tag:blogger.com,1999:blog-87315836258499789022024-02-18T22:39:36.796-08:00MUSIClassical notesSynopsis of some of the most popular classical music compositions prepared for Internet radio's "a MUSIClassical Concert" at www.theClassicStation.com and www.ClassicalMusic.networkR A CAMPBELLhttp://www.blogger.com/profile/08631243889162548913noreply@blogger.comBlogger743125tag:blogger.com,1999:blog-8731583625849978902.post-91829387273530204002019-01-22T21:43:00.002-08:002019-01-22T21:43:35.508-08:00Jim Keeler, remembered as host of Philadelphia Orchestra radio broadcastsJ<br />
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James W. Keeler, 82, of Suttons Bay, Michigan died Monday, April 13, 2009, at Tendercare of Leelanau. Keeler was born March 21, 1927, in Corning, N.Y., the only son of James and Helen (Doane) Keeler. As a young man, James served in the United States Army in Korea immediately after World War II.
Keeler was a passionate classical music fan, and worked his entire life as a classical music radio broadcaster. He was a classical music announcer at Philadelphia's WHYY FM in the late 1950s. At WHYY FM, in 1961, he co hosted an afternoon news and features program called Kaleidoscope for ERN [Educational Radio Network] with Al Hulsen at WGBH FM in Boston. Later at WFLN AM and FM, Philadelphia Keeler was the station program manager...and later PD at WQRS, Detroit. His travels in radio broadcasting took him from the Curtis Institute of Music in Philadelphia to Boston, New York, Detroit and to Traverse City. Keeler, was the announcer on Philadelphia Orchestra radio concerts in the 1960s and 1970s. This series was heard in national syndication weekly. "From the historic Academy of Music in Philadelphia, this is James W. Keeler welcoming you to a broadcast concert by the Philadelphia Orchestra." He was program director for Philadelphia's WFLN Radio and the production credit on those broadcasts went to the "Magnetic Recorder Reproducer Corporation" a division of the classical station. Following many years at WQRS the Detroit classical station he retired to Traverse City, MI. James wrote reviews in the Record-Eagle for the Traverse Symphony Orchestra. He was also involved with the cities public radio station WNMC.R A CAMPBELLhttp://www.blogger.com/profile/08631243889162548913noreply@blogger.comtag:blogger.com,1999:blog-8731583625849978902.post-6519900246481178592018-11-03T07:33:00.002-07:002018-11-03T07:33:44.633-07:00Anthony Tommasini writes about best composers<div class="separator" style="clear: both; text-align: center;">
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When he began to listen to the great works of classical music as a child, Anthony Tommasini had many questions. Why did a particular piece move him? How did the music work? Over time, he realized that his passion for this music was not enough. He needed to understand it. Take Bach, for starters. Who was he? How does one account for his music and its unshakeable hold on us today?
As a critic, Tommasini has devoted particular attention to living composers and overlooked repertory. But, like all classical music lovers, the canon has remained central for him. In 2011, in his role as the Chief Classical Music Critic for the New York Times, he wrote a popular series in which he somewhat cheekily set out to determine the all-time top ten composers. Inviting input from readers, Tommasini wrestled with questions of greatness. Readers joined the exercise in droves. Some railed against classical music’s obsession with greatness but then raged when Mahler was left off the final list. This intellectual game reminded them why they loved music in the first place.
Now in THE INDISPENSABLE COMPOSERS, Tommasini offers his own personal guide to the canon--and what greatness really means in classical music. What does it mean to be canonical now? Who gets to say? And do we have enough perspective on the 20th century to even begin assessing it? To make his case, Tommasini draws on elements of biography, the anxiety of influence, the composer's relationships with colleagues, and shifting attitudes toward a composer's work over time. Because he has spent his life contemplating these titans, Tommasini shares impressions from performances he has heard or given or moments when his own biography proves revealing.
As he argues for his particular pantheon of indispensable composers, Anthony Tommasini provides a masterclass in what to listen for and how to understand what music does to us.
When he began to listen to the great works of classical music as a child, Anthony Tommasini had many questions. Why did a particular piece move him? How did the music work? Over time, he realized that his passion for this music was not enough. He needed to understand it. Take Bach, for starters. Who was he? How does one account for his music and its unshakeable hold on us today?
As a critic, Tommasini has devoted particular attention to living composers and overlooked repertory. But, like all classical music lovers, the canon has remained central for him. In 2011, in his role as the Chief Classical Music Critic for the New York Times, he wrote a popular series in which he somewhat cheekily set out to determine the all-time top ten composers. Inviting input from readers, Tommasini wrestled with questions of greatness. Readers joined the exercise in droves. Some railed against classical music’s obsession with greatness but then raged when Mahler was left off the final list. This intellectual game reminded them why they loved music in the first place.
