Log In Create Account. Genres classical. Timothy Jackson. A Night on the Bare Mountain unknown version, use as last resort.
Adagio for Strings and Organ in G minor. Aida: Atto Primo, Scena Prima. Giuseppe Verdi Italian opera composer composer Antonio Ghislanzoni librettist. Aida: Atto Secondo, Scena Seconda. Andy McCluskey composer.
Aladdin Suite, op. Oriental Festive March. Carl Nielsen Danish composer composer. Aladdin's Dream and Dance of the Morning Mist. Hindu Dance. Chinese Dance. The Marketplace at Ispahan. The Prisoners' Dance. African Dance. Women's Dance. Men's Dance. Burt Bacharach composer Hal David lyricist.
Bayard Storey Mr. Richard Stumm Barbara B. Chik-Kwun Tang Richard E. Tapp William C. Charles D. Shigehiro Uchida James H. Emanuel Weinstein Rosalie M. Weinscein Neil E. Werczynski, in honor of Stephen P. Werczynski Mr. Herberc Wiesmeyer Alberc O. Wissow Richard J. Wolfe Mr. Edward Yamasaki Debra F.
Yates, in memory of Eloise Polk Spivy Mr. Robert S. Zakula Mr. Norbert Zeelander Dr. Berte 1. List comfilete as of September 23, Come visit and Doran, Chair Carl M. Members of the CBPA program receive valuable promotional and marketing opportunities, qualify entertainment for employees and clients, special recognition and exposure, and complimentary tickets to one-of-a-kind Curtis performances. There's the art of opera. And that brings people together. Adds joy.
Enhances the quality of life. Whether you teach, lend a hand or just come out and enjoy, you make it happen. As providers of health care, insurance and financial services, we support the arts as well as building healthy, more vibrant communities.
We are proud to recognize The Curtis Institute of Music. With a focused strategy of support for community development, the arts and the environment, Deutsche Bank partners with local organizations to build a brighter future Our commitment to a better tomorrow starts today.
Gamgues Foundation Tlie Helen F. Soma R. Gitlm Family Foundation Samuel P. Paul Comp. A connmunity is people with comnnon values and purposes working toward a successful future — for themselves and their families. A future that can be ensured with help from a trusted neighbor — Mellon. People working together. That's what a community is about. Mellon The difference is measurable. The firm, which was founded in in Philadelphia where it continues to be located, manages endowment, foundation, pension and individual portfolios for a select number of significant clients.
Sonata in E major, Hob. Photographic and recording equipment irmy not he used in Field Concert Hall.
Beethoven Sonata quasi una fantasia, Op. Bizet's Carmen Schumann Fantasiestiicke, Op. Call the Recital Hotline for the most up-to-date information. Sonata quasi una fantasia, Op. Student Recital Hotline Call Mon. Call the Recital Hotline for the most up-to-date inforrruition.
Student Recital Hotline Call Fri. Bartok Quartet No. Sunday concerts on a limited basis 3 After listening to one day's program, remain on the line to select another day's program. Would you like to be on Curtis's mailinq list.
Concerto in B minor, Op. Student Recital Hotline Call'' Sun. For children ages 5'12 and their families. Tickets are available at no charge; call '' Call the Recital Hotline for further information.
Programs are subject to change. Students from Curtis's composition aivi conducting departments will explore the art of creating music and the conductor's role in performing it.
To obtain tickets, serid a stamped, self -addressed envelope to the Curtis Ticket Office at Locust Street, Philadelphia, PA 1 91 03, fating the date and time of the concert you wish to attend. Limit of four tickets per family. For more inforination call Wedding II. Anthony DiLorenzo Tent of Terror b. The remainder of the program was prepared by Blair Bollinger. Trio in A minor, Op. Student Recital Hotline Call'' Fri.
