Tag Archives: philadelphia orchestra

Richard Strauss – Der Rosenkavalier – Waltz Sequence No. 1: make music part of your life series


Richard StraussDer Rosenkavalier – Waltz Sequence No. 1

Isaac Stern – Edouard Lalo – Symphonie Espagnole, Op.21: great compositions/performances


Isaac Stern – Edouard Lalo – Symphonie Espagnole, Op.21

Mendelssohn-Piano Concerto No. 1 in g minor Op. 25, Rudolf Serkin/Philadelphia Orchestra- Eugene Ormandy: great compositions/perfornmances


Mendelssohn-Piano Concerto No. 1 in g minor Op. 25

Wieniawski-Violin Concerto No. 2 in d minor op. 22: great compositions/performances


WieniawskiViolin Concerto No. 2 in d minor op. 22

Chopin: Piano Concerto No. 1, in E minor, Op. 11 – Emil Gilels/Phylarmonia Orchestra, Eugene Ormandy: Great compositons/performances


Chopin:  Piano Concerto No. 1,
in E minor,  Op. 11

Mussorgsky “Pictures at an Exhibition” arr: Stokowski: great compositions/performances


Mussorgsky “Pictures at an Exhibition” arr: Stokowski

Leopold Stokowski “La Cathédrale engloutie” Debussy (1968): great compositions/performances


Fabulous musical moments: Ottorino Respighi Brazilian Impressions (Antal Dorati and The London Symphony Orchestra 1957)


[youtube.com/watch?v=WQ0rqgWloQU]

Ottorino Respighi:  Brazilian Impressions (Antal Dorati/LSO)

Ottorino Respighi Brazilian Impressions
1. Tropical Night
2. Butantan
3. Song and Dance

Antal Dorati and The London Symphony Orchestra

1957

From Wikipedia, the free encyclopedia

 

Ottorino Respighi

Ottorino Respighi (Italian: [ottoˈriːno resˈpiːɡi]; 9 July 1879 – 18 April 1936) was an Italian composer, musicologist and conductor. He is best known for his orchestral music, particularly the three Roman tone poems: Fountains of Rome (Fontane di Roma), Pines of Rome (I pini di Roma), and Roman Festivals (Feste romane). His musicological interest in 16th-, 17th- and 18th-century music led him to compose pieces based on the music of these periods. He also wrote a number of operas, the most famous of which is La fiamma.

Biography

Ottorino Respighi was born in Bologna, Italy. He was taught piano and violin by his father, who was a local piano teacher. He went on to study violin and viola with Federico Sarti at the Liceo Musicale in Bologna, composition with Giuseppe Martucci, and historical studies with Luigi Torchi, a scholar of early music. A year after receiving his diploma in violin in 1899, Respighi went to Russia to be principal violist in the orchestra of the Russian Imperial Theatre in St Petersburg during its season of Italian opera. While there he studied composition for five months with Rimsky-Korsakov.

He then returned to Bologna, where he earned a second diploma in composition. Until 1908 his principal activity was as first violin in the Mugellini Quintet. In 1908-09 he spent some time performing in Germany before returning to Italy and turning his attention entirely to composition. Many sources indicate that while he was in Germany, he studied briefly with Max Bruch, but in her biography of the composer, Respighi’s wife asserts that this is not the case.[1]

During the second decade of the twentieth century, Respighi was active as a performer and composer. His compositions began to draw attention, and in 1913 he was appointed as teacher of composition at the Conservatorio di Santa Cecilia in Rome, where he lived for the rest of his life. In 1917 his international fame began to spread through multiple performances of the first of his Roman orchestral tone poems, Fountains of Rome. In 1919 he married a former pupil, the singer Elsa Olivieri-Sangiacomo. From 1923 to 1926 he was director of the Conservatorio. In 1925 he collaborated with Sebastiano Arturo Luciani on an elementary textbook entitled Orpheus. He was elected to the Royal Academy of Italy in 1932.

A visit to Brazil resulted in the composition Impressioni brasiliane (Brazilian Impressions). He had intended to write a sequence of five pieces, but by 1928 he had completed only three, and decided to present what he had. Its first performance was in 1928 in Rio de Janeiro. The first piece, “Tropical Night”, is a nocturne with fragments of dance rhythms suggested by the sensuous textures. The second piece is a sinister picture of a snake research institute, Instituto Butantan, that Respighi visited in São Paulo, with hints of birdsong (as in Pines of Rome). The final movement is a vigorous and colorful Brazilian dance.

