sonatas with searching insight, in total triumph over their technical difficulties...he plays superbly.” He has been a music critic for several major newspapers in South Florida and is a member of the faculty at Lynn University. -
An English Requiem — Issue 118, 1 February 2018
C L A S S I C A L M U S I C D A I L Y An English Requiem — Issue 118, 1 February 2018 CD SPOTLIGHT — BRAHMS IN LONDON Gerald Fenech: 'One of Brahms' most popular works and undoubtedly his greatest choral piece is Ein deutsches Requiem. Premiered in its complete seven movements on 18 February 1869 in Leipzig, the Requiem was a great success despite some initial critical reservations. 'The work was soon enthusiastically sought out by choral societies all over Europe not least in Britain, where choral singing is regarded as the lifeblood of the nation. Indeed, there are records of its being performed some thirty times between the full Leipzig premiere and the 1873 Philharmonic Society performance. But, oddly enough, the Philarmonic's was not the first English performance. This took place on 7 July 1871 in a private performance in London with reduced forces using Brahms' four-handed arrangement instead of an orchestra. The records show the choir was of about thirty voices and the piano duettists were the veteran English composer Cipriani Potter and Kate Loder, a prominent pianist at the Royal Academy of Music. This version subsequently became known as the "London Version" and the composer and scholar George Alexander Macfarren, in his notes to the Philarmonic's performance of 2 April 1873, dubbed the work "An English Requiem".' (Johannes Brahms: An English Requiem, Delphian DCD34195) Gerald also listens to Ástor Piazzolla and Horacio Ferrer's María de Buenos Aires (Delphian DCD34186) and to Jorge Federico Osorio — Final Thoughts (Cedille CDR 90000 171). -
The Heavens and the Heart James Francis Brown
THE HEAVENS AND THE HEART CHORAL AND ORCHESTRAL MUSIC BY JAMES FRANCIS BROWN BENJAMIN NABARRO VIOLIN RACHEL ROBERTS VIOLA GEMMA ROSEFIELD CELLO CATRIONA SCOTT CLARINET THE CHOIR OF ROYAL HOLLOWAY ORCHESTRA NOVA GEORGE VASS CONDUCTOR The Heavens and the Heart Choral and Orchestral Music by James Francis Brown (b. 1969) Benjamin Nabarro violin 1. Trio Concertante [20:46] Rachel Roberts viola for violin, viola, cello and string orchestra Gemma Rosefield cello Clarinet Concerto Catriona Sco clarinet (Lost Lanes – Shadow Groves) The Choir of Royal Holloway for clarinet and string orchestra Orchestra Nova 2. Broad Sky – Interlude I [7:03] 3. Dark Lane – Interlude II [5:28] George Vass conductor 4. Around the Church – Interlude III [5:52] 5. The Far Grove [5:20] The Heavens and the Heart Three Psalms for chorus and small orchestra 6. Caeli enarrant gloriam Dei (Psalm 19) [6:05] 7. Si vere utique justitiam loquimini (Psalm 58) [6:48] 8. Bonum est confiteri Domino (Psalm 92) [6:40] Total playing time [64:07] About Orchestra Nova & George Vass: ‘Playing and recorded sound are both excellent. It’s a fascinating achievement, beautifully done’ Gramophone ‘[...] an outstanding recording of a powerful and absorbing work’ MusicWeb International James Francis Brown has been a close friend the age.’ The music on this recording for over twenty years. I first heard his music abundantly proves the connuing when, as Arsc Director of the Deal Fesval, truth of Tippe’s words from eighty I programmed his String Trio in 1996 and years ago. immediately recognised in him a kindred spirit. James is commied to the renewal David Mahews of tonality, but not the simplisc sort one finds in minimalism, rather one that uses real voice leading, modulaon and lyrical The Heavens and the Heart: Orchestral melody. -
Concert & Recital Programs Concert & Recital Programs