Beethoven Sonata No. Call anytime; the message is available 24 hours a day and gives program information for an eiitire week, which allows concertgoers to plan ahead. Alumni Recital Lee Luvisi, piano Sun. Tickets available at the door. Call the Recital Hotline for the most up-to-date infomiation. Student Recital Hotline Call'' Fast, easy and accurate.
New calendars arc available beginning the 2nd and 4th Fridays of each month. As a chamber pianist, Mr. Me can be he. Much ot Mr. In recent ye, its, ciMitributions h. Albert Rev. Alspach Vera D. Bruestle Donald F. Cafiero Mrs. Gould, M. Gary''' and Naomi Graftman Dr. Jenkins Jane M. Pressman William H. Roberts, Esquire Mrs. Rossman Miriam Rothman Helen K. Schwart: Richard A. List complete as of November 7. Fertility Kites'. Beethoven Ibert Milhaud Sonata No. The Brahms was prepared by Mikael Eliasen.
The Mozart was prepared by Meng-Chieh Liu. Call the Curtis Hotline at to obtain the most up-to-date progtam information for our free student recitals, which occur most Mondays, Wednesdays and Fridays throughout the school year. Concerto No. O segno! Beethoven Trio in E-flat major, Op. Student Recital Hotline Call Fast, easy and accurate. New calendars are available beginning the 2nd and 4t:h Fridays of each month.
Trio in E-flat major, Op. There are no student recitals on Wednesday , November 27 , or Friday, November 29, due to the Thanksgiving holiday. Sibelius Concerto in D minor, Op.
Concerto in D minor, Op. Brahms Concerto No. For further inforrrxation , call the Recital Hotline Programs are subject to change. Sonata, Op. Photographic and recording equipment nuiy not be used in Field Concert Hall. Student Recital Hotline Call' Mon. Members of ihe Curtis Timpani and Percussion Department offer a musical tribute to former Curtis faculty member Michael Bookspan, who died in September David Agler conducts the Curtis Symphony Orchestra.
Call ' for further information Programs are subject to change. It provides merit-based full-tuition scholarships for all its students, attracting the finest young musicians from around the world.
Currently, 1 58 students from the U. The Curtis Institute of Music offers numerous and varied occasions for music lovers to hear the students through the Student Recital Series and performances of the Curtis Opera Theatre and the Curtis Symphony Orchestra.
Student recitals — held most Mondays, Wednesdays and Fridays at 8 p. In keeping with the Institute's mission, it is essential that all Curtis students have the opportunity to perform, and perform often, in public. The series is the primary vehicle by which the young musicians gain this experience, performing as soloists and members of chamber music groups. The Curtis Opera Theatre is the performing entity of Curtis's vocal studies department.
Headed by Mikael Eliasen, the department is composed of approximately 25 singers of outstanding talent between the ages of 18 and Enrollment m the vocal studies department is intentionally kept small in order to ensure individual attention for all of the students.
Since the Institute's founding, 42 alumni have gone on to sing with the Metropolitan Opera, and Curtis graduates can be found on the rosters of opera companies worldwide. The Curtis Symphony Orchestra is composed of students between the ages of 14 and The ensemble gives several concerts throughout the year under the direction of Otto- Werner Mueller, head of Curtis's conducting department; David Hayes, music director of the Philadelphia Singers; and renowned visiting conductors.
In fact, 17 percent of the principal chairs and two music directorships of America's leading orchestras are held by Curtis-trained musicians, and alumni make up almost 50 percent of the Philadelphia Orchestra.
Friday, December 6, Saturday, December 7, p. Schirmer, Inc. Becker and T. Patrick Gunnell B. Kofner James J. Kee There will be two i 5 -minute intermissions.
By the time the Secret Police Agent arrives, he is in hiding, and the policeman pressures Magda to reveal the names of John's friends. After the policeman leaves, John instructs Magda to tell the consul what has happened and try to flee the country. Scene 2 — In a waiting room at the consulate, a series of people try to obtain visas, including: Mr. Kofner, whose photograph is the wrong size; a foreign woman, who must wait two months before visiting her sick daughter; Magda, who receives only an application, not a meeting with the consul; and a magician, Nika Magadoff, who entertains Vera Boronel with a trick.
