segunda-feira, 9 de junho de 2008
Tchaikovsky na Hungria!
Spartakus Juniki, leader
Zoltán Gyöngyössy, flute
Details: Come, Joy of Spring
VIVALDI: Flute Concerto in G minor "La notte", RV 439
HAYDN: Symphony in D minor "Lamentatione", Hob. I:26
TCHAIKOVSKY: Concert piece for flute and strings, Op. Posth. (first concert performance)Ed. by James Strauss
MOZART: Five Contredanses, K. 609
Andante for Flute and Orchestra, K. 315
TCHAIKOVSKY: Serenade for Strings, Op. 48
Address: Budapest V district, Roosevelt tér 9. Tel.: 411-6100.
terça-feira, 2 de outubro de 2007
Tchaikovsky complete works

Op.1 - 2 Piano Pieces
Op.2 - Souvenir de Hapsal for Piano
Op.3 - The Voivode, Opera (1867-1868)
Op.4 - Valse caprice in D Major for Piano
Op.5 - Romance in F minor for Piano
Op.6 - 6 Songs for Voice & Piano
Op.7 - Valse-Scherzo in A Major for Piano
Op.8 - Capriccio in Gb Major for Piano
Op.9 - 3 Morceaux for Piano
Op.10 - 2 Morceaux for Piano
Op.11 - String Quartet No. 1 in D major (1871)
Op.12 - The Snow Maiden, Incidental Music
Op.13 - Symphony No.1 in G minor, Winter Daydreams (1866)
Op.14 - Vakula the Smith, Opera (1874)
Op.15 - Festival Overture on the Danish National Anthem(1866)
Op.16 - 6 Songs for Voice & Piano
Op.17 - Symphony No.2 in C minor, Little Russian (1872)
Op.18 - The Tempest, Symphonic Fantasia after Shakespeare (1873)
Op.19 - 6 Morceaux for Piano
Op.20 - Swan Lake, Ballet (1875-1876)
Op.21 - 6 Morceaux for Piano
Op.22 - String Quartet No. 2 in F major (1874)
Op.23 - Piano Concerto No. 1 in B-flat minor (1874-1875)
Op.24 - Eugene Onegin, Opera (1877-1878)
Op.25 - 6 Songs for Voice & Piano
Op.26 - Serenade Melancolique for Violin & Orchestra
Op.27 - 6 Songs for Voice & Piano
Op.28 - 6 Songs for Voice & Piano
Op.29 - Symphony No.3 in D Major, Polish (1875)
Op.30 - String Quartet No. 3 in E-Flat minor (1875)
Op.31 - Marche Slave for Orchestra (1876)
Op.32 - Francesca da Rimini for Orchestra (1876)
Op.33 - Variations on a Rococo Theme for Cello & Orchestra (1876)
Op.34 - Valse-Scherzo for Violin and Orchestra
Op.35 - Violin Concerto in D Major (1878)
Op.36 - Symphony No.4 in F minor (1877-1878)
Op.37 - Piano Sonata in G Major (1878)
Op.37a - The Seasons, for Piano (1876)
Op.38 - 6 Songs for Voice & Piano
Op.39 - Album pour Enfants, 24 Pièces Faciles for Piano
Op.40 - 12 Morceaux for Piano
Op.41 - Liturgy of St. John Chrysostom, for Unaccompanied Chorus
Op.42 - Souvenir d'un Lieu Cher for Violin and Piano (1878)
Op.43 - Orchestral Suite No.1 in D minor (1878-1879)
Op.44 - Piano Concerto No. 2 (1879)
Op.45 - Capriccio Italien for Orchestra (1880)
Op.46 - 6 Duets
Op.47 - 7 Songs for Voice & Piano
Op.48 - Serenade in C for String Orchestra (1880)
Op.49 - 1812 Overture (1880)
Op.50 - Piano Trio in A minor (1882)
Op.51 - 6 Morceaux for Piano
Op.52 - Russian Vesper Service (1881)
Op.53 - Orchestral Suite No.2 in C Major (1883)
Op.54 - 16 Children's Songs
Op.55 - Orchestral Suite No.3 in G Major (1884)
Op.56 - Concert Fantasia in G Major for Piano and Orchestra
Op.57 - 6 Songs for Voice & Piano
Op.58 - Manfred Symphony in B minor (1885)
Op.59 - Dumka, Russian Rustic Scene in C minor for Piano (1886)
Op.60 - 12 Songs for Voice & Piano
Op.61 - Orchestral Suite No.4 in G Major, Mozartiana (1887)
Op.62 - Pezzo capriccioso for Cello and Orchestra (1888)
Op.63 - 6 Songs for Voice & Piano
Op.64 - Symphony No.5 in E minor (1888)
Op.65 - 6 Songs for Voice & Piano
Op.66 - Sleeping Beauty, Ballet (1888-1889)
Op.67 - Hamlet, Fantasy Overture in F minor
Op.67a - Hamlet, Incidental Music
Op.68 - The Queen of Spades, Opera (1890)