Now in THE INDISPENSABLE COMPOSERS, Tommasini offers his own personal guide to the canon--and what greatness really means in classical music. What does it mean to be canonical now? Who gets to say? And do we have enough perspective on the 20th century to even begin assessing it? To make his case, Tommasini draws on elements of biography, the anxiety of influence, the composer's relationships with colleagues, and shifting attitudes toward a composer's work over time. Because he has spent his life contemplating these titans, Tommasini shares impressions from performances he has heard or given or moments when his own biography proves revealing.
As he argues for his particular pantheon of indispensable composers, Anthony Tommasini provides a masterclass in what to listen for and how to understand what music does to us.
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<script src="//z-na.amazon-adsystem.com/widgets/onejs?MarketPlace=US"></script>R A CAMPBELLhttp://www.blogger.com/profile/08631243889162548913noreply@blogger.comtag:blogger.com,1999:blog-8731583625849978902.post-73197156463450178672017-02-22T01:54:00.003-08:002017-02-22T01:54:42.679-08:00Stanislaw Skrowaczewski, Minnesota Orchestra's conductor laureate, dies at 93<div class="separator" style="clear: both; text-align: center;">
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Stanisław Skrowaczewski (October 3, 1923 – February 21, 2017) was a Polish-American classical conductor and composer. Skrowaczewski was born in Lwów (then in Poland, now in Ukraine). As a child, he studied piano and violin; displaying talent on the piano at an early age, he made his public debut playing Beethoven's Piano Concerto No. 3 in C minor. A hand injury ended his piano career.
After World War II, Skrowaczewski graduated from the Academy of Music in Kraków (in the composition class of Roman Palester and conducting class of Walerian Bierdiajew) and soon, in 1946, became the music director of the Wrocław Philharmonic, then the Katowice Philharmonic, the Kraków Philharmonic and finally the Warsaw National Orchestra. He studied composition with Nadia Boulanger in Paris. In 1956 he won the Santa Cecilia Competition for Conductors.
At the invitation of George Szell, Skrowaczewski conducted the Cleveland Orchestra. In 1960 he was appointed music director of the Minneapolis Symphony Orchestra (later renamed the Minnesota Orchestra under his tenure in 1968), a position he held until 1979 when he became conductor laureate. In 1981 the American Composers Forum commissioned the Clarinet Concerto which Skrowaczewski wrote for Minnesota Orchestra principal clarinetist Joe Longo, who premiered it in 1981.<a href="https://en.wikipedia.org/wiki/Stanis%C5%82aw_Skrowaczewski">WIKIPEDIA</a>
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<script src="//z-na.amazon-adsystem.com/widgets/onejs?MarketPlace=US"></script>R A CAMPBELLhttp://www.blogger.com/profile/08631243889162548913noreply@blogger.comtag:blogger.com,1999:blog-8731583625849978902.post-91730628638193184772017-02-01T08:50:00.001-08:002017-02-01T08:50:28.377-08:00BARBER Adagio for Strings<div class="separator" style="clear: both; text-align: center;">
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<i>Adagio for Strings </i>is a work by Samuel Barber, arguably his best known, arranged for string orchestra from the second movement of his String Quartet, Op. 11.
Barber finished the arrangement in 1936, the same year that he wrote the quartet. It was performed for the first time on November 5, 1938, in a radio broadcast from a New York studio attended by an invited audience, conducted by Arturo Toscanini, who also took the piece on tour to Europe and South America.
<a href="https://en.wikipedia.org/wiki/Adagio_for_Strings">WIKIPEDIA</a>
<i>VIDEO: Adagio for Strings by Samuel Barber
Los Angeles Philharmonic Orchestra
Leonard Bernstein, conductor
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R A CAMPBELLhttp://www.blogger.com/profile/08631243889162548913noreply@blogger.comtag:blogger.com,1999:blog-8731583625849978902.post-58089215162816323052016-10-25T12:50:00.005-07:002016-10-25T12:50:43.913-07:00York Bowen - Violin Concerto (1913)<div class="separator" style="clear: both; text-align: center;">
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Edwin York Bowen (22 February 1884 - 23 November 1961) was an English composer and pianist. Bowen's musical career spanned more than fifty years during which time he wrote over 160 works. As well as being a pianist and composer, Bowen was a talented conductor, organist, violist and horn player. Despite achieving considerable success during his lifetime, many of the composer's works remained unpublished and unperformed until after his death in 1961. Bowen's compositional style is widely considered as 'Romantic' and his works are often characterized by their rich harmonic language. He was one of the most notable English composers of piano music of his time.
