Dame Isoleen Heather Begg DNZM OBE (1 December 1932 – 12 May 2009) Operatic mezzo-soprano
Dame Heather Begg spent most of her career in the United Kingdom and Australia. She was renowned in roles such as the title role in Bizet's Carmen, Amneris in Verdi's Aida and in lighter operas such as The Mikado (watch: The Mikado - Act 1 Finale.flv, uploaded by DancairoOpera. Accessed Dec. 1, 2018.) and The Gondoliers. She appeared alongside Dame Joan Sutherland, Luciano Pavarotti, Beverly Sills, Dame Kiri Te Kanawa, Plácido Domingo, Montserrat Caballé, Dame Janet Baker, José Carreras, and many other prominent singers. Her recording with Glenys Fowles of the "Flower Duet" from Delibes's Lakmé has become famous.
Heather Begg was born on December 1, 1932 in Nelson, New Zealand. She married Johnnie King, a Canadian, in 1964. He died in 1979. They had no children. On 12 May 2009, Begg died of leukemia, aged 76, in Canterbury Hospital, Campsie, Sydney, where she had made her home for many years.
Begg studied in Auckland with Sister Mary Leo and at the New South Wales State Conservatorium, during which time she won the 1955 Sydney
Sun Aria contest. She was engaged as a principal mezzo-soprano with the
National Opera of Australia from 1954-56. Her professional debut was as
Azucena in Verdi's Il trovatore.
An elegant celebration of Christmas on a symphonic scale presented by the Sydney Philharmonia Choirs.
ARTISTS:
Brett Weymark, Conductor
Teddy Tahu Rhodes, Baritone
Kerrie Anne Greenland, Soprano
Sydney Philharmonia Christmas Choir, VOX and Symphony Chorus
Sydney Philharmonia Orchestra
Friday 7 December at 8pm
Saturday 8 December at 1pm
Sunday 9 December at 1pm
Concert Hall Sydney Opera House
Carols at the House 2018 presented by the Sydney Philharmonia Choirs decks the Concert Hall with the brilliance of
baroque trumpets and sublime choruses by Handel and Bach and opulent
versions of familiar carols inspired in the fabulous arrangements by
Robert Shaw that have provided the soundtrack to Christmas for
generations.
Conductor Brett Weymark has added a few surprises in the
form of delightful music from stage and screen, story-telling, some
sublime silliness and, of course, audience participation. Acclaimed
Australian opera star Teddy Tahu Rhodes lends his rich baritone to the
proceedings.
Classical music forms the soundscape of many films. In this list, CMUSE chose twenty of the most unexpected and imaginative uses of classical
music in the motion pictures.
1. Melancholia: Tristan und Isolde Prelude by Wagner
2. Black Swan – Swan Lake by Tchaikovsky
3. A Clockwork Orange: Symphony No. 9 ‘Ode to Joy’ by Beethoven
4. Apocalypse Now: ‘Ride of the Valkyries’ from Die Walküre by Wagner
5. 2001: A Space Odyssey: Also Sprach Zarathustra by Strauss
6. Pretty Woman: La traviata by Verdi
7. Platoon: Adagio for Strings by Barber
8. The Hunger: The Flower Duet’ from Lakmé by Delibes
9. Amadeus: Requiem by Mozart
10. Truly, Madly, Deeply: Sonata for Viola da gamba and Keyboard No.3 in G minor, BWV 1029: Adagio by JS Bach
11. Chocolat: The Gnossiennes by Satie
12. Drowning by Numbers: Sinfonia Concertante: II. Andante by Mozart
13. Behind the Candelabra: Prelude in E minor, Op.28 No.4 by Chopin
14. Elvira Madigan: Piano Concerto No.21: Andante by Mozart
15. Eyes Wide Shut: Musica Ricercata: II. Mesto by Ligeti
16. Tree of Life: Má vlast by Smetana
17. Jean de Florette: Overture to La forza del destino by Verdi
18. Ferris Bueller’s Day Off: String Quintet in E, Op.11, No.5: Menuet Celebre by Boccherini
19. Bagdad Café: The Well-Tempered Clavier by JS Bach
20. Heaven: Spiegel im Spiegel by Arvo Pärt
and more from these links ...
Biopics of Classical Composers, by ursulahemard. IMDb. Accessed September 11, 2015. (Note from the creator: Biographical movies about the lives of composers of classical music. Research started in 2007. Work in progress. Any suggestions
welcome.)