Act 2 Scene 1 — One month later, John's mother sings a lullaby to her sick grandson. Magda is haunted by a nightmare, in which John introduces her to the Secretary his sister in this twisted vision and Magda sees a dead child. She awakes and a stone breaks the window. This signal initiates a phone call, another threatening visit from the Secret Police, and the arrival of the glass-cutter, Assan.
Magda learns that John is hiding in the mountains, awaiting word that she has received her visa and can flee with him. Meanwhile, his mother discovers that the baby has died and feels weak herself ScL-ne 2 — At the consulate a few days later, the same people are still waiting.
Magadoft liypnotizes everyone and they all dance. Magda again pleads her case to the Secretary,. Icnouncing bureaucracy and injustice. The Secretary gives in, goes to talk with the consul, and rhi n tells Magda that she may see him when his visitor leaves. Magda faints when she sees that the i;uest is the Secret Police Agent. Act 3 Scene 1 — While Magda continues to wait at the consulate.
Vera Boronel and the Secretary sign the papers for Vera's visa. Assan arrives to tell Magda that John is coming to take her away with him; she writes a note discouraging him from doing so. After everyone else exits and the Secretary is about to leave for the day, John enters. He is distraught over the deaths of his son md mother and is looking for Magda. He has been followed by the Secret Police Agent and a Plainclothesman, who force him to leave with them.
The Secretary tries to call Magda. Scene 2 — At home, Magda prepares to commit suicide. The scene dissolves to a vision with :he consulate characters, John and his mother, accompanied by the singing of a ghostly chorus. The telephone rings, but Magda is too weak to reach it.
The Consul, friends ind even his publisher were not sanguine. An opera whose focus is a consulate? Who would be nterested in that dreary subject? But the naysayers were wrong. Menotti's powerful and haunting three-act work, set in an innamed, post-World War II European dictatorship during the 's, resonated with ludicnces of the 's.
The story of a freedom fighter's wife, who becomes enmeshed in the :onsulate's faceless bureaucracy in a futile attempt to gain a visa, rang all too true in the days of he Cold War.
The impetus for the opera came from a newspaper account of a Polish immigrant who, ing been denied asylum in the U. The opera also earned Menotti the Pulitzer Prize for nusic. The original cast members soprano Patricia Neway, baritone Cornell MacNeil and ontralto Marie Powers were crucial to the work's success.
They had not only the fine voices Ic'inanded by the score but also the ability to convey the palpable sense of yearning and despair h,u are at the heart of this music drama. The Consul is better defined as a music drama than an opera, in that every element is indissolubly Unked with every other: diatonic lyricism with sudden spurts of dissonance and atonality, song-speech with purely spoken lines.
Indeed, only two pieces, a lullaby sung by the freedom fighter's old mother and an extended outpouring by the heroine, Magda, can be performed apart from the opera — and this at a significant loss in dramatic power. The orchestra is intentionally sparse so that the words will be clearly understood. And what words the composer fashioned! Menotti, a native of Italy, had absorbed the subtleties and inflections of English during his years in the United States which included studies at Curtis ; he could make poetry from the most mundane of subjects and his various librettos stand as literary works on their own.
The dramatic and vocal highlight of The Consul — and perhaps of Menotti's entire operatic oeuvre — is the Act II aria sung by Magda, whose daily trips to the consulate have resulted in nothing but new forms to be filled out. My name is woman," she sings bitterly, having again been denied a meeting with the unseen but omnipresent consul. The color of tears. The day will come, I know, when our hearts aflame will bum your paper chains! In , at the age of 88, he oversaw a Kennedy Center production of The Consul.
At that time, Menotti addressed the fact that when the music drama was first performed, people tended to think of it as a topical work that would eventually become outdated. Now, in the world after September 11, it seems that innocence is gone, optimism hard to come by, and the symbolic characters of The Consul only too real.