The violin concerto was completed in 1913...when the composer was 29, but was not performed until 1920.
<a href="https://en.wikipedia.org/wiki/York_Bowen">WIKIPEDIA Bio </a><br />
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<i>
VIDEO: Lorraine McAslan, violin with Vernon Handley conducting the BBC Concert Orchestra
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<script src="//z-na.amazon-adsystem.com/widgets/onejs?MarketPlace=US"></script>R A CAMPBELLhttp://www.blogger.com/profile/08631243889162548913noreply@blogger.comtag:blogger.com,1999:blog-8731583625849978902.post-17570716484099919262016-10-23T12:07:00.001-07:002016-10-23T12:07:16.851-07:00William Boyce (composer) (1711–1779), English-born composer and Master of the King's Musick<div class="separator" style="clear: both; text-align: center;">
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William Boyce (baptised 11 September 1711 – d. 7 February 1779) was an English composer and organist.
Boyce is known for his set of eight symphonies, his anthems and his odes.
Boyce was largely forgotten after his death and he remains a little-performed composer today, although a number of his pieces were rediscovered in the 1930s and Constant Lambert edited and sometimes conducted his works.
His only son, also William Boyce (25 March 1764 – 1824), was a professional double bass player.[4]
On the 7 February 1779 Boyce died from an attack of gout. He was buried under the dome of St Paul's cathedral.
<a href="https://en.wikipedia.org/wiki/William_Boyce_(composer)">WIKIPEDIA</a><br />
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VIDEO: William Boyce - 8 Symphonies (The English Concert, Trevor Pinnock, 1987)<br />
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William Baines (26 March 1899 - 6 November 1922) was an English pianist and composer. He wrote more than 150 works for solo piano and a number of larger orchestral works before his premature death from tuberculosis at the age of 23.
His Seven Preludes from 1919 are considered to be amongst his finest compositions. His Symphony in C Minor was premiered by the Airedale Symphony Orchestra at the Grassington Festival in 1991.
<a href="https://en.wikipedia.org/wiki/William_Baines">WIKIPEDIA Bio</a><br />
<br />
<i>VIDEO:
Work: Symphony in C-minor, Op.10 (1917)
Mov.I 00:00
Mov.II 09:44
Mov.III 20:17
Mov.IV 28:29
Orchestra: Airdale Symphony Orchestra
Conductor: George Kennaway.</i><br />
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<script src="//z-na.amazon-adsystem.com/widgets/onejs?MarketPlace=US"></script>R A CAMPBELLhttp://www.blogger.com/profile/08631243889162548913noreply@blogger.comtag:blogger.com,1999:blog-8731583625849978902.post-42530329667751596542016-10-22T04:18:00.000-07:002016-10-22T04:18:27.598-07:00Aram Khachaturian - SPARTACUS - Ballet<div class="separator" style="clear: both; text-align: center;">
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<b>Spartacus </b>(Russian: «Спартак», Spartak) is a ballet by Aram Khachaturian (1903–1978). The work follows the exploits of Spartacus, the leader of the slave uprising against the Romans known as the Third Servile War, although the ballet's storyline takes considerable liberties with the historical record. Khachaturian composed Spartacus in 1954, and was awarded a Lenin Prize for the composition that same year. It was first staged, with choreography by Leonid Yakobson, in Leningrad 1956, but only with qualified success since Yakobson abandoned conventional pointe in his choreography. The ballet received its first staging at the Bolshoi Theatre, Moscow in 1958, choreographed by Igor Moiseyev; however it was the 1968 production, choreographed by Yury Grigorovich, which achieved the greatest acclaim for the ballet. It remains one of Khachaturian's best known works and is prominent within the repertoires of the Bolshoi Theatre and other ballet companies in Russia and the former Soviet Union.
<a href="https://en.wikipedia.org/wiki/Spartacus_(ballet)">WIKIPEDIA</a><br />
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<i> VIDEO: The Bolshoi Ballet and Orchestre Colonne ...</i><br />
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<b><i>Masquerade</i></b> was written in 1941 by Aram Khachaturian as incidental music for a production of the play of the same name by Russian poet and playwright Mikhail Lermontov. It premiered on 21 June 1941 in the Vakhtangov Theatre in Moscow. The music is better known in the form of a five-movement suite.
