Piacer damor - Der Liebe Freud - Score
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Voice and organ Auserwhlte; Schon klopfet High voice EPA Album of 29 Songs ed. Medium voice EPA Low voice EPC Medium-low voice Text: from John F. Kennedys inaugural address. EP Exsultate, Jubilate K EP Medium voice EPA Soprano. Vocal score for the sacred solo-motet Lat. The Song of Jephthahs Daughter Cantata EP Selected Songs MZ Version for soprano Eng. MZ Georgic soprano EP Urtext Ger. Schmidt Ger. Cradle Song Wiegenlied medium voice ED34 Last things, I think, to think about EP Sweet Love Rememberd soprano EP Ave Maria, Op.
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Set of parts. Voice and 2 percussionists clarinet bass clarinet , violin, cello and percussion Four Dances wordless voice, percussion and piano EP Dream solo male or female voice with gamelan ZM Levolution du vol EP From the oratorio Sancta ferma. Soprano, flute and piano Study score. EP Score Lat. Soprano, oboe, 2 violins and basso continuo Time Lag Zero female voice and viola or cello EP Quoniam tu solos sanctus ed. EPS Who do you love EPA doublebass Ger. GM American Songbooks Vocal score.
Soprano, violin solo and orchestra I: The River of Life EP Ne proicias me Lat. Songs of Despair Minterne EP The Eye of Horus bass, 2 percussionists and piano EP Appalachian Songs of Sadness. For Franz Kline EP Soprano, violin, cello, horn, chimes and piano Voice, 4 percussionists and amplified piano Intervals EP Text: Celine. EP Bass-baritone, chimes, piano, violin, viola and cello Soprano, flute piccolo, alto-flute, bass-flute and harp.
Rabbi Akiba performance score EP Songs 4 to e. EP Ave Regina Lat. Bass, viola, organ and strings Vertical Thoughts V performance score Text: Poems by Ernst Ger. Voice, violin and organ Meister and Alrun Moll. EP On Stellar Magnitudes Alto, 2 narrators, flute, trumpet and cello Mezzo-soprano, flute piccolo, clarinet bass-clarinet , piano, Hlderlin Songs EP violin and cello Ger. ZM Canticle, Op.
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EP Orpheus EPB Sing Lessing EP Soprano, flute, clarinet, percussion, piano, violin and cello Ger. Baritone, woodwind quintet and piano A Way Separate N Soprano, flute piccolo , clarinet, violin, cello and piano It. EP Rcitativ et Air soprano, flute and piano My song resonates with longing While my feet roam distant lands. My homeland is in the distant wilderness My song stirs with nationalism. My song loudly resounds of love While unplanned storms hasten. I m glad for the freedom that I no longer have A portion in the dying of a brother.
Why is my three cornered bell ringing? As a gypsy song when death is imminent The death of a gypsy brings an end To song, dance, love and all concerns! To song, dance, love and all concerns! The forest is quiet all around; Only the heart is disturbing the peace. As if black smoke is flowing, Tears flow down my cheeks and so they dry. They need not dry Let other cheeks feel them. The one who can in sorrow sing Will not die but lives and lives on.
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When my old mother taught me to sing, Strange that she often had tears in her eyes. And now I also weep, When I teach gipsy children to play and sing! The string is taut Young man turn, spin, twirl! Today reach the heights, Tomorrow down again. After tomorrow, at the holy table of the Nile. The taut string is stretched. Turn young man, Turn and twirl! Wide sleeves and wide trousers have More freedom than a robe of gold.
The robe of gold constricts the chest And the song within the body dies. He who is happy his song blooms with wishes That the whole world would lose its taste for gold. Given a cage to live in made of pure gold, The Gypsy would exchange it For the freedom of a nest of thorns. Just as a wild horse rushes to the wasteland, Seldom bridled and reined in, So, too, the gypsy nature has been given eternal freedom.
Johannes Brahms: Zigeunerlieder Op. He, Zigeuner, greife in die Saiten ein! Johannes Brahms: Gipsy Songs Op. Brown the lad, blue-eyed the lassie Led by him to dance is she. Clashing spurs he strikes together: Start the Czardas melody! Kisses fondly his sweet dove, and Spins her, whirls her, shouts and springs! Throws three shining silver gulden On the cymbal so it rings! Know ye, when my loved one is fairest of all this? If her sweet mouth rosy, jest and laugh and kiss. Maiden heart, mine thou art. Tenderly I kiss thee. Thee a loving heaven hath created just for me! Know ye, when my lover dearest is to me?
When in his fond arms, he enfolds me lovingly. Dear sweetheart, mine thou art. Art thou thinking often now, sweetheart, my love, What thou once with holy vow to me hast sworn? Leave me not, deceive me not, Thou know st not how dear thou art to me; Love st thou me as I thee, Then God s smile shall crown thee graciously.
Ho there, Gypsy! Strike resoundingly each string! And the song of false and faithless maiden sing! Let the strings all moan lamenting, sorrow weeping, Til the burning tears these cheeks so hot are steeping! Franz Liszt: Three Gypsies S. One, for himself alone, was holding His fiddle in his hands, Playing, as the sunset glow surrounded him, A merry little tune. The second held a pipe in his mouth And watched his smoke With cheer, as if from the world He required nothing more for his happiness.
And the third slept comfortably: From the tree hung his cymbalom; Over its strings the wind s breath ran; In his heart a dream was playing. On the clothing those three wore Were holes and colorful patches; But, defiantly free, they made A mockery of earthly fate. Trebly they showed me How, when life grows dark for us, One can smoke, sleep or play it away, And thus trebly to scorn it. At the Gypsies, longer yet I had to gaze in passing, At their dark brown faces, At their black-locked hair.
New the bagpipes play a measure, While the dancers have their pleasure. To the gipsy, fancy s creature, Dancing is a second nature! With a look like lightning flashing, Sword is glancing, spurs are clashing; Maiden s eyes his eyes are meeting, While her heart is loudly beating. Then a whispered word of longing, Hope and joy her bosom thronging; With such happiness before them, Heav n itself is opening o er them! Mokale Koapeng: Letlang Bana Lesang kgotlhang Lesang dikgogakgogano Thibang thubakanyo le dintwa Kagiso ke sengwe se re se tlhokang Kutlwano ke yona e re e batlang Lesang dintwa tsa borafe Letlang bana tsee ditshweetso Ke fatshe la bone Batlhoka kagiso malatsi otlhe Gopola boiketlo jo bo sakhutlheng Fatshe ke la bone Xavier Montsalvatge: Cinco Canciones Negras I.
Cuba dentro un piano Cuando mi madre llevaba un sorbete de fresa por sombrero Y el humo de los barcos aun era humo de habanero. Mulata vuelta bajera. Shall I tell you all I covet? Bread with bacon, O, I love it! Good tobacco, wine that s olden, Silken scarf with broid ries golden; Sky blue vest with buttons glittering, Yellow boots with bright spurs clatt ring, Such as only kings may wear.