One does not, of course, attend an opera to be reminded yet again of the world's miseries. But, like other great creative artists, Gian Carlo Menotti transcends the ugliness, arriving at pure beauty. Previously, he was music director of the Vancouver Opera, principal conductor of the Australian Opera, resident conductor of the San Francisco Opera, principal guest conductor of the Oper Der Stadt Koln, conductor and administrator of the Spoleto Festival in Italy, and music director of the Syracuse Opera.
Last season, Mr. For the Opera Company of Philadelphia, he created a new production of 11 barbiere di Siviglia. Rader-Shieber's work has been seen with the opera companies of Vancouver, Minnesota, Edmonton and Lake George, among others. He received an Ohie Award for his costume design for their production of Mamba's Daughters.
Doxsee is the resident lighting designer of Target Margin Theater. Peachum in Die Dreigroschenoper for the Chautauqua Institution. Recent Awards: First place, U. Patrick Gunnel! James J. Kee, baritone Mr. John the Divine recital series. Alexander Tall, baritone Assan - December 6, Mr. Fellou-ship B. Dimitrie La:ich Joseph Cainrs Jr. A concert performance sung in the original Russian and Italian, supported by English supertitles Both performances are with the Curtis Symphony Orchestra and take place in Centennial Hall at the Haverford School.
For more information or tickets, call the Curtis Ticket Office at or e-mail curtis tickets. For a current recital schedule, sign up for Curtis's e-mail list contact tickets curtis.
Recitals are free; no tickets are required. Students Jeffrey Kim and Meredith Arwady perform in a recital earlier this fall. Photo: Candace diCarlo Distinguished artists work individually with students from the vocal studies department. Both master classes are scheduled to take place in Field Concert Hall and are open to the public free of charge; no tickets required.
Visit us at www. Kee in a staging rehearsal. Doran, Vice-Chainnan Bayard R. Jenkins, Treasurer Francis J. Bonovitz Luther W. Britell, Ph. Elizabeth P. Benohel Mrs. Cary William Bok Mrs. Bowden Jr. Deborah R. Card losephine Benz Carpenter Schuyler G.
Alma O. Bayley III. Esquire Mrs. Shaun F O'Malley Dr. Emiho A. Janet F and Mr. Sunderman Jay Tolson Dr. Benoliel Robert and Ellen Bildersee Dr. Brent Julian and Lois Brodsky Dr. Guth Mr. John Kaiser Paul S. Komberg John W. Rossman, in memory of Anna Salkin Jerry G. Aulenbach II Dr. Byers Mr. Carpenter Nelly and Scott Childress Dr.
Hill Mr and Mrs. Adrian Hooper Mr and Mrs. Bruce Hooper Mr and Mrs. Dae-Jin Hyun Mr. Stephen Kendall Dr. Klein Dr. Lax Mr and Mrs. Loeb Stephen A. Okun Lachlan Pitcairn Mr. Curt Pontz Daniel J. Quinn Margaret Ann Reese Mr. Reilly Anna K. Kurt W. Donald J. David Wolman Mildred E. Wynne Mr. Field Mr. Gerry Lenfest Dr. Rock Estate of H. He soon came under the influence of LeroyJ. Robertson, who immediately kindled an avid interest in musical composition.
He received a Ph. After graduation he taught on the staff of the music department at the University of Utah and later at Brigham Young University. Many of his compositions date from the Provo years where he was blessed with both superb solo performers and ensembles for his compositions. In he was appointed Tabernacle Organist, serving until December of His interest in composition resulted in a number of new compositions and arrangements for the Tabernacle Choir.
His most performed work, The Redeemer, was composed during this period. He married Charlotte Clark in They are the parents of five children, all of whom are fine musicians.
