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My Musical Lineage Since the 1600S
Paris Smaragdis My musical lineage Richard Boulanger since the 1600s Barry Vercoe Names in bold are people you should recognize from music history class if you were not asleep. Malcolm Peyton Hugo Norden Joji Yuasa Alan Black Bernard Rands Jack Jarrett Roger Reynolds Irving Fine Edward Cone Edward Steuerman Wolfgang Fortner Felix Winternitz Sebastian Matthews Howard Thatcher Hugo Kontschak Michael Czajkowski Pierre Boulez Luciano Berio Bruno Maderna Boris Blacher Erich Peter Tibor Kozma Bernhard Heiden Aaron Copland Walter Piston Ross Lee Finney Jr Leo Sowerby Bernard Wagenaar René Leibowitz Vincent Persichetti Andrée Vaurabourg Olivier Messiaen Giulio Cesare Paribeni Giorgio Federico Ghedini Luigi Dallapiccola Hermann Scherchen Alessandro Bustini Antonio Guarnieri Gian Francesco Malipiero Friedrich Ernst Koch Paul Hindemith Sergei Koussevitzky Circa 20th century Leopold Wolfsohn Rubin Goldmark Archibald Davinson Clifford Heilman Edward Ballantine George Enescu Harris Shaw Edward Burlingame Hill Roger Sessions Nadia Boulanger Johan Wagenaar Maurice Ravel Anton Webern Paul Dukas Alban Berg Fritz Reiner Darius Milhaud Olga Samaroff Marcel Dupré Ernesto Consolo Vito Frazzi Marco Enrico Bossi Antonio Smareglia Arnold Mendelssohn Bernhard Sekles Maurice Emmanuel Antonín Dvořák Arthur Nikisch Robert Fuchs Sigismond Bachrich Jules Massenet Margaret Ruthven Lang Frederick Field Bullard George Elbridge Whiting Horatio Parker Ernest Bloch Raissa Myshetskaya Paul Vidal Gabriel Fauré André Gédalge Arnold Schoenberg Théodore Dubois Béla Bartók Vincent -
4. Kammerkonzert
KAMMER 4 KONZERT 11/12 DESSOFF WEBERN BRahms 4. KAMMERKONZERT Felix Otto Dessoff Streichquartett F-Dur op. 7 (1835 – 1892) 1. Allegro ben moderato 2. Larghetto 3. Poco andantino 4. Allegro con brio Anton Webern Langsamer Satz für Streichquartett (1883 – 1945) – Pause – Johannes Brahms Klarinettenquintett h-Moll op. 115 (1833 – 1897) 1. Allegro 2. Adagio 3. Andantino – Presto non assai, ma con sentimento 4. Con moto Frank Nebl Klarinette Viola Schmitz & Ayu Ideue Violine Christoph Klein Viola Benjamin Groocock Violoncello 29.4.12 11.00 KLEINES HAUS IMPRESSUM Herausgeber STAATSTHEATER KARLSRUHE Generalintendant Peter Spuhler Verwaltungsdirektor Michael Obermeier Chefdramaturg Bernd Feuchtner Orchesterdirektor & Konzertdramaturg Axel Schlicksupp Redaktion Axel Schlicksupp Konzept Double Standards Berlin Gestaltung Danica Schlosser Foto Jochen Klenk Druck medialogik GmbH Programm Nr. 56 Staatstheater KARLSRUHE 2011/12 www.staatstheater.karlsruhe.de Musikerfreunde Den Karlsruhe Hofkapellmeister Felix Otto Dessoff verband eine langjährige persönliche und künstlerische Freundschaft mit Johannes Brahms, dessen 1. Sinfonie er mit seinem Karlsruher Orchester uraufführte und dem er sein eigenes Streichquartett F-Dur widmete. Brahms nahm die Widmung hocherfreut an, da er Dessoff nicht nur als „guten Capellmeis- ter“, sondern auch als Komponisten schätzte. Das freundlich schlichte und heiter gestimm- te Widmungswerk ist mit einigen Brahms-Anlehnungen und auch ironischen Einschüben gespickt – ganz passend zum humorigen Verhältnis der beiden Musiker. So schrieb Desso ff an Brahms: „Auch erhältst Du in den nächsten Wochen die Partitur des Quartetts. Du wirst aus dem Titelblatt die Beruhigung schöpfen, dass Dein Name auch der fernsten Nachwelt aufbewahrt bleibt. Wenn Niemand mehr vom Deutschen Requiem sprechen wird, werden die Leute sagen: ‚Brahms? Ach ja, das ist der, dem das 4tett op. -
Nikolai Tcherepnin UNDER the CANOPY of MY LIFE Artistic, Creative, Musical Pedagogy, Public and Private