Who would look so bold and dashing? Gleaming sword and bright spurs clashing; How the simple folk would start! Then I d travel everywhere, Far and wide the whole earth roaming, Were but all I want forthcoming! They blindfolded him So that he can t visit the gypsy girl in the night. They blindfolded his eyes So that he can t visit the gypsy girl by day. His girlfriend said That he s still visiting her. Cuba within a piano When my mother wore a strawberry sherbet for a hat, And the smoke of the ships still was smoke from cigars, From the dark Vuelta Abajo leaves, Perhaps sleeping among fandangos and habaneras, And a little parrot at the piano tried to sing tenor.
Tell me where is the flower that the man so intently venerates. My uncle Antonio returned with his air of insurecction. Era verdad, no era mentira. Va mojadita de lunas que le hacen su piel mulata. Tu cuerpo encierra esta tarde rumor de abrirse de dalia. Toda tu piel huele alegre a limonal y a naranjo. Los marineros te miran y se te quedan mirando. Cierra los ojitos, negrito asustado; El mandinga blanco te puede comer. Ya no eres esclavo! The blue pearl of the Antillas sea no longer shines. Already it has gone out, it has died on us.
I found myself with the beautiful Trinity: Cuba had been lost; and now it was true, It was truth; it was no lie. A fleeing gunboat arrived singing the tale guajiras. Havana already was lost. Money was to blame. Silenced, fell the gunboat. But it was later, but ah! Havana Point The Creole girl passes in her crinoline that s white. So white! Hey, the crepe of your foam, sailors, get a look at her! She walks moist from the droplets on her dusky skin. Little girl, don t fret, so alone this afternoon. I d like to order the water that you do not escape suddenly from the prison of your skirt.
Your body encloses this evening, the rumour of a dahlia opening. Little girl, don t fret, your body is fruit asleep in the embroidered breeze. Your waist quivers finely with the nobility of a whip. All your skin smells joyfully of lemon and orange trees. The sailors look at you and they keep looking at you. He cuts the moon up in slices, But he runs out of moon; He cuts songs up in slices, But he runs out of songs; He cuts shadows into slices, But he runs out of shadows; So then, he slashes away At the flesh of his bad black woman.
Cradle song for a small black child Ninghe, ninghe, ninghe, so tiny, The little black child that doesn t want to sleep. Head of coconut, grain of coffee, with pretty freckles, With eyes wide open like two windows that overlook the sea. Close your tiny eyes, frightened little black boy; The white boogey-man can eat you up. You re no longer a slave! And if you sleep a lot the master of the house promises to buy you a suit with buttons, so you can be a groom. Ninghe, ninghe, ninghe, sleep little black child.
El negro canta y se ajuma, El negro se ajuma y canta, El negro canta y se va. Vois le ruban d or que je t apporte, Pour le nouer autour de tes cheveux.
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Si tu veux, ma belle, viens nous marier! Quel galant m est comparable Quel galant m est comparable, D entre ceux qu on voit passer? Dis, dame Vassiliki? Et c est toi que j aime! The Song of the Bride Awake, awake, my darling partridge, Open to the morning your wings. Three beauty marks; my heart is on fire! See the ribbon of gold that I bring To tie round your hair. If you want, my beauty, we shall marry! In our two families, everyone is related! What Gallant Compares with Me? What gallant compares with me, Among those one sees passing by?
Tell me, lady Vassiliki! See, hanging on my belt, My pistols and my curved sword. And it is you whom I love! Tout gai! Gai, ha, tout gai! Belle jambe, tireli, qui danse, Belle jambe, la vaisselle danse! Tra la la, la la la! Con toda el alma perdono Hasta a los que siempre he odiado. Tengo miedo sin ti! You are more handsome than an angel. O when you appear, Angel so sweet, Before our eyes, Like a fine, blond angel, Under the bright sun, Alas! Everyone is Joyous! Everyone is joyous, joyous! Beautiful legs, tireli, which dance, Beautiful legs, even the dishes are dancing!
Never forget Since I am leaving this world, And before I give my account to the Lord, I will confess to you, Here, between the two of us. With all my soul I forgive those Whom I have always hated. You, whom I have deeply loved, I will never forgive! Flee as I may your embraces Flee as I may your embraces, Closer forever I m caught; My ev ry dream, ev ry thought Your haunting vision retraces. Speak more to me, For yesterday, as I was enraptured, I listened to you without hearing, I looked at you without seeing. The two fears With the onset of that night, She, remote from me, said: Why do you come so close to me?
I am afraid of you. And after the night had passed, She, close to me, said: Why do you move away from me? I am afraid without you! The extremes of love I will love you, Divine Venus, if you desire That I love you eternally and with discretion. The goddess of Cythera replied to me: I prefer, as all women do, That you love me for a short time and passionately. I will love you, Divine Venus, I will love you. Saturday, 5 February, 9. The rich discussions about music and exile that had opened up at the Symposium will be continued in , but with an emphasis on the role of songs in South African and global exile.
The programme includes presentations and discussions by scholars, performers and composers and covers a wide variety of music styles, including Western art music, jazz, South African traditional and pop music. Some themes that will be considered are the contexts and debates in international and local exile and the impact that cultural exchanges resulting from exile have on musical styles, particularly on jazz. On the local front, the programme will feature a panel discussion with musicians Roger Lucey and Steve Background on the Symposium The Symposium forms part of the Johannesburg International Mozart Festival and is held in partnership with the Goethe Institute.
It provides a think-tank around topics related to the JIMF concert series and is intended to generate ideas and stimulate initiatives for future JIMF events. This approach strives to establish a productive dialogue between music practice and music writing and debate. Gordon about their experiences of exile. A session is devoted to the musical connections between South Africa and the United Kingdom effected by South African musicians exile, including presentations on the South African jazz opera King Kong that was performed in London in which for many musicians marked the first step to exile , Gwigwi Mrwebi and the adaptations of mbaqanga in the United Kingdom and Stanley Glasser s Songs of Exile.
To cast the net slightly wider than the local, the Symposium will also reflect on instances of international exile such as German musician Eisler s and writer Brecht s exile in Hollywood during the Second World War, and the impact of the Second World War on some of Stockhausen s vocal compositions. The Symposium is specially linked with the concerts on 3, 4, and 5 February. Members of the public are welcome and attendance is free. Brecht S Kuppellied There is nothing quite like money K. Schiffer S Maskulinum-Feminimum P. Spoliansky S Schuhplattler piano solo H.
Brecht S Surabaya Johnny F. Leip S Lilli Marleen M. Jary S Ich weiss, es wird einmal ein Wunder geschehen I know there will be a miracle one day piano solo K.
In this telling question he speaks for every exiled poet and musician in history since. The psalmist felt he could not sing his songs in exile, though, ironically, in penning the psalm he was! Ever since, musicians and poets who have been driven into exile or have voluntarily upped sticks and transported themselves and their ideas to another country and different culture have asked themselves the same question.
One group of writers and musicians that stands out in the twentieth century was the one that emerged in the vibrant days of experiment and debauchery of s Berlin, which ended abruptly in with the election of Hitler as German Chancellor. One of the most extreme cases of exile affected Hanns Eisler.
