Leonard Slatkin Distinguished Visiting Artist in

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FRIDAY OCTOBER 26 2018 7 30 PM,THE RIVERSIDE CHURCH. THE 3RD ANNUAL MANHATTAN SCHOOL OF MUSIC,LEONARD SLATKIN CONDUCTORS PROJECT. Leonard Slatkin Distinguished Visiting Artist in,Conducting and Orchestral Studies. MSM SYMPHONY ORCHESTRA,Leonard Slatkin Conductor,Ken Yanagisawa Conductor. Bryan Zaros Conductor,Andi Zhang violin,Wenqiao Jiang piano.
Devin Moore viola, CAMILLE Introduction et Rondo capriccioso in A Minor Op 28. SAINT SA NS Bryan Zaros Conductor,1835 1921 Andi Zhang violin. FRANZ LISZT Piano Concerto No 1 in E flat Major LW H4. 1811 1886 Allegro maestoso,Quasi adagio,Allegretto vivace Allegro animato. Allegro marziale animato,Ken Yanagisawa Conductor,Wenqiao Jiang piano. INTERMISSION,Harold in Italy Op 16,HECTOR BERLIOZ,1803 1869 Harold in the Mountains.
The Pilgrims March,At the Orgy of the Brigands,Leonard Slatkin Conductor. Devin Moore viola,PROGRAM NOTES, Introduction and Rondo capriccioso in A Minor Op 28. Camille Saint Sa ns, By the time Saint Sa ns met him Pablo de Sarasate was already an. established violin virtuoso though he was only fifteen years old Saint Sa ns. It is a long time ago now since I first saw Pablo de Sarasate call. at my house Fresh and young as spring itself the faint shadow. of a mustache scarcely visible on his upper lip he was already. a famous virtuoso As if it were the easiest thing in the world. he had come quite simply to ask me to write a concerto for. him Flattered and charmed to the highest degree I promised I. would and I kept my word with the Concerto in A major. The First Violin Concerto written in 1859 was only the beginning of their. long artistic relationship In 1863 Saint Sa ns wrote the present Introduction. and Rondo capriccioso for Sarasate who for unknown reasons did not give. the first performance until April 4 1867 the composer waited until 1870 to. publish the piece but meanwhile Sarasate performed it throughout Europe. and in the United States In 1880 Saint Sa ns honored him again with the. Third Violin Concerto, These works were ideally suited to Sarasate s style of playing technically. perfect with an unusually sweet and pure tone and a wider vibrato than. was common at the time all of which he reportedly achieved without. practicing scales or exercises The Introduction and Rondo capriccioso is a. brilliant showpiece and perhaps the most famous of Saint Sa ns s lighter. compositions Frequent performances were facilitated by Bizet who made. the violin and piano arrangement and Debussy who made a version for two. In Sarasate s honor Saint Sa ns gave the one movement work a pronounced. Spanish flavor The rhapsodic violin passages of the Introduction are. accompanied by pizzicato strings suggesting a guitar The Rondo theme. with its Spanish syncopations alternates with contrasting episodes. guaranteed to show off the violinist s virtuosity The work ends with a. whirlwind coda that dazzles with its pyrotechnical display of scales and. Piano Concerto No 1 in E flat Major LW H4,Franz Liszt.
