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tinyshe · 4 years ago

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WASHINGTON, DC (Catholic Online) - “I started this list as the 100 Best Pieces of Sacred Music, but I decided instead to recommend specific recordings. Why? No matter how fine the music, say Bach's Mass in B minor, a poor performance will leave the listener wondering where the "greatness" went. So the recommendations below represent a merging of both: All of the compositions are among the very best sacred music ever written, but the recorded performances succeed in communicating their extraordinary beauty.

“I also dithered over whether or not to make a list of "liturgical" music, or "mass settings," or "requiems." Each of these would make interesting lists, but I chose the broader "sacred music" with the hope that this list might be of interest to a wider spectrum of people. Composers are not limited to any denomination -- some are known to have been non-believers -- although the music belongs to the Christian tradition.

“I've also decided to limit my choices to recordings that are presently available on CDs, DVDs, Blu-rays, or digital downloads. I don't expect those who are curious about a particular title to start hunting down LPs, especially since these vinyl recordings are suddenly in great demand and prices are rising.

“This list is alphabetized, rather than listed in chronological order. This was necessary, since recordings will often include several pieces composed years apart, perhaps much more. Thus, to reiterate, there has been no attempt to arrange them in order of preference -- all 100 are among "the best" recordings of sacred music currently available. The recording label is indicated in parentheses.

What I would call 'Indispensable Sacred Music Recordings' are marked with an ***.

1.Allegri, Miserere, cond., Peter Phillips (Gimell).*** 2.Bach Mass in B Minor, cond., Nikolaus Harnoncourt (1968 recording;Teldec).*** 3.Bach, St. Matthew Passion, cond., Philippe Herreweghe (Harmonia Mundi).*** 4.Bach, Cantatas, cond., Geraint Jones and Wolfgang Gonnenwein (EMI Classics). 5.Barber, Agnus Dei, The Esoterics (Naxos). 6.Beethoven, Missa Solemnis, cond., Otto Klemperer (EMI/Angel). 7.Bernstein, Mass, cond., Leonard Bernstein (Columbia). 8.Berlioz, Requiem, cond. Colin Davis (Phillips). 9.Brahms, Requiem, cond., Otto Klemperer (EMI/Angel).*** 10.Briggs, Mass for Notre Dame, cond., Stephen Layton (Hyperion). 11.Britten, War Requiem, cond., Benjamin Britten (Decca). 12.Brubeck, To Hope! A Celebration, cond. Russell Gloyd (Telarc). 13.Bruckner, Motets, Choir of St. Mary's Cathedral (Delphian).*** 14.Byrd, Three Masses, cond., Peter Phillips (Gimell). 15.Burgon, Nunc Dimittis, cond., Richard Hickox (EMI Classics). 16.Celtic Christmas from Brittany, Ensemble Choral Du Bout Du Monde (Green Linnet) 17.Chant, Benedictine Monks of Santo Domingo de Silos (Milan/Jade). 18.Charpentier, Te Deum in D, cond., Philip Ledger (EMI Classics). 19.Christmas, The Holly and the Ivy, cond., John Rutter (Decca). 20.Christmas, Christmas with Robert Shaw, cond., Robert Shaw (Vox). 21.Christmas, Cantate Domino, cond., Torsten Nilsson (Proprius).*** 22.Christmas, Follow That Star, The Gents (Channel Classics). 23.Christmas, The Glorious Sound of Christmas, cond., Eugene Ormandy (Sony). 24.Christmas: Moravian Christmas, Czech Philharmonic Choir (ArcoDiva) 25.Desprez, Ave Maris Stella Mass, cond., Andrew Parrott (EMI Reflexe). 26.Dufay, Missa L'homme arme, cond., Paul Hillier (EMI Reflexe). 27.Duruflle, Requiem & Motets, cond. Matthew Best (Hyperion) 28.Dvorak, Requiem, cond. Istvan Kertesz (Decca). 29.Elgar, The Dream of Gerontius, cond. John Barbirolli (EMI Classics).*** 30.Elgar, The Apostles, cond. Adrian Boult (EMI Classics). 31.Elgar, The Kingdom, cond., Mark Elder (Halle). 32.Eton Choirbook, The Flower of All Virginity, cond., Harry Christophers (Coro). 33.Faure, Requiem, cond., Robert Shaw (Telarc). 34.Finnish Sacred Songs, Soile Isokoski (Ondine). 35.Finzi, In Terra Pax, cond. Vernon Handley (Lyrita). 36.Gabrieli, The Glory of Gabrieli, E. Power Biggs, organ (Sony). 37.Gesualdo, Sacred Music for Easter, cond., Bo Holten (BBC). 38.Gonoud, St. Cecilia Mass, cond. George Pretre (EMI Classics). 39.Gorecki, Beatus Vir & Totus Tuus, cond. John Nelson (Polygram). 40.Gospel Quartet, Hovie Lister and the Statesman (Chordant) 41.Guerrero, Missa Sancta et immaculata, cond., James O'Donnell (Hyperion) 42.Handel, Messiah, cond., by Nicholas McGegan (Harmonia Mundi)*** 43.Haydn, Creation, cond., Neville Marriner (Phillips). 44.Haydn, Mass in Time of War, cond., Neville Marriner (EMI Classics). 45.Hildegard of Bingen, Feather on the Breath of God, Gothic Voices (Hyperion). 46.Howells, Hymnus Paradisi, cond., David Willocks (EMI Classics).*** 47.Hymns, Amazing Grace: American Hymns and Spirituals, cond. Robert Shaw (Telarc).*** 48.Lauridsen, Lux Aeterna & O Magnum Mysterium, cond. Stephen Layton (Hyperion).*** 49.Lassus, Penitential Psalms, cond. Josef Veselka (Supraphon). 50.Leighton, Sacred Choral Music, cond., Christopher Robinson (Naxos). 51.Liszt, Christus, cond., Helmut Rilling (Hannsler). 52.Liszt, The Legend of St. Elisabeth, cond., Arpad Joo (Hungaroton). 53.Lobo, Requiem for Six Voices, cond., Peter Phillips (Gimell). 54.Martin, Requiem, cond. James O'Donnell (Hyperion). 55.Machaut, La Messe de Nostre Dame, cond., Jeremy Summerly (Naxos). 56.Mahler, 8th Symphony, cond., George Solti (Decca). 57.Mendelssohn, Elijah, cond. Rafael Frühbeck de Burgos (EMI 58.Monteverdi, 1610 Vespers, cond., Paul McCreesh (Archiv). 59.Morales, Magnificat, cond., Stephen Rice (Hyperion). 60.Mozart, Requiem, cond. Christopher Hogwood (L'Oiseau-Lyre). 61.Mozart, Mass in C Minor, cond. John Eliot Gardiner (Phillips). 62.Nystedt, Sacred Choral Music, cond., Kari Hankin (ASV). 63.Organum, Music of the Gothic Era, cond., David Munrow (Polygram). 64.Palestrina, Canticum Canticorum, Les Voix Baroques (ATMA). 65.Palestrina, Missa Papae Marcelli, cond. Peter Phillips (Gimell). 66.Part, Passio (St. John Passion), cond., Paul Hillier (ECM New Series). 67.Parsons, Ave Maria and other Sacred Music, cond., Andrew Carwood (Hyperion). 68.Pizzetti, Requiem, cond., James O'Donnell (Hyperion). 69.Poulenc, Gloria & Stabat Mater, cond., George Pretre (EMI Classics). 70.Poulenc. Mass in G Major; Motets, cond., Robert Shaw (Telarc). 71.Puccini, Messa di Gloria, cond., Antonio Pappano (EMI Classics). 72.Purcell, Complete Anthems and Services, fond., Robert King (Hyperion). 73.Rachmaninov, Liturgy of St. John Chrysostom, cond., Charles Bruffy (Nimbus). 74.Rachmaninov, Vespers, cond., Robert Shaw (Telarc). 75.Respighi, Lauda Per La Nativita Del Signore, cond., Anders Eby Proprius). 76.Rheinberger, Sacred Choral Music, cond., Charles Bruffy (Chandos). 77.Rossini, Stabat Mater, cond., Antonio Pappano (EMI). 78.Rubbra, The Sacred Muse, Gloriae Dei Cantores (Gloriae Dei Cantores). 79.Rutter, Be Thou My Vision: Sacred Music, cond., John Rutter (Collegium).*** 80.Russian Divine Liturgy, Novospassky Monastery Choir (Naxos). 81.Rutti, Requiem, cond., David Hill (Naxos). 82.Saint Saens, Oratorio de Noel, cond., Anders Eby (Proprius). 83.Schubert, 3 Masses, cond., Wolfgang Sawallisch (EMI Classics). 84.Schutz, Musicalische Exequien, cond., Lionel Meunier (Ricercar). 85.Spirituals, Marian Anderson (RCA).*** 86.Spirituals, Jesse Norman (Phillips) 87.Telemann, Der Tag des Gerichts, cond., Nikolaus Harnoncourt (Teldec). 88.Thompson, Mass of the Holy Spirit, cond., James Burton (Hyperion). 89.Shapenote Carols, Tudor Choir (Loft Recordings) 90.Stravinsky, Symphony of Psalms, cond., Robert Shaw (Telarc). 91.Tallis, Spem in alium & Lamentations of Jeremiah, cond., David Hill (Hyperion).*** 92.Tschiakovsky, Liturgy of St. John Chrysostom, cond, Valery Polansky (Moscow Studio). 93.Taneyev, At the Reading of a Psalm, cond., Mikhail Pletnev (Pentatone). 94.Vaughn Williams, Five Mystical Songs, cond., David Willcocks (EMI Classics).*** 95.Vaughn Williams, Mass in G, cond. David Willcocks (EMI Classics). 96.Vaughn Williams, Pilgrims Progress, cond., Adrian Boult (EMI Classics).*** 97.Verdi, Requiem, cond., Carlo Maria Guilini (EMI Classics).*** 98.Victoria, O Magnum Mysterium & Mass, cond., David Hill (Hyperion).*** 99.Victoria, Tenebrae Responsories, cond., David Hill (Hyperion). 100.Vivaldi, Sacred Music, cond., Robert King (Hyperion). “ -----

Deal W. Hudson is president of the Pennsylvania Catholics Network and former publisher/editor of Crisis Magazine. Dr. Hudson also a partner in the film/TV production company, Good Country Pictures.