Born in Leipzig, he moved to Vienna in with his family and thence to Berlin in where he remained till , after which he fled to New York after his music had been banned by the Nazis. Deported from the States, he fled first to Prague and then settled in East Germany.
On arriving in Prague he made a statement about his second exile: I leave this country not without bitterness and infuriation. I could well understand it when in the Hitler bandits put a price on my head and drove me out. They were the evil of the period; I was proud at being driven out. But I feel heart-broken over being driven out of this beautiful country in this ridiculous way. A common feature of all these exiles was their time in Berlin. In the wake of World War I, Berlin, arguably more than other German cities, experienced a backlash against Germany s defeat and the years before the war.
Many avant-garde movements and ideas, some of which started elsewhere, came to the boil in the German capital. Typical of the savage satire that emerged in many forms are the paintings of Georg Grosz, and few satirical dramatic works are more critical than those of Bertolt Brecht. It was a time evocatively chronicled by the English Eva Meier Norris Changes Trains and Goodbye to Berlin. For modern audiences the period is brilliantly evoked in Cabaret which is based on Isherwood s works. Some of the songs in this concert come from plays.
Modelled on an earlier satirical play by John Gay and Johann Pepusch, The Beggar s Opera , both works are savage attacks on the corruption of their times. Where Pepusch arranged folk and popular songs, Weill composed an acid score that at times recalls inappropriate Baroque models and at others uses jazz and other idioms to suggest the sleazy underworld of the play. Just the opening three notes of Mack the Knife with its jazz-inspired accompaniment can immediately evoke the world from which they sprung.
Brecht believed that using music in his plays made them deliberately and pointedly less naturalistic. He even suggested that when a character sings a song he should do something to mark the shift from reality, such as lighting a cigarette or moving a chair. In the theatre, Brecht aimed to change people s attitudes and thus used a Verfremdungseffekt or alienation effect. Brecht and Weill collaborated several times. In they wrote Happy End with Elisabeth Hauptmann, which played for only seven performances in Berlin. The plot is set on Christmas Eve , and deals with a planned robbery.
In a rather farcical and thus satirical conclusion all the characters seem either to know, or be related to each other: a Happy End. Mutter Beimlen is another collaboration between Brecht and Eisler. Brecht was strong-willed and fell out with Kurt Weill whose politics, apart from anything else, were not as Marxist as Brecht s.
Hanns Eisler, on the other hand, was a comrade-in-arms. Eisler s Das Lied von der Moldau and Lied einer Deutschen Mutter were composed while both playwright and composer were in exile. Lied einer Deutschen Mutter Caucasian Chalk Circle, was first performed by students in Carleton College, Minnesota in Brecht drew the composers with whom he collaborated into a political and aesthetic region that was different from other cabaret compositions of the s and s.
Falling in love again comes from Der Blaue Engel and is, arguably, its most enduring number.
In he met the poet Marcellus Schiffer , with whom he collaborated on the revues Es liegt in der Luft and Alles Schwindel The song Alles Schwindel is the title song of the latter. The words were written by Hans Leip , a school-teacher who had been conscripted into the German Imperial army.
It was set to music by Norbert Schultze in It became almost the call-sign of the German station, Soldatensender Belgrad. Nazi propaganda minister Joseph Goebbels did not like the song and tried to have its broadcast forbidden, but popular opinion amongst the German army prevented this. Oddly enough, the song eventually became almost non-aligned after being recorded in Italy in and in English after World War II by Marlene Dietrich. Ich weiss, es wird einmal Wunder geschehen was composed in by Michael Jary and popularly sung in Germany by Zarah Leander.
Joseph Goebbels once asked her why she retained the Jewish name Zarah. She asked him if he knew another. No, he replied. Joseph, she said. Hollaender s Ich weiss nicht was also popularized by Marlene Dietrich. Roderick Swanston Song texts and English translations will be available separately at the concert. Nimrod Moloto Bernard Loonen The streets of Soweto are vibrating with an enormous amount of energy from the children. Little souls playing on the streets til late at night, always looking for something to do to occupy their minds.
All they need is proper guidance. My aim is to provide the children with an opportunity to grow through music. I hope that music will be an element of their lives which can inspire them to become better people, regardless of whether they want to become artists, doctors, teachers or accountants. It is for this reason that Melodi Music Trust was founded.
The children start by playing recorders before progressing to instruments in the woodwind family, with the more advanced pupils receiving one-to-one tuition every week. The project s teachers are professional musicians working in nearby Johannesburg, as well as visiting teachers from overseas who stay to work with the project for extended periods. Melodi offers the children a secure, safe environment in which to work while aiming to provide much more than music education. There are regular discussions of the many problems facing so many teenagers in Soweto, and the children are encouraged to aim high in life and do so with confidence and a wonderfully positive attitude.
These are young people who know they have a contribution to make. In addition to their annual showcase performance at the Johannesburg International Mozart Festival, they have performed at numerous concerts, functions and community projects in Johannesburg. Lohr Slumber Song W.
Cornish Ah Robin arr. Mozart Ave Verum S. Palmgren Laula, Laula J. Sibelius Jouvilouri F. Schubert Liebe M. Koapeng Kyrie Eleison P. Mohapeloa U Ea Kae M. Seoketsa Ngiyamthanda Arr. Moshugi Lihl impela Arr. Seoketsa Sobuthana B. Seoketsa Dumisa V. Nhlapo Bambethele S. Linda Mbube arr. Nhlapo and M.
Koapeng G. Weiss What a Wonderful World arr. Sekhute B. Dlamini Msindisi M. Seoketsa UJehova B. Dlamini Home Kyrie Eleison 3 Originally composed by Mokale Koapeng for male choir, oboe, clarinet and bassoon, Kyrie Eleison is a stand-alone setting of a movement of the mass. The piece is characterized by high registers for the first tenors and frequent time changes which incorporate irregular metres.
Ngiyamthanda ujesu Krestu 3 Monkitsi Seoketsa manages to fuse a deceptive call part of a call and response into the melodic line, sung by Song texts and English translations will be available separately at the concert. The choir responds with rigid hymn-like harmonies only after two notes of the call melodies. When listening carefully, one will realize that the piece is not a typical call and response, but rather a melody with harmonic accompaniment. Lihl impela 3 This is an old American hymn by J.
He also creates an introduction that uses new material. The same material is used for the conclusion of the piece. Sobuthana 3 This is another old American hymn by Rev. Robert Lowry. Seoketsa s arrangement from features some interesting harmonic experiments. The piece is full of harmonic suspensions and chromatic decorations, with a shift of the tonal centre concluding the song. Bhekangaye Dlamini, a master of polytextuality, continues his journey of Zulufication of English.
The sombre opening is characterized by both despondence and hope. Dlamini displays his ability to merge different musical languages. His appreciation of jazz and classical music is reflected in his compositions without compromising their Africanness, illustrated vividly by the harmonies of the conclusion. Arranged by the group, it is a medley of two traditional gospel songs.