Khachaturian was asked to write music for a production of Masquerade being produced by the director Ruben Simonov. The famous waltz theme in particular gave Khachaturian much trouble in its creation: moved by the words of the play's heroine, Nina – "How beautiful the new waltz is! ... something between sorrow and joy gripped my heart." – the composer struggled to "find a theme that I considered beautiful and new". His former teacher, Nikolai Myaskovsky, attempted to help Khachaturian by giving him a collection of romances and waltzes from Lermontov's time; though these did not give immediate inspiration, Khachaturian admitted that "had it not been for the strenuous search" for the appropriate style and melodic inspiration, he would not have discovered the second theme of his waltz which acted "like a magic link, allowing me to pull out the whole chain. The rest of the waltz came to me easily, with no trouble at all." Khachaturian dedicated the waltz to the actress who played Nina, Alla Kazanskaya.<br />
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<a href="https://en.wikipedia.org/wiki/Masquerade_(Khachaturian)">WIKIPEDIA</a>...|...<a href="https://en.wikipedia.org/wiki/Aram_Khachaturian">KHACHATURIAN Bio</a><br />
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<i> VIDEO: Khachaturina:Masquerade Suite(Waltz/Nocturne/Mazurka/Romance/Galop)
The Japan Sinfonia cond.by Hisayoshi Inoue
2010/05/09/Daiichi-Seimei Hall,Tokyo.</i><br />
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<b>William Alwyn</b> CBE, born William Alwyn Smith (7 November 1905 – 11 September 1985), was an English composer, conductor, and music teacher.<a href="https://en.wikipedia.org/wiki/William_Alwyn">WIKIPEDIA Bio</a><b><i> </i></b><br />
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<b><i>Odd Man Out</i></b> is a 1947 British film noir set in an unnamed Northern Irish city and directed by Carol Reed, it is based on the novel by F. L. Green and stars James Mason and Robert Newton.
Composer William Alwyn was involved writing the leitmotif-based score from the very beginning of the production. It was performed by the London Symphony Orchestra conducted by Muir Mathieson.<br />
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<i>VIDEO: Arr. C. Palmer
London Symphony Orchestra.
Richard Hickox.</i><br />
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<b>Gayane (Gayaneh or Gayne (the e is pronounced); Armenian: Գայանե; Russian: Гаянэ) is a four-act ballet with music by Aram Khachaturian.</b> </div>
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Originally composed in or before 1939, when it was first Produced (in Yerevan) as "Happiness". [The Concise Oxford Dictionary of Music, Third Edition, by Michael Kennedy, 1980. Same information in The New Penguin Dictionary of Music by Paul Griffiths, 2004.] Revised in 1941–42 to a libretto by Konstantin Derzhavin and with choreography by Nina Aleksandrovna Anisimova (Derzhavin's wife), the score was revised in 1952 and in 1957, with a new plot. The stage design was by Nathan Altman (scenery) and Tatyana Bruni (costumes).
The first performance took place on 9 December 1942, staged by the Kirov Ballet while in Perm (Russia) during the Second World War evacuation, and was broadcast on the radio. The principal dancers were: Natalia Dudinskaya (Gayane), Nikolai Zubkovsky (Karen), Konstantin Sergeyev (Armen), Tatanya Vecheslova (Nune), and Boris Shavrov (Giko). The conductor was Pavel Feldt. The most famous parts of the ballet are the "Sabre Dance", which has been covered by many pop artists, and the "Adagio", which featured prominently in Stanley Kubrick's film 2001: A Space Odyssey.
Khachaturian's original Gayane was the story of a young Armenian woman whose patriotic convictions conflict with her personal feelings on discovering her husband's treason. In later years the plot was modified several times, the resultant story emphasizing romance over nationalistic zeal. </div>
<a href="https://en.wikipedia.org/wiki/Gayane_(ballet)">WIKIPEDIA</a><br />
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<i> VIDEO: Aram Khachaturian (1903 - 1978)
USSR Radio and TV Large Symphony Orchestra
Djansug Kakhidze
Gayaneh (1942, version 1957)
Ballet in three acts with a prologue.</i><br />
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William Alwyn CBE, born William Alwyn Smith (7 November 1905 – 11 September 1985), was an English composer, conductor, and music teacher.
Concerto for harp and string orchestra, called by its composer "Lyra Angelica" -- literally, Angel's Songs -- one of the loveliest works ever written for that ethereal combination. Inspired by the poems of English metaphysical poets,
Alwyn's concerto for harp and string orchestra, Lyra Angelica, was popularized when the American figure skater Michelle Kwan performed to it at the 1998 Winter Olympics.