On the ship back home from Brazil, Respighi met by chance with Italian physicist Enrico Fermi. During their long conversation, Fermi tried to get Respighi to explain music in terms of physics, which Respighi was unable to do. They remained close friends until Respighi’s death in 1936.[2]

Apolitical in nature, Respighi attempted to steer a neutral course after Benito Mussolini came to power in 1922. His established international fame allowed him some level of freedom but at the same time encouraged the regime to exploit his music for political purposes. Respighi vouched for more outspoken critics such as Arturo Toscanini, allowing them to continue to work under the regime.[3]

Feste Romane, the third of his Roman tone poems, was premiered by Toscanini and the New York Philharmonic Orchestra in 1929; Toscanini recorded the music twice for RCA Victor, first with the Philadelphia Orchestra in 1942 and then with the NBC Symphony Orchestra in 1949. Respighi’s music had considerable success in the USA: the Toccata for piano and orchestra was premiered (with Respighi as soloist) under Willem Mengelberg with the New York Philharmonic Orchestra at Carnegie Hall in November 1928, and the large-scale theme and variations entitled Metamorphoseon was a commission for the fiftieth anniversary of the Boston Symphony Orchestra.

Respighi was an enthusiastic scholar of Italian music of the 16th, 17th and 18th centuries. He published editions of the music of Claudio Monteverdi and Antonio Vivaldi, and of Benedetto Marcello‘s Didone. His work in this area influenced his later compositions and led to a number of works based on early music, such as his three suites of Ancient Airs and Dances. In his Neoclassical works, Respighi generally kept clear of the musical idiom of the classical period, preferring to combine pre-classical melodic styles and musical forms (like dance suites) with typical late-19th-century romantic harmonies and textures.  He continued to compose and tour until January 1936, after which he became increasingly ill. A cardiac infection led to his death by heart failure on 18 April that year at the age of 56. A year after his burial, his remains were moved to his birthplace, Bologna, and reinterred at the city’s expense.

Works

Opera

Ballet

  • La Boutique fantasque (1918), borrows tunes from the 19th century Italian composer Rossini. Premiered in London on 5 June 1919.

  • Sèvres de la vieille France (1920), transcription of 17th-18th century French music

  • La Pentola magica (1920), based on popular Russian themes

  • Scherzo Veneziano (Le astuzie di Columbina) (1920)

  • Belkis, Regina di Saba (1931)

Orchestral

  • Preludio, corale e fuga (1901)

  • Aria per archi (1901)[5]

  • Leggenda for Violin and Orchestra P 36 (1902)[6]

  • Piano Concerto in A minor (1902)

  • Suite per archi (1902)[7]

  • Humoreske for Violin and Orchestra P 45 (1903)[8]

  • Concerto in la maggiore, for Violin and Orchestra (1903), completed by Salvatore Di Vittorio (2009)[9]

  • Fantasia Slava (1903)

  • Suite in E major (Sinfonia) (1903)

  • Serenata per piccola orchestra (1904)[10]

  • Suite in Sol Maggiore (1905), for organ and strings[11]

  • Ouverture Burlesca (1906)

  • Concerto all’antica for Violin and Orchestra (1908)

  • Ouverture Carnevalesca (1913)

  • Tre Liriche (1913), for mezzo-soprano and orchestra (Notte, Nebbie, Pioggia)[12]

  • Sinfonia Drammatica (1914)

  • Fountains of Rome (1916)

  • Ancient Airs and Dances Suite No. 1 (1917), based on Renaissance lute pieces by Simone Molinaro, Vincenzo Galilei (father of Galileo Galilei), and additional anonymous composers.

  • Ballata delle Gnomidi (Dance of the Gnomes) (1920), based on a poem by Claudio Clausetti

  • Adagio con variazioni (1921), for Cello and Orchestra

  • Concerto Gregoriano for Violin and Orchestra (1921)

  • Ancient Airs and Dances Suite No. 2 (1923), based on pieces for lute, archlute, and viol by Fabritio Caroso, Jean-Baptiste Besard, Bernardo Gianoncelli, and an anonymous composer. It also interpolates an aria attributed to Marin Mersenne.