UJesu Wa Cel Amanzi 3 Mojalefa Mojapelo was a talented young composer whose life was cut short by a bullet in Soweto in the early s. His early compositional language was influenced by American close-harmony and barbershop style, which is typical of many Seventh-Day Adventist composers. The early s saw Gab change his style of composing. UJesu was Mojapelo s response to what Bhekangaye Dlamini brought to the group.
In this work, he demonstrates the ability to intersect different musical worlds. The middle of the song contains a remix of his early popular song Bayophila. Dumisa 3 Dumisa is a gentle and appealing close-harmony song with a piercing melodic line. Divided into three sections, the humming opening outlines the general mood of the song. The second section contains the first verse with the third section stating the chorus. The concluding section is a repetition of the opening part. Bambethele 3 Vus umuzi Nhlapo s deep interest in jazz and classical music is evident in this song. The song was his first effort in venturing into the African idiom.
Nhlapo uses the traditional isixhosa two-chord I VIIb harmony for the main sections of the song. The opening section is divided into two subsections. The second section of the song has an interesting harmonic deviation with a chromatic flavour. The second subsection of the opening section concludes it. The glowing third section demands an expansion of range for the first tenors. The virtuosic melodic line Nhlapo creates on top of the harmonies is infused with jazz inflections.
Mbube 3 This song can tell many stories. Our story is as follows: originally, Vusi Nhlapo arranged the piece for the group in Mokale Koapeng made a further arrangement of the song for the Sowetan Massed Choir Nation-Building Festivals. In one of our concerts in Manchester, UK, in , the performance was interrupted by a fire drill and whilst waiting outside the venue we entertained the audience with the song.
During our promotional stints in Canada, we went to the second biggest shopping mall in Edmonton. We sang the song, and waitresses, waiters, shop-attendants and customers followed the group around the mall. As the song was performed, new harmonies were instinctively added. This is done by the employment of the call and response style. The arrangement is a clever fusing of fresh jazz harmonies with new complementary melodic lines. The original structure of the song is kept.
Msindisi 3 Brett Pyper has pointed out: this piece combines a gospel text with the delightful isicathamiya style of singing, which developed among male migrant workers in the mine compounds of South Africa during the first half of the twentieth century.
Wherever they went, the younger members of the audience recognized the tune, waved their hands and joined in. Home 3 Bheka Dlamini once said: When you are very tired and hungry after a day of watching over the cattle in the fields and you turn to go home, then you can hear the songs of birds and sweet memories fill your mind. Then I think of Home where we are going: definitely, sure. The song is another example of polytextuality and the use of multimetres. The jazz harmonies give freshness to isicathamiya and isgekle. Mokale Koapeng The project is aimed at composers and performers as well as interested audience members!
In a wider sense, it marks the Festival s growing articulation of artistic encounters in the area of New Music. Mokale Koapeng, this year s Composer-in-Residence and himself a very eloquent example of a creative interrelation between composer and performer, will be joined by pianist Jill Richards, violinist Waldo Alexander and cellist Maren du Plessis. They will be working with a group of younger composers to explore in a practical context the ways in which composers can successfully write for a given instrumentarium.
The instruments at the disposal of a composer provide limitations and opportunities alike. What is the pitch range of a cello? How does a flageolet work on the violin and how do I best incorporate this technique into my writing? How can I make the best use of the many colours and textures of a piano? While vocal genres are ubiquitous in the many spheres of South African culture, there are very few opportunities for younger composers to experiment with instrumental music.
This workshop attempts to provide some guidance and activate creative responses. Allegro F. Schubert Song Transcriptions arr. The first movement Allegro con spirito sets the mood of the whole sonata. It begins with a jaunty, rising figure followed by a second idea that uses the turns running through the opening idea as its starting point.
Rather than developing the material at length and depth, thus obscuring the movement s light-hearted charm, he discursively departs from previous material in G major before returning to repeat the opening ideas in reverse order. Mannheim often stimulated Mozart to his most gorgeously melodic inventions and the slow movement Andante con espressione, G major of this sonata is a good example. Unlike the first movement, Mozart here explores a darker side of the opening material in the middle of the movement, but this turns out to be a passing squall rather than a lasting storm and the music ends as charmingly untroubled as it began.
The finale Rondeau: Allegro is entirely in Mozart s opera buffa vein, dancing its way to its conclusion by way of rapid scales, a tantalizing cadenza and energetic passage work. Schumann once suggested that these impromptus constituted a sonata in disguise. Though not quite accurate, Schumann was correct in identifying the seriousness and self-conscious construction of the four movements, especially the first, which though not a sonata movement, derives some of its procedures from the sonata form. The most notable derivation is how the main musical material is used.
After an initial G spread over four octaves, the Impromptu opens with an unaccompanied melody which then alternates with a harmonized version of itself. One very audible feature of the opening idea is its insistently repeated note which Schubert invited the listener to memorize as its forms the root of all the subsequent ideas.
This becomes clear when the texture softens to introduce a lyrical melody in A flat over a gently undulating bass. This idea contains those repeated notes, though the new context now makes something quite different from them. The same idea gives way to an eloquent series of emotional suspensions as the tonality drifts further and further away from the initial C minor. The second Impromptu is wellknown and often performed. The opening theme is a rapid descending series of scales in E flat major over a simple accompaniment with a tendency to accentuate the second beat.
This opening idea morphs into a variation of itself in the minor. Subsequently, the second-beat accentuation emerges more strongly and forms a defining characteristic of the whole work. The third Impromptu would have been the slow movement of the sonata if the Impromptus had been one. Cast in G flat major it opens with one of Schubert s most beautiful instrumental melodies. The last Impromptu Allegretto uses one of Schubert s most Here the opening cascades begin in A flat minor but soon change to A flat major. In almost all cases the major forms a kind of sunlit upland to the minor, which Schubert frequently uses to explore ever more distant keys marks the th anniversary of Franz Liszt s birth, and with it, one hopes, a re-examination of his life and works and a re-assessment of the many popular misconceptions that surround this most complex of composers.
The most superficial received opinion of Liszt is that he wrote only for pianists, not least himself, to show off their dazzling technique. It is true that most contemporary reports comment on his outstanding virtuosity, but most go on to say that when Liszt played, music came alive in a particular and magical way.
Very early on, Liszt put his virtuosity at the service of the music he played, whether his own or other composers. He stood apart from his contemporaries in his championing of earlier composers. He was famed for his performances of Beethoven sonatas, particularly the Hammerklavier, when no other pianist would have dreamed of performing such music, and was also drawn to Schubert, who was hardly known in the s and 30s except for a handful of songs. When Liszt published his transcriptions of Schubert s song he insisted on having the words of the songs included so that pianists knew what Schubert was trying to express in his settings.
His transcriptions of Schubert, as with those of other composers, did not to take the songs just as a starting-point but as the foundation of an attempt to recreate the spirit of one genre in another medium. It is a single, unbroken minute span of symphonic music which has been unanimously praised since its initial performance by the BBC Symphony Orchestra in at a BBC Prom. The ceremony, the third of its kind, is presented by the British Academy of Composers and Songwriters in association with Radio 3, and includes excerpts from winning works in eleven categories, including the BBC Radio 3 Listeners' Award.