Choral Singing / Sydney Philharmonia Choirs Co-presented by Sydney Opera House A semi-staged bravura romp in the Sydney Opera House Concert Hall
Dates and Venue:
Saturday 29 September 2018, at 8pm
Sunday 30 September 2018, at 1pm
Concert Hall, Sydney Opera House
Book by Hugh Wheeler
Based on the satire by Voltaire
Lyrics by Richard Wilbur, with additional lyrics by Stephen Sondheim, John LaTouche, Dorothy Parker, Lilliam Hellman and Leonard Bernstein
Orchestration by Leonard Bernstein and Hershy Kay
Musical continuity and additional orchestration by John Mauceri
Our gormless hero Candide and his fiancée Cunegonde are raised by the philosophical windbag Professor Pangloss to believe that all is for the best in this best of all possible worlds. Disaster, separation, disease, unpleasant journeys and attempted burning at the stake soon follow, until, thoroughly disillusioned, all the characters reunite at
home and resolve to make some sense of life. Think of it as the fun-house mirror version of Handel’s Saul, one where tragedy is played as farce – with a happy ending, of course.
Below, in discussion on Candide's SPC production: Music & Artistic Director Brett Weymark with Director Mitchell Butel.
From its rollicking overture to its string of affectionate parodies of opera, Gilbert and Sullivan, tango and Broadway glitz, Candide
is a delight from start to finish – one that might just make you think.
While the overture and showpieces like the bravura ‘Glitter and Be Gay’
have become concert-hall fixtures, the complete Candide is rarely mounted.
Classical Music / Composers Datebook: September 25
Brief biography of Russian composer and pianist Dmitri Shostakovich, his life and works. One of the 20thcentury's greatest symphonists. Famous for Symphony No. 5, considered his finest composition.
Early Years
Dmitry or Dimitri (Dmitriyevich) Shostakovich was born in St. Petersburg on September 25, 1906. His parents were both intellectuals and talented musicians. He initially studied with his mother, a professional pianist. He trained at St. Petersburg Conservatory when he was 10 years old and became an outstanding pianist. Three years later, he studied at the Petrograd Conservatory with Alexander Glazunov. At age 19, his Symphony no.1 was his graduation piece, which brought him early international attention. His creative development was determined more by events at home.
Family
Shostakovich married a scientist, Nina Varzara, and they had two children: Maxim became a conductor and pianist, and Galya (Galina), a biologist. He wrote many pedagogical works for his children who were also his piano students.
Below: Schostakowitsch: 7. Sinfonie (»Leningrader«) ∙ hr-Sinfonieorchester ∙ Marin Alsop, Conductor. Youutube, uploaded by Frankfurt Radio Symphony. Accessed September 25, 2018.
Experience this awe inspiring journey with Sydney Philharmonia Choirs' Chamber Singers, where they beautifully capture the physical and spiritual experiences of the pilgrim.
Friday 17th August, 8-9pm St Patrick’s Cathedral, Parramatta. Saturday 18th August, 8-9pm St Mary’s Cathedral Crypt, Sydney Tickets at the door.
Addendum (Posted today: December 3, 2018): Happy to share that this performance has just be included in Limelight's top shows of 2018: Classical Music - Classical music concerts that wowed critics in 2018. Here's the LINK.
Joby Talbot Path of Miracles Brett Weymark conductor Chamber Singers
‘The ultimate message of this music and music generally: hope for humanity
and love for this beautiful world in which we live.’ - Joby Talbot
Joby Talbot’s Path of Miracles is a sixty minute a capella choral masterwork that portrays the
experience of a pilgrim traveling the famous Camino de Santiago. Landmarks along the Camino include the church of Roncesvalles and the
cathedrals of Burgos, Leon and Santiago de Compostela. In Path of Miracles, these landmarks correspond
with the titles of the four movements.