#choral #music #instrumental #classical music

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noirandchocolate · 4 years ago

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So back in the late 90s my dad--a vry srs lawyer just like me, as you’ll see--developed a special interest in what’s commonly called “Classical Music” (a genre which record stores didn’t confine to the true Classical period, and I trust you know what I mean and won’t get pedantic at me please). He proceeded to spend about two years buying CD after CD and reading book after book (keeping one book out of the library for months of renewals at a time) about famous composers, and then bringing the CDs to work and playing them in his office.

Dad had a couple of pals in the office who he infodumped on in emails about what he’d be playing and what he thought about each composer and their music. These emails developed running gags, mainly how much Dad hated Stravinsky and loved Dvorak, booze jokes about The Five, Tchaikovsky being The Five’s enemy, and practically everyone being a “poseur.”

Recently Dad found printouts of some of these emails, as well as a document titled “Top 50 Composers of All Time.” And this, I am about to share with you below the cut, because it is silly and fun.*

*Disclaimer: These are my Dad’s opinions not mine (he was actually worried I’d be offended by his rating of Vivaldi!), and I’m sharing them because they’re funny, not because I want to start a serious discussion about which composers are best. So, thank you in advance for taking this in the spirit it is offered, and not yelling at me unless you’re yelling in an equally irreverent manner.

TOP 50 COMPOSERS OF ALL TIME (by KidK’s Dad)

1. DVORAK--He never wrote anything less than brilliant. There can be no debate, he is the Greatest of All Time!!

2. Beethoven--Overall, the best symphony writer ever. The true Hammer of the Gods.

3. Mussorgsky--Pictures at an Exhibition is the single best piece of music ever written. Could outdrink any of The Five.

4. Borodin--In the Steppes of Central Asia is the second best piece of music ever written. A chemist by trade, he designed sobriety tests for The Five, which they all repeatedly failed.

5. Prokofiev. Alexander Nevsky is the best music that’s ever been in a movie. His First Symphony is, well, “Classical.”

6. Mozart--Wrote the most consistently pleasant music of all time, all of it exactly the same. Gets points for writing choral music you can actually listen to.

7. Brahms--Four great symphonies, dozens of stirring Hungarian Dances, one nasty temperament. Coolest beard of any composer.

8. Sibelius--Drunken maverick of the North Country. Laughs out loud at the mere mention of Stravinsky.

9. Saint-Saens--Danse Macabre is the best piece of devil music ever. Would be higher, but he tried to defend Stravinsky.

10. Smetana--If there was no DVORAK, he would be in the top three. The Moldau is great!

11. Bach--Ranks this high because of the sheer number of pieces he wrote, even though they were all variations of the same eight notes. Loses points for having a bunch of relatives who also thought they were composers. Result: The Bachs were the Jackson 5 of the 1600s, with C.P.E. in the role of Tito.

12. Ravel--Bolero is what every piece of music should be, repetitive but compelling. Also helped Mussorgsky out on Pictures. Liking Stravinsky was his only flaw.

13. Rimsky-Korsakov--Wrote the wonderful Scheherazade and helped Mussorgsky with Bald Mountain. Designated driver for The Five.

14. Grieg--Next to Brahms, wrote more music for cartoons than just about anyone. The Hall of the Mountain King would be great even if it wasn’t mentioned in Eric Burdon’s Spill the Wine.

15. Liszt--Superb tone poems, great Hungarian Rhapsodies, had Roger Daltrey play him in the movies.

16. Debussy--In the Top 20 even though michael Jackson told Barbara Walters he is one guy he would like to meet. La Mer is excellent!

17. Mahler--Ranks this high for two reasons: (1) the first three minutes of The Titan and (2) the fact that he wore eyeglasses that are now considered cool. Had too much singing in his symphonies to challenge the leaders.

18. Mendelssohn--A Midsummer Night’s Dream is dreamy and his Italian Symphony is spicy without leaving a bad taste in your mouth.

19. Berlioz--The idea for Symphonie Fantastique was better than the actual music, but it’s still good enough to place Hector in the Top 20.

20. Tchaikovsky--Enemy of The Five. But wrote better holiday music than Handel.

21. Haydn--More fun than Bach, but essentially copied what Bach did. His titles for his over 100 symphonies are examples of poseury at its worst.

22. Handel--Calling his pieces Water Music and Fireworks Music even made Haydn laugh. The Messiah though is very good for choral music.

23. Telemann--Another Bach disciple, but wrote great trumpet and flute music. Less of a poseur than Bach, Haydn and Handel. Would rank higher if he had written more.

24. Janacek--Worthy follower of DVORAK. Would be welcome at picnics held by The Five.

25. Rossini--Wrote terrific overture music like William Tell and the Barber of Seville. Not as big of a poseur as Verdi.

26. Copland--A favorite of Emerson Lake & Palmer, so he gets a Top 30 spot. Fanfare and Rodeo are toe-tappers and the rest of his stuff won’t sicken you.

27. Verdi--Overall, the best opera composer, but who can truthfully stand all that aimless singing?

28. Vaugh Williams--Somewhat boring, but always pleasurable. Songs like Greensleeves are the best the Island Nation of England can offer.

29. Offenbach--The Can Can was the Macarena of its day. Fun music!

30. Balakirev--President of The Five. Would be in the Top 20 but, late in life, he actually said hello to Tchaikovsky. Islamey, though, is stunning.

31. Wagner--Must have had a tremendous press agent. Most of The Ring cycle is cumbersome and impenetrable.

32. Chopin--A poseur with a piano. Did write the great Funeral March, but couldn’t orchestrate his music to save his life, or the ears of his listeners.

33. Schumann--A poseur. Ranks this high only because he ran a music newspaper that criticized other people for being poseurs.

34. Schubert--Left his Symphony unfinished, but was nevertheless a complete poseur. Actually named one of his pieces “The Trout.”

35. Richard Strauss--Without him, Elvis would have had no introductory music. Next to Wagner and Stravinsky, the most overrated composer of all time.

36. Rachmaninoff--On first listen, he’s in the Top 10. On second hearing, he starts falling like a lead zeppelin. Would be even lower, but I stopped listening.

37. Bruckner--Has almost nothing going for him, let someone else name his Symphony “The Romantic,” but is still able to laugh at Stravinsky. It’s sure a strange world.

38. Shostakovich--Ponderous posturings for little purpose. Makes no impact whatsoever on the listener. A disappointment.

39. Respighi--Did wonderful things with old music of unknown composers. Would be ranked higher if he had redone Bach.

40. Holst--Only on the list at all to appease certain readers. Called his epic work “The Planets,” yet left out Earth and stuck with Uranus. More famous for “striking a pose” than Madonna.

41. Vivaldi--Poseur in a big ugly powdered wig. Wrote The Four Seasons, then basically issued the same music over and over again, giving it different names.

42. Cui--Have never heard anything this guy did. But, he was one of The Five and that gets him into this Top 50.

43. Elgar--Even more boring than Vaughn Williams. Did write Pomp and Circumstance, but he’ll never graduate to the Top 40.

44. Hindemith--You can listen to this stuff, but like Schumann and Schubert, you instantly forget you did.

45. Bizet--Wrote Carmen, which unfortunately for him is opera. Got beat by a guy who no one has ever heard.

46. Bartok--Actually tried to be as bad as Stravinsky but, like everything else he did in life, he failed miserably.

47. Satie--Was ranked higher until it was learned that he was part of a group of poseurs called Les Six, who worshipped Tchaikovsky, sworn enemy of The Five. Did write music for Blood, Sweat and Tears.

48. Johann Strauss--The Waltz King: Wrote exclusively merry-go-round music. A joke.

49. Gershwin--The Johann Strauss of his era. Whatever this music is, it isn’t Classical.

50. Stravinsky--Listen to a jackhammer pounding away on your teeth , while the J.V. football team plays tubas, and it will still sound better than this guy. No one was worse, EVER.

#kidk says stuff #long post #classical music #for the record i'd rank vivaldi much higher and would also rank schumann higher because i enjoy his scenes from childhood for piano #also for the record dad just likes writing things like this #and none of this should really be taken seriously #i'm posting this to entertain some people pls don't make me regret it

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flydiawo · 5 years ago

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Saturday 12th October 7:30pm

Holy Cross Priory Church, New Walk, Leicester, LE1 6HW

Earlier this year we were approached by Holy Cross church who wondered if we could help them to put together a concert to celebrate their 200th anniversary. They particularly wanted us to perform Rossini's grand and beautiful setting of the Stabat Mater. We were eager to accept and will be joined by Dr Paul Jenkins and Knighton Chamber Orchestra along with four of the East Midlands finest soloists.

As well as celebrating the 200th anniversary of Holy Cross as a church, we will be marking their important place in the history of music making in Leicester. In the early 19th century Holy Cross provided a Catholic place of worship for refugees from Europe, including Bonapartist and musician Charles Guynemer, who reintroduced the Catholic choral tradition and with William Gardiner of the Unitarian Chapel started programmes of exciting and modern music from all over Europe. In fact the UK premiere of Rossini's Stabat Mater took place in Leicester at Holy Cross.

We have also put together a short first half of contrasting pieces to complement the Rossini work. Including pieces by Bruckner, Monteverdi, Mozart, Gardiner & Guynemer. Please join us for what should be a fantastic evening of music making!