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 5-22-2010 Concert: Commencement Eve Concert: Blues in the Night: an American Journey Ithaca College Symphony Orchestra Stephen Peterson Ithaca College Choir Lawrence Doebler Ithaca College Marimba Ragtime Band See next page for additional authors Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Ithaca College Symphony Orchestra; Peterson, Stephen; Ithaca College Choir; Doebler, Lawrence; Ithaca College Marimba Ragtime Band; Stout, Gordon; Ithaca College Jazz Ensemble; and Titlebaum, Mike, "Concert: Commencement Eve Concert: Blues in the Night: an American Journey" (2010). All Concert & Recital Programs. 4399. https://digitalcommons.ithaca.edu/music_programs/4399 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Authors Ithaca College Symphony Orchestra, Stephen Peterson, Ithaca College Choir, Lawrence Doebler, Ithaca College Marimba Ragtime Band, Gordon Stout, Ithaca College Jazz Ensemble, and Mike Titlebaum This program is available at Digital Commons @ IC: https://digitalcommons.ithaca.edu/music_programs/4399 COMMMENCEMENT EVE CONCERT Conceived and directed by Dana Wilson Blues in the Night: an American Journey Infernal Dance (from Firebird) Igor Stravinsky Ithaca College -
British and Commonwealth Concertos from the Nineteenth Century to the Present
BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Composers I-P JOHN IRELAND (1879-1962) Born in Bowdon, Cheshire. He studied at the Royal College of Music with Stanford and simultaneously worked as a professional organist. He continued his career as an organist after graduation and also held a teaching position at the Royal College. Being also an excellent pianist he composed a lot of solo works for this instrument but in addition to the Piano Concerto he is best known for his for his orchestral pieces, especially the London Overture, and several choral works. Piano Concerto in E flat major (1930) Mark Bebbington (piano)/David Curti/Orchestra of the Swan ( + Bax: Piano Concertino) SOMM 093 (2009) Colin Horsley (piano)/Basil Cameron/Royal Philharmonic Orchestra EMI BRITISH COMPOSERS 352279-2 (2 CDs) (2006) (original LP release: HMV CLP1182) (1958) Eileen Joyce (piano)/Sir Adrian Boult/London Philharmonic Orchestra (rec. 1949) ( + The Forgotten Rite and These Things Shall Be) LONDON PHILHARMONIC ORCHESTRA LPO 0041 (2009) Eileen Joyce (piano)/Leslie Heward/Hallé Orchestra (rec. 1942) ( + Moeran: Symphony in G minor) DUTTON LABORATORIES CDBP 9807 (2011) (original LP release: HMV TREASURY EM290462-3 {2 LPs}) (1985) Piers Lane (piano)/David Lloyd-Jones/Ulster Orchestra ( + Legend and Delius: Piano Concerto) HYPERION CDA67296 (2006) John Lenehan (piano)/John Wilson/Royal Liverpool Philharmonic Orchestra ( + Legend, First Rhapsody, Pastoral, Indian Summer, A Sea Idyll and Three Dances) NAXOS 8572598 (2011) MusicWeb International Updated: August 2020 British & Commonwealth Concertos I-P Eric Parkin (piano)/Sir Adrian Boult/London Philharmonic Orchestra ( + These Things Shall Be, Legend, Satyricon Overture and 2 Symphonic Studies) LYRITA SRCD.241 (2007) (original LP release: LYRITA SRCS.36 (1968) Eric Parkin (piano)/Bryden Thomson/London Philharmonic Orchestra ( + Legend and Mai-Dun) CHANDOS CHAN 8461 (1986) Kathryn Stott (piano)/Sir Andrew Davis/BBC Symphony Orchestra (rec. -
The Delius Society Journal Spring 2001, Number 129
The Delius Society Journal Spring 2001, Number 129 The Delius Society (Registered Charity No. 298662) Full Membership and Institutions £20 per year UK students £10 per year US/\ and Canada US$38 per year Africa, Aust1alasia and far East £23 per year President Felix Aprahamian Vice Presidents Lionel Carley 131\, PhD Meredith Davies CBE Sir Andrew Davis CBE Vernon l Iandley MA, FRCM, D Univ (Surrey) Richard I Iickox FRCO (CHM) Lyndon Jenkins Tasmin Little f CSM, ARCM (I Ions), I Jon D. Lilt, DipCSM Si1 Charles Mackerras CBE Rodney Meadows Robc1 t Threlfall Chain11a11 Roge1 J. Buckley Trcaswc1 a11d M11111/Jrrship Src!l'taiy Stewart Winstanley Windmill Ridge, 82 Jlighgate Road, Walsall, WSl 3JA Tel: 01922 633115 Email: delius(alukonlinc.co.uk Serirta1y Squadron Lcade1 Anthony Lindsey l The Pound, Aldwick Village, West Sussex P021 3SR 'fol: 01243 824964 Editor Jane Armour-Chclu 17 Forest Close, Shawbirch, 'IC!ford, Shropshire TFS OLA Tel: 01952 408726 Email: [email protected] Website: http://www.dclius.org.uk Emnil: [email protected]. uk ISSN-0306-0373 Ch<lit man's Message............................................................................... 5 Edilot ial....................... .... .. .. .. .. .. .. .. .. .. .. .. ... 6 ARTICLES BJigg Fair, by Robert Matthew Walker................................................ 7 Frede1ick Delius and Alf1cd Sisley, by Ray Inkslcr........... .................. 30 Limpsficld Revisited, by Stewart Winstanley....................................... 35 A Forgotten Ballet ?, by Jane Armour-Chclu -
