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Tchaikovsky Wiley Modest Tchaikovsky Bock Max Erdmannsdörfer 1883 1884 1885
Tchaikovsky: Orchestral Suite No. 3 in G, Op. 55 (1883) I. Élégie. Andantino molto cantabile (G major) Tchaikovsky's Suite No. 3 in G major, Op. 55 (TH 33 ; ČW 30), was written and orchestrated between April and July 1884. It is the longest and best known of his four orchestral suites. Instrumentation: The Suite is scored for an orchestra of 3 flutes (3rd doubling piccolo), 2 oboes, English horn, 2 clarinets (in A), 2 bassoons + 4 horns (in F), 2 trumpets (in D, F), 3 trombones, tuba + 3 timpani, military drum, tambourine, triangle, cymbals, bass drum + harp, violins I, violins II, violas, cellos, and double basses. Movements and Duration: There are four movements and a complete performance lasts around 40 to 45 minutes. The fourth a theme and variations longer than the other three movements combined. I. Élégie. Andantino molto cantabile (G major) Roland John Wiley calls this movement "resolutely melodic." A change from B to B♭ "produces tension in the misalignment of theme and key," he comments. The first theme group returns in the key of the second, then to a bridge. He then returns to the home key and reprises the second theme group in the key of the first and follows it with a lengthy epilogue. Composition: Following the production of the opera Mazepa in Moscow in February 1884, Tchaikovsky went abroad. While staying in Paris, he wrote to Praskovya Tchaikovskaya on 23 February/6 March 1884: "I'm still not feeling wholly myself due to exhaustion, and I think that without the peace and tranquillity of the countryside I shall not be able to do any work, but at the moment I feel the urge to start something new". It would be some time before the composer settled on the form that the new work should take, and his thoughts ranged from a projected symphony, to a piano concerto, and then to a suite. Thus, on 23 February/6 March he told Modest Tchaikovsky: "I think that in Kamenka I will be engaged in writing a symphony". Arriving at Kamenka around 12/24 April, the composer began sketching in rough some ideas for the future symphonic work. Surviving diary entries, letters and sketches in one of his note books from this period provide a complete record of the process of composition. Arrangements: Tchaikovsky arranged the Suite for piano duet (4 hands) before he began the orchestration, starting on 25 May/6 June with the variations. By 7/19 June this work was complete. Publication: In letters of 1/13 August to Modest Tchaikovsky and to Nadezhda von Meck, Tchaikovsky reported that the Suite was already being engraved. From the early/mid September up to December 1884, Tchaikovsky was occupied with checking the proofs of the Suite. The orchestral parts and full score of the Suite No. 3 were published by Pyotr Jurgenson in January 1885; the arrangement for piano duet was issued by the same publisher in February that year. For copyright reasons the same editions, but with different covers and imprints, were simultaneously issued by Bote & Bock in Berlin. Autographs: Tchaikovsky's autograph full score is now preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 77), except for the pages containing variations VII to IX in the Finale, which are held at the Klin House-Museum Archive (a1, No. 297). The original manuscript of Tchaikovsky's arrangement of the Suite for piano duet is also preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 78). Dedication: The Suite is dedicated to the German conductor Max Erdmannsdörfer, to make amends for the composer's absence when Erdmannsdörfer conducted the premiere of the Second Suite in February 1884. Related Works: The themes of the abandoned first movement — Contrastes — were re-used in the second movement of the Concert Fantasia (1884). The central section of the fourth variation in the finale quotes from the plainsong tune "Dies Irae".