The concert will feature past and present nominees. Featuring a piece by Elgar inspired by the Italian Riviera; Tchaikovsky in turn by the lakes of Switzerland, and Vaughan Williams by the increasingly menacing political atmosphere of the s. The concert also includes Nigel Osborne's chamber work Zansa, previously performed in collaboration with the Rambert Dance company, and an early symphony by Hans Werner Henze.
The orchestra treats us to Brahms' Variations on a theme of Haydn, plus Nielsen's lyrical 3rd Symphony, and the orchestra is joined by eminent soloist Gil Shaham for music by Sibelius - his Violin Concerto. Julia McKenzie hosts a star-studded gala concert in celebration of Stephen Sondheim's 75th birthday, recorded at Hackney Empire. In Part Two, there's a concert performance of Company, the Tony Award-winning musical from , about a something single guy who is indifferent to love and commitment, despite being surrounded by five married couples.
The Voice of the Book Alistair Mcgowan. Gregorian chant and Catholic ritual strongly influenced the music of French organists and composers Maurice Durufle and Olivier Messiaen , although their compositional styles were very different. One such friend, Oliver Knussen , conducts the opening concert, which includes the seminal Piano Concerto of Age shows no sign of wearying his creative drive or innovative powers. The Weekend sets music by Carter alongside works by composers who are his friends or heroes. One such friend, Oliver Knussen, conducts the opening concert, which includes the seminal Piano Concerto of Presented by John Tusa.
Presented by Petroc Trelawny. Britten first encountered Shostakovich's music in , the year the older composer wrote his groundbreaking Fourth Symphony, though they did not meet until much later. Shostakovich's genius casts a shadow of inspiration across Britten's Concerto, begun soon after this encounter. The concert raises the curtain on a series of special Radio 3 events from Scotland's innovative centre for music in the heart of Glasgow's Merchant City.
The Scottish Chamber Orchestra makes its debut appearance in the new City Halls concert hall in Glasgow, presenting a programme with a distinctly Parisian flavour. Frans Bruggen conducts music by Haydn and Mozart, written to impress a Paris audience, as well as a short overture by Chevalier de Saint-George, often referred to as 'the black Mozart'. Prokofiev's cosmopolitan background must have seemed at odds with Shostakovich's - the one embracing time spent in America and Europe before returning to Moscow, the other firmly rooted in Russia.
Shostakovich thought Prokofiev an iconic figure, and the overture to the latter's epic opera is reflected in one of Shostakovich's most direct statements in his Fifth Symphony. The private side of Shostakovich hides behind this late song cycle written at the end of his life. The concert begins with music by one of Shostakovich's contemporaries - Britten.
Then it's the orchestral version of Bach's organ choral prelude. In the second half of the concert, the orchestra tackles Shostakovich's Symphony No In the 11th Symphony The Year , Shostakovich takes a vivid cinematic approach to the violence of the attempted revolution. Britten's Sinfonia da Requiem of offers the listener an equally powerful and intense musical experience, in a work which its composer described as 'a plea for peace'. Continuing a series of concerts - featuring the Halle Orchestra playing Beethoven, one of Shostakovich's ultimate heroes, from Manchester's Bridgewater Hall.
The orchestra performs Beethoven's overture Egmont and his Concerto No 2. In the second half of the concert, it's Shostakovich's mighty Symphony No Radio 3's celebration of the th anniversary of Mozart's birth continues with another live concert from London. Presented by Andrew Mcgregor from the Barbican Hall. The full forces gather for the Mass in Cm, composed a few years earlier in Vienna at a time when Mozart had become interested in the music of Bach and Handel. The concert ends with Mozart's flamboyant Haffner Symphony.
Surprisingly, operetta was one of Shostakovich's private passions and Lehar's Merry Widow was one of his favourites. Shostakovich was also an avid collector of scores and recordings of Mahler's music as soon as they reached Russia; and their emotional qualities left a mark on him. Sensational young American cellist Alisa Weilerstein joins the orchestra for one of the most popular of all cello concertos and, after the interval, Tchaikovsky's Second Symphony, nicknamed later Little Russian, because of its pervasive use of well-known folksongs.
Live from the Lighthouse, Poole, presented by Verity Sharp. Shostakovich's first symphony was written while the composer was a student - a precocious, colourful and witty work. It was so well received that Shostakovich took pleasure in commemorating the anniversary of the first performance throughout his life. The second symphony, composed the following year, was the result of a commission to celebrate the 10th anniversary of the revolution. Around these two works, The Halle present music which, despite differences in scale and intent, nonetheless had a profound influence on Shostakovich's symphonic writing.
The focus is on works composed between and Recorded at the Lighthouse, Poole, presented by Piers Burton-page. Marin Alsop takes the orchestra on a journey through three contemporary British works. The rich musical heritage of Prague and the Czech lands is celebrated in this concert, recorded at The Sage, Gateshead. Mozart's symphonic masterpiece is paired with a symphonic rarity from Hans Krasa, whose life was brought to a tragic end in Auschwitz. Introduced by Chris de Sousa. Artur Pizarro continues his major series at St John's, Smith Square in London, in which he performs the complete works for piano solo by Debussy and Ravel.
Continuing Artur Pizarro 's concert in his series of the complete works for piano solo by Debussy and Ravel, focusing on the years and Continuing Artur Pizarro's concert in his series of the complete works for piano solo by Debussy and Ravel, focusing on the years and He focuses on works composed between and In this Halle Orchestra concert, Mahler's dark-hued songs on the death of children are set against Shostakovich's 'agit-rop' Third Symphony , with its choral finale celebrating May Day, and the enigmatic 9th , with its entertaining surface and darker undertones.
Gustav Mahler was a potent influence on Shostakovich, especially in the later symphonies. Danish composer Poul Ruders' mastery of symphonic form is featured in a concert from Manchester, presented by Petroc Trelawny. The public and private faces of Shostakovich are sharply contrasted in these consecutive works, from an official formalist response, to male voice settings of Yevtushenko's powerful and dangerously controversial poetry.
Recorded at the Anvil in Basingstoke, presented by Piers Burton-page. Osvaldo Golijov maybe a new name to contemporary music fans in the UK, but the Argentine-born composer has already had considerable success in the US with his St. Mark Passion. His music is a memorable blend of Spanish, Latin-American and Jewish influences. This year marks important anniversaries for two great composers: it's the th anniversary of Shostakovich's and the th anniversary of Mozart's birthday, and both are celebrated in tonight's concert from the London Philharmonic Orchestra, conducted by Vladimir Jurowski.
Suites by Shostakovich are heard alongside opera arias by Mozart, for which the orchestra is joined by Russian bass Alexander Vinogradov. Freedom is the underlying theme in this concert. Shostakovich dedicated his Seventh Symphony to "our struggle against fascism and our coming victory, and to my native Leningrad". A visit to Dresden and its ruins in provided the inspiration for a film score, including a Beethovian hymn to victory.