<a href="https://en.wikipedia.org/wiki/William_Alwyn">WIKIPEDIA BIO</a><br />
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VIDEO:
Lyra Angelica, Concerto for Harp and String Orchestra: I. Adagio
William Alwyn · London Philharmonic Orchestra
Alwyn Conducts Alwyn<br />
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Mikhail Mikhailovich Ippolitov-Ivanov (Russian: Михаи́л Миха́йлович Ипполи́тов-Ива́нов; 19 November [O.S. 7 November] 1859 – 28 January 1935) was a Russian composer, conductor and teacher.
<a href="https://en.wikipedia.org/wiki/Mikhail_Ippolitov-Ivanov">WIKIPEDIA Bio</a>
<b>Caucasian Sketches</b> (Russian: Кавказские эскизы) is a pair of orchestral suites written in 1894 and 1896 by the Russian composer Mikhail Ippolitov-Ivanov. The Caucasian Sketches is the most often performed of his compositions and can be heard frequently on classical radio stations. The final movement of the Caucasian Sketches, Suite No. 1, entitled Procession of the Sardar (French: Cortège du Sardar; also popularly known as March of the Sardar or Sardar's March), is often heard by itself, and is a favorite of "Pops" concerts.
<a href="https://en.wikipedia.org/wiki/Caucasian_Sketches">WIKIPEDIA</a><br />
<br />
<i> VIDEO:
TAU Wind Band, conducted by Uri Reisner, performs 3 movements form Mikhail Ippolitov-Ivanov's
Caucasian Sketches</i><br />
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Thomas Augustine Arne was an English composer, violinist, and keyboard player. He was the father of composer Michael Arne and the husband of lauded soprano Cecilia Young. A prolific composer of music for the stage, he was the most significant figure in 18th-century English theatre music and is considered the catalyst for the revival of English opera in the early 1730s. While he was alive, England's musical scene was for the most part dominated by foreign music and musicians. Arne was the only native English composer of his day that was able to compete successfully with composers like George Frideric Handel who monopolised the British music scene during the eighteenth century.
Between 1733 and 1777, Arne wrote music for about 100 stage works, including plays, masques, pantomimes, and opera. Many of his dramatic scores are now lost, probably destroyed in the disastrous fire at Covent Garden in 1808. He showed little interest in writing concert music. The symphonies and overtures he composed derive mostly from his stage works, and his keyboard concertos were mainly a by-product of his work in the theatre. His music exemplifies a diversity of styles which utilize not only the essentials of Italian opera but also rudiments of English folk music and eighteenth century galante music.
As a Catholic, Arne's career suffered in a community where writing music for the Church of England was profitable, both financially and politically. As a result he was denied the sort of official patronage given to his most important English contemporaries, William Boyce and John Stanley, a fact that hurt him financially later in his life. Regardless, Arne dominated the various genres of English theatre music for several decades and is considered one of the finest composers of the era. Today he is probably best known for writing the British patriotic song, "Rule, Britannia!" which is part of his opera Alfred (1740) and for his opera Artaxerxes (1762). Many of his songs and incidental theatre music are still performed in concerts and recitals today.
<a href="https://en.wikipedia.org/wiki/Thomas_Arne">WIKIPEDIA</a>
VIDEO:
Arne - Harpsichord Concerto No. 5 in G Minor - Mov. 1&2/4
Performed by The English Concert and directed by Trevor Pinnock, harpsichord
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<b>Sir Malcolm Henry Arnold, CBE (21 October 1921 – 23 September 2006)</b> was an English composer. His output of works features music in many genres, including a cycle of nine symphonies, numerous concertos, concert works, chamber music, choral music and music for brass band and wind band. He also produced scores for more than a hundred films, among these The Bridge on the River Kwai (1957), for which he won an Oscar.<a href="https://en.wikipedia.org/wiki/Malcolm_Arnold">WIKIPEDIA</a><br />
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<b><i>Malcolm Arnold Peterloo Overture...</i></b><br />
Peterloo is the derisive name given to an incident that happened on August 16th, 1819 in St Peter’s Fields Manchester, when an orderly crowd of some 80,000 people met to hear a speech on political reform. On the orders of the magistrates they were interrupted by the yeomanry attempting to seize the banners they carried, and to arrest their speaker, Henry Hunt. Cavalry were sent in, and eleven people were killed and four hundred injured in the ensuing panic. This overture attempts to portray these happenings musically, but after a lament for the killed and injured, it ends in triumph, in the firm belief that all those who have suffered and died in the cause of unity amongst mankind, will not have died so in vain. <span style="font-size: x-small;">from notes by Malcolm Arnold</span><br />
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VIDEO: This performance at the opening concert of the Laredo Phil's 34th Season was dedicated to the memory of the conductor's brother, Finbarr Townsend who passed away June 27, 2013.<br />
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<b>Gerald Hugh Tyrwhitt-Wilson, 14th Baron Berners (18 September 1883 – 19 April 1950),</b> also known as Gerald Tyrwhitt, was a British composer of classical music, novelist, painter and aesthete. He is usually referred to as Lord Berners.