In the Cundick family were called on a mission to England where Dr. Cundick gave daily organ recitals at Hyde Park Chapel. They served in England for two years. After their retirement, the Cundicks were called to go to the Brigham Young University Jerusalem Center in Israel to serve as Directors of Hosting, where they served for eighteen months.
Their actual retirement occurred upon their return to Salt Lake City. Bob now divides his time between being an active grandparent to his twenty-four grandchildren and musical composition. The Sonata for Cello and Piano is the first fruit of his retirement, having been composed in January of , to complete a long overdue commission from the Barlow Foundation. In three connected sections, the sonata is built upon a single motif.
The work was inspired by, and dedicated to, Roger and Dian Drinkall. The Barlow Endowment In the fall of , Mr. Milton A.
Barlow established a large endowment at Brigham Young University to support and foster music composition. A portion of the income from this endowment has been allocated to awarding commissions for new works and prizes for winners of the Barlow International Competition. The rest goes to the BYU Department of Music in the form of education grants, which fund lectures by visiting composers, fellowships for graduate composition students, prizes for student compositions, and so on.
Alexander and Mr. Hancock II. Alexander, Mr. Hopkin and Mr. Barrus Intermission III. Bubble TV Mr. Barrus and Mr. Hancock IV. Barrus In the event of an emergency, please note that exits are provided at both the top and bottom of the north and south ends of the recital hall.
Cantorial Chant: Adagio sostenuto 2. Chasidic Dance: Allegretto grazioso 3. Hora: Ritmico 4. Lullaby: Lento sostenuto 5. Dialogue: Andante sostenuto 6.
Invocation: Recitativo-Allegro ritmico II. Ceremony: Recitativo. A piacere-Andante espressivo III. Round Dance: Vivace Intenso; molto Ritmico In the event of an emergency, please note that exits are provided at both the top and bottom of the north and south ends of the recital hall.
Era un remanso de It was a pool of De una noche quieta. Quiet night. Anillo formidable Incredible ring Y el Tiempo se ha Time's gone to sleep donde los luceros where the bright stars dormido forever chocaban con los doce collide para siempre en su in his tower.
Nos enganan todos los relojes. All clocks deceive us. El Tiempo. Frederico Garcia Lorca, poet In the event of an emergency, please note the closest two exits from your seat. Program Quintet in D Major, op. He wrote no fewer than 24 such works during these years for a bold new chamber ensemble composed of one each of the principal woodwind instruments plus French horn.
The quintets were premiered in the foyer of the Paris Opera, and these occasions bore social and musical significance widely noted at the time. Reicha himself was highly regarded as a professor of composition and theory at the Paris Conservatoire, and his pupils included such names as Hector Berlioz, Adolphe Adam, Charles Gounod, and the young Cesar Franck.
Such recognition was less than lasting however, as it has only been in the last 30 years or so that he and his music have undergone a revival, with the wind quintets leading the way. The D major Quintet, op. The slow movement, curiously ratcheted up a half- step into E-flat Major, is a solid anthem the restatements of which are separated first by a lyric clarinet solo and later by a noble reprise in the horn. Reicha's minutes are in reality scherzi for the most part, and always motivically inventive.
Here, a rapid rising fourth motive is passed from one instrument to the next, and after due elaboration is inverted canonically in the trio section. The Finale is marked by a rapid-fire stuttering activity from the very beginning, with this too subject to fugal-entry treatment with only momentary sections of relaxation.
The movement builds to a heated climax with a headlong flute cadenza threatening to get out of control before being brought to heel by a brusque horn commentary, with the following coda bring the work to a happy ending. The idiosyncratic Heitor Villa-Lobos, Brazil's gift to the world of 20th century music, continues to astound us both through the sheer immensity of his compositional output as well as the striking originality of his best efforts.
He claimed to have invented the 'choros', a structure suggested to him by the improvisations of itinerant musicians in their instrumental serenades on the streets of Rio de Janeiro. He retained their practice of the frequent change from major to minor keys and their rhythmic, sentimental quality, but he enlarged the form and adapted it to include any typical melody of a popular character.