  • Pines of Rome (1924)

  • Concerto in modo misolidio (Concerto in the Mixolydian mode) (1925)

  • Poema autunnale (Autumn Poem), for Violin and Orchestra (1925)

  • Rossiniana (1925), free transcriptions from Rossini‘s Quelques riens (from Péchés de vieillesse)

  • Vetrate di chiesa (Church Windows) (1926), four movements of which three are based on Tre Preludi sopra melodie gregoriane for piano (1919)

  • Trittico Botticelliano (1927), three movements inspired by Botticelli paintings in the Uffizi Gallery, Florence: La Primavera, L’Adorazione dei Magi, La nascita di Venere; the middle movement uses the well-known tune Veni Emmanuel (O Come, O Come, Emmanuel)

  • Impressioni brasiliane (Brazilian Impressions) (1928)

  • The Birds (1928), based on Baroque pieces imitating birds. It comprises Introduzione (Bernardo Pasquini), La Colomba (Jacques de Callot), La Gallina (Jean-Philippe Rameau), L’Usignolo (anonymous English composer of the seventeenth century) and Il Cucu (Pasquini)

  • Toccata for Piano and Orchestra (1928)

  • Roman Festivals (1928)

  • Metamorphoseon (1930)

  • Ancient Airs and Dances Suite No. 3 (1932), arranged for strings only and somewhat melancholy in overall mood. It is based on lute songs by Besard, a piece for baroque guitar by Ludovico Roncalli, lute pieces by Santino Garsi da Parma and additional anonymous composers.

  • Concerto a cinque (Concerto for Five) (1933), for Oboe, Trumpet, Piano, Viola d’amore, Double-bass, and Strings

Vocal/choral

  • Nebbie (1906), voice and piano

  • Stornellatrice (1906), voice and piano

  • Cinque canti all’antica (1906), voice and piano

  • Il Lamento di Arianna (1908), for mezzo-soprano and orchestra[13]

  • Aretusa (text by Shelley) (1911), cantata for mezzo-soprano and orchestra

  • Tre Liriche (1913), for mezzo-soprano and orchestra (Notte, Nebbie, Pioggia)[14]

  • La Sensitiva (The Sensitive Plant, text by Shelley) (1914), for mezzo-soprano and orchestra

  • Il Tramonto (The sunset, text by Shelley) (1914), for mezzo-soprano and string quartet (or string orchestra)

  • Cinque liriche (1917), voice and piano

  • Quattro liriche (Gabriele d’Annunzio) (1920), voice and piano

  • La Primavera (The Spring, texts by Constant Zarian) (1922) lyric poem for soli, chorus and orchestra

  • Deità silvane (Woodland Deities, texts by Antonio Rubino) (1925), song-cycle for soprano and small orchestra

  • Lauda per la Natività del Signore (Laud to the Nativity, text attributed to Jacopone da Todi) (1930), a cantata for three soloists (soprano, mezzo-soprano, tenor), mixed chorus (including substantial sections for 8-part mixed and TTBB male chorus), and chamber ensemble (woodwinds and piano 4-hands)

Chamber

  • String Quartet in D major in one movement (undated)

  • String Quartet No. 1 in D major (1892–98)

  • String Quartet No. 2 in B flat major (1898)

  • String Quartet in D major (1907)

  • String Quartet in D minor (1909) subtitled by composer “Ernst ist das Leben, heiter ist die Kunst”

  • Quartetto Dorico or Doric String Quartet (1924)

  • Tre Preludi sopra melodie gregoriane, for piano (1921)

  • Violin Sonata in B minor (1917)

  • Piano Sonata in F minor

  • Variazioni, for guitar

  • Double Quartet in D minor (1901)

  • Piano Quintet in F minor (1902)

  • Six Pieces for Violin and Piano (1901–06)

  • Quartet in D major for 4 Viols (1906)

  • Huntingtower: Ballad for Band (1932)

  • String Quintet for 2 Violins, 1 Viola & 2 Violoncellos in G minor (1901, incomplete)

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Great Compositions/Performanaces: Wagner – Siegfried Act II: Forest Murmurs (Nature)


[youtube.com/watch?v=08vTtu4pmjk]

Wagner – Siegfried Act II: “Forest Murmurs” (Nature)

The peaceful beauty of the forest enchants Siegfried. He listens to the song of a bird, who tells him of a beautiful woman named Brünnhilde, asleep on a mountain encircled by a ring of magic fire. Only one who has no fear can pass through the flames and awaken her from sleep. Siegfried immediately sets out to find her.