Berners' musical works included Trois morceaux, Fantaisie espagnole (1919), Fugue in C minor (1924), and several ballets, including The Triumph of Neptune (1926) (based on a story by Sacheverell Sitwell) and Luna Park (1930).
Luna Park, a ‘fantastic ballet in one act’ was commissioned for CB Cochran’s London revue of 1930, and first performed at the London Pavilion in March of that year, with scenery and costumes by Christopher Wood, book by Boris Kochno, and choreography by George Balanchine. The scene is set in a freak pavilion in Luna Park. A showman enters and bows to the audience. He raises the curtain of the first four niches revealing a man with three heads; in the second stands a three-legged juggler, complete with billiard balls, while in the third a one-legged ballerina is posing, and in the fourth, a man with six arms. All the freaks dance in the respective niches, after which the showman bows to the audience, turning down the lights as he retires.
<a href="https://en.wikipedia.org/wiki/Lord_Berners#Music">WIKIPEDIA</a><br />
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<i>VIDEO:
Lord Berners (Gerald Hugh Tyrwhitt-Wilson) (1883-1950): Luna Park, A Fantastic Ballet in One Act (1930) -- RTE Sinfonietta diretta da Kenneth Alwyn --
I. The Four Niches
II. Adagio </i><br />
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<span style="font-family: Georgia, Times New Roman, serif; font-weight: normal;">Gerald Hugh Tyrwhitt-Wilson, 14th Baron Berners (18 September 1883 – 19 April 1950), also known as Gerald Tyrwhitt, was a British composer of classical music, novelist, painter and aesthete. He is usually referred to as Lord Berners.
<a href="https://en.wikipedia.org/wiki/Lord_Berners">WIKIPEDIA</a> </span></h3>
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<span style="font-weight: normal;">The Triumph of Neptune was written for Diaghilev’s Russian ballet to a harlequinade scenario by Sacheverell Sitwell. The choreography was by Balanchine, later director of the New York City Ballet. The cast included Danilova, Soklova, Lifar and Balanchine himself. There were waltzes, hornpipes, classical dances and spectacular scenes called ‘Cloudland’ or ‘The Frozen Forest’ (the latter known to the Lyceum stage hands as ‘Wigan by Night’).</span>
<span style="font-family: Courier New, Courier, monospace; font-size: x-small;">© Ronald Crighton </span></h3>
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The Triumph of Neptune (10 tableaux; composed for Sergei Diaghilev, scenario Sacheverell Sitwell, choreography George Balanchine; 3 December 1926, Lyceum Theatre, London)</span><i><span style="font-weight: normal;"> </span></i></h3>
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<i>
VIDEO: Lord Berners (Gerald Hugh Tyrwhitt-Wilson) (1883-1950): The Triumph of Neptune, balletto (1926) -- Clive Bayley, basso -- English Northern Philharmonia diretta da David Lloyd-Jones --
</i><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/_i4oYgxl9t4" width="560"></iframe></h3>
R A CAMPBELLhttp://www.blogger.com/profile/08631243889162548913noreply@blogger.comtag:blogger.com,1999:blog-8731583625849978902.post-77837592150808569702016-10-14T06:27:00.001-07:002016-10-14T06:31:20.424-07:00Shostakovich: Symphony No. 11, 'The Year 1905' <div class="separator" style="clear: both; text-align: center;">
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<b>The Symphony No. 11 in G minor (Opus 103; subtitled The Year 1905)</b> by Dmitri Shostakovich was written in 1957 and premiered, by the USSR Symphony Orchestra under Natan Rakhlin, on 30 October 1957. The subtitle of the symphony refers to the events of the Russian Revolution of 1905.
The symphony was conceived as a popular piece and proved an instant success in Russia—his greatest, in fact, since the Leningrad Symphony fifteen years earlier. The work's popular success, as well as its earning him a Lenin Prize in April 1958, marked the composer's formal rehabilitation from the Zhdanov Doctrine of 1948.