Tchaikovsky Modest Tchaikovsky Bock Max Erdmannsdörfer 1883 1884 1885
Tchaikovsky: Orchestral Suite No. 3 in G, Op. 55 (1883) IV. Tema con variazioni. Andante con moto (G major) Tchaikovsky's Suite No. 3 in G major, Op. 55 (TH 33 ; ČW 30), was written and orchestrated between April and July 1884. It is the longest and best known of his four orchestral suites. Instrumentation: The Suite is scored for an orchestra of 3 flutes (3rd doubling piccolo), 2 oboes, English horn, 2 clarinets (in A), 2 bassoons + 4 horns (in F), 2 trumpets (in D, F), 3 trombones, tuba + 3 timpani, military drum, tambourine, triangle, cymbals, bass drum + harp, violins I, violins II, violas, cellos, and double basses. Movements and Duration: There are four movements and a complete performance lasts around 40 to 45 minutes. The fourth a theme and variations longer than the other three movements combined. IV. Tema con variazioni. Andante con moto (G major) 1. Andante con moto, 2/4 2. Andante con moto, 2/4 3. Andante con moto, 2/4 4. Pochissimo meno animato, B minor 5. Allegro vivo, 3/4, G major 6. Allegro vivace, 6/8, G major 7. L'istesso tempo, 2/4, G major 8. Adagio, 3/4, A minor (closing in E major) 9. Allegro molto vivace, 2/4, A major 10. Allegro vivo e un poco rubato, 3/8, B minor 11. Moderato mosso, 4/4, B major 12. Finale. Polacca-Moderato maestoso e brillante, 3/4, G major Composition: Following the production of the opera Mazepa in Moscow in February 1884, Tchaikovsky went abroad. While staying in Paris, he wrote to Praskovya Tchaikovskaya on 23 February/6 March 1884: "I'm still not feeling wholly myself due to exhaustion, and I think that without the peace and tranquillity of the countryside I shall not be able to do any work, but at the moment I feel the urge to start something new". It would be some time before the composer settled on the form that the new work should take, and his thoughts ranged from a projected symphony, to a piano concerto, and then to a suite. Thus, on 23 February/6 March he told Modest Tchaikovsky: "I think that in Kamenka I will be engaged in writing a symphony". Arriving at Kamenka around 12/24 April, the composer began sketching in rough some ideas for the future symphonic work. Surviving diary entries, letters and sketches in one of his note books from this period provide a complete record of the process of composition. Arrangements: Tchaikovsky arranged the Suite for piano duet (4 hands) before he began the orchestration, starting on 25 May/6 June with the variations. By 7/19 June this work was complete. Publication: In letters of 1/13 August to Modest Tchaikovsky and to Nadezhda von Meck, Tchaikovsky reported that the Suite was already being engraved. From the early/mid September up to December 1884, Tchaikovsky was occupied with checking the proofs of the Suite. The orchestral parts and full score of the Suite No. 3 were published by Pyotr Jurgenson in January 1885; the arrangement for piano duet was issued by the same publisher in February that year. For copyright reasons the same editions, but with different covers and imprints, were simultaneously issued by Bote & Bock in Berlin. Autographs: Tchaikovsky's autograph full score is now preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 77), except for the pages containing variations VII to IX in the Finale, which are held at the Klin House-Museum Archive (a1, No. 297). The original manuscript of Tchaikovsky's arrangement of the Suite for piano duet is also preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 78). Dedication: The Suite is dedicated to the German conductor Max Erdmannsdörfer, to make amends for the composer's absence when Erdmannsdörfer conducted the premiere of the Second Suite in February 1884. Related Works: The themes of the abandoned first movement — Contrastes — were re-used in the second movement of the Concert Fantasia (1884). The central section of the fourth variation in the finale quotes from the plainsong tune "Dies Irae".
Madison Opera Giuseppe Verdi Jerry Bock 2020 2021
Get a quick glimpse into some of the sights and sounds we are bringing your way in the 2020/21 season. Here are all the dates! Il Trovatore By Giuseppe Verdi Friday, November 6 at 8 PM Sunday, November 8 at 2:30 PM Overture Hall Sung in Italian with projected English translations She Loves Me Music by Jerry Bock Lyrics by Sheldon Harnick Friday, January 29, 2021 at 8 PM Sunday, January 31, 2021 at 2:30 PM Capitol Theater Sung in English with projected text The Marriage of Figaro By W.A. Mozart Friday, April 30, 2021 at 8 PM Sunday, May 2, 2021 at 2:30 PM Overture Hall Sung in Italian with projected English translations More details will be dropping soon at madisonopera.org
Maurice Ravel Jane Berbié Dam Lorin Maazel Bock Guenther Orchestre National France 1965 2020
Provided to YouTube by Universal Music Group Ravel: L'heure espagnole, M. 52 - "Enfin, il part!" (Scène XII) · Jane Berbié · José van Dam · Orchestre National de France · Lorin Maazel The Art of Lorin Maazel ℗ 1965 Deutsche Grammophon GmbH, Berlin Released on: 2020-10-02 Producer, Recording Producer: Karl Faust Studio Personnel, Balance Engineer: Heinz Wildhagen Editor: Ruth Bock Editor: Guenther Dieckmann Composer: Maurice Ravel Author: Franc-Nohain Auto-generated by YouTube.
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