The Birds Program Notes. American violinist and composer Colin. Respighi, Trittico Botticelliano Rodrigo. Program Notes; Tips for Newcomers; Concert Archives. Title: The Myriad Trio Program Book, Author: Philharmonic Society of Orange County. Ottorino RESPIGHI (1879-1936). A Concert of Paintings. Central questions concern the definition of musical ekphrasis in relation to 'program. Ottorino Respighi's Trittico botticelliano. Trittico Botticelliano, mvt. An American in Paris; Hindemith. Submit program notes up to 3 weeks before your recital. Elizabeth Sprague Coolidge Medal for. The conclusion of the tour was a program held at the. That composition turned out to be the Trittico Botticelliano. American Folklife Center. Duration: 23 min., 51 sec. Program notes by Robert Zeller. Festa Italiana - January 1. This concert, titled FESTA ITALIANA . Mark Babbitt is the soloist in Rota. We then turn to Baroque music, with works by Vivaldi and Corelli. John Mc. Murtery plays the solo part in Vivaldi. Trombonist Bruno Ferrari, to whom the score is dedicated, played the premiere in Milan, on May 6, 1. Nino Rota spent the last four decades of his life as a teacher and administrator at the Bari Conservatory, but beginning in the 1. He worked primarily with Italian directors, and forged a particularly close relationship with Federico Fellini, scoring 1. Fellini. He later worked with American director Francis Ford Coppola on the first two of the Godfather movies. Rota was capable of channeling a tremendous variety of musical styles in the service of the images on screen, and his scores are particularly effective. Though he is known primarily for his film scores, Rota was also a prolific composer of music for the concert hall and stage, writing nearly ballets, orchestral and chamber works, and nearly a dozen operas. Though he was fairly eclectic as a composer, Rota remained a traditionalist at heart, showing little interest in the avant garde. Rota composed his Trombone Concerto for Bruno Ferrari, who taught at the Milan conservatory, and who was frequently featured on recording of avant garde works in the 1. Set in the in a compact three- movement form, the concerto begins with a bright, aggressive Allegro giusto in a relatively traditional sonata form. The trombone introduces the main theme in the opening bars, a fanfare accented by the orchestra, and the second theme is slightly more relaxed. Rota develops this music, with a few short digressions for brief lyrical cadenzas, before ending with a crisp coda. The slow movement (Lento, ben ritmato) is much darker, with the trombone playing a serious and rhythmically insistent main theme. There is a flowing middle section before the opening music returns in a dramatic fashion. The concerto ends with a brilliant finale (Allegro moderato). It works with a playful main idea and a more graceful contrasting theme. There is no formal solo cadenza, but near the end of the development section, the trombonebegins to develop a short fanfare motive, expanding this above a serene accompaniment from the strings. The coda reprises a brisk version of the main theme. He was also among the Baroque. He composed in nearly every genre. These concertos were widely circulated and emulated in Vivaldi. The vast majority of his concertos are for solo violin, but he also composed concertos for woodwinds, including a series of bassoon concertos that seem to have been intended for a talented young player at the Ospedale della Piet. He does not seem to have composed flute concertos until the late 1. Venice by the Prussian virtuoso Johann Joachim Quantz in 1. At about the same time, another German player, Ignaz Sieber, was hired to teach flute at the Ospedale. In 1. 72. 8 his Amsterdam publisher issued his Opus 1. There was still relatively little interest in the flute in Italy at that time, but Vivaldi. The majority of the concertos are in fact reworked versions of earlier pieces. Like many of his concertos. It was largely a reworking of music from two earlier pieces. This brief concerto is three movements, beginning with a lively and stormy Allegro. The repeating ritornello for the strings evokes heaving waves and strong winds, and the flashier solo sections for the flute are even more tempestuous. The storm subsides in the Largo, which begins with melancholy passage for solo flute, but near the end the strings play a brief figure that seems to heral the distant approach of another storm. Wind and waves are back in the concluding Presto, which ends with some spectacular flourishes from the flute. Michael Allsen. Concerto Grosso in D major, Op. No. 1. Archangelo Corelli (1. Corelli. Corelli, born a generation earlier, composed a comparatively modest number of pieces. He also concentrated exclusively on instrumental music: solo and trio sonatas, and twelve fine concertos, apparently his final works. He established the form and technique of sonata- and concerto- composition for generations to follow. Corelli was also one of the great violinists of the Baroque. Born near Bologna, a hotbed of violin- playing in the middle 1. Rome by 1. 67. 5, where he quickly became one of the city. Contemporary descriptions of his playing always seem to mention the more eccentric parts of his character: despite his wealth, Corelli was said dress shabbily, and his eyes would apparently bug out and turn red when he played! But it is also obvious that he was a player of amazing virtuosity and sensitivity. Corelli was also the most important violin teacher of his age, and many of the greatest violinists of the next generation were his students. His Opus 6, his only collection of concertos, was published in 1. Dating these works is difficult. Corelli guarded his music jealously. He also worked to polish his music thoroughly before allowing it to appear in print. In 1. 70. 8, Corelli began to prepare the twelve concertos of Op. It did not appear until after his death, but the Opus 6 collection was an immediate and enduring hit. The concertos were widely played throughout Europe for the next 5. Like all of the Opus 6, Concerto No. Baroque’s fascination with touching contrasting “affects” or emotions in the course of the work. Michael Allsen. Trittico Botticelliano (. This is our first performance of the piece. Respighi, the most important Italian composer of the early 2. A master orchestrator who had studied with Rimsky- Korsakov in his youth, Respighi also produced wonderfully colorful arrangements of early music. The Botticelli Pictures are independent orchestral miniatures that show Respighi. Coolidge had recently instituted a foundation at the Library of Congress to support performances of chamber music, particularly works by modern composers. Respighi presented some of his works at one of the foundation. He fulfilled his promise with the Botticelli Pictures shortly after returning to Rome, and in return Coolidge sponsored the premiere performance. The direct inspiration for this suite was a trio of paintings by Sandro Botticelli (1. Uffizi Gallery in Florence. She is surrounded by mythological figures that include the Three Graces, Cupid, and Flora, the Goddess of Springtime. In his version, the Holy Family sits in a manger that looks very much like a Greek temple. They are surrounded by a crowd of angels and worshipers. La nascita di Venere (. The newborn Goddess of Love is floating on a scallop shell, being blown to shore by Zephyrus, and Flora waits to cover her with a cloak. Spring begins with twittering strings and short horn calls. The main idea is a distinctly antique- sounding dance tune that gives this a Renaissance feel. There is more solemn dance set in the center, but the mood of Spring is otherwise pastoral and exuberant. The longest movement, Adoration of the Magi, begins with a solemn introduction of bassoon and oboe that sets the scene. The Christmas tunes Veni Emmanuel (. A long central episode evokes a Middle Eastern style, with solos by oboe and violin, and the piece ends with an extended bassoon solo, now in a more hopeful tone. The finale, Birth of Venus, begins with quietly murmuring waves and little puffs of breeze. The piece grows gradually more intense and Romantic, with strings playing long lyrical lines. After the music reaches a great peak at the end.
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