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lamilanomagazine · 2 years ago

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Presentata la stagione 2023 del Teatro lirico di Cagliari

Presentata la stagione 2023 del Teatro lirico di Cagliari. Cinque concerti sinfonico-corali, sette sinfonici e sei cameristici, per due turni di abbonamento. Esordisce il 14 gennaio con la "Petite Messe solennelle" di Rossini e arriva sino al 21 novembre con le "Tre Romanze per clarinetto e pianoforte op. 94", "Phantasiestücke per clarinetto e pianoforte op. 73" di Schumann, "Sonata n. 2 in Mi bemolle maggiore per clarinetto e pianoforte op. 120" e "Sonata n. 1 in fa minore per clarinetto e pianoforte op. 120" di Brahms, la Stagione lirica e di balletto 2023 del Teatro lirico di Cagliari. Nel mezzo, spazio a Oberon, Rachmaninov, Bach, Schubert, Debussy, Respigh, Čajkovski, Šostakovi, Mozart, Clementi, Beethoven, Rimskij-Korsako, Verdi, Casella, Bartók, Khačaturjan, Ravel, Elgar, Ireland, Bruch, Bruckner, Musorgskij, Mendelssohn-Bartholdy, Pärt, Sibelius, Stravinskij, Liszt, Mahler e Wagner. Tradizione musicale e qualità artistica, che vede in primo piano l'Orchestra e il Coro di casa diretto da Giovanni Andreoli. «Ringrazio il sovrintendente, Nicola Colabianchi, e tutto il Lirico per aver lavorato con passione per offrire a cagliaritani e no, una stagione concertistica 2023 molto accattivante, che abbiamo voluto presentare con anticipo per dare a tutti la possibilità di programmare le proprie serate a Teatro - ha dichiarato il sindaco Paolo Truzzu -. Politica delle opportunità, che si sta portando avanti per bilanciare l'esperienza, i grandi nomi sempre attrattivi per il pubblico e per chi ha una grande cultura lirico-sinfonica, con le giovani promesse, che hanno la possibilità di farsi apprezzare». A entrare nel dettaglio dei singoli programmi musicali il sovrintendete Nicola Colabianchi: «Ci auguriamo che la nostra proposta possa rivestire un interesse tale da incrementare l'attenzione degli spettatori, che piano piano stanno tornando a teatro. Il teatro - ha ribadito - è un luogo sicuro». Con lo sguardo rivolto verso gli spettatori di domani, «ai giovani under 30 sono applicate riduzioni del 50% sull'acquisto di abbonamenti e biglietti», ha ricordato infine il sindaco Truzzu. Stesso sconto è applicato anche ai disabili e agevolazioni sono previste per gruppi organizzati.... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

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actualitestrasbourg · 3 years ago

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Saverne. Le Philharmonique de Strasbourg en concert

Au programme autour du thème « Vent de liberté sur les trombones » : Mozart, ouverture de La Flûte enchantée ; Beethoven 3 Equales pour 4 trombones ; Bruckner, Antiphon ; Rossini, ouverture de Guillaume Tell ; Verhelst, trombone quartet n° 1 ; Gershwin, A portrait. « Épique, noble, grandiose, capable de poésie recueillie comme d’accents orgiaques, sachant murmurer autant …

L’article Saverne. Le Philharmonique de Strasbourg en concert est apparu en premier sur HubNews.

Source : Strasbourg – HubNews https://ift.tt/3CVKYSd

#Strasbourg #Strasbourg – HubNews

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todayclassical · 8 years ago

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May 09 in Music History

1707 Death of organist and composer Dietrich Buxtehude in Lubeck.

1740 Birth of Italian composer Giovanni Paisello in Taranto.

1745 Death of Italian composer Tomaso Antonio Vitali in Modena.

1755 FP of T. Arne's "Britannia" London.

1757 FP of Egk's "Der Revisor" Schwetzinger.

1770 Death of English composer, conductor Charles Avison.

1791 Death of American composer Francis Hopkinson.

1799 Death of French composer Claude Balbastre.

1807 FP of Isouard's "Rendez-vous de classe moyen" Paris.

1812 FP of Rossini's operaLa Scala di Seta 'Silken Ladder' in Venice.

1814 Birth of German pianist, composer Adolph Von Henselt. 1829 Birth of composer Ciro Pinsuti.

1833 Birth of composer Boleslaw Dembinski.

1846 Birth of Russian composer Nikolai Soloviev in Schwabach.

1855 Birth of German composer Julius Röntgen in Leipzig.

1857 FP of Carafa's "Sangarido" Paris.

1865 Birth of Belgian composer August de Boeck in Merchtem.

1868 FP of Anton Bruckner's First Symphony. Composer conducting in Linz. 1878 Birth of Italian impresario Fortune Gallo in Torremaggiore.

1892 Birth of composer Eric Westberg.

1896 Birth of Czech composer Jan Fiser in Hronek.

1905 Death of Austrian pianist and composer Ernst Pauer.

1914 Birth of Italian conductor Carlo Maria Giulini in Barletta, Italy.

1924 FP of Richard Strauss's ballet Schlagobers 'Whipped Cream' in Vienna.

1929 Birth of English tenor Nigel Douglas.

1930 Birth of German composer Wolfgang Bottenberg in Frankfurt.

1936 Birth of Canadian composer Bruce Mather in Toronto.

1950 Birth of French pianist Michel Beroff in Epinal, Vosges.

1950 FP of Dello Joio's "The Triumph of St. Joan" Bronxville, NY.

1951 FP, staged, of Pizzetti's "Ifigenia" Florence.

1952 Birth of Scottish mezzo-soprano Linda Finnie. 1955 Birth of Swedish soprano Anne Sofie von Otter.

1957 FP of Chávez' "The Visitors" 1st produced in English, NY.

1961 Birth of English soprano Alison Hagley. 1961 FP of the first serious music work to be composed for the synthesizer of Robert Moog. Composer Milton Babbitt performing.

1965 Pianist Vladimir Horowitz returns to the concert stage in New York City after a twelve-year performing break, at Carnegie Hall in New York City. The audience applauded with a standing ovation that lasted for 30 minutes.

1970 FP of Bucchi's "Il coccodrillo" Florence.

1981 FP of Christopher Rouse's The Infernal Machine for orchestra aka second mmt of his Phantasmata. University of Michigan Symphony Orchestra, Gustav Meier conducting at the Evian Festival, France.

1986 FP of Ellen Taaffe Zwillich's Concerto Grosso based on Handel's Sonata in D. Handel Festival Orchestra of Washington, Stephen Simon conducting;

1990 FP of John Harbison's Words from Patterson. Texts by William Carlos Williams, with baritone William Sharp and the members of the New Jersey Chamber Music Society at the Kennedy Center in Washington, D.C.

1998 FP of John Tavener's Wake Up and Die at the Beauvais Cello Festival in Beavais, France.

1999 FP of Ellen Taaffe Zwillich's Upbeat!. National Symphony, Anthony Aibel conducting.

2004 FP of Michael Gordon´s Alarm Will Sound Merkin Concert Hall, NYC.

#classicalmusic #musichistory #todayclassical #today in music history #onthisday

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blackkudos · 8 years ago

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Leontyne Price

Mary Violet Leontyne Price (born February 10, 1927) is an American soprano. Born and raised in Laurel, Mississippi, she rose to international acclaim in the 1950s and 1960s, and was one of the first African Americans to become a leading artist at the Metropolitan Opera.

One critic characterized Price's voice as "vibrant", "soaring" and "a Price beyond pearls", as well as "genuinely buttery, carefully produced but firmly under control", with phrases that "took on a seductive sinuousness." Time magazine called her voice "Rich, supple and shining, it was in its prime capable of effortlessly soaring from a smoky mezzo to the pure soprano gold of a perfectly spun high C."

A lirico spinto (Italian for "pushed lyric") soprano, she was considered especially well suited to the roles of Giuseppe Verdi and Giacomo Puccini, as well as several in operas by Wolfgang Amadeus Mozart.

After her retirement from the opera stage in 1985, she continued to appear in recitals and orchestral concerts until 1997.

Among her many honors are the Presidential Medal of Freedom (1964), the Spingarn Medal (1965), the Kennedy Center Honors (1980), the National Medal of Arts (1985), numerous honorary degrees, and 19 Grammy Awards for operatic and song recitals and full operas, and a special Lifetime Achievement Award in 1989, more than any other classical singer. In October 2008, she was one of the recipients of the first Opera Honors given by the National Endowment for the Arts.

Life and career

Leontyne Price was born in Laurel, Mississippi. Her father James worked in a lumber mill and her mother Katie was a midwife who sang in the church choir. They had waited 13 years for a child, and Leontyne became the focus of intense pride and love. Given a toy piano at the age of three, she began piano lessons with a local teacher. When she was in kindergarten, her parents traded in the family phonograph as the down payment on an upright piano. At 14, she was taken on a school trip to hear Marian Anderson sing in Jackson, an experience she later said was inspirational.

In her teen years, Leontyne accompanied the "second choir" at St. Paul's Methodist Church, sang and played for the chorus at the black high school, and earned extra money by singing for funerals and civic functions. Meanwhile, she often visited the home of Alexander and Elizabeth Chisholm, an affluent white family for whom Leontyne's aunt worked as a laundress. Mrs. Chisholm encouraged the girl's early piano playing. During World War II, Price worked as a part-time maid in the Chisholms' household where she was allowed to play the piano. Mrs. Chisholm noticed her extraordinary singing voice and accompanied her in several early recitals and church appearances in Mississippi during her college years.

Aiming for a teaching career, Price enrolled in the music education program at the all-black Wilberforce College in Wilberforce, Ohio. (This institution's public and private arms split in her junior year and she graduated from the new, public Central State University.) Her success in the glee club led to solo assignments, and she was encouraged to complete her studies in voice. She sang in the choir with another soon-to-be-famous singer, Betty Allen. With the help of the Chisholms and the famous bass Paul Robeson, who put on a benefit concert for her, she enrolled at the Juilliard School in New York City. She won a scholarship and was admitted to the studio of Florence Page Kimball, who would remain her principal teacher and advisor throughout the 1960s. Price is a member of Delta Sigma Theta.

In the summer of 1951, she studied in the opera program at the Berkshire Music Center and sang the leading role in a production of Strauss' Ariadne (second cast), her first leading role. In early 1952 she was Mistress Ford in Juilliard student production of Verdi's Falstaff. Shortly thereafter, Virgil Thomson hired her for the revival of his all-black opera, Four Saints in Three Acts. After a two-week Broadway run, Saints went to Paris. Meanwhile, she had been cast as Bess in the Blevins Davis/Robert Breen revival of George Gershwin's Porgy and Bess, and returned for the opening of the national tour at the State Fair of Texas on June 9, 1952. The tour visited Chicago, Pittsburgh, and Washington, D.C., and then went on a tour of Europe, sponsored by the U.S. State Department.

On the eve of the European tour, Price married the noted bass-baritone William Warfield, who was singing Porgy in the Davis-Breen production, in a ceremony at the Abyssinian Baptist Church in Harlem, with many in the cast in attendance. In his memoir, My Music and My Life, Warfield describes how their careers forced them apart. They were legally separated in 1967, and divorced in 1973. They had no children.

At first, Price planned on a recital career, modeling herself after Anderson, tenor Roland Hayes, Warfield, and other great black concert singers. In between performances of Porgy, she sang the premiere of "Hermit Songs," a song cycle by Samuel Barber, at the Library of Congress. She also sang new works by Lou Harrison and John La Montaine.