Op.69 - Iolanta, Opera (1891)
Op.70 - String Sextet, Souvenir de Florence (1890)
Op.71 - The Nutcracker, Ballet (1891-1892)
Op.71a - The Nutcracker Suite
Op.72 - 18 Pieces for Piano (1892)
Op.73 - 6 Songs for Voice & Piano
Op.74 - Symphony No.6 in B minor, Pathétique (1893)
Op.75 - Piano Concerto No. 3, Posth. (1892)
Op.76 - The Storm, Concert Overture (1860)
Op.77 - Fate, for Orchestra (1868)
Op.78 - The Voyevoda for Orchestra (1891)
Op.79 - Andante and Finale, Posth. (1895)
Op.80 - Piano Sonata in C# minor
Works without Opus Number
Anastasie-Valse for Piano (1854)
Aveu Passionné for Piano (1891)
By the River, By the Bridge, Piano Piece on the Theme of a Folk Song (1862)
Cello Concerto (Unfinished)
Cherevichki (Revision of Vakula the Smith) (1885)
Concertstuck. for Flute and Strings, Posth.
The Enchantress (1885-1887)
Funeral March, On themes from the opera The Oprichnik (1877)
Impromptu for Piano in Ab Major (1889)
Impromptu-Caprice (1884)
The Maid of Orleans, Opera (1878-1879)
Mazepa, Opera (1881-1883)
Military March for Piano (1893)
Moment Lyrique for Piano (1892)
The Oprichnik, Opera (1870-1872)
Potpourri, On themes from the opera The Voevoda (1867-68)
3 Romances (Berceuse, On Chant Encore, Qu'importe) for Piano
Romeo & Juliet Fantasy Overture
50 Russian Folksongs for Piano 4-Hands
String Quartet in B-Flat Major, Posth. (1865)
Symphony in Eb Major (Unfinished)
Theme & Variations for Piano in A minor (1863-64)
Undina, Opera (Unfinished)(1869)
Valse-Scherzo for Piano in A Major (1889)
The Volunteer Fleet March ( Marsch der Marine-Freiwilligen), in C Major for Piano (1878)
Forum realizado em MIAMI em janeiro de 2007 e programa do concerto

Tchaikovsky Forum presenters and participants
January 30, 2007, 2:00 pm–4:00 pm (MacMillan Hall Greatroom)
January 31, 2007, 10:00 am–12:00 noon (CPA Greenroom)
Presenters:
Ada Aynbinder, Musicologist
Daughter of the curator Polina Vajdman, of the Tchaikovsky Archives in Klin, Russia
Presenting "Drafts and sketches of unrealized works by Tchaikovsky"
James Strauss, Concert flutist
Presenting the reconstruction process for Tchaikovsky’s Concertstück for flute and strings
Ricardo Averbach, Assistant Professor and Music Director of the Symphony Orchestra and Oxford Chamber Orchestra, Miami University
Thomas Garcia, Assistant Professor of Ethnomusicology and Latin American Studies, Miami University
Eftychia Papanikolaou, Visiting Assistant Professor of Musicology, Miami University
Margarita Mazo
Professor of Ethnomusicology, Ohio State University
Margarita Mazo, professor of music, specializes in ethnomusicology (Russian village music, Stravinsky, Shostakovich, post-Soviet Russia) and publishes widely in both areas. She conducted field research in the U.S. and Russia and initiated a joint Russian-American research project on music in cognate communities residing in the U.S. and Russia. Based on this research, she produced a program "Russian Roots American Branches Music in Two Worlds" at the 1995 Smithsonian Festival of American Folklife. In 1999, she presented twelve pre-concert lectures for the Chicago Symphony’s Schostakovich Festival led by Mstislav Rostropovich. Prior to coming to Ohio State, Professor Mazo taught at Harvard University, New England Conservatory, and the Leningrad Conservatory. Under her leadership, the OSU program in ethnomusicology was awarded an Academic Enrichment grant, and a new Ethnomusicology Lab was established. In 1999, she received Ohio State University’s highest honor for scholars, the Distinguished Scholar Award.