The Quintette en forme de Choros, one of a number of wind chamber music pieces by the composer, is a continuous work whose separate sections are strung together in a 'choros' with liberal extremes of dynamics and pitch in all the instrumental lines.
The complexity of the score does not negate the popular character of the music: lengthy themes flowing together produce shifting textures in the slower material and hyper-kinetic energy in the faster sections. From the mysterious jungle-like beginning to the shrieking concluding chord, the Quintette, with its quasi- improvisation and sheer fascinating sound, seldom fails to capture and hold the attention of the listener.
The decade of the 's saw the composition of several of the high points of the wind quintet literature, including such examples as Carl Nielsen's Quintet Op. To these must be added Hindemith' s Kleine Kammermusik , and of the three, it has been perhaps the most accessible and most frequently performed, showing no signs of wearing thin after 70 years of continuous use. Composed during the disastrous German multi-digit inflation crisis following World War I, the quintet nonetheless opens with an energetic and optimistic movement based on an insistent rhythmic motive story has it that Hindemith composed it while writing on a commuter train and then passes into more contemplative material: a faded waltz and an introspective movement marked "placid and simple".
A brief flurry of cadenzas, one per instrument, leads directly into the gigue-like finale, the concluding frenzy of which is brought back to 'reality' by the somber intoning of three closing E minor chords. Giovanni Simone Mayr was born in Bavaria but lived most of his life in northern Italy where he attained fame as one of the leading opera composers of the day. In the years following , two or three of his operas were produced annually, enjoying great success in the major opera houses of Europe.
He also wrote a great deal of church music, and at one time was offered the directorship of Napoleon's orchestra, which he refused.
History might have granted him greater recognition had it not been for the appearance on the operatic scene of an even greater success -- Gioacchino Rossini. Mayr's Three Bagatelles are apparently a good indication of the wind-writing found in his opera scores, and lest we are inclined to remark that it may "sound like Rossini", we ought perhaps to spend a moment's reflection on whether or not the situation might well be the reverse!
Much of the present stature of the University of Washington's School of Music is due in large measure to the enlightened and inspired Directorship of William Bergsma from Bergsma born in in Oakland, CA , long one of the nation's respected Composers, had enjoyed a distinguished position as an instructor of composition and then Associate Dean of The Julliard School in New York City prior to coming to Seattle.
In , Bergsma engaged the Soni Ventorum to become the wind-instrument faculty as well as resident wind quintet at the University of Washington. The work was written for the New York Woodwind Quintet, said ensemble presenting its first performances, including the Library of Congress premiere.
The Concerto was published two years later, subsequently recorded, and soon counted among the major American contributions to the repertoire. The overall active character of the quintet is immediately established by an agitated syncopated announcement with lively angular lines briefly separated by quasi-chorale quotes moving through the course of the first movement. The Andante second movement opens and closes with sections of quietly intense melody flanking a restless middle ground.
The finale, with the decided flavor of a tarantella, propels the movement and the quintet to an energetic conclusion. Program notes by Felix Skowronek In the event of an emergency, please observe that exits are provided at both the north and south ends of the concert hall note green exit signs. When exiting, please do so in an orderly fashion to a sate area away from the huilding. Dark Corridors II. Blissful Oblivion III.
Chip the Glasses II. Heiterbewegt 2. Sehrlangsam 3. Sehrlebhaft 4. Moderato II. Scherzo III. Allemande: Allegro moderato III. Friday, February 24, , p. Saturday, February 25, , p. Tuesday, February 28, , p. Allegro moderato II.
Feierlich - Sehr ruhig II. Contributions and pledges between January 15, and February 15, were received from the following. Sid W. Hemingway Bruce W. Bastian Calvin A. Anderson Kenneth R. Dumke, Jr. Spencer F. Eccles David W. Feigal George B. Felt John H. Firmage, Jr. David L. Freed Roger L. Allen Ralph L. Johnson Ellen Asper Fred S.