However, her Bess proved she had the voice and the personality for the operatic stage, and the Met itself recognized this by inviting her to sing "Summertime" at a "Met Jamboree" fund-raiser on April 6, 1953 at the Ritz Theater on Broadway. Price was therefore the first African American to sing with the Met, if not at the Met. That distinction went to Marian Anderson, who, on January 7, 1955, sang Ulrica in Verdi's Un ballo in maschera.

Emergence

In November 1954, Price made her recital debut at New York's Town Hall with a program that featured the New York premiere of Samuel Barber's cycle "Hermit Songs", with the composer at the piano, and began her first recital tour in the Community Concerts series for Columbia Artists. Then, the door to opera opened through the NBC Opera Theare. In February 1955, she sang Puccini's Tosca for the NBC Opera Theatre, under music director Peter Herman Adler, becoming the first African American to appear in a leading role in televised opera. Several NBC affiliates (not all Southern) canceled the broadcast in protest. She returned in three other NBC Opera broadcasts, as Pamina (1956), Madame Lidoine in Poulenc's Dialogues of the Carmelites (1957), and Donna Anna in Don Giovanni (1960).

In March 1955, she was auditioned at Carnegie Hall by the Austrian conductor Herbert von Karajan, who was then touring with the Berlin Philharmonic. Impressed with her singing of "Pace, pace, mio Dio" from Verdi's Forza del Destino, Karajan reportedly leapt to the stage to accompany her himself. Calling her "an artist of the future" he asked her management for control of her future European career. Over the next three seasons, Price crossed the U.S. in recitals with her longtime accompanist, David Garvey, and in orchestral appearances. She also toured India (1956) and Australia (1957), under the auspices of the U.S. State Department. She sang a concert version of "Aida"—her first public performance of the role—at the May Festival in Ann Arbor, Michigan on May 3, 1957.

Her first appearance on the grand opera stage occurred in San Francisco on September 20, 1957, singing Madame Lidoine in the U.S. premiere of the Dialogues of the Carmelites. A few weeks later, Price sang her first on-stage Aida, stepping in for Italian soprano Antonietta Stella, who was suffering from appendicitis. The following May, she made her European debut, as Aida, at the Vienna Staatsoper on May 24, 1958, at Karajan's invitation and under his baton. Debuts followed at London's Royal Opera House, Covent Garden (replacing Anita Cerquetti), and at the Arena di Verona, both as Aida. The next season she returned to Vienna to sing Aida and her first onstage Pamina in The Magic Flute, repeated her Aida at Covent Garden, sang operatic scenes by R. Strauss on BBC Radio, and made her debut at the Salzburg Festival in Beethoven's Missa Solemnis, under Karajan.

The close artistic understanding between Karajan and Price was reflected in many of her early career succeses in the opera house (Mozart's Don Giovanni, Verdi's Il trovatore and Puccini's Tosca), in the concert hall (Bach's Mass in B minor, Beethoven's Missa Solemnis, Bruckner's Te Deum, and the Requiems of Verdi and Mozart), and in the recording studio (complete recordings of Tosca and Carmen, and a bestselling holiday music album, A Christmas Offering). Most of her recordings and many of her live performances have been released on CD.

On May 21, 1960, Price made her first appearance at the Teatro alla Scala in Milan, again as Aida, becoming the first African American to sing a leading role in Italy's greatest opera house. (In 1958, Mattiwilda Dobbs had sung Elvira, the secondary lead soprano role in Rossini's L'italiana in Algeri.)

Metropolitan Opera

The Metropolitan Opera invited Price to sing a pair of performances as Aida in 1958, but she turned down the offer on the advice of friends, including Peter Herman Adler, director of NBC Opera. In his autobiography, William Warfield writes that Adler said, "Leontyne is to be a great artist. When she makes her debut at the Met, she must do it as a lady, not a slave."

In 1959, after hearing her in Il Trovatore that August at Verona with tenor Franco Corelli, Met General Manager Rudolf Bing invited her to join the Met company in the 1960–61 season. On January 27, 1961, she and Corelli made a triumphant double-debut in Il Trovatore. The final ovation lasted at least 35 minutes, one of the longest in Met history. (Price often said her friends or family had timed it at 42 minutes, and that was the number used in her later publicity.)

In his review, The New York Times critic Harold C. Schonberg wrote that Price's "voice, warm and luscious, has enough volume to fill the house with ease, and she has a good technique to back up the voice itself. She even took the trills as written, and nothing in the part as Verdi wrote it gave her the least bit of trouble. She moves well and is a competent actress. But no soprano makes a career of acting. Voice is what counts, and voice is what Miss Price has."

The reception and reviews were less positive for Corelli, who told Bing the next morning that he would never sing with Price again—an outburst that was soon forgotten. Price and Corelli sang together often over the next dozen years, at the Met and in Vienna and Salzburg.

In her first few weeks at the Met, Price gave four other company debut performances as Aïda, Cio-Cio-San in Madama Butterfly, Donna Anna in Don Giovanni, and Liu in Turandot. In recognition of this extraordinary run, Time magazine put her on its cover in March. That fall, American music critics named her "Musician of the Year" and she was put on the cover of "Musical America."

In September 1961, Price opened the Met season as Minnie in La fanciulla del West. A musicians' strike had threatened to abort the season, but President Kennedy sent Secretary of Labor Arthur Goldberg to mediate a settlement. During the second Fanciulla performance, she had her first serious vocal crisis. In the middle of the second act, she grew hoarse and then lost her singing voice, shouting her lines to the end of the act. The standby, soprano Dorothy Kirsten, was called and sang the third act. The newspapers reported that Price was suffering a virus infection. After several weeks off, she returned and repeated the Fanciulla and then, after a Butterfly in December, canceled appearances and left for a several-month respite in Rome. The official word was that she had never fully recovered from the earlier virus. Price herself later said she was suffering from nervous exhaustion.

In April, she was back at the Met to give her first staged performances of Tosca, and then joined the Met tour that spring in Tosca, Butterfly, and two performances of Fanciulla, including the Met's first performance with an African American in a leading role on tour in the South (Dallas).

Other African Americans had preceded Price in leading roles at the Met. However, Price was the first African American to build a star career on both sides of the Atlantic, the first to return to the Met in multiple leading roles, and the first to earn the Met's top fee. In 1964, according to the Met archives, Leontyne Price was paid $2,750 per performance, on a par with Joan Sutherland, Maria Callas and Renata Tebaldi. At the time, Birgit Nilsson, who was unique in singing Italian and Wagnerian roles, earned the Met's highest fee, $3,000 a performance.

Over the next five seasons, Price added seven more roles at the Met: (in chronological order) Elvira in Verdi's Ernani, Pamina in Mozart's The Magic Flute, Fiordiligi in Mozart's Così fan tutte, Tatyana in Tchaikovsky's Eugene Onegin, Cleopatra in Barber's Antony and Cleopatra, Amelia in Un ballo in maschera, and Leonora in La forza del destino. Her voice and temperament were especially well suited to Verdi's "middle period" heroines, noble ladies with high, glowing vocal lines and postures of dignified suffering and prayerful supplication. She was also the leading exponent of the plaintive soprano part in Verdi's Requiem.

Antony and Cleopatra

Price's career climaxed on September 16, 1966, when she sang Cleopatra in Antony and Cleopatra by American composer Samuel Barber and conducted by Thomas Schippers, commissioned to open the Met's new house at Lincoln Center. Since their early collaborations, Price and Barber had remained close friends and colleagues, and the composer tailored Cleopatra's music to Price's warm middle register and soaring top.

In the performances, although Price's singing was praised, especially in a powerful death scene, the opera as a whole was widely considered a failure. Director Franco Zeffirelli was blamed for burying the music under heavy costumes and huge scenery. Bing admitted he had underestimated the challenge of mounting nine new productions that season (three in the first week), and relying heavily on untested high-tech equipment. (In rehearsals, an expensive turntable broke down and, in the dress rehearsal, another mechanical failure left Price trapped briefly inside a giant pyramid.) the pressures and many of the glitches were chronicled by cameras for a Bell Telephone Hour special documentary, directed by Robert Drew.

Still others complained that Barber's score was difficult to grasp because of the dense Shakespearean verse, and lacked satisfying set pieces (apart from the death scene).The opera was never revived at the Met. However, with the help of Gian Carlo Menotti, Barber later reworked the score for successful productions at the Juilliard School and the Spoleto Festival in Charleston, where it received praise. Barber also prepared a concert suite of Cleopatra's arias, which Price premiered in Washington in 1968 and subsequently recorded. Price lobbied Kurt Herbert Adler to have it produced in San Francisco, but did not succeed.

Late opera career

In the late 1960s, Price cut back her operatic performances in favor of recitals and concerts. She was tired, frustrated with the number (and quality) of the Met's new productions, and perhaps felt the need to rework her vocal technique as she reached middle age. She became a popular artist in the orchestral and performing arts series in the major American cities and large universities. In the early 1970s, she also returned to Europe, for opera performances in Hamburg and London's Covent Garden, and gave her first recitals in Hamburg, Vienna, Paris, and the Salzburg Festival. At the latter she became a favorite recitalist, appearing in 1975, 1977, 1978, 1980, 1981, and 1984.

She continued to sing limited performances at the Met and San Francisco, but undertook only three new roles after 1970. They were: Giorgetta in Puccini's Il tabarro (San Francisco only); Puccini's Manon Lescaut (San Francisco and New York); and Ariadne in Richard Strauss' Ariadne auf Naxos (San Francisco and New York).

She was frequently called on as a soloist for state occasions. In January 1973, she sang "Precious Lord, Take My Hand" and "Onward, Christian Soldiers" at the state funeral of President Lyndon B. Johnson, at whose 1965 inauguration she had sung. President Jimmy Carter invited her to sing a nationally televised recital at the White House in 1978, and she returned to sing for a State Dinner after the signing of the Camp David Accords and on the visit of Pope John Paul II.

In October 1973, after missing a season, she returned to the Met to sing Madama Butterfly for the first time in a decade. In 1976, the Met mounted a long-delayed new production of Aida, with James McCracken as Radames and Marilyn Horne as Amneris, directed by John Dexter. The next year, she renewed her partnership with Karajan in a Brahms Requiem with the Berlin Philharmonic at Carnegie Hall, and returned to Europe for what proved her final opera performances there, in Il trovatore at the Salzburg Easter Festival and Vienna's Staatsoper, also under Karajan. The latter marked both her and Karajan's first performances at the Staatsoper since 1964. (She had canceled her contract when Karajan resigned as general music director, and returned only when he returned as a guest conductor.)