Cellist Raphael Wallfisch Performs Finzi's Cello Concerto at Opening
Cellist Raphael Wallfisch performs Finzi’s Cello Concerto at opening concert of the 2015 English Music Festival following release of new Hungarian CD Programme: 22 May 2015 HUBERT PARRY Jerusalem Dorchester Abbey RICHARD ARNELL Overture The New Age (UK English Music Festival premiere) FREDERICK DELIUS Three Short Tone Poems RALPH VAUGHAN WILLIAMS Bucolic Suite BBC Concert Orchestra GEORGE BUTTERWORTH Fantasia for Orchestra Martin Yates conductor (completed & orchestrated by Martin Yates) Raphael Wallfisch cello GERALD FINZI Cello Concerto “The performances are quite outstandingly eloquent, the sound sumptuous and true” – Gramophone Magazine Firmly positioned at the forefront of championing British music of the 20th century, renowned cellist Raphael Wallfisch performs Gerald Finzi’s Cello Concerto in A minor, a piece with which Wallfisch has a profound personal attachment, at Dorchester Abbey with the BBC Concert Orchestra on 22 May in the opening concert of the 2015 English Music Festival. The concert includes the UK premiere of Richard Arnell’s Overture The New Age. Wallfisch’s recording of the Finzi Cello Concerto with the Royal Liverpool Philharmonic Orchestra on Chandos released in 1986 is widely recognised as the seminal recording of the work. BBC Radio 3’s CD Review hailed Wallfisch as “a superb soloist” who “gets to the warm heart of this work.” Wallfisch performed the concerto at the 2001 BBC Proms with the BBC National Orchestra of Wales conducted by Richard Hickox. As Wallfisch explains: “I have had the opportunity during the course of my career, to explore and rediscover real gems of our repertoire by over 40 British composers. The Elgar Cello Concerto has become the most popular British cello concerto thanks to the amazing work of Jacqueline du Pre, but I feel the Finzi concerto outdoes the Elgar both in technical challenges and emotional purpose.” Although best known as a choral composer, Finzi also wrote some large-scale works including his concertos for cello and clarinet. -
21St Century Symphony Project, Please Contact: Andrew Strange, Director of Touring and Engagements [email protected]
In 2017, the English Symphony Orchestra launched one of the most ambitious new music initiatives in living memory- a multi-year endeavour to commission, premiere and record nine new full length symphonies. The brainchild of ESO Artistic Director Kenneth Woods, the goal of the Project is to commission a group of works that will encourage orchestral audiences to re-think their relationship with the music of our time and to give leading composers the opportunity to work on one of music’s greatest canvasses. The 21st Century Project was launched with the world-premiere of Philip Sawyers’ Third Symphony at St John’s Smith Square on the 28th of February, 2017. The Premiere “The importance of Woods’s initiative is greatly significant, and to judge by Philip Sawyers’s Third Symphony the plan has got off to an excellent start….Sawyers is a natural symphonist… This Symphony, like the song- cycle, is a masterpiece” Robert Matthew-Walker, ClassicalSource. “What future for the symphony in the 21st century? Kenneth Woods and the English Symphony Orchestra are on a mission to find out, with this concert the first in a project of commissions and premières. On the strength of this showing, the première of Philip Sawyers’ Third Symphony, the future looks bright indeed. The work is a substantial and distinctive contribution to the genre, and it was here presented in a compelling reading, impressively disciplined and with a passionate intensity maintained across its 40-minute span.” Gavin Dixon, Bachtrack. “….Sawyers’ Third Symphony is a tremendously impressive accomplishment. If the subsequent commissions by ‘The 21st C. -