Brief Profile of Joby Talbot
Joby Talbot, born 25 August 1971, is a British composer. He has written for a wide variety of purposes and a broad
range of styles, including instrumental and vocal concert music, film
and television scores, pop arrangements and works for dance. He is therefore known to sometimes disparate audiences for quite different works. His prominent compositions include the a cappella choral works The Wishing Tree (2002) and Path of Miracles (2005); orchestral works Sneaker Wave (2004), Tide Harmonic (2009), Worlds, Stars, Systems, Infinity (2012) and Meniscus (2012); the theme and score for the popular BBC Two comedy series The League of Gentlemen (1999–2002); silent film scores The Lodger (1999) and The Dying Swan (2002) for the British Film Institute; film scores The Hitchhiker's Guide to the Galaxy (2005), Son of Rambow (2007) and Penelope (2008). He premiered his first opera, a one-act entitled Everest, in January 2015, with Dallas Opera.
Below is a video of Talbot's León,Third movement from "Path Of Miracles", performed by
Tenebrae, Nigel Short, artistic director. Paintings by Argentine-born
Italian Sculptor and Painter, Lucio Fontana (1899-1968).YouTube, uploaded by Thomas Turner. Accessed 14th July 2018.)
10 June 2018, 5 P.M. Sunday Concert Hall, Sydney Opera House
It's again that time of the year in June when hundreds of passionate singers from interstate and all
over the world join the Sydney Philharmonia Choirs choristers for the annual ChorusOz weekend of singing, fun and
friendship, finishing with a performance on the world-famous Sydney Opera House Concert Hall with a professional orchestra and soloists.
Briefly, Handel's Oratorio 'SAUL'
George Frideric Handel's Saul, HWV 53, is a dramatic oratorio in three acts with a libretto by Charles Jennens. Taken from the First Book of Samuel, the story of Saul focuses on the first king of Israel's relationship with his eventual successor, David, one which turns from admiration to envy and hatred, ultimately leading
to the downfall of the eponymous monarch, Saul. Handel
composed it in 1738, including the famous "Dead March", a funeral anthem for Saul and his son Jonathan, and some of Handel's most dramatic choral pieces. Saul was first performed at the Kind's Theatre in London on 16th January 1739. The work was a success at its London
premiere and was revived by Handel in subsequent seasons.
Maurice Ravel's Shéhérazade for solo voice and orchestra is first performed in Paris, May 17, 1904. It is a song cycle for soprano (or tenor) solo and orchestra, after three poems by Tristan Klingsor: "Asie," "La flûte enchantée," and "L'indifférent," written in 1903. The performance was at the Société Nationale, Paris, with Jeanne Hatto and the orchestra conducted by Alfred Cortot.
Pietro Mascagni's famous and most successful opera, Cavalleria Rusticana, is first performed in Costanzi Theater, Rome, also on the same day, May 17 (1890).
Michèle Losier - Shéhérazade, I. Asie (Ravel)
Cavalleria Rusticana - Mascagni (opera completa) - Noto (SR) 31/08/2013
Video Credit:
Sheherazade by Ravel. YouTube uploaded by Bellerophon. Accessed 17 May 2016.
Cavalleria Rusticana. by Mascagni. YouTube uploaded by Giacomo Mazzoni. Accessed 17 May 2018.
Resources:
Myers RH. Ravel: Life and Works. Thomas Yoseloff, New York, 1960.
Sadie, Stanley, Ed. (1994). The Grove Concise Dictionary of Music, Ne wUpdated Edition. London: Macmillan Publishers.
(c) May 2016. Updated May 18, 2018. Tel. Inspired Pen Web. All rights reserved.
Wolfgang Amadeus Mozart began his series of preserved piano concertos with these four that he wrote in Salzburg, K. 37 and 39-41, the autographs dated by his father Leopold Mozart as having been completed in April (K. 37) and July (K. 39–41) of 1767.
Although these works were long considered to be original, they are now
known to be orchestrations of sonatas by various German virtuosi. The works on which the concertos are based were largely published in Paris, and presumably Mozart and his family became acquainted with them
or their composers during their visit to Paris in 1763–64.
The young Mozart seems to have begun to learn how to cope with the structural
problems of composing in the piano concerto form by using movement from the sonatas of other composers. It may be that his father had devised this as a compositional teaching method.
Here's a link: Mozart's Piano Concertos Nos. 1-4, K.37, 39-41. Produced by Decca in 12 videos. Artists: Robert Levin, harpsichord; The Academy of Ancient Music with Christopher Hogwood, conductor & director. Accessed July 28, 2020.