In 1977, Price sang her last new role, and her first Strauss heroine, the title role of Ariadne auf Naxos, in San Francisco, to positive reviews. When she brought the role to the Met in 1979, she was suffering from a viral infection and performed only the first and last of eight scheduled performances. Reviewing her first performance, the New York Times critic John Rockwell was not complimentary.

In fall 1981, she had a late career triumph when she stepped in for soprano Margaret Price as Aida in San Francisco, a role she had not sung since 1976. San Francisco Chronicle columnist Herbert Caen reported that she had insisted on being paid $1 more than the tenor, Luciano Pavarotti. This would have made her, for the moment, the highest-paid opera singer in the world. The opera house denied these were the terms of her contract. In 1983, she hosted two televised performances of "In Performance from the White House."

After revisiting some of her most famous roles in San Francisco and at the Met, Price gave her operatic farewell on January 3, 1985, in a televised performance of Aida from the Met. Time Magazine described it as a "vocally stunning performance... that proved she can still capture her peak form." Donal Henahan wrote that the "57-year-old soprano took an act or two to warm to her work, but what she delivered in the Nile Scene turned out to be well worth the wait." In 2007, PBS viewers voted her singing of the aria, "O patria mia", as the No. 1 "Great Moment" in 30 years of "Live from the Met" telecasts. The performance ended with 25 minutes of applause.

Price sang 201 performances with the Met, in 16 roles, in the house and on tour, including galas. (She was absent for three seasons—1970–71, 1977–78, and 1980–81—and sang only in galas in 1972-73, 1979–80, and 1982–83.)

Post-operatic career

For the next dozen years, she continued to perform concerts and recitals. Her recital programs, framed by her longtime accompanist David Garvey, usually combined Handel arias, French mélodies, German Lieder, an aria or two, and a group of American art songs by Barber, Ned Rorem, and Lee Hoiby, and ended with spirituals. She liked to end a sequence of encores with "This Little Light of Mine", which she said was her mother's favorite spiritual.

With time, Price's voice became darker and heavier, but her upper register held up well and the conviction and joy in her singing always spilled over the footlights. On November 19, 1997, she gave a recital at the University of North Carolina at Chapel Hill that was her unannounced last.

Before retiring, Price gave several master classes at Juilliard and other schools. In 1997, at the suggestion of RCA-BMG, she wrote a children's book version of Aida, which became the basis for the hit Broadway musical by Elton John and Tim Rice in 2000.

Price avoided the term African American, preferring to call herself an American, even a "chauvinistic American". She summed up her philosophy thus: "If you are going to think black, think positive about it. Don't think down on it, or think it is something in your way. And this way, when you really do want to stretch out, and express how beautiful black is, everybody will hear you."

In October 2001, at the age of 74, Price was asked to come out of retirement to sing in a memorial concert at Carnegie Hall for the victims of the September 11 attacks. With James Levine at the piano, she sang a favorite spiritual, "This Little Light of Mine", followed by an unaccompanied "God Bless America," ending it with a bright, easy high B.

Recordings

Most of Leontyne Price's commercial recordings were issued by RCA Victor Red Seal and include three complete sets of Il trovatore, two of La forza del destino, two of Aida, two of Verdi's Requiem, two of Tosca, and one each of Ernani, Un ballo in maschera, Carmen, Madama Butterfly, Cosí fan tutte, Don Giovanni (as Donna Elvira), Il tabarro and (her final complete opera recording) Ariadne auf Naxos. She also recorded a disc of highlights from Porgy and Bess, singing the music of all three female leads. It was conducted by Skitch Henderson and featured William Warfield as Porgy.

She recorded five Prima Donna albums of operatic arias generally of roles that she never performed on stage. She also recorded two albums of Richard Strauss arias, recitals of French and German art songs, two albums of Spirituals, and a crossover disc, Right as the Rain, with André Previn. Her recordings of Barber's "Hermit Songs", scenes from Antony and Cleopatra, and "Knoxville: Summer of 1915," were reissued on CD as Leontyne Price Sings Barber. Her most popular operatic aria collection is her first, the self-titled Leontyne Price, sometimes referred to as the "Blue Album" because of its blue cover. It has been reissued on CD, and lately on SACD. In 1971, RCA released a spiritual album I Wish I Knew How It Would Feel to Be Free, Price singing with the Rust College Choir (Mississippi). In 1996, for her 70th birthday, RCA Victor issued a limited-edition 11-CD boxed collection of her recordings, with an accompanying book, entitled The Essential Leontyne Price.

Archival recordings of live performances have also appeared. Deutsche Grammophon released CDs of live Salzburg performances of "Missa Solemnis" (1959) and Il trovatore(1962), both conducted by Karajan. In 2002, RCA discovered a tape of her 1965 Carnegie Hall recital debut and released it in its "Rediscovered" series. In 2005, Bridge Records released the complete 1953 Library of Congress recital with Barber, including the "Hermit Songs," Henri Sauguet's "La Voyante", and songs by Poulenc. In August 2008, a tape of a September 1952 Berlin performance of the Breen-Davis "Porgy and Bess" was found in the Berlin radio archives and released on CD—offering the earliest recorded glimpse of Price's voice and style. In 2011, Sony Classics brought out on disc her first two Met broadcasts, Il Trovatore (1961) and Tosca (1962), both with Corelli, followed in 2012 by a third broadcast, "Ernani" (1962) with Carlo Bergonzi.

Critical appreciation

In The Grand Tradition, a 1974 history of operatic recording, the British critic J.B. Steane writes that "one might conclude from recordings that [Price] is the best interpreter of Verdi of the century." For the Russian soprano Galina Vishnevskaya, a 1963 Price performance of Tosca at the Vienna State Opera "left me with the strongest impression I have ever gotten from opera." In his 1983 autobiography, Plácido Domingo writes, "The power and sensuousness of Leontyne's voice were phenomenal—the most beautiful Verdi soprano I have ever heard."

In an interview, Price once recalled that Maria Callas had told her, during a meeting with the older diva in Paris, "I hear a lot of love in your voice." The sopranos Renee Fleming, Kiri Te Kanawa, Jessye Norman. Leona Mitchell, Barbara Bonney, Sondra Radvanovsky, the mezzo-soprano Denyce Graves, bass-baritone Jose Van Dam, and the countertenor David Daniels, have talked about Price as an early inspiration.

Miles Davis, in Miles: The Autobiography, wrote: "Man, I love her as an artist. I love the way she sings Tosca. I wore out her recording of that, wore out two sets. Now, I might not do Tosca, but I loved the way Leontyne did it. I used to wonder how she would have sounded if she had sung jazz. She should be an inspiration for every musician, black or white. I know she is to me."

She has also had her critics. In his book The American Opera Singer, Peter G. Davis wrote that Price had "a fabulous vocal gift that went largely unfulfilled," criticizing her reluctance to try new roles, her Tosca for its lack of a "working chest register", and her late Aidas for a "swooping" vocal line. Others criticized her lack of flexibility in coloratura, and her occasional mannerisms, including scooping or swooping up to high notes, gospel-style. Karajan took her to task for these during rehearsals for the 1977 Il trovatore, as Price herself related in an interview in Diva, by Helena Matheopoulos. In later recordings and appearances, she sang with a cleaner line.

Her acting, too, drew different responses over a long career. As Bess, she was praised for her dramatic fire and sensuality, and tapes of the early NBC Opera appearances show her an appealing presence on camera. In her early Met years, she was often praised for her dramatic as well as vocal skill.

In March 2007, on BBC Music magazine's list of the "20 All-time Best Sopranos" based on a poll of 21 British music critics and BBC presenters, Leontyne Price was ranked fourth, after, in order, Maria Callas, Dame Joan Sutherland, and Victoria de los Ángeles.

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No one likes to arrive too early at a party. There’s no one to talk to and nowhere to hide. You can’t leave without being conspicuously rude. In due course you find yourself talking about car insurance (or worse still, Brexit) with other new arrivals. Of course, there’s the decor to look at (paintings you don’t much like) and there’s the buffet, tempting but as yet untouchable.

As hosts, though, we’re always grateful to those who arrive early and get things going.

New social networks have a hard time too. What’s the point of joining if no one’s there?

In gigglemusic, our new social network for classical musicians, we try to solve that problem by offering new users content that doesn’t depend on the community being large. We’ve uploaded the schedules of major classical music venues around the world (for the moment mainly opera houses).

We’ve also entered the ��diaries’ of the world’s greatest composers – well, the greatest composers writing within the Western tradition or having some significant influence on it. By their diaries I mean their dates and places of birth and death (though many are still alive and kicking) and the dates and places of the first performances of their major works. Almost all of this comes from Wikipedia.

It may be a bit like trainspotting, but I, for one, find it mildly interesting to know where this or that masterpiece was first performed, and when.

To review a composer’s diary, start with People, open a profile, tap Diary and then scroll up to go back in time. Tap on an individual work to find out more. There’s usually a Wikipedia article to link to.

But who are the world’s greatest composers?

There’s no ideology behind the selection I’ve made, and no conscious exclusions (I’ve even included Carl Orff). They’re just the first 292 composers who came to mind, and for whom there was also a Wikipedia entry. I’m sure the assiduous researcher will detect unconscious bias, but if you do, please tell me who I’ve missed. There’s room for nearly everyone in gigglemusic.