*****Music performed by the Philadelphia Orchestra, conducted by  Eugene Ormandy.

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Make Music Part of Your Life Series: Paul Dukas – The Sorcerer’s Apprentice



Title : The Sorcerer’s Apprentice
Composer : Paul Dukas
Music : Leopold Stokowski (with the Philadelphia Orchestra)

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Make Music Part of Your Life Series: Beethoven-Piano Concerto No. 4 in G Major Op. 58 (Rudolf Serkin: piano-Philadelphia Orchestra-Eugene Ormandy)



***Beethoven-Piano Concerto No. 4 in G Major Op. 58
***Rudolf Serkin: piano-Philadelphia OrchestraEugene Ormandy: ***conductor-1962

From Wikipedia, the free encyclopedia

Ludwig van Beethoven‘s Piano Concerto No. 4 in G major, Op. 58, was composed in 1805–1806, although no autograph copy survives. It is scored for solo piano and an orchestra consisting of a flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings. Like many classical concertos, it has three movements:

  1. Allegro moderato
  2. Andante con moto (in E minor)
  3. Rondo (Vivace)

Premiere and reception

It was premiered in March 1807 at a private concert of the home of Prince Franz Joseph von Lobkowitz. The Coriolan Overture and the Fourth Symphony were premiered in that same concert.[1] However, the public premiere was not until 22 December 1808 in Vienna at the Theater an der Wien. Beethoven again took the stage as soloist. This was part of a marathon concert which saw Beethoven’s last appearance as a soloist with orchestra, as well as the premieres of the Choral Fantasy and the Fifth and Sixth symphonies. Beethoven dedicated the concerto to his friend, student, and patron, the Archduke Rudolph.

A review in the May 1809 edition of the Allgemeine musikalische Zeitung states that “[this concerto] is the most admirable, singular, artistic and complex Beethoven concerto ever”.[2] However, after its first performance, the piece was neglected until 1836, when it was revived by Felix Mendelssohn. Today, the work is widely performed and recorded, and is considered to be one of the central works of the piano concerto literature.

 

 

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Great Compositions/Performances: OTTORINO RESPIGHI – TRILOGIA ROMANA



PINI DI ROMA – FONTANE DI ROMA (Orchestre symphonique de Montréal dir. Charles Dutoit) – FESTE ROMANE (The Philadelphia Orchestra dir. Riccardo Muti)

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Great Compositions/Performances: Isaac Stern Plays Dvorak’s Violin Concerto in A minor op. 53, Eugene Ormandy Conduction The Philharmonia Orchestra (the year is 1965)



Great Compositions/Performances: Isaac Stern Plays Dvorak’s Violin Concerto in A minor op. 53, Eugene Ormandy Conduction The Philharmonia Orchestra (the year is 1965)

Isaac Stern

Cover of Isaac SternRelated articles

Eugene Ormandy

Cover of Eugene Ormandy

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Beethoven: Septet in E-flat Major, Op. 20 – Curtis Institute of Music, Jan. 2013



Curtis Institute of Music, Field Concert Hall, Jan. 21, 2013

Samuel Boutris, Clarinet
Keith Buncke, Bassoon
Maureen Young, Horn
Yu-Chien Tseng, Violin
Hyeri Shin, Viola
Timotheos Petrin, Cello
Nathan Paer, Bass

 

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Great Performances: Isaac Stern – Edouard Lalo – Symphonie Espagnole, Op.21



Eugene Ormandy conducting Philadelphia Symphony Orchestra
I. Allegro non troppo
II. Scherzando
III. Intermezzo
IV. Andante
V. Rondo

 

Forest Murmurs – Siegfried Act II – Wagner – Nature [Philadelphia Orchestra, conducted by Eugene Ormandy.]



The peaceful beauty of the forest enchants Siegfried. He listens to the song of a bird, who tells him of a beautiful woman named Brünnhilde, asleep on a mountain encircled by a ring of magic fire. Only one who has no fear can pass through the flames and awaken her from sleep. Siegfried immediately sets out to find her.

Music performed by the Philadelphia Orchestra, conducted by Eugene Ormandy.

Beethoven-Turkish March, Op. 113



Turkish March
Opus 113
from the Ruins of Athens
Orchestral version
Ludwig van Beethoven

Performed by the Philadelphia Orchestra

Buy “Turkish March from Ruins of Athens, Op. 113” on

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Wieniawski-Violin Concerto No. 2 in d minor op. 22: Isaac Stern, violin – Philadelphia Orchestra – Eugene Ormandy, Conductor – 1957



Isaac Stern: violin-Philadelphia Orchestra-Eugene Ormandy: conductor-1957

Today’s Birthday: Leopold Anthony Stokowski (1882) – Legendary Conductor


Leopold Anthony Stokowski (1882)

Stokowski was a legendary British-American conductor whose strong advocacy of new music helped to broaden American musical taste. He conducted and toured with the Philadelphia Orchestra for more than two decades, transforming it into a world-class ensemble and creating the lush “Philadelphia sound.” He made three films, including Walt Disney‘s Fantasia, in which he also appeared. What made the “Philadelphia sound” so unique? More… Discuss