A month after the composer had received the Lenin Prize, a Central Committee resolution "correcting the errors" of the 1948 decree restored all those affected by it to official favor, blaming their treatment on "J.V. Stalin's subjective attitude to certain works of art and the very adverse influence exercised on Stalin by Molotov, Malenkov and Beria.<br />
<a href="https://en.wikipedia.org/wiki/Symphony_No._11_(Shostakovich)">WIKIPEDIA</a><br />
<i><br /></i>
<i>VIDEO: Moscow Philarmonic
conductor, Kirill Kondrashin</i><br />
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<b>The Symphony No. 5 in D minor, Op. 47, </b>by Dmitri Shostakovich is a work for orchestra composed between April and July 1937. Its first performance was on November 21, 1937, in Leningrad by the Leningrad Philharmonic Orchestra under Yevgeny Mravinsky. The premiere was a huge success, and received an ovation that lasted well over half an hour.
<a href="https://en.wikipedia.org/wiki/Symphony_No._5_(Shostakovich)">WIKIPEDIA</a>
<a href="https://lasr.cs.ucla.edu/geoff/prognotes/shostakovich/symphony5.html">UCLA</a><br />
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<i>VIDEO: Leonard Bernstein with the New York Philharmonic, playing the Symphony No. 5 of Dmitri Shostakovich at a 1979 live perfomance on Bunka Kainan, Tokyo, Japan.</i><br />
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<b>Isle of the Dead, Op. 29,</b> is a symphonic poem composed by Sergei Rachmaninoff, written in the key of A minor. He concluded the composition while staying in Dresden in 1908. It is considered a classic example of Russian late-Romanticism of the beginning of the 20th century.
The piece was inspired by a black and white reproduction of <a href="https://en.wikipedia.org/wiki/Isle_of_the_Dead_(painting)">Arnold Böcklin's painting, Isle of the Dead,</a> which Rachmaninoff saw in Paris in 1907. Rachmaninoff was disappointed by the original painting when he later saw it, saying, "If I had seen first the original, I, probably, would have not written my Isle of the Dead. I like it in black and white."
<a href="https://en.wikipedia.org/wiki/Isle_of_the_Dead_(Rachmaninoff)">WIKIPEDIA</a> | <a href="https://en.wikipedia.org/wiki/Sergei_Rachmaninoff">WIKIPEDIA BIO</a><br />
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<i> VIDEO: Leonard Slatkin leads Rachmaninoff's Isle of the Dead, Op. 29. Originally aired October 21, 2012</i><br />
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<i>While I Live</i> is a 1947 British drama film, directed by John Harlow. While I Live is best remembered for its musical theme <b><i>"The Dream of Olwen"</i></b> composed by Charles Williams,[photo,left] reprised at intervals throughout the film, which became hugely popular in its time and is still regularly performed. The film itself became widely known as The Dream of Olwen.<br />
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<b>Charles Williams (8 May 1893 – 7 September 1978)</b> was a British composer and conductor, contributing music to over 50 films. While his career ran from 1934 through 1968, much of his work came to the big screen as stock music and was therefore uncredited.
He began his career as a freelance violinist in theatres, cinemas and symphony orchestras and later studied composition with Norman O'Neill at the Royal Academy of Music. In 1933, he went to Gaumont British Films as composer and stayed there until 1939. He composed for many British films and radio shows and after the end of World War II, he became the conductor of the new Queen's Hall Light Orchestra. Later, he formed his own Concert Orchestra. He died in Findon Valley, Worthing, West Sussex, aged 85.
<a href="https://en.wikipedia.org/wiki/Charles_Williams_(composer)">
WIKIPEDIA</a><br />
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VIDEOS:
Performing Artists: Philip Fowke, Proinnsías Ó Duinn & RTE Concert Orchestra<br />
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R A CAMPBELLhttp://www.blogger.com/profile/08631243889162548913noreply@blogger.comtag:blogger.com,1999:blog-8731583625849978902.post-22373149507232123402016-10-10T10:41:00.004-07:002016-10-10T10:41:59.275-07:00 Shostakovich - Piano Concerto No 2 in F major, Op 102<div class="separator" style="clear: both; text-align: center;">
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<b>Piano Concerto No. 2 in F major, Op. 102,</b> by Dmitri Shostakovich was composed in 1957 for his son Maxim's 19th birthday. Maxim premiered the piece during his graduation at the Moscow Conservatory. It is an uncharacteristically cheerful piece, much more so than most of Shostakovich's works.