Nikolai Tcherepnin UNDER THE CANOPY OF MY LIFE Artistic, creative, musical pedagogy, public and private Translated by John Ranck But1 you are getting old, pick Flowers, growing on the graves And with them renew your heart. Nekrasov2 And ethereally brightening-within-me Beloved shadows arose in the Argentine mist Balmont3 The Tcherepnins are from the vicinity of Izborsk, an ancient Russian town in the Pskov province. If I remember correctly, my aged aunts lived on an estate there which had been passed down to them by their fathers and grandfathers. Our lineage is not of the old aristocracy, and judging by excerpts from the book of Records of the Nobility of the Pskov province, the first mention of the family appears only in the early 19th century. I was born on May 3, 1873 in St. Petersburg. My father, a doctor, was lively and very gifted. His large practice drew from all social strata and included literary luminaries with whom he collaborated as medical consultant for the gazette, “The Voice” that was published by Kraevsky.4 Some of the leading writers and poets of the day were among its editors. It was my father’s sorrowful duty to serve as Dostoevsky’s doctor during the writer’s last illness. Social activities also played a large role in my father’s life. He was an active participant in various medical societies and frequently served as chairman. He also counted among his patients several leading musical and theatrical figures. My father was introduced to the “Mussorgsky cult” at the hospitable “Tuesdays” that were hosted by his colleague, Dr. -
Forum Musikbibliothek 1 / 2014 35. Jahrgang
Forum Musikbibliothek 1 / 2014 35. Jahrgang Forum Musikbibliothek Beiträge und Informationen aus der musikbibliothekarischen Praxis Herausgegeben von der AIBM/Gruppe Bundesrepublik Deutschland e. V. Redaktion Dr. Renate Hüsken, Frankfurt a. M. E-Mail [email protected] Schriftleitung Jürgen Diet (kommissarisch) c/o Bayerische Staatsbibliothek Musikabteilung Ludwigstr. 16 D-80539 München Fon +49 (0) 89 28638-2768 Bitte richten Sie Ihre Briefe und Fax +49 (0) 89 28638-2479 Anfragen ausschließlich an die Schrift- E-Mail [email protected] leitung, nicht an den Verlag! Unverlangt zugesandte Rezensions- Rezensionen Marina Gordienko exemplare können leider nicht zurück- E-Mail [email protected] geschickt werden. Internet www.aibm.info/publikationen/forum-musikbibliothek/ Dort auch Redaktionsschlüsse und Richtlinien zur Manuskriptgestaltung. Beirat Susanne Frintrop, München Marina Gordienko, Berlin Cornelia Grüneisen, Frankfurt a. M. Kristina Richts, Detmold Torsten Senkbeil, Lübeck Cordula Werbelow, Berlin Kathrin Winter, Mannheim Erscheinungsweise Jährlich 3 Hefte (März, Juli, November) Bezugsbedingungen Abonnementpreis Deutschland FM: 43,– EUR Jahresabonnement inkl. Versand Abonnementpreis Ausland FM: 51,– EUR Jahresabonnement inkl. Versand Verlag ortus musikverlag Krüger & Schwinger OHG D-15848 Beeskow, Rathenaustr. 11 Büro Berlin: D-10119 Berlin, Gipsstr. 11 Fon/Fax +49 (0) 30 472 03 09 E-Mail [email protected] Internet www.ortus.de Gestaltung Nach Entwürfen von Hans-Joachim Petzak, visuelle kommunikation, Berlin Alle in Forum Musikbibliothek veröf- Satz und Layout: ortus musikverlag fentlichten Texte stellen die Meinungen Druck Printmanufaktur Dassow der Verfasser, nicht unbedingt die der Schrift Rotis 10/12,5 pt Redaktion dar. Nachdruck oder Ver- Papier SoporSet Premium Offset 80g/m2 öffentlichung in elektronischer Form, auch auszugsweise, nur mit schrift- ISSN 0173-5187 licher Genehmigung der Redaktion. -
INFORMATION to USERS This Manuscript Has Been Reproduced
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 THE COMPLETED SYMPHONIC COMPOSITIONS OF ALEXANDER ZEMLINSKY DISSERTATION Volume I Presented in Partial Fulfillment of the Requirement for the Degree Doctor of Philosophy In the Graduate School of The Ohio State University By Robert L. -
Season 2012-2013