The Empty Chair Thursday 22 February 2018 11.00Am – 12 Noon
TROUPE The Empty Chair Thursday 22 February 2018 11.00am – 12 noon BiographyMusic you will hear today Catherine Carter The Songs of ThisThat (2016) Barbican Piano Trio ForMeredith three decades Monk the (b.1942) Barbican Piano Trio has been regarded as one of the UK’s Catherine Carter’s ThisThat songs use the music of Meredith leading ensembles, with a reputation for presenting stimulating performances, for Monk as a starting point, echoing the shape of the tune in theTravel breadth Dream of its repertoire Song from and Atlas for its (1991) exceptional audience rapport. At home it ‘Travel Dream Song’. Catherine wanted to be playful with her appears in major festivals and concert series including Blackheath, City of London, voice and express how ThisThat is a kindly visitor – friend not Garsington,Meredith Guildford,Monk is a singing,Bridgenorth composing Haydn Festiadventurerval, Frinton who Festival,loves exploring Harrogate, what Rye, human voices can do. Listen as the voice travels across different vowel sounds foe. Look (and listen) out for the singing bowl that ThisThat Sheffield, Spitalfields, the St Jude’s Proms, Three Spires, Warwick, Bristol, Cardiff, plays. A singing bowl is a kind of upside-down bell. Notice how Cambridge,and hear Oxfordhow the and gently Leeds. looping It visits piano Scotland part rises frequently and falls and like has a hypnotist’sappeared at The pendulum. Catherine gently hits the bowl with a small stick and then uses Queen’s Hall, Edinburgh on several occasions. The Trio has given many performanc- this stick to circle the edge of the bowl. This circling helps the es at London’s Wigmore Hall, a special highlight being a performance of all Beetho- Anton Webern (1883–1945) bowl wobble quickly and delicately to create a magical hum- ven’s piano trios in the Master Concert Series. -
St. Louis Symphony Orchestra
St. Louis Symphony Orchestra David Robertson, Music Director Augustin Hadelich, Violin WHEN: VENUE: Friday, Bing January 19, 2018 ConCert Hall 7:30 PM Program Program Notes Thomas Adès (b. 1971): Powder Her Face Suite (1995/2017) SLSO co-commission thomas adès, Benjamin Britten, and dmitri Overture – Shostakovich were all under the age of 30 Scene with Song – when they wrote the pieces on today’s Wedding March – program. adès’s opera, Powder Her Face , Waltz – and Shostakovich’s Symphony no. 1 Ode – launched their composers to fame, Paperchase – receiving international performances soon Hotel Manager’s Aria “It Is Too Late” – after their premieres. Britten’s Violin Finale Concerto has burned its way into the repertoire more slowly, increasingly recognized for its subtlety and beauty. Benjamin Britten (1913–1976): Violin Concerto, op. 15 (1939) Moderato con moto – there are also personal, professional, and Vivace – aesthetic connections between these three Passacaglia: Andante lento (un poco meno mosso) composers. in the 1960s, Britten and Shostakovich became friends, connected augustin Hadelich, violin by their mutual collaborator, the cellist Mstislav rostropovich. though two generations younger, adès, an englishman, —INTERMISSION— was artistic director of the aldeburgh Festival, which Britten founded in 1948. Dmitri Shostakovich (1906–1975): Symphony No. 1 in F minor, op. 10 (1925) all three works show a concern for public Allegretto; Allegro non troppo relevance, belying the narrative that 20th- Allegro century classical music invariably drifted Lento – toward academic obscurity. Here is a Lento; Allegro molto strand of complex musical artistry, attuned to audience understanding, running from 1926 to the present day. PROGRAM SUBJECT TO CHANGE .