As a celebrated young piano virtuoso Liszt made a few sketches for. his First Piano Concerto in 1830 He did not begin work in earnest. however until 1849 in Weimar where he had accepted the position of. Court Kapellmeister the previous year Still not satisfied he reworked. the Concerto in 1853 and finally prepared it for a public performance on. February 17 1855 On this auspicious occasion Liszt himself was the soloist. with none other than Berlioz as conductor The Concerto met with great. enthusiasm although it must be said that Liszt was such a persuasive. performer that the audience would have adored anything he played He. felt however that further revisions were necessary which he undertook. Critics have periodically taken the work to task for empty virtuosity. and the opinionated Viennese critic Eduard Hanslick lampooned it as a. triangle concerto simply because Liszt had written a triangle part when. traditional concertos had none Fashions and tastes change however and. the compelling Concerto has triumphantly survived them all. Liszt was extraordinarily preoccupied with both the idea of combining. several movements in one and the related idea of cyclic form in which. the same musical material appears in more than one movement In both. regards he was profoundly influenced by the example of Schubert whose. celebrated Wanderer Fantasy for piano four hands Liszt knew well and. had arranged for piano and orchestra in 1851 He was also well aware. of the cyclic properties of Berlioz s Symphonie fantastique which he had. transcribed for piano in 1834, Liszt s Concerto No 1 consists of four sections played continuously. The sections resemble the forms of a Classic symphony and indeed. Liszt referred to them as such in his correspondence None is developed. completely in the Classic style however and throughout Liszt ingeniously. transforms and develops themes that have been heard before. The bold opening theme sets the bravura tone of the work but also. prepares the listener for a harmonic adventure since it immediately. changes keys The phrase also serves as a motto that unifies the entire. Concerto Apparently Liszt and the conductor Hans von B low fit words. to it Das versteht ihr alle nicht haha None of you understand this. haha which may refer to the form harmonies or the challenging piano. part This section has hardly begun when the pianist plays a brilliant. cadenza only one of many such passages of virtuosic display. The strings briefly present the lovely melody of the slow movement. Quasi adagio before the piano alone plays a fuller version The. atmosphere of serenity undergoes an amazing transformation when Liszt. reuses the theme in the final section After the appearance of contrasting. material the return of the lyrical theme in the clarinet suggests a ternary. shape In Liszt s condensed form however the scherzo begins instead. signaled by the triangle that so provoked Hanslick. The scherzo is also truncated in this case by a piano cadenza and a. transition both of which develop the motto theme from the opening The. main theme of the Quasi adagio returns in the guise of a spirited march to. begin the finale The fourth movement of the Concerto the composer. wrote to his cousin with pride is only an urgent recapitulation of the. earlier material with quickened livelier rhythm and it contains no new. motives This kind of binding together and rounding off a piece at its. close is somewhat my own but it is quite organic and justified from the. standpoint of musical form Motives from the Quasi adagio reappear the. main scherzo motive is treated extensively and finally the motto theme. returns With a torrent of pounding octaves the soloist concludes the. Concerto in a blaze of glory,Harold in Italy Op 16. Hector Berlioz, Following a triumphant performance of his Symphonie fantastique Berlioz. was enthusiastically accosted by violin virtuoso Niccol Paganini who. begged him to write a work he could play on the wonderful Stradivarius. viola he had recently acquired Berlioz reports in his often unreliable. Memoirs that this meeting occurred following the December 22 1833. performance of the Symphonie though biographer David Cairns suspects. it actually took place after the successful December 9 1832 performance. Berlioz tried to write a solo part that would please the virtuoso but said. he was on fire to carry out an idea that treated the viola and orchestra as. equal partners Paganini saw the first movement and exclaimed That s. not it at all I am silent too long in that I must be playing the whole time. With that Paganini disappeared from the scene leaving Berlioz free to. work on the composition without worrying how to make the viola shine. Berlioz continued in his Memoirs, I conceived the idea of writing a series of scenes for the. orchestra in which the viola should find itself involved like. a person more or less in action always preserving his own. individuality By fitting the viola into my poetical memories. of my peregrinations in the Abruzzi section of the Apennines. northwest of Rome I wanted to make the instrument into. a sort of melancholy dreamer in the style of Byron s Childe. Harold Hence the title of the symphony Harold in Italy As in. the Symphonie fantastique one principal theme the first melody. of the viola is reproduced throughout the work but with this. difference that the theme of the Symphonie fantastique the. id e fixe intrudes itself obstinately like a passionate episodic. idea into scenes wholly foreign to it disrupting them whilst. Harold s strain is added to the other orchestral strains with. which it contrasts both in movement and character without. hindering their development, Berlioz had spent a year in Italy 1831 32 having won the Prix de Rome.