Inna Naroditskaya
Associate Professor, Musicology, Northwestern University
Specialist in Azerbaijanian and Eastern music cultures, Russian music, gender studies, and diasporas. Author, articles and reviews in Ethnomusicology and Asian Music as well as essays and articles in Azerbaijanian and Russian publications; producer of numerous radio programs. Recipient of Center for the Education of Women prize, Rackham research grant, and funding from the International Institute and School of Music at the University of Michigan.
Oxford Chamber Orchestra Concert
Ricardo Averbach, conductor
James Strauss, guest artist
8 p.m. Wednesday, January 31
Hall Auditorium
Miami University
Oxford, OH 45056
Program
Prelude from Bachianas Brasileiras No. 4 Heitor Villa-Lobos
Concerto for Violin, Piano (Cembalo) and Strings, Joseph Haydn
in F major, Hob.XVIII:6, (transcribed for flute and piano)
James Strauss, flute
Siok Lian Tan, piano
Intermission
Small Kuban Variations, op. 59 Alexander Tchaikovsky
James Strauss, piccolo
Concertstück for Flute and Strings Pyotr Ill’yich Tchaikovsky
(Reconstructed and edited by Strauss)
James Strauss, flute
*Lensky’s Aria from Eugene Onegin Pyotr Ill’yich Tchaikovsky
*“Flight of the Bumblebee” from Tsar Saltan Rimsky-Korsakov
*Hora staccato Grigoras Dinicu
James Strauss, flute
* Arrangement and orchestration by James Strauss
James Strauss, flute
Jeffrey Khaner plays Tchaikovsky

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Khaner: Unexpected touch.
Orchestra 2001 plays CrumbBY: Tom Purdom 09.18.2007
Bring on the percussionTOM PURDOM Orchestra 2001 preceded the world premiere of George Crumb’s Voices from a Forgotten World with an unexpected touch. The concert’s guest soloist, the Philadelphia Orchestra’s Jeffrey Khaner, played Debussy’s Syrinx for unaccompanied flute offstage. Debussy’s other-worldly flute line floated through the hall from an unknown source while conductor James Freeman and seven musicians stood on the stage waiting to unveil the Crumb. There was no particular reason why Syrinx should be played offstage, but the interlude had a ritualistic quality that fits Crumb’s work. Some of Crumb’s pieces even look like rituals as the musicians move around the stage manipulating odd-shaped gongs, long whispery rattles and other exotic items. You can also argue that Crumb’s individualistic expressionism is a close cousin of the French approach to music. Like Crumb, French music has always emphasized tone color, and it usually attempts to evoke scenes and create moods. George Crumb’s music has been a regular feature of Orchestra 2001’s programs since James Freeman staged his first concerts 19 years ago. Crumb plays around with doctored pianos and odd effects, but he uses novel means to achieve classic ends.Piano as a sound effects vehicle Voices from a Forgotten World sets ten classic American songs for male and female soloists, accompanied by a percussion section that spread instruments over half the Perelman's stage and required four of our region's leading freelance percussionists. The hard working percussionists were reinforced, in addition, by a pianist, Marcantonio Barone, whose part treated his instrument as a percussion/sound effects vehicle in classic George Crumb style. Voices is the fifth volume in a series devoted to American song, and the most straightforward of the volumes I've encountered so far. In the last group I heard, the familiar melodies were fragmented and dominated by a cosmic background that treated them as lonely voices in the huge dark universe that looms over much of Crumb's sonic poetry. In this collection, most of the melodies are sung pretty much as we’re used to hearing them. Crumb’s main contribution is a series of accompaniments that exploit all the scene-painting potential of a percussion section. In spite of the stage full of equipment, Crumb’s accompaniments tended to be simple and almost sparse. He used the mammoth percussion section as a huge pallet and usually applied his colors a dab and a stroke at a time— the hiss of a South American rattle, the tap of a gong, the pluck of a heavy string on the piano.A celebration of laziness For the opening song, “Bringing in the Sheaves,” Crumb stretched out the melody and slowed the tempo, transforming the hymn into something slightly plaintive, as opposed to the exuberance it pulled out of the congregation in the Southern Baptist church I attended in my teens. His arrangement of “Hallelujah I’m a Bum” emphasized its celebration of a strain that runs through American life in spite of all our talk about the virtues of hard work. George Crumb was sitting right in front of me and baritone Patrick Mason sang the piece with a ne’er-do-well swagger that had the composer himself laughing.