Adam (Adolphe) Adams (John) Adès (Thomas) Albeniz (Isaac) Albinoni (Tomaso) Alwyn (William) Arne (Thomas) Arnold (Malcolm) Auric (Georges) Bach (Carl Philipp Emanuel) Bach (Johann Sebastian) Balakirev (Mily) Barber (Samuel) Bartok (Bela) Bax (Arnold) Beach (Amy) Beamish (Sally) Beethoven (Ludwig van) Bellini (Vincenzo) Bennett (Richard Rodney) Berg (Alban) Berio (Luciano) Berkeley (Lennox) Berkeley (Michael) Berlioz (Hector) Berners (Gerald (Lord)) Bernstein (Leonard) Berwald (Franz) Birtwistle (Harrison) Bizet (Georges) Bliss (Arthur) Blitzstein (Marc) Bloch (Ernst) Blow (John) Bologne (Joseph) Borodin (Alexander) Boulanger (Lili) Boulanger (Nadia) Boulez (Pierre) Bowen (York) Bozza (Eugene) Brahms (Johannes) Brian (Havergal) Bridgetower (George) Britten (Benjamin) Bruch (Max) Bruckner (Anton) Bush (Alan) Busoni (Ferrucio) Butterworth (George) Buxtehude (Dietrich) Cage (John) Canteloube (Joseph) Carter (Elliot) Chabrier (Emmanuel) Chagrin (Francis) Chaminade (Cécile) Charpentier 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Sammartini (Giovanni Battista) Satie (Erik) Scarlatti (Domenico) Schnittke (Alfred) Schoeck (Othmar) Schoenberg (Arnold) Schubert (Franz) Schumann (Clara) Schumann (Robert) Scriabin (Alexander) Sessions (Roger) Shostakovich (Dmitri) Sibelius (Jean) Sinding (Christian) Skalkottas (Nikos) Smetana (Bedrich) Smyth (Ethel) Sondheim (Stephen) Sorabji (Kaikhosru Shapurji) Spohr (Louis) Stanford (Charles Villiers) Stenhammar (Wilhelm) Still (William Grant) Stockhausen (Karlheinz) Strauss (Johann) I Strauss (Johann) II Strauss (Richard) Stravinsky (Igor) Suk (Josef) Sullivan (Arthur) Sweelinck (Jan Pieterszoon) Szymanowski (Karol) Tailleferre (Germaine) Takemitsu (Toru) Tallis (Thomas) Tavener (John) Tchaikovsky (Pyotr) Tcherepnin (Alexander) Tcherepnin (Nikolai) Telemann (Georg Philipp) Thompson (Virgil) Tippett (Michael) Tubin (Edward) Turnage (Mark-Anthony) Varese (Edgard) Vaughan Williams (Ralph) Verdi (Giuseppe) Vierne (Louis) Villa-Lobos (Heitor) Vivaldi (Antonio) Wagner (Richard) Walker (George) Walton (William) Warlock (Peter) Weber (Carl Maria von) Webern (Anton) Weelkes (Thomas) Weill (Kurt) Weir (Judith) Widor (Charles-Marie) Williams (John) Williamson (Malcolm) Wolf (Hugo) Xenakis (Iannis) Ysaÿe (Eugène) Yun (Isang) Zelenka (Jan Dismas) Zemlinsky (Alexander von)

The Great Composers No one likes to arrive too early at a party. There's no one to talk to and nowhere to hide.

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pangeanews · 5 years ago

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“L’arte fa paura a chi ha smarrito l’etica della responsabilità comune, perché è svelamento della verità e della coscienza dell’uomo”. Francesco Consiglio dialoga con il pianista Alessandro Marangoni

“Se togliamo ai nostri figli la possibilità di avvicinarsi all’arte, alla poesia, alla bellezza, in una sola parola alla cultura, siamo destinati a un futuro di gente superficiale e pericolosa. Per questo occorre difendere un settore che non esiste per dare dei profitti, ma per parlare direttamente alla gente”. Queste parole di Riccardo Muti racchiudono il principio fondamentale che guida il mio lavoro di scrittore avventurosamente votato, per autoinvestitura, al ruolo di divulgatore musicale. E che Dio mi abbia in gloria! Bisogna scrivere di musica non solo per invogliare ad ascoltarla o suonarla, ma soprattutto per educare le persone a vivere musicalmente, con creatività e gentilezza, aprendosi agli altri come se la vita di ognuno fosse una partitura di singole note capaci di restituire bellezza quando vengono suonate insieme. La grande musica, sia essa di Bach, di Liszt o Rossini, apre la mente all’immaginazione, e chi sa immaginare coltiva bei sogni e riesce più facilmente a raggiungerli.

Alessandro Marangoni, pianista, si è diplomato col massimo dei voti, lode e menzione presso il Conservatorio ‘Antonio Vivaldi’ di Alessandria. Ha debuttato nel dicembre 2007 con un recital al Teatro alla Scala di Milano, in un omaggio a Victor de Sabata nel 40° anniversario della morte, insieme al pianista e direttore d’orchestra Daniel Barenboim. Ha suonato in Spagna con l’Orchestra Filarmonica di Malaga e a Bratislava con l’Orchestra Filarmonica Slovacca, sotto la direzione di Aldo Ceccato; ha inoltre diretto l’Orchestra ‘I Pomeriggi Musicali’ di Milano. Nella sua produzione discografia, spiccano i 13 CD dell’integrale completa dei Péchés de vieillesse di Gioacchino Rossini, l’integrale del Gradus ad parnassum di Clementi, l’Evangélion (The Story of Jesus) di Mario Castelnuovo-Tedesco, e la Via Crucis di Liszt (con il coro polifonico ‘Ars Cantica Choir’).

Diversi musicisti mi hanno confessato di essersi trovati, da bambini, su una strada che non avevano liberamente scelto di percorrere, senonché a un certo punto, crescendo, era scoccata la scintilla verso il proprio strumento. Questo succede perché si inizia a suonare molto presto, spinti dai genitori, e dunque gli studi musicali hanno due sbocchi: possono favorire una grande storia d’amore per la musica oppure trasformarsi in una coercizione che genera un senso di rifiuto e opposizione verso chi la pretende. Tra lei e il pianoforte è stato un colpo di fulmine o un processo più lungo, discontinuo, maturato per tappe successive?

Ho iniziato a suonare a cinque anni ed è stata una mia richiesta, anche piuttosto insistente: i miei genitori spesso mi portavano ai concerti e fui subito attratto dalla musica. Quando mi noleggiarono il primo pianoforte verticale in realtà mi aspettavo un organo a canne e piangevo perché non c’erano le canne, forse perché spesso andavo a sentire l’organo che suonava in chiesa. Ma poi fu subito amore per il pianoforte: studiavo con molto piacere e naturalezza, non mi è stato imposto nulla.

Trova normale (oh sì: è normale ma non certamente etico) che un politico sia a capo di una fondazione lirico-sinfonica e decida di sostituire un manager per puro opportunismo? Si sostiene che l’arte costa troppo e ha un pubblico sempre più ristretto, ma le perdite di bilancio sono uno strumento di ricatto: la Politica eroga finanziamenti, peraltro sempre più risicati, e in cambio pretende di diventare padrona della scena. La presidenza della fondazione lirica è attribuita di diritto al Sindaco del Comune in cui ha sede la fondazione stessa. E tra i membri del consiglio di amministrazione, uno è nominato dalla Regione e uno dal governo. Tutta gente per la quale sedersi in platea è solo passerella. Non crede che sarebbe più giusto restringere il ruolo dei burocrati e restituire la musica ai musicisti?

La storia è piena di questi colpi bassi alla grande musica, perché manca un’etica della responsabilità. I politici a volte sostengono cose assurde, frutto di demagogia o, spesso, di ignoranza. Dire che l’arte costa troppo è da un lato ridicolo, perché penso sia una delle spese minori che abbia uno Stato, dall’altro è criminale e diabolico, perché frutto di falsità e di una deliberata volontà di cancellare ciò che è bello e che è buono (e la Musica Forte piace alla gente, lo dimostrano i numeri!). L’arte può fare paura a chi ha smarrito l’etica della responsabilità comune perché è svelamento della verità e della coscienza dell’uomo che fa tremare chi fa il tifo invece per il disumano (o per chi vuole fare i propri interessi a scapito della collettività, della polis). L’Italia ha inventato le note musicali, il primo conservatorio del mondo è sorto a Napoli, abbiamo dato i natali ai più grandi musicisti di ogni tempo: basterebbe questo per ricordare a chi governa che l’investimento più importante del Paese è la Cultura, di cui la musica è uno degli elementi più significativi: porta lustro al Paese e anche ricchezza, turismo, civiltà, investimenti. Ogni volta che suono all’estero sono sempre accolto e coccolato con affetto e stima anche perché italiano! La musica dovrebbe essere presente fin dagli asili nido come elemento fondante l’educazione e la crescita dell’individuo, per creare una società migliore. Non è poi tutta negativa la situazione musicale italiana: conosco luoghi come ad esempio il Collegio Borromeo di Pavia dove la maggior parte del pubblico è composto da giovani, pieni di curiosità e di entusiasmo, e ai concerti si sentono urla da stadio!

Wilhelm Furtwängler, uno dei maggiori direttori d’orchestra del XX secolo, non aveva una grande opinione del pubblico che affollava le sale di concerto, e arrivò a dichiarare che si trattava di masse amorfe che reagivano inconsideratamente e quasi automaticamente a qualsiasi suggestione. Un atteggiamento di apparente disprezzo che Furtwängler giustificava così: “Occorre tempo per conoscere veramente un’opera. È difficile stabilire quanto tempo richieda un tale processo di comprensione e di chiarificazione, sia per un’opera musicale che per un artista. Esso può svolgersi per decenni e anche per un’intera vita. Basti citare Bach, le ultime opere di Beethoven, artisti come Bruckner”. Si tratta di una tesi affascinante ma al tempo stesso pericolosa, perché anestetizza lo spettatore sottraendogli il diritto alla critica.

Parlo per esperienza personale: il pubblico, qualsiasi pubblico, di ogni età ed estrazione sociale, capisce il valore e la bellezza della musica dopo poche note, perché la musica, se fatta bene, arriva dritta al cuore dell’uomo, prima ancora che all’intelligenza. Gli artisti non devono andare incontro al pubblico, lo devono guidare e devono essere un po’ ‘profeti’. Il pubblico vuole essere condotto, vuole conoscere cosa sta dietro una partitura, vuole lasciarsi emozionare, sta con gli occhi spalancati a vedere chi suona o dirige sul palcoscenico. Chiaramente c’è anche chi ascolta criticamente, volendo capire magari come è fatta una Fuga del Clavicembalo ben temperato di Bach, ma si tratta di una minoranza, soprattutto in Italia. Sono d’accordo sul fatto che ci vogliano decenni, magari non basta una vita per comprendere una Sonata di Beethoven o di Schubert, perché sono opere scritte da geni, personalità straordinarie con abilità intellettive non comuni, ma per apprezzare ed essere mossi ed emozionati da questa musica basta solo qualche ascolto attento. Invece credo che l’interprete abbia un compito molto più difficile rispetto al pubblico che recepisce la musica: bisogna essere molto preparati, studiare molto, conoscere di tutto, non solo la musica, andare a fondo per cercare di interpretare al meglio il volere del compositore. I musicisti hanno una grandissima responsabilità!