27 Season 2012-2013 Sunday, October 28, at 3:00 The Philadelphia Orchestra 28th Season of Chamber Music Concerts—Perelman Theater Mozart Duo No. 1 in G major, K. 423, for violin and viola I. Allegro II. Adagio III. Rondo: Allegro William Polk Violin Marvin Moon Viola Dvorˇák String Quintet in E-flat major, Op. 97 I. Allegro non tanto II. Allegro vivo III. Larghetto IV. Finale: Allegro giusto Kimberly Fisher Violin William Polk Violin Marvin Moon Viola Choong-Jin Chang Viola John Koen Cello Intermission Brahms Piano Quartet No. 1 in G minor, Op. 25 I. Allegro II. Intermezzo: Allegro ma non troppo III. Andante con moto IV. Rondo alla zingarese: Presto Cynthia Raim Piano (Guest) Paul Arnold Violin Kerri Ryan Viola Yumi Kendall Cello This program runs approximately 2 hours. 228 Story Title The Philadelphia Orchestra Jessica Griffin Renowned for its distinctive vivid world of opera and Orchestra boasts a new sound, beloved for its choral music. partnership with the keen ability to capture the National Centre for the Philadelphia is home and hearts and imaginations Performing Arts in Beijing. the Orchestra nurtures of audiences, and admired The Orchestra annually an important relationship for an unrivaled legacy of performs at Carnegie Hall not only with patrons who “firsts” in music-making, and the Kennedy Center support the main season The Philadelphia Orchestra while also enjoying a at the Kimmel Center for is one of the preeminent three-week residency in the Performing Arts but orchestras in the world. Saratoga Springs, N.Y., and also those who enjoy the a strong partnership with The Philadelphia Orchestra’s other area the Bravo! Vail Valley Music Orchestra has cultivated performances at the Mann Festival. -
Wiener Philharmoniker Daniel Harding 14
Wiener Philharmoniker 14 Daniel Harding DILLUNS, 27 DE JUNY DE 2016 – 20.30 h Sala de Concerts Wiener Philharmoniker Orchester Daniel Harding, director I Ludwig van Beethoven (1770-1827) Coriolà, op. 62 (obertura) 8' Richard Strauss (1864-1949) Mort i transfiguració, op. 24 (poema simfònic) 25' I. Largo II. Allegro molto agitato III. Meno mosso IV. Moderato II Johannes Brahms (1833-1897) Simfonia núm. 1, en Do menor, op. 68 50' Un poco sostenuto. Allegro Andante sostenuto Un poco allegretto e grazioso Adagio. Piu andante. Allegro non troppo Tots sou part del Palau Gràcies! Mecenes Protectors Mecenes d’Honor Media Partners Col·laboradors Aena — Aenor — Armand Basi — Autoritat Portuària de Barcelona — Bagués-Masriera Joiers — Coca-Cola — Col·legi d’Enginyers de Camins, Canals i Ports — Col·legi de Farmacèutics de Barcelona — Deloitte — Esteve — Fundació Castell de Peralada — Fundació Metalquimia — Hoteles Catalonia — IATI Seguros — La Fageda — Loteria de Catalunya — Plusfresc — Quadis — Roca Junyent, S.L.P. — Saba Infraestructures, S.A. — Serunion Amics Benefactors Ascensores Jordà, S.A. — Clos Interiors, S.L. — Eurofirms ETT S.L.U. — Fundació Antoni Serra Santamans — Horaci Miras Giner — Teatre Romea — Veolia Serveis Catalunya S.A.U. Comentari El programa d’avui es presenta en dues parts marcades per una diferència fonamental: les obres de la primera part sorgeixen d’un impuls literari, mentre que la simfonia de la segona neix d’una voluntat de construcció orgànica del tot desvinculada de la paraula. Escenifiquen, en certa manera, una polaritat -
Boston Symphony Orchestra Concert Programs, Season 65,1945-1946
SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, Commonwealth 1492 SIXTY-FIFTH SEASON, 1945-1946 CONCERT BULLETIN of the Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk COPYRIGHT, I945, BY BOSTON SYMPHONY ORCHESTRA, ItlC. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot . President Henry B. Sawyer . Vice-President Richard C. Paine . Treasurer Philip R. Allen M. A. Be Wolfe Howe John Nicholas Brown Jacob J. Kaplan Alvan T. Fuller Roger I. Lee Jerome D. Greene Bentley W. Warren N. Penrose Hallowell Oliver Wolcott G. E. Judd, Manager [453 1 ®**65 © © © © © © © © © © © © © © © © © © © Time for Revi ew ? © © Are your plans for the ultimate distribu- © © tion of your property up-to-date? Changes © in your family situation caused by deaths, © births, or marriages, changes in the value © © of your assets, the need to meet future taxes © . these are but a few of the factors that © suggest a review of your will. © We invite you and your attorney to make © use of our experience in property manage- © ment and settlement of estates by discuss- © program with our Trust Officers. © ing your © © PERSONAL TRUST DEPARTMENT © © The V^Cational © © © Shawmut Bank © Street^ Boston © 40 Water © Member Federal Deposit Insurance Corporation © Capital % 10,000,000 Surplus $20,000,000 © "Outstanding Strength" for 108 Years © © © ^oHc^;c^oH(§@^a^^^aa^aa^^@^a^^^^^©©©§^i^ SYMPHONIANA Musical Exposure Exhibition MUSICAL EXPOSURE Among the chamber concerts organ- ized by members of this orchestra, there is special interest in the venture of the Zimbler String Quartet. Augmented by a flute, clarinet, or harpsichord, they are acquainting the pupils of high schools with this kind of music. -
Www .Naxos.Com Erich Wolfgang KORNGOLD
Erich Wolfgang Korngold (1897–1957) work of approximately half an hour’s duration certainly has prodigy. The first performance of the Trio was given on Piano Trio, Op. 1 • String Sextet, Op. 10 symphonic pretensions. 10 November 1910 in Munich by the court pianist Heinrich The trio of piano, violin and cello was used for a range of Schwartz and his ensemble. Julius Korngold, who had made Works of a young master Brendan G. Carroll gave his biography of Korngold the different purposes at the time of Korngold’s youth. This as many enemies as friends in Vienna with his acid-tongued Spectrum Concerts Berlin was established in 1988 with the title The Last Prodigy. Anyone listening to the compositions combination was used in sophisticated chamber music, reviews, preferred to give premieres outside the capital, lest aim of linking contemporary American chamber music with in this album will be left in no doubt as to the veracity of this while also being the line-up of choice for entertainment he expose his son to retaliation from his enemies. The very works of the European tradition. The design of its statement. From a biographical perspective, these works music in salons and cafes; orchestral and ensemble works best performers were at hand for the work’s Vienna and programmes was largely shaped by composers who – could be classed as juvenilia: the composer was 12 when he were also arranged for household music-making with these Berlin premieres: Bruno Walter, who as a conductor was through sheer necessity – bridged the gap between Old and wrote his Piano Trio, Op. -
Tchaikovsky Violin Concerto
Tchaikovsky Violin Concerto Friday, January 12, 2018 at 11 am Jayce Ogren, Guest conductor Sibelius Symphony No. 7 in C Major Tchaikovsky Concerto for Violin and Orchestra Gabriel Lefkowitz, violin Tchaikovsky Violin Concerto For Tchaikovsky and The Composers Sibelius, these works were departures from their previ- ous compositions. Both Jean Sibelius were composed in later pe- (1865—1957) riods in these composers’ lives and both were pushing Johan Christian Julius (Jean) Sibelius their comfort levels. was born on December 8, 1865 in Hämeenlinna, Finland. His father (a doctor) died when Jean For Tchaikovsky, the was three. After his father’s death, the family Violin Concerto came on had to live with a variety of relatives and it was Jean’s aunt who taught him to read music and the heels of his “year of play the piano. In his teen years, Jean learned the hell” that included his disas- violin and was a quick study. He formed a trio trous marriage. It was also with his sister older Linda (piano) and his younger brother Christian (cello) and also start- the only concerto he would ed composing, primarily for family. When Jean write for the violin. was ready to attend university, most of his fami- Jean Sibelius ly (Christian stayed behind) moved to Helsinki For Sibelius, his final where Jean enrolled in law symphony became a chal- school but also took classes at the Helsinksi Music In- stitute. Sibelius quickly became known as a skilled vio- lenge to synthesize the tra- linist as well as composer. He then spent the next few ditional symphonic form years in Berlin and Vienna gaining more experience as a composer and upon his return to Helsinki in 1892, he with a tone poem. -