domingo, 30 de setembro de 2007
Concertstuck no Japão

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Kaoru Nanba Newsmail
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Credits
Ryuusuke Numajiri (Performer) VIVALDI,ANTONIO (Composer) MASSENET,JULES (Composer) KETELBEY,ALBERT WILLIAM (Composer) FRANCK,CESAR (Composer) CHOPIN,FREDERIC (Composer) TCHAIKOVSKY,PETR ILYCH (Composer) CUI,CESAR (Composer) LASKA,JOSEPH (Composer) TSYBIN,VLADIMIR (Composer) Tooru Takemitsu (Composer)
Tchaikowsky - Concertstuck para flauta e orquestra de cordas

terça-feira, 25 de setembro de 2007
Chicago Flute Club

Chicago Flute Club
2007 Solo Artist Competition
Flute Festival - November 11, 2007
Doubletree Hotel O’Hare-Rosemont
Awards: First Place - $1000, Second Place - $500
ELIGIBLE SOLOISTS And Competition regulations
The Chicago Flute Club Solo Artist Competition is open to all flutists age 18 years or older, from any geographical area.
The application fee is $40 and is non-refundable
All application materials must be postmarked by October 1, 2007
No high school students will be permitted to enter
Current student of the final round judges will not be permitted to participate
The winner of the competition will be awarded $1,000.00
The second place winner will be awarded $500.00
The preliminary round will be recorded and no recordings will be returned
Eight soloists will be selected for the final round and will perform in-person with an accompanist
Finalists will be notified by October 15, 2007
Finalists are responsible for their own travel arrangements and expenses
The final round performance is open to the public
Finalists must provide their own accompanist. The Chicago Flute Club can provide you with contact information for a local accompanist if necessary.
All judges’ decisions are final
REPERTOIRE
Preliminary Round
Paul Hindemith, Acht Stücke für Flöte allein Movements I and I
Georg Philipp Telemann, Fantasia in A Minor (Grave, Vivace, Adagio, Allegro) No Repeats
Applicants must submit an unedited recording of the preliminary round selections on CD in the given order. No identifying information should appear on the CD face or packaging. Recordings will be coded and reviewed by a judging committee.
Final Round
Pyotr Il’yich Tchaikovsky (Reconstructed by James Strauss), Concertstück for Flute & Piano, Movement II Chanson sans paroles
Published by Falls House Press, available at Flute World (248-855-0410)
Two contrasting movements from the J.S. Bach sonatas in e minor, E major, or E-flat major, No Repeats
For more information contact
Jennifer Reiff, Chicago Flute Club Competition Chair
JJRflute@yahoo.com
630-670-3375
or visit www.chicagofluteclub.org
Solo artist competition
Application FoRM
(postmark deadline October 1, 2007)
Name:_____________________________________
Address:_____________________________________________________
_____________________________________________________________
Phone:___________________
Email:_________________________________ (Must be provided)
Include the following with your application:
A bio and resume
$40 application fee (Checks made payable to the Chicago Flute Club)
CD recording of the preliminary round repertoire
Send complete application materials to:
Solo Artist Competition
Chicago Flute Club
P.O. Box 246
Elmhurst, Illinois 60126