A different sort of freedom lies behind Beethoven's only opera, affirmatively depicted in this overture. British-born conductor Jonathan Nott has made a great reputation for himself in Europe, but has not often been seen at work in the UK. There's a Haydn symphony, a rarely-heard Schubert symphony, Schubert-inspired music by Henze, and the world premiere of an imaginative new violin concerto by Simon Holt, performed by young violinist Vivianne Hagner. Plus more collaborations with the jazz world in Turnage's Scorched, an orchestration of free jazz for trio and chamber orchestra based on tunes by John Scofield.
The Halle Orchestra and Principal Guest conductor Cristian Mandeal bring together a programme of music featuring two composers whom Shostakovich especially admired. Mahler was a guiding inspiration behind a lot of Shostakovich's symphonic thinking, while in Britten he found a kindred musical spirit.
The concert also features Shostakovich's ebullient and witty concerto for piano and trumpet, and from the 6th Symphony, which the composer said was motivated by feelings of 'spring, joy, youth and lyricism'. Shostakovich admitted that his strongest hero was Mahler: the influence is subtle, but there in all of Shostakovich's symphonies from the Fourth onwards, shaping melody and emotional direction.
So it's appropriate that Shostakovich's last symphony ends this festival paired with Mahler's last work, whose music haunted many a page of Shostakovich's work for the last 40 years of his life. Gustav Mahler wrote his great 9th Symphony in with his marriage and his health failing, and there is little room for comfort or solace in the music. Yet at the end of this visionary account of the symphony at the Barbican in December, there was a feeling of hope, a glimpse of heaven.
Sara Mohr-pietsch introduces a concert from the Sage, Gateshead, as one of the rising stars of the British musical world, Robin Ticciati, makes his debut conducting Northern Sinfonia in a programme of Brahms, Strauss and Elgar. Strauss: Duett-concertino for clarinet, bassoon, string orch. The concert reflects the many aspects of his long and distinguished career, and the composer himself plays the piano part in his Oscar-nominated score for Murder on the Orient Express.
Christopher Cook presents a concert, given by the Northern Sinfonia and conductor David Lockington, of American classics. Clarinettist Richard Stoltzman brings his jazz background and breathtaking technique to solo works for clarinet, including Copland's concerto which was written for jazzman Benny Goodman. A John Adams piece inspired by the Kentucky-based Shaker community also features, alongside one of the great masterpieces from 20th Century America - Aaron Copland's portrait of rural life in the Appalachian Mountains.
Introduced by Paul Guinery. Yehudi Menuhin has a legacy that extends well beyond his great recordings - music education was another area where he was a pioneer. Three of the soloists in this concert studied at the Menuhin School for musically gifted children in Surrey. Petroc Trelawny introduces highlights from a unique event in the brass band calendar. The festival themes of Celebrating Mozart and Landscapes and Images are featured. Frans Bruggen is the distinguished guest conductor.
Prokofiev's symphony-concerto is one of the most devilishly demanding works in the cello repertoire. Here it is joined by Beethoven's overture to the tale of an anguished Roman general and Schubert's 'Great' C symphony. It began life as a cello concerto, but was beefed up on a much grander scale. Stephanie Hughes introduces the final concert in the complete centenary cycle from London's Wigmore Hall.
With the Jerusalem String Quartet. Plus a piece the orchestra commissioned from composer Thea Musgrave in , representing the rebellious attitudes of that decade. Presented by Martin Handley. The final programme in Artur Pizarro 's major series from St John's, Smith Square, London, in which he has performed the complete works for piano solo by Debussy and Ravel. Artur Pizarro concludes the last of his concerts in his cycle of the complete piano works of Debussy and Ravel, with the latter's Le Tombeau de Couperin and La Valse. The final programme in Artur Pizarro's major series from St John's, Smith Square, London, in which he has performed the complete works for piano solo by Debussy and Ravel.
Canadian violinist James Ehnes has been described as having a blistering technique, the purest intonation and a sun-ripe tone, all of which he puts to good use in a performance of Shostakovich's First Violin Concerto. Then principal conductor Marin Alsop leads the Bournemouth Symphony Orchestra in Elgar's Second Symphony, which the composer himself said depicted the 'passionate pilgrimage' of a soul. Louise Fryer presents another in a series of programmes from the Piano Festival in Manchester, which this year features Mozart's piano concertos as part of Celebrating Mozart.
Festival director Barry Douglas is the soloist in Mozart's 25th Concerto K ; the young Belfast pianist Michael McHale plays the fifth concerto, sometimes referred to as his first - the previous youthful four being based on music by other composers and the two soloists join forces for Concerto for Two Pianos, written when Mozart was A concert featuring three works which span Mozart's career.
Louise Fryer presents another in a series of programmes from the Piano Festival in Manchester, which this year features Mozart's piano concertos. A concert encompassing the full range of Mozart's concerto writing - from the fresh Jeunehomme concerto of to the dark-hued Dm Concerto from ; and the sparkling Concerto for three pianos, composed in February for Countess Antonia Lodron and her two daughters Aloisia and Giuseppina.
Louise Fryer presents the last in a series of programmes from the Piano Festival in Manchester, which this year features Mozart's piano concertos as part of Celebrating Mozart. Steven Osborne plays the valedictory concerto which Mozart composed just under a year before his early death.
By contrast, Michel Dalberto plays the majestic. John Toal presents another in a series of concerts from Belfast marking the th anniversary of Schumann's death, and featuring all four of his symphonies. John Toal presents the last in a series of concerts from Belfast marking the th anniversary of Schumann's death, and featuring all four of his symphonies. Donald Macleod presents a concert illustrating the range both musically and geographically of Daniel Barenboim 's recent performances in Europe and the Middle East.
The Third Symphony is a thoughtful and lyrical piece from , written ten years after Actaeon, a tone-poem for horn and orchestra. The concert ends suitably with Anniversaries, a brilliant orchestral showcase commissioned to celebrate the BBC's 60th anniversary in , and premiered by the BBC Symphony Orchestra itself. The celebrations continue with some of Bennett's concert music for orchestra.
One of Bach's most neglected major choral works, celebrating the resurrection of Jesus, is given an Eastertide performance. The orchestra's first ever trip to South America reaches its climax as it arrives in Argentina and performs in the legendary acoustic of Buenos Aires' world famous opera house - the Teatro Colon.
Iain Burnside continues a week of programmes celebrating the mezzo-soprano Dame Janet Baker. With contributions from Dame Janet Baker and some of the people she worked with. Here, he explores Baker's special relationship with the music of Berlioz. Selection of Arie Amorose arr Simon Preston. Dame Janet Baker was renowned for her interpretations of Bach. Iain Burnside continues his celebration of her life and career with recordings and contributions from Dame Janet Baker and some of the people she worked with. In the final programme, Iain Burnside describes Dame Janet Baker 's farewell to the operatic stage and dips into some of her iconic Mahler recordings.