Townsend Haven J. Campbell, Jr. Cash Patricia W. Christensen Steven L. Clark Hal M. Clyde Sherman S. Coulter Gary L. Crocker Ian M. D'Arcy B. Dick James R. Dickson, Jr. Foster C. Gardner K. Goodman Robert L. Hale Mark A. Hall Ronald S.
Hanson Robert H. Hatch Orrin G. Clayton Sallie M. Huntsman Kenneth Y. Felton Jeffery L. Giese Mary P. King Janet Q. McOmber Anthony W. Jarman Allen R. Kearns W. Kounanis Harold B. Larson Robert M. David Smith Glen P. Frank E. Moss Edward W. Navarro Hal S. Parker Clarence A. Patnode, Jr. Jack H. Hintze Mrs. Donald P. Lloyd Monte C. Tanner Harris H. Sutliff David C.
Wagstaff Oma W. Wagstaff Jack R. Workman P. Porter Kevin J. Probst Richard E. Rice Lynn S. Richards Richard D. Slatter Charles R. Smart Arthur K. Smith Wendell M. James L. Erbin J. Sower Addison R. Udall Albert L. Wadlington Fred H. Walker Brad E. Afton B. Whitbeck Georgia White Yvonne A. Willey David B. Allemande : Allegro moderato III. When exiting, please do so in an orderlv fashion to a safe area awav from the building.
Price Duane M. The jaws that bite, the claws that catch! Beware the Jubjub bird, and shun The frumious Bandersnatch! And, as in uffish thought he stood, Thejabberwock, with eyes of flame, Came whiffling through the tulgey wood, And burbled as it came! Jabberwocky by Lewis Carroll One, two! One, two!
And through and through The vorpal blade went snicker-snack! He left it dead, and with its head He went galumphing back. Come to my arms, my beamish boy! O frabjous day! CroweU Company: New York, Sehrlangsam II. Rasch III. When exiting, please do so in an orderly fash- ion to a safe area away from the building. Allegro Tristamente II. Romanza III. If you would like to follow the form, the list below will help; if you would rather not, feel free to ignore it.
The times are approximate-it's hard to predict the effect adrenaline will have on us. This section presents the themes and changes key. It starts with an oboe solo. If you miss that and even if you don't , a solo horn will soon play the same tune.
This is called a Rossini crescendo. This section repeats the themes from the exposition in the same order but stays in the home key. This is the very fast music after the recapitulation. Nanie a setting of a poem by Friedrich Schiller. In it, Schiller laments that not even the greatest love, beauty, or heroism-represented by Euridice, Adonis, and Achilles-can escape death. Brahms's setting of this poem is by turns anguished and radiant. Auch das Schone mufs" sterben, das Menschen und Gotter bezwinget!
Even the beautiful must die. That which overcomes both men and Gods Nicht die eherne Brust riihrt es des stygischen Zeus. Einmal nur erweichte die Liebe den Schattenbeherrscher, Love softened him only once, Und an der Schwelle noch, streng, rief er zuriick sein Geschenk. Aber sie steigt aus dem Meer mit alien Tochtern des Nereus, But she rose out of the sea with all her sisters Und die Klage hebt an um den verherrlichten Sohn.
Auch ein Klaglied zu sein im Mund der Geliebten ist herrlich, Yet to be lamented by loved ones is glorious, Denn das Gemeine geht klanglos zum Orkus hinab. Orpheus is mythology's most famous musician; his song tamed wild beasts and turned rivers out of their courses. Soon after Orpheus and Eurydice were married, she was killed by a viper. In his grief, he went to Hades to reclaim her. His singing moved Pluto, who agreed to release Eurydice on the condition that Orpheus not look at her until they were in the world of the living.
As Orpheus came into the sunlight, he looked back. Too soon: still in the shadows at the mouth of the cave, she was forced back to Pluto's realm.