La sua incisione più importante, di certo la più imponente, è l’integrale discografica dei Peccati di vecchiaia, i Péchés de vieillesse di Gioacchino Rossini. Ben 14 CD, sette anni di ricerche che hanno prodotto un lavoro di grande valore non solo musicale ma anche storico, data la presenza di alcuni inediti. Tutto questo per ricordare al pubblico che Rossini non è soltanto un grande operista. Esiste un vasto repertorio di composizioni pianistiche destinate agli amici che andavano a trovarlo nella sua casa di Parigi. Brani dai titoli curiosi, come il Preludio igienico del mattino o il Piccolo valzer dell’olio di ricino. L’ironia rossiniana è la sola medicina in grado di cancellare quell’immagine di seriosità noiosa che spesso accompagna la musica cosiddetta seria.

Ascoltando (e suonando) Rossini è davvero impossibile annoiarsi! Innanzi tutto perché è del tutto imprevedibile, cambia in continuazione, non si stanca mai di trovare nuove idee, soluzioni innovative, non smette di stupire. Egli diceva: “La mia musica fa furore”, ed è proprio così anche oggi quando ascoltiamo queste gemme preziose che sono i Peccati di vecchiaia. Senza nessuna volontà di guadagno e senza ingaggi e commissioni, Rossini scriveva per la gioia di farlo, perché non poteva farne a meno, libero da ogni condizionamento. E qui nascono le sue cose migliori, dove si svela l’uomo Rossini, più ancora che nell’opera lirica. È musica piena di intelligenza, quindi di ironia, molto spesso anche di autoironia (pensiamo al pezzo che scrisse per il suo funerale!). Citerei un brano per tutti: il Petit caprice style Offenbach, in cui chiede al pianista di suonare il tema facendo le corna, poiché pensava che Offenbach portasse sfortuna: un esempio emblematico di come, nella sua immensa sapienza fuori dall’ordinario, Rossini ha saputo farci sorridere e insieme commuovere, mettendo a nudo quei tratti dell’umanità comuni a tutti e che non hanno tempo.

A un giovane esponente della musica trap, che va fortissima tra i millenials, non capiterà mai di sentirsi negare il diritto all’esistenza artistica perché un tempo ci furono un Modugno e un De Andrè migliori di lui. Stessa benevolenza non viene riservata ai giovani compositori della classica contemporanea. Nei foyer dei teatri e nelle platee s’udirà uno spettatore dire in un orecchio al vicino: “Eh, sì, ma allora Mozart? E Bach? E Beethoven? Quelli sì che erano musicisti”. È d’accordo con me nel ritenere che i compositori di oggi siano schiacciati dai paragoni con gli immortali della musica?

Credo innanzi tutto che oggi abbiamo grandi compositori viventi, che sicuramente passeranno alla storia, anche in Italia, dove esiste una grande scuola di composizione. Ma sarebbe come per uno scrittore contemporaneo di romanzi paragonarsi a Manzoni, o per un poeta a Dante. All’epoca di Mozart c’erano moltissimi compositori eccezionali come lui, che ebbero anche molta più fortuna di Wolfgang ma che oggi pochi ricordano; Bach per più di un secolo fu quasi del tutto sconosciuto se non ci fosse stato Mendelssohn a riscoprirlo. Credo che in ogni piega della storia ci siano state e ci sono persone dotate di una speciale intelligenza e di un carisma artistico non comune, ma anche tanti bravissimi musicisti che si esprimono attraverso la loro arte, nel lavoro quotidiano e artigianale. Un altro elemento importante e fondamentale credo sia l’umiltà, che significa anche darsi da fare: humilitas alta petit diceva San Carlo Borromeo.

Infine, la più scontata e inevitabile delle domande: progetti per il futuro?

Continuare a stupirmi e a gioire nel far musica, cercando di donare al mio pubblico questa meravigliosa arte al meglio delle mie capacità e col mio talento.

Francesco Consiglio

*In copertina: Alessandro Marangoni in un ritratto fotografico di Daniele Cruciani

L'articolo “L’arte fa paura a chi ha smarrito l’etica della responsabilità comune, perché è svelamento della verità e della coscienza dell’uomo”. Francesco Consiglio dialoga con il pianista Alessandro Marangoni proviene da Pangea.

from pangea.news https://ift.tt/2QKsOid

#Cultura generale #news #Alessandro Marangoni #Francesco Consiglio #Musica #orchestra #pianista #pian

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lelitblog · 6 years ago

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El lado desconocido de la música occidental

Romanticismo y posromanticismo

Todas las artes se basan en dos principios: la realidad y la idealidad

-Franz Liszt

Sin duda alguna, una de las épocas más trascendentes y significativas de la música fue aquella en la que se desarrollaron los periodos romántico y posromántico. Los sonidos de la música de los compositores representantes de estos periodos suelen ser tan brillantes y coloridos que no se puede ser indiferente ante ellos. La música, en sí, logra por primera ocasión tener significados profundos e intencionales en base a los sentimientos e ideologías de los propios autores, los cuales sentían la necesidad de comunicarlos por medio de este arte. Los románticos de la primera generación (abordados en la columna anterior) fueron los encargados de abrir el camino para que los del periodo tardío y posromántico se desarrollaran como lo hicieron, ya que incursionaron en nuevos aspectos, pero nunca dejaron de seguir la línea trazada desde el inicio. Uno de los aspectos más representativos de este periodo fue el de tocar música de compositores fallecidos por intérpretes virtuosos en series de conciertos. Actualmente, esta sentencia puede parecer ridícula, pero hay que recordar que, para ese punto de la historia, únicamente se tocaba música de autores vivos.

Uno de los intérpretes más asombrosos y de los compositores más innovadores del S.XIX fue claramente Franz Liszt (1811-1886). Liszt fue uno de los primeros en explotar la técnica pianística; fue el primer pianista en presentarse en una sala de concierto tocando un repertorio desde Bach hasta sus contemporáneos e igualmente, fue quien le dio a este tipo de concierto el nombre de recital. Durante la primera mitad de su vida, Liszt de dedicó a dar recitales, sin embargo, decidió concentrarse puramente en la composición a partir de 1848. En sus obras, Liszt exploró nuevas técnicas y texturas del piano, a decir verdad, gran parte de su música en para este instrumento. No obstante, Franz en Années de pèlerinage se propuso tomar varias obras de arte, admirarlas, interpretarlas, trabajarlas y así, hacer música con ellas. Se sabe que hizo esto con pinturas y sonetos de Petrarca y Dante. Por último, no puedo dejar de mencionar que Liszt fue el creador del poema sinfónico y que en sus piezas suele haber un constante uso de melodías húngaras.

Si Liszt ayudó considerablemente a la música en cuestiones interpretativas y estructurales, Hector Berlioz (1803-1869) fue aquel que contribuyó en la línea orquestal. Berlioz era un hombre muy tenaz, prueba viviente de ello fue cuando él mismo se autoproclamó su propio empresario y consiguió que su música se interpretase en conciertos organizados por él. Hector era un ávido lector, por tal motivo, muchas de sus composiciones están inspiradas en obras de Virgilio, Shakespeare y Walter Scott, por mencionar algunos. Berlioz, a parte de componer, se dedicaba a hacer crítica musical y a escribir sobre música. A propósito, al escribir su tratado de orquestación, marcó el inicio de una nueva época en la que el timbre instrumental pasaba a hacer igual de importante que la armonía y melodía.

Probablemente, uno de los compositores más reconocidos del posromanticismo sea Richard Wagner (1813-1883). Wagner es uno de los músicos más influyentes de todos los tiempos, con él, la ópera alemana se transformó y revolucionó al grado de que se le cambiase el nombre por drama musical. En 1830 es cuando Richard comienza a componer óperas, entre sus producciones más importantes están Tristan y Solda, el anillo del Nibelungo, el Holandés Errante y los maestros cantores de Nüremberg. Además de componer música, Wagner escribía ensayos sobre temas literarios, teatrales y políticos, uno de sus ensayos más importantes es el titulado La obra de arte del futuro. De igual manera, Richard tiene varios escritos antisemitas gracias a su ideología nacionalista arraigada, de hecho, varios investigadores han llegado a la conclusión que varias de sus óperas tienen un trasfondo antisemita. Regresando al tema musical, Wagner es reconocido por haber inventando el Leitmotiv (motivo conductor). Según Richard, los dramas musicales están organizados en torno a una idea o motivo concreto que los hace funcionar y que es el material básico.

Johannes Brahms (1833-1897) fue en definitiva el compositor más conservador del posromanticismo porque a él, en concreto, no le interesó innovar, sino que se concentró en retomar las obras maestras clásicas e inyectarles las nuevas tendencias de su época para así crear una música refinada y estética. Brahms es conocido por poseer una sensibilidad romántica impecable. Un dato interesante de la carrera de Brahms es que, durante sus primeros años de carrera, se reusó mucho a componer sinfonías porque se sentía abrumado, al pensar que jamás iba a alcanzar lo que Beethoven había logrado en su 9na. A pesar de u pensamiento, en 1876 termina su primera sinfonía que termina siendo un éxito. Entre las obras más importante de Johannes está su Requiem alemán. A diferente a los réquiems de otros compositores, el de Brahms no utiliza textos litúrgicos propios de la misa de difunto, sino que la letra está basada en pasajes tomados del antiguo testamento, de los textos apócrifos y del nuevo testamento.

No se puede hablar del posromaticismo sin mencionar a Anton Bruckner (1824-1896). Bruckner es indiscutible uno de los mejores sinfonistas que la música haya tenido. La orquestación usada por Anton en sus obras es sumamente portentosa y deslumbrante, sabía combinar con maestría los timbres de los instrumentos para que éstos sonaran en conjunto y, del mismo modo, destacaran en individual. Se puede decir que, con Bruckner, todos los instrumentos entran en el lugar y momento idóneo. Anton era organista, lo cuál es una razón muy buena para sospechar del porqué sabía usar tan bien las voces. Bruckner fue un compositor muy devoto, razón por la cuál sus obras religiosas son de una grandeza impresionante. En ellas logra combinar elementos modernos con elementos antiguos de la polifonía renacentista. La mayoría de sus obras religiosas están hechas para poder fusionarse con la liturgia.