This concerto is sometimes dismissed as one of the composer's less important works, especially in comparison to some of the symphonies and string quartets. In a letter to Edison Denisov in mid-February 1957, barely a week after he had finished work on it, the composer himself wrote that the work had "no redeeming artistic merits". It is suggested that Shostakovich wanted to pre-empt criticism by deprecating the work himself (having been the victim of official censure numerous times), and that the comment was actually meant to be tongue-in-cheek. Despite the apparent simplistic nature of this concerto, the public has always regarded it warmly, and it stands as one of Shostakovich's most popular pieces. The British classical radio station Classic FM holds an annual contest and in 2015 the concerto was voted 26th in the Classic FM Hall of Fame, the highest of any piano concerto except for Rachmaninov's second and Grieg's.
<a href="https://en.wikipedia.org/wiki/Piano_Concerto_No._2_(Shostakovich)">WIKIPEDIA</a><br />
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<i>VIDEO: Dmitri Shostakovich
Piano Concerto No 2 in F major, Op 102
1 Allegro
2 Andante
3 Allegro
Denis Matsuev, piano
Mariinsky Theatre Symphony Orchestra
Valery Gergiev, conductor</i><br />
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<b>The Symphony No. 10 in E minor (Op. 93)</b> by Dmitri Shostakovich was premiered by the Leningrad Philharmonic Orchestra under Yevgeny Mravinsky on 17 December 1953, following the death of Joseph Stalin in March of that year. It is not clear when it was written: according to the composer's letters composition was between July and October 1953, but Tatiana Nikolayeva stated that it was completed in 1951. Sketches for some of the material date from 1946.
This symphony was Shostakovich's first symphonic work since his second denunciation in 1948. It thus has a significance somewhat comparable to that of the Fifth Symphony in relation to the 1936 first denunciation.<br />
<a href="https://en.wikipedia.org/wiki/Symphony_No._10_(Shostakovich)">WIKIPEDIA</a><br />
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<i>VIDEO: The Orchestra from Theatre Mariinsky
Conductor: Valery Gergiev
Salle Pleyel, Paris, 2013</i><br />
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Dmitri Shostakovich's Symphony No. 7 in C major, Op. 60 (titled Leningrad), was written c. 1939–40. Initially dedicated to the life and deeds of Vladimir Lenin, Shostakovich decided instead to dedicate the symphony to the city of Leningrad on its completion in December 1941. The work remains one of Shostakovich's best-known compositions.
The piece soon became very popular in both the Soviet Union and the West as a symbol of resistance to Nazi totalitarianism and militarism. It is still regarded as the major musical testament of the estimated 25 million Soviet citizens who lost their lives in World War II. The symphony is played frequently at the Leningrad Cemetery, where half a million victims of the 900-day Siege of Leningrad are buried. As a condemnation of the German invasion of the Soviet Union, the work is particularly representative of the political responsibilities that Shostakovich felt he had for the state, regardless of the conflicts and criticisms he faced throughout his career with Soviet censors and Joseph Stalin.
<a href="https://en.wikipedia.org/wiki/Symphony_No._7_(Shostakovich)">WIKIPEDIA</a><br />
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<i>VIDEO: Royal Liverpool Philharmonic Orchestra conducted by/Orquesta Filarmónica Real de Liverpool dirigida por Vasily Petrenko...
Shostakovich’s Seventh is the best known art music piece of WWII, considering half of it was composed through the siege of Leningrad. It is a work that reflects not only the factual actions of the conflict, but also many of its philosophical principles, if there were any. Likely, these are the reasons for its everlasting place in history.</i><br />
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Shostakovich's orchestral works include 15 symphonies and six concerti. His chamber output includes 15 string quartets, a piano quintet, two piano trios, and two pieces for string octet. His piano works include two solo sonatas, an early set of preludes, and a later set of 24 preludes and fugues. Other works include three operas, several song cycles, ballets, and a substantial quantity of film music; especially well known is<b> The Second Waltz, Op. 99, music to the film The First Echelon (ru) (1955–1956), "The Second Waltz (from "Eyes Wide Shut")".</b>.. as well as the Suites composed for The Gadfly.<br />
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The Second Waltz of Dmitri Shostakovich is from the 1955 Soviet feature film “The First Echelon“. It is actually only the “Waltz” (eighth movement) from The First Echelon (suite from the film score), Op. 99a. Its popular name is coming from “Suite for Variety Orchestra” (also named Suite for Variety Stage Orchestra); a suite in eight movements, written after 1956 by the Russian composer. The “waltz” is the seventh movement of the suite, and it is the “second” waltz in the work, hence the name “The second waltz”. Here it is played by André Rieu‘s “Johann Strauss Orchestra“.<br />
VIDEO: André Rieu - The Second Waltz (Shostakovich)
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