Aphrodite [Venus] loved Adonis, the most beautiful of men. He was fatally gored by a wild boar, and Aphrodite, though she was immortal, could do nothing to help him. Achilles was the son of a sea nymph named Thetis, one of the 50 daughters of Nereus, the Old Man of the [Mediterranean] Sea. Achilles died in the Trojan war near the gates of Troy and was mourned by his mother and her sisters.
In the interest of intelligibility, the English text is a paraphrase rather than a literal translation. Nigun Improvisation III. White Adagio cantabile Allegro giusto Andante sostenuto Allegro energico In the event of an emergency, please note the closest two exits from your seat. When exiting, please do so in an orderlv fashion to a sate area away from the building. When exiting, please do so in an orderly fashion to a sate area away from the building.
Program Capriccio espagnol, Op. Woolston In the event of an emergency, please observe that exits are provided at both the north and south ends of the concert hall note green exit signs. Johnson piano Student of Dr. Irene W.
The students are left free to choose the style of their creations, as long as the work is in a recog- nizable market niche as perceived and measured by the music industry.
Songs may be presented live or pre-recorded, as is typical in the popular songwriting field. Please note the closest exit to your seat and exit in an orderly fashion to a safe area away from the building.
Pan 3. Niobe 4. Bachus 6. Meditation 2. Scherzo 3. Melodie Sonata No. Allegro molto ed appasionato 2. Allegretto expressivo alia Romanza 3. Allegro Moderato 2. Andante 3. Menuetto , Allegro 4. Dance with Sticks 2. Waistband Dance 3. Stomping Dance 4. Hornpipe Dance 5.
Roumanian Polka 6. Quick Dance In the event of an emergency, please note the closest two exits from your seat. Epiphany Dance: Videntes stellam magi Seeing the star, the Magi rejoiced And, entering the house; they offered exceedingly with great joy: the Lord gold, frankincense, and myrrh.
James Mangan, soloist Easter Celebration: O filii et filiae O ye sons and daughters, Blessed are they who have not seen, the King of heaven and glory and yet have firmly believed, has risen from death today, alleluia! Ernani, opera: Che mai vegg'io! Falstaff, opera: Ehi! Otello, opera: Piangea cantando La Traviata, opera: Follie! La Traviata, opera: Oh mio rimorso! Il Trovatore, opera: Vedi!
Les contes d'hoffmann acte I -prologue - vive dieu! Manon lescaut acte premier - l'amor?! Manon lescaut acte premier - vedete? Manon lescaut acte trois Manon lescaut acte trois - presto! Manon lescaut acte quatre - manon, senti amor mio S'appressa alcun! Seguitemi - mio Dio! Siam soli. Viva Il Vino Spumeggiante. The Lord's Prayer - Ray Sinatra.
Don Giovanni: Deh, vieni alla finestra - Cesare Siepi. Madama Butterfly Madame Butterfly , opera: Addio fiorito asil. The Candy Man - Aubrey Woods.
In July he returned to the Aspen Music Festival Various - Koning Van De Maas (De Liedjes) a solo concert appearance. Joseph F. Giuseppe Verdi Italian opera composer composer Antonio Ghislanzoni librettist. Messe solennelle in A Major, Op. First Movement: Recitativo Quasi Senza Misura - Aaron Copland / William Kraft Adagio cantabile Allegro giusto Andante sostenuto Allegro energico In Stargazer - Feel Good event of an emergency, please note the closest two exits from your seat. Eccles David W. Paul Comp. Quinn Margaret Ann Reese Kids Just Wanna Dance - Various - Sharp Cuts (New Music From American Bands). Hancock IV.
Westbound No. 9 - Various - Northern Soul, Can You Hear Me - Opus - Glanzlichter, Radio Music (Vocal) - Kid Acne - Radio Music, On Ner Majestys Secret Service - The Film Studio Orchestra - Themes From 007 Series - Vivre Et La