In the final programme, Iain Burnside describes Dame Janet Baker's farewell to the operatic stage and dips into some of her iconic Mahler recordings. Also on the programme, another instalment from the orchestra's revealing survey of the music of John Foulds, his spring inspired April-England. Stephanie Hughes presents the second programme in a short series showcasing Uchida's recent recitals.
In this programme recorded at LSO St Lukes in London, Mitsuko Uchida teams up with an international group of musicians to perform one of the seminal works of the 20th century: Schoenberg's Pierrot Lunaire. Petroc Trelawny presents this concert of Elgar's oratorio The Kingdom recorded in Huddersfield Town Hall a century after its first performance. Sara Mohr-pietsch presents a concert from The Sage, Gateshead, as the resident orchestra, Northern Sinfonia, performs a programme of music by Mozart and Britten.
Under its musical director Thomas Zehetmair , the orchestra begins its concert with Mozart's ebullient 10th Symphony. They are then joined by tenor James Gilchrist and horn player John Francomb - soloists in Britten's Serenade for tenor, horn and strings. Two more soloists in the next piece - Thomas Zehetmair himself, and his wife Ruth Killius - in a performance of Britten's Double Concerto for violin and viola. The audience at Leeds Town Hall experience the city premiere of John Adams ' great Harmonium - his setting of three poems of transcendental vision by Emily Dickinson and John Donne for huge orchestra and large choir.
Plus, Britten and Debussy are inspired by the sea to create some of their most imaginative and thrilling orchestral scores. The world premiere of a 'celebration of glad noise' by Stephen Roberts puts the spotlight on the orchestra's brass section, in a concert given at Swansea's Brangwyn Hall, introduced by Piers Burton-page. The 14 prestigious awards honour outstanding achievements by composers, performers and arts organisations - which demonstrate the RPS' key values of encouraging creativity, recognising excellence and promoting understanding.
Felicity Palmer and Radio 3's Sean Rafferty present the awards, with a keynote speech by Armando Iannucci , and Andrew Mcgregor talks to the musicians and introduces performances of their music. Many of the world's finest artists gathered at the Dorchester Hotel in London for the ceremony. Continuing the live Barbican performance given by Russian violinist Maxim Vengerov, spotlighting pieces by Prokofiev and Shostakovich.
The hauntingly beautiful score is filled with echoes of water and wind, and includes two coloratura sopranos and the amplified sound of the Plainfin Midshipman, a Pacific-dwelling singing fish! It's paired with, after the interval, Shostakovich's monumental and anguished 8th Symphony, written during the Second World War.
Presented by Martin Handley from the Barbican. For the last Radio 3 broadcast of this season, principal conductor of the Bournemouth Symphony Orchestra Marin Alsop leads the orchestra through two works: Tchaikovsky's Fantasy Overture about the two doomed lovers Romeo and Juliet, and then Carl Orff's masterpiece Carmina Burana, based on medieval Bavarian texts dating back to about love, dancing and drinking. The BBC Concert Orchestra joins forces with the award-winning Lebanese oud player Rabih Abou-Khalil, and a group of musical friends from around the world, for a concert including three works specially arranged for the orchestra.
Recorded last week at the Queen Elizabeth Hall. Presented by Geoffrey Smith. This monumental work is a hymn to the world of nature from expressions of the awakening of primeval life in the vast first movement to the affirmation of life in the final exultant moments. Through his music, Mahler hoped that "nature in its totality may ring and resound". Featuring works which put the spotlight on both the orchestra as a whole, and its principal players.
Joseph Volpe started at the Metropolitan Opera House as an apprentice carpenter 42 years ago, and rose to become its General Manager in Stephanie Hughes introduces part one of a star-studded Gala Concert from the Met to celebrate his career, and mark his retirement in June. There's also music by the Catalan composer Roberto Gerhard - five dances from his ballet Don Quixote.
Presented live from the Palau de la Musica by Martin Handley. Now it reaches Valencia, in the Palau de la Musica. It was built in and is one of the banner buildings of modern Valencia. Russian maestro Valery Gergiev leads his Mariinsky Theatre Orchestra in three great works from his homeland. In a concert recorded last year at Gergiev's own Mikkeli Festival, Shostakovich's graduation piece is complemented by a symphony from the mature Tchaikovsky. And rising French star Laurent Korcia joins them in Prokofiev's richly lyrical first violin concerto. It forms part of the nationwide Encore series in which new works are given an all too rare second hearing.
Sarah Walker presents another in a series of concerts recorded at the Bath International Music Festival. Joining them in the historic surroundings of Bath Abbey is the much acclaimed soprano, Dawn Upshaw. Wie freudig ist mein Herz. A programme marking the th anniversary of the deaths of composer Robert Schumann and the poet whose texts he set most, Heinrich Heine.
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Iain Burnside delves deeper into one of the most fascinating composer-poet relationships of the 19th Century. Specially-commissioned dramas by Hattie Naylor and starring Daniel Goode and Ben Crowe as composer and poet respectively tell of the one and only meeting between Schumann and Heine and what their contemporaries thought of them.
Iain journeys along the Rhine visiting places associated with Schumann and Heine. Valery Gergiev leads the Rotterdam Philharmonic in a concert of French and Russian orchestral classics. Presented by Andrew Mcgregor , in conversation with David Nice. After the interval, a musical fairytale - The Nightingale. It's one of the 20th Century's greatest choral works, a passionate outcry of the inhumanity of war. Sandy Burnett presents a pair of recitals recorded at the Spitalfields Festival , each featuring a work newly commissioned by Radio 3.
Cellist Rohan de Saram, well-known as a champion of new music, performs at Wilton's Music Hall, including a piece specially written for him by Naresh Sohal. Joining them for the premiere of his new work is the maverick composer Django Bates. Sarah Walker introduces a concert at London's Barbican Hall given by pianist Mikhail Pletnev, whose technical power and expressive range have dazzled critics around the world. The luxuriantly arranged Come Sweet Death by Frank Bridge is followed by his pupil Benjamin Britten 's tribute to his teacher, plus a highly charged concerto by Michael Berkeley , the orchestra's Composer in Association.
A series of concerts from the Delius Inspired festival in Bradford, which celebrates Delius, his inspirations and his influences. The concert is presented by Paul Guinery. Wayne Marshall also performs an improvisation on a theme by Delius. Wayne Marshall : Improvisation on a Theme by Delius. This programme includes a first taste of this year's Scottish theme, courtesy of Mendelssohn; a first airing of work by this year's composer-in-residence, Sally Beamish; and to conclude - Mahler's sublime, epic Fourth Symphony.
Sandy Burnett introduces a concert of music inspired by children given by pianist Pierre-Laurent Aimard at this year's Cheltenham Festival. An opportunity to hear Sir Charles Mackerras' anticipated Beethoven cycle from the Usher Hall, presented in tandem with performances of all of Bruckner's symphonies. Both of these opening salvos were mature works, written when the composers were respectively 30 and His programme sets two of JS Bach's suites for solo cello alongside two of Benjamin Britten 's cello suites.
