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Schubert Wiley Dover Quartet Chamber Music Northwest 2019
Experience the power and passion of the Dover Quartet's and cellist Peter Wiley's powerhouse Schubert Quintet finale performance from Chamber Music Northwest's 2019 Summer Festival - a preview of our return to live concerts this summer! Join us for a summer filled with music - both LIVE and AT-HOME by reserving your tickets today at www.CMNW.org! Schubert - String Quintet in C Major, D. 956, Op. 163, IV. Allegretto Artists: Peter Wiley, cello Dover Quartet: Joel Link, violin Bryan Lee, violin Milena Pajaro-van de Stadt, viola Camden Shaw, cello Recorded live at Kaul Auditorium (Reed College) on July 27, 2019, during Chamber Music Northwest’s 2019 Summer Festival. Audio recorded by Rod Evenson. Video recorded by Tom Emerson.
Part 16: (http•••) Part 14: (http•••) Part 1: (http•••) / In this clip, John Salley gave his take on Colin Kaepernick and explained why he puts Kaep in the same company as Muhammad Ali, Jim Brown, and Kareem Abdul Jabbar. John also explained why he feels Marcellus Wiley is wrong about Colin as well as Stephen A. Smith. Speaking of Stephen A. Smith, Vlad retold his unpleasant encounter with the ESPN personality much to the amusement of John Salley.
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".
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