Finalmente, después de haber escrito lo anterior, puedo asegurar que escuchar música romántica significa dejarse llevar por los sentidos. Para los compositores de este periodo, no hubo mayor ideal que no fuera el de buscar que la música llegará a lo más profundo de la intimidad del alma para que los oyentes pudieran experimentar las sensaciones que ellos se proponían expresar. Por mi parte, es imposible mencionar en un conjunto de columnas a todos los compositores que permitieron que el periodo llegara a hacer lo que conocemos, pero sí trate de incluir a los más representativos. Entre los que deje de lado, puedo mencionar a Chopin, Donizetti, Rossini, Giuseppe Verdi, Giacomo Puccini y César Frank. Por último, es importante recalcar que la característica fundamental del romanticismo tardío y posromántico fue que la música, por primera vez, no siguió solamente una forma compositiva y estructural, ni mucho menos un estilo, sino que en cada región se fueron surgiendo prácticas y escuelas diferentes.

---Pau Mendoza---

Lista de escucha

*Franz Liszt

https://open.spotify.com/album/2gdcNy4sHAuh4MQHGCqJAZ?si=5rsq3iGBQc6PtFnVWwBoSg

https://open.spotify.com/album/1ZzaUt3KWiUzvIcOn4NYGW?si=Q7mjlYi2TjGbdlxpQXB68Q

https://open.spotify.com/album/20VpNIIIwb0gMtF8Xr2bjf?si=AlBp0LEiS8O6VaIB7tmplw

https://open.spotify.com/album/1XUdVl1s9jMdW4pEVWLf34?si=kMcawaRgTb25125phI2wzg

https://open.spotify.com/album/4coJv1Sjv309k5otI5xNvq?si=XrD6jKmlQSmGiFkP6ETmWg

Hector Berlioz

https://open.spotify.com/album/1fv3bpx1zPfXM2apaduE2U?si=GioxTaD6Qm6tesB9J-VJHA

https://open.spotify.com/album/1XXt8Vc3fKiQpwz4Tpui1o?si=biq2hhOqRUej_DO877RdKg

https://open.spotify.com/album/4Fspe7SSH1V7Ls9Y6BCRXI?si=ltEhnVqtTICCuYvlh2UMuw

Wagner

- https://open.spotify.com/album/1EZQ4VfnQRvZq07sI2UlLD?si=-Ym3geVrTKaOqSTUzhxFpA

- https://open.spotify.com/album/0MGf7KlOt8wNA9c7n0TNbx?si=HnKllh3-Tmq7YtRAu_npvw

https://open.spotify.com/album/4IwO6GAWg4hCyAhKMaADJd?si=LoolE6RqRWKYHjmiNazl_g

https://open.spotify.com/album/2BwDETrPtINRoAI1aLS26m?si=JdJmTGCGQSOd2aQoiJHZ3g

Brahms

https://open.spotify.com/user/bazdra/playlist/22h3aeH5pKgYv0qLCd3bhq?si=K_cdmUVAQkORDO1udA46-g

https://open.spotify.com/album/5D0QnwFy75f9GX5Il95qT1?si=KTydnYRPQC2PAgpbS_AZxw

https://open.spotify.com/album/60EuOHjCxSzytQi88N5j9k?si=byd_4ekxRECN27lRlY7Bxw

https://open.spotify.com/album/0b0rUR3Hjhb2IJSBPRFBlH?si=xMquh0VTTxqb_VDuc-FY4w

https://open.spotify.com/album/12f34eRSWeo6AQ9ceBqbpH?si=8AL7AefORjOcwrnh6Vxpzw

Bruckner

https://open.spotify.com/album/2Q2FzUnB2EbiwVkqahA8pB?si=_99Dm7exQdmNdyrQVEdWCg

https://open.spotify.com/album/7nU70nUBYziBt9F9tawvCi?si=30nBwY48RXeP61tcOaw0Ug

https://open.spotify.com/album/3gGKmo7LTNC3XgFG1VtesU?si=VVbMfi0fS7OmnQBK_zA6Hw

https://open.spotify.com/album/5spZzioClVMRZ0MI6RS7xl?si=EG6eLFxGQX2efmqch3Hcaw

https://open.spotify.com/album/3RY00OixSTBw74GjalsXBg?si=CoYyW2-QQwCnj_20FYyuPA

#columna pau #música culta

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joaquimblog · 7 years ago

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Cor Vivaldi, Lisa Campos i Núria Prats Conservatori del Liceu 20 d egener de 2018. Fotografia IFL

Lisa Campos-Cor Vivaldi 20 de gener de 2018 Conservatori del Liceu Fotografia IFL

Núria Prats-Cor Vivaldi 20 de gener de 2018 Conservatori del Liceu. Fotografia IFL

Cor Vivaldi Conservatori del Liceu 20 d egener de 2018. Fotografia IFL

No vaig poder assistir al concert de tardor del Cor Vivaldi i finalment no hi va poder haver la tradicional crònica que de fa anys no deixa de ser un clàssic a IFL, però sortosament en aquesta ocasió i amb dies obres absolutament desconegudes per a mi, el discret Stabat Mater del compositor bohemi Jan Křtitel Vaňhal i les bellíssimes Vesperae pro festo Sancti Innocenti de Johann MIchael Hyadn, el germà petit del gran Franz Joseph.

Dues obres quasi coetànies però estèticament allunyades una de l’altra. La de Vaňhal encara ancorada en un barroc tardà mentre que la de Haydn jr, ja amb la mirada posada en el període clàssic, prenent una consistent volada que de no ser per la fama merescudíssima del seu germà gran, de ben segur avui seria més considerada i coneguda.

En les dues obres el Cor Vivaldi va està acompanyat per la Vivaldi Camerata, una formació instrumental formada per a un quartet de corda (2 violins, viola i violoncel) i dues trompes, amb l’acompanyament a l’orgue d’Arnau Farré, habitual i imprescindible en la immensa majoria dels concerts vivaldians. I també en les dues obres són importants les intervencions solistes, sobretot en el Stabat Mater i per aquesta obra el mestre Òscar Boada va triar a dues de les principals veus del cor: la soprano Lisa Campos i la mezzo Núria Prats per fer front a les 7 àries i al duet amb cor, de les 12 parts que formen aquesta obra. Va fer bé perquè elles dues van saber defensar amb molta seguretat el compromís, tot i l’exigència en el cant ornamentat i la coloratura, que requereix l’obra i que no és gaire habitual en el repertori i l’estil que sovinteja el Cor Vivaldi. En aquest sentit la tasca de Pilar Paredes, professora de cant del cor, va ser especialment meritòria, perquè si bé en alguns passatges va faltar aquella destresa habitual en les cantants adultes, la solvència i la correcció estilística hi eren, sobretot en Lisa Campos, ja coneguda solista de la casa i a qui l’obra de Vaňhal reserva la major exigència, més que no pas la part per a mezzo o contralt, ben projectada per Prats però sense l’ocasió de brillar tant com la seva companya.

L’obra no és gran cosa, certament, però com va dir el mestre Boada abans de començar, en les delicioses xerrades didàctiques que tant s’agraeixen per crear un clima d’atenció preconcert, s’escolta amb interès perquè és agradable melòdicament i formalment impecable.

La interpretació va ser una mica irregular, sobretot perquè la formació instrumental no va estar a l’alçada de la coral. Semblava talment que estàvem en dos móns diferents d’exigència i de resultats. Si bé és cert que el Vivaldi sempre està a un nivell alt, en aquesta obra vaig notar una manca de’equilibri entre les potents sopranos (poderosos i segurs aguts) i les mezzos i contralts, més apagades, tot i que sempre correctes.

L’obra em va semblar poc adequada per incloure-la en un concert del cor, ja que en realitat aquest només té 5 intervencions de les 12 i la resta recau, com ja he dit en les solistes, i malgrat la solvència en les resultats d’aquestes, crec que l’evident esforç no va lluir com calia, per les característiques de l’obra i per la distància que separava la interpretació coral de la instrumental

La segona part va suposar un canvi radical. En primer lloc perquè l’obra de Haydn jr em va semblar molt millor que la de Vaňhal, però també perquè tot el protagonisme, malgrat les parts solistes aquí interpretades a la manera vivaldiana, és a dir amb la intervenció estimulant de moltes de les integrants (en aquesta ocasió no hi havia representants masculins), són pel cor. L’obra semblava molt més preparada i cohesionada que l’Stabat Mater de la primera part, i fins i tot la formació orquestral va sonar més conjuntada, afinada i cohesionada amb el cor.

Tota una descoberta aquestes vespres que gràcies al mestre Boada i la sempre estimulant programació que proposa la temporada de les quatres estacions vivaldianes (concerts de tardor. hivern, primavera i estiu), sempre farcides d’obres estimulants i de resultats, com aquest cas brillants.

La propera ocasió serà el 21 d’abril amb obres de Brahms Schumann, Anton Bruckner i Felix Mendelssohn, sota la direcció del mestre Salvador Mas, i el d’0estiu serà el 30 de juny amb la interpretació de la fabulosa Petite Messe Solennelle de Rossini. Ambdós concerts, com tots els que d’aquesta temporada, en la millor sala acústica de la ciutat, la del Conservatori del Liceu. No hi falteu perquè el nivell i l’interès que ofereixen res tenen a veure amb el adotzenament de l’activitat musical de la ciutat.

Us deixo escoltar el Memento de les Vesperae pro festo Sancti Innocenti, tal i com va ser interpretat pel Cor Vivaldi en el concert d’ahir

[audio https://ximo.files.wordpress.com/2018/01/memento-jm-haydn.mp3]

L’àudio és gentilesa del Cor Vivaldi que pagant una quantitat simbòlica te l’envien a casa porques hores després d’haver acabat el concert, en una iniciativa magnífica.

CONCERT D’HIVERN DEL COR VIVALDI 2017/2018: Jan Křtitel Vaňhal i Johann Michael Haydn No vaig poder assistir al concert de tardor del Cor Vivaldi i finalment no hi va poder haver la tradicional crònica que de fa anys no deixa de ser un clàssic a IFL, però sortosament en aquesta ocasió i amb dies obres absolutament desconegudes per a mi, el discret…

#Òscar Boada #Conservatori del Liceu #Cor Vivaldi #Jan Křtitel Vańhal #Johann Michael Haydn #Lisa Campos #Núria Prats

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