His programme sets two of JS Bach's suites for solo cello alongside two of Benjamin Britten's cello suites. Sir Charles Mackerras' Beethoven cycle continues with a work written in - when Beethoven was faced with the prospect of increasing deafness. Bruckner's 2nd Symphony also followed a period of intense mental turmoil, and heralds the beginning of his mature symphonic style. Members of the Belcea Quartet are joined by oboist Stefan Schilli to explore the repertoire for oboe and strings in the Queen's Hall Series.
Sir Charles Mackerras, 80, triggers the most famous four notes in music and supervises their development into Beethoven's iconic symphonic masterpiece. Bruckner's 5th is also a structural miracle, a colossal tour-de-force built from a simple pizzicato scale. Founded 43 years ago by Dame Fanny Waterman, this is the 15th competition, featuring pianists from all over the world.
Leon McCawley, a prizewinner in the event, joins Sarah to offer his expert opinion on the competitors and the music they have chosen to perform. A concert that continues the 60th anniversary celebrations of the launch of Radio 3 which began life as the Third Programme. Season - a month-long festival of British orchestras. Featuring the world premiere of a work written specially for the great American counter-tenor David Daniels by the British composer Jonathan Dove. Sarah Walker launches the first full week of Radio 3's coverage of the Listen Up!
Festival of Orchestras The festival reflects the strength, diversity and commitment of the whole UK orchestral community, amateur and professional alike. The week gets off to a flying start with one of London's leading professional orchestras, the LSO from the Barbican Hall in London, in a concert celebrating Steve Reich's 70th birthday. Alongside the music, there's the first episode of a specially commissioned part story about the orchestra by award-winning author Alexander McCall Smith, and of Dermot Clinch's A-Z of the orchestra. Sarah Walker introduces performances that reflect the UK's thriving amateur music-making scene.
It begins with a lively fanfare by their Composer in the House followed by three 20th Century classics. Award-winning author Alexander McCall Smith reads the second part of his specially commissioned story, and Dermot Clinch continues with his A-Z of the orchestra. The programme includes Martland's best known and most energetic score, the symphonic poem Babi Yar, followed by a new piece consisting of an arrangement for string orchestra of the slow movement of his string quartet Patrol. The concert ends with a performance by the Steve Martland Band playing their unique mix of classical, rock, jazz and minimalist music.
It's an evening of music inspired by mighty rivers and turbulent seas. Alexander McCall Smith reads part three of his specially commissioned story about the orchestra, and Dermot Clinch continues his orchestral A-Z. As part of the Barbican's marathon tribute to composer Steve Reich in his 70th year, the orchestra performs two of his high energy works with acclaimed Reich performers Synergy Vocals and Stefan Asbury.
Jonathan Morton, artistic director of the Scottish Ensemble, talks about the challenges of introducing new repertoire to the ensemble, and Dermot Clinch continues his A-Z of the orchestra. A hot summer night in New York's Central Park sets the scene for a concert of atmospheric music, which includes Ravel and Saint-Saens conjuring up images of traditional fairytale characters, and the BPO's Composer in Focus performs his own Piano Concertino, conceived from a series of nocturnal etudes.
Members of the audience at Brighton Dome talk about what they want from orchestral concerts and Alexander McCall Smith continues his story, set in the Second World War, about an amateur orchestra. Players from the LMP visit the Millbrook estate in Southampton to introduce Mozart's music, and there is a report from New York on the London Symphony Orchestra's Musicians on Call scheme - where musicians visit the homes of those who are unable to reach a concert hall.
In addition, players from the Philharmonia reveal how they cope with nerves, and there is a feature on the Philharmonia's virtual orchestra at the South Bank. Plus students and musicians from the Milton Keynes City Orchestra find a musical use for the dreaded mobile phone ringtone; Alexander McCall Smith with another episode of his part story about La's orchestra and Dermot Clinch continues his A-Z of the orchestra.
A concert to mark the 21st anniversary season of the Orchestra of the Age of Enlightenment, with a concert featuring the tenor, Ian Bostridge, performing arias by Handel. Petroc Trelawny delves into the orchestra's past with live studio guest, Helen Wallace, who has just published a book charting the orchestra's history, and he talks to musicians about how period performance has come in from the fringe and become an integral part of concert life. BBC Concert Orchestra players talk about how they can switch from opera to musical and baroque to minimalism at the drop of a hat; there's news of MusicLab, where students from schools in Watford take part in a concert as presenters, singers and composers; and Alexander McCall Smith continues to read from his story 'La's orchestra saves the world'.
There is a report from Scotland on the Musicians on Call scheme where musicians visit the homes and workplaces of those who are unable to reach a concert hall, and Dermot Clinch continues his A-Z of the orchestra. The opening concert of the inaugural English Music Festival, from the historic abbey in Dorchester-upon-Thames, Oxfordshire. Malcolm Arnold 's one act comic opera of intrigue and misunderstanding opens an all-British programme.
Petroc Trelawny presents a concert recorded in Cheltenham Town Hall. Including the UK premiere of a new work by James Gilchrist, conducted by the composer. Cowie: National Portraits. Nine motets in the form of sonic portraits for chorus. Conclusion of the concert to mark the eightieth birthday of Hungarian composer Gyorgy Kurtag given at the Wigmore Hall, London.
Martin Handley introduces a concert live from the Barbican, London. German composer conductor Matthias Pintscher, born in , is one of the hottest properties in European music. His beautifully crafted and expressive music has been compared with that of Alban Berg. The concert opens with Mozart's String Quartet in D minor, a key that inspired many of the composer's most intense works. The second half is devoted to Beethoven's expansive and profound quartet Op , its slow movement representing Beethoven's personal hymn of thanksgiving upon recovery from illness.
The orchestra, under principal conductor Marin Alsop , is on increasingly familiar territory with Copland's jazz-inspired Dance Symphony, and is joined by young American violinist James Ehnes for Mendelssohn's celebrated concerto. The orchestra, under principal conductor Marin Alsop, is on increasingly familiar territory with Copland's jazz-inspired Dance Symphony, and is joined by young American violinist James Ehnes for Mendelssohn's celebrated concerto. The concert concludes with Elgar's First Symphony.
The programme features the winning compositions in categories ranging from pieces for one or two instruments to choirs, orchestras and operas. Stephanie Hughes presents a selection of popular operatic excerpts featuring singers and conductors from the Jette Parker Young Artists Programme at the Royal Opera House in London, recorded on stage at their Gala concert last July.
Full text of "Kiss Sacred And Profane"
Martin Handley presents the first part of tonight's concert, live from the Barbican. Martin Handley presents the second part of tonight's concert, live from the Barbican. Petroc Trelawny presents the first part of tonight's concert, live from the Wigmore Hall. Petroc Trelawny presents the second part of tonight's concert, live from Manchester's Bridgewater Hall.
Petroc Trelawny presents the first part of tonight's concert, live from Manchester's Bridgewater Hall. The programme consists of music composed in the final year of Mozart's life. Concluding a year of intense competition against some of the best ensembles in the UK, eight choirs have made it through to the final stage.