As with many other composers Handel Mozart Mendelssohn. Tchaikovsky to name only a few Italy had a profound effect on him By. borrowing Byron s concept of the melancholy Romantic commentator. rather than any specific text from the poem Berlioz could comment. musically on his own Italian memories Though he provided no specific. program for his Harold symphony other than the descriptive movement. titles he detailed his programmatic inspirations in his Memoirs his. wanderings in the Abruzzi a distant procession of monks an impromptu. evening serenade and an imagined not actually seen brigands orgy. Berlioz completed Harold in 1834 it was first performed on November. 23 that year conducted by Narcisse Girard with Chr tien Urhan a. Conservatoire classmate of Berlioz playing the solo part Paganini had. turned down The performance was an enormous success fulfilling. Berlioz s prediction that the Pilgrim s March second movement would. have to be encored Problems with this encore and with the fourth. performance of Harold made Berlioz resolve to conduct his own works. in the future mixed up cues had ruined the encore and Girard had. difficulties conducting the ending of the Serenade third movement at. the fourth performance As for Paganini when he finally heard Harold in. Italy in 1838 he was so moved that he made Berlioz a handsome monetary. gift that subsequently enabled him to compose his next symphony. Romeo and Juliet, Harold in Italy like many of Berlioz s major works defies classification. It takes its four movement structure from the symphony its descriptive. movement titles and a certain structural freedom from the tone poem. and its prominent though nonvirtuosic solo viola part from the concerto. or sinfonia concertante From Berlioz s own description of the viola in. his orchestration treatise one understands how well suited he found it. to depicting his melancholy observer The sound of its low strings has. a particular pungency its high notes sparkle by their sadly impassioned. accent and its sonority deeply melancholic differs from that of the other. bowed instruments, Among the countless striking features of the work is the fugal. orchestral opening which anticipates the Harold theme as presented. by the viola Berlioz scholar D Kern Holoman points out its curious. ahistoric purpose it is used to evoke wandering whereas fugues. traditionally symbolized erudition and formality The recurring Harold. theme incidentally and one other first movement theme originated. in Berlioz s withdrawn Rob Roy overture Berlioz s interest in timbre. and spatial effects are particularly evident in the slow movement in. which he succeeds in depicting the chanting pilgrims and tolling bells. instrumentally almost creating a great Doppler effect to represent the. passing of the procession, In the scherzo like Serenade Berlioz imitates the music of the pifferari. he had heard in Italy street musicians playing rustic shawms and. bagpipes with piccolo oboe and divided violas the singing of the. serenade begins with the English horn melody A wonderful example. of the rhythmic ingenuity that permeates the work occurs in the three. way reunion of themes in the final section of the Serenade Here when. the pifferari rhythmic pattern the serenade melody and the Harold. theme come together the violas play two measures to every one for the. remainder of the orchestra the precise spot that brought disaster to. conductor Girard, In the Orgy of the Brigands Berlioz recalls all of the previous movements. in the self referential manner of Beethoven s Ninth Symphony which. he idolized The solo viola has little to do in this movement after the. reminiscences except for a fleeting bit of Harold s evening hymn heard. in the distance as he flees in terror Highly organized rhythmically vital. orchestral pandemonium Berlioz s word predominates. Program notes Jane Vial Jaffe,ABOUT THE ARTISTS,Leonard Slatkin.
Internationally acclaimed conductor Leonard Slatkin Distinguished. Visiting Artist in Conducting and Orchestral Studies at MSM is Music. Director Laureate for the Detroit Symphony Orchestra DSO and. current Directeur Musical Honoraire of the Orchestre National de. Lyon ONL He also maintains a rigorous schedule of guest conducting. and is active as a composer author and educator Mr Slatkin led the. MSM Symphony in its Carnegie Hall debut on April 13 2014 with. Glenn Dicterow as soloist, Highlights of the 2018 19 season include a tour of Germany with the. ONL a three week American Festival with the DSO the Kastalsky. Piano Concerto No 1 in E flat Major LW H4 Franz Liszt As a celebrated young piano virtuoso Liszt made a few sketches for his First Piano Concerto in 1830 He did not begin work in earnest however until 1849 in Weimar where he had accepted the position of Court Kapellmeister the previous year Still not satisfied he reworked

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