2016-2017 Mostly Music: Felix Mendelssohn
Mostly Music Felix Mendelssohn 2016-2017 Mostly Music Felix Mendelssohn Thursday, November 17th, 2016 Count and Countess de Hoernle International Center Amarnick-Goldstein Concert Hall Marshall Turkin, Host PROGRAM Song Without Words Op. 109 David Cole-cello Sheng-Yuan Kuan- piano Octet in E-flat Major Op. 20 Allegro moderato ma con fuoco Yordan Tenev, Yvonee Lee Sooi Chen- violin Yue Young, Shanshan Wei- violin Kayla Williams, Andrew Baloff- viola Khosiyatkhon Khusanova, Akmal Irmatov- cello Five Pieces for Violin and Piano Movement Fugue Andante Allegro Fugue Renata Arado- violin Lisa Leonard-piano Three Lieder, Op. 8 by Fanny Hensel-Mendelssohn Andante con espressione Allegro moderato Allegro molto Lisa Leonard-piano Concertpiece No.2 in D Minor Op. 114 Presto Andante Allegretto grazioso Cameron Hewes- clarinet Sebastian Castellanos- bassoon Chance Israel- piano INTERMISSION Piano Trio No. 2 in C Minor Op. 66 Allegro energico Andante espressivo Scherzo: Molto allegro quasi presto Finale: Allegro appassionato Carol Cole- violin David Cole- cello Jon Robertson- piano Jay Stuart, as Felix Mendelssohn ARTIST BIOGRAPHIES A native of Chicago, Renata Arado began violin instruction in the Suzuki method at age two. She continued her violin studies at the University of Michigan and Rice University with Camilla Wicks and at the San Francisco Conservatory. Ms. Arado was principal second violin of Norway's Bergen Philharmonic Orchestra for thirteen years. She has appeared with chamber groups around the globe, collaborating with Isaac Stern, Julia Fischer, Robert Mann, Yefim Bronfman, Joshua Bell, and Gil Shaham, and in 2016 toured Puerto Rico with the International Chamber Orchestra of Puerto Rico. -
Concert Handout 2014-04-13
Wethersfield Chamber Concerts 13 April 2013 – 4pm THE VILLIERS QUARTET Violin - James Dickenson | Violin - Tamaki Higashi | Viola - Carmen Flores | Cello - Nick Stringfellow PROGRAMME NOTES by John Woollard BENJAMIN BRITTEN (1913-1976) – Three Divertimenti 1. March March contains spiky rhythms, sliding notes and colourful 2. Waltz harmonics typical of music from the first half of the 20th 3. Burlesque century, with clear influences from Stravinsky, Bartók and Britten’s teacher Bridge. At the same time the music is As a young man, Britten was a prolific composer, with tonal, accessible and appealing, as with most of Britten’s over 100 compositions completed before the age of 18. works throughout his career. Whilst the mature composer is perhaps best known for his stage and choral works such as Peter Grimes and the War The Second movement Waltz nods towards the pastoral Requiem, his early output contains many examples of very character of earlier English composers such as Vaughan skilful compositions for small ensembles and solo Williams, with compelling textures and dialogue between instruments. the players, and the third movement returns to the rhythms, techniques and sonorities of the 20th century. Apart from three numbered string quartets, Britten wrote The whole work demonstrates that Britten promised great these Divertimenti in 1933 when he was in his early things in his maturity; a composer of great skill, twenties. They were extensively revised a few years later imagination and originality. in 1936. Britten also showed that he was dedicated to the mission Perhaps Divertimento can best be “translated” as of writing music for the public, without needing to retreat “pleasing entertainment” without necessarily any serious into an isolated intellectual world.