Haydn's The Creation presented by the Sydney Philharmonia Festival Chorus
Date: Saturday 26 May 2018 at 5pm Venue: Centennial Hall, Sydney Town Hall
Joseph Haydn’s visionary masterpiece depicts nothing less than the creation of the universe, in music of sublime imagination and power.
Haydn, renowned for his innovative symphonies in London, was inspired
by Handel’s example to try his hand at the oratorio – but on a scale
never before seen. Searching for a subject, a friend apparently pointed
at a Bible and said, “Take that, and begin at the beginning.” The Creation
therefore begins with a seething and dissonant depiction of chaos
before light bursts out in a radiant C major affirmation of balance and
order. In the stunning sequence of arias and choruses that follows we
meet larks, whales, angels, tigers and the first people. Haydn’s
perfectly-judged music evokes all of the events of Genesis with
a winning blend of humour and sophistication – all lowing oxen and
angelic choirs – that made it an overnight success, aided by being
released simultaneously in both English and German.
The Creation has remained a much-anticipated highlight of
choral seasons ever since, a delight to hear and to sing, resplendent
with Classical optimism, grace and grandeur. As befits this expansive
and festive work, the Sydney Philharmonia Festival Chorus and The
Metropolitan Orchestra perform in the ornate splendour of Centennial
Hall at Sydney Town Hall, with soloists led by luminous award-winning
soprano Taryn Fiebig, tenor Nicholas Jones, and bass Arthur Judd.
"The Heavens are Telling!" The heavens are telling the glory of God! The wonder of His works displays the firmament ...
While living in Salzburg, Wolfgang Amadeus Mozart wrote seventeen Church Sonatas (sonata di chiesa), also known as
Epistle Sonatas, between 1772 and 1780. These are short single-movement
pieces intended to be played during a celebration of the Mass between
the Epistle and the Gospel.
Three of the sonatas (Nos.12,14,17), include oboes, horns, trumpets and
timpani. The rest, eight of the sonatas, are scored for organ and strings (with no violas, only
two violins and basso continuo), where in some of them (Nos
7-10,13-15,17) the organ has an obligato solo part, while in the
other nine sonatas Nos 1-6,11,12,16, the organ accompanies along with the figured
bass.
Most of these pieces would be inserted into any mass setting of the
appropriate key. Those requiring more instruments than the standard
"Salzburg Church Quartet" are meant to go with specific mass settings
that have that instrumentation.
Franz Schubert's Impromptus are a series of eight pieces for solo piano composed in 1827, published in two sets of four impromptus each:
The first two pieces in
this Set 1 in D 899, Op. 90 - were published in Schubert's lifetime as Op. 90. The third and fourth pieces were published in 1857
(although the third piece was printed by the publisher in G major,
instead of G-flat as Schubert had written it, and remained available
only in this key for many years).
I'm sharing two interpretations from two brilliant interpreters of Schubert's music, pianists Maria João Pires and Alfred Brendel.
Note: The second set, D. 935, Op. 142, was published posthumously, as Op. 142 in 1839 (with a
dedication to Franz Liszt added by the publisher. Three other unnamed piano compositions (D. 946), written a few months before the composer's death, in May 1828, are also known as both "Impromptus"
and Klavierstücke ("piano pieces").
Date: Saturday 31 March 2018, 1pm Venue: Concert Hall, Sydney Opera House
At
the pinnacle of Johann Sebastian Bach's artistry is one of his greatest choral works,
the B Minor Mass. Composed over the course of 16 years, it is a
compendium of every aspect of Bach’s genius and a profound testament of
his faith.
This majestic performance by the Sydney Philharmonia Choirs, with intimate solo arias and instrumental moments, marks the Easter weekend the timeless power of Bach's music.
Johann Sebastian Bach was a deeply religious man with aesthetic
convictions. On July 28, 1750, less than a year after completing B-minor Mass, he died in Leipzig, due to complications from treatment
following eye surgery. His body in a humble oak casket was buried in a
site unmarked until the mid-19th century. Mozart found revelation in
Bach's work reflected in the younger composer's famous unfinished Requiem. But it was not until 1829, during Mendelssohn's revival of Bach's work, in particular, Mendelssohn’s momentous performance of the St. Matthew Passion
that secured Bach’s place in history.
Bach's Mass was published in 1845,
nearly 100 years after the composer's death. Complete performances followed in
Europe. Bach's B-minor Mass is a masterful combination of sublimity and
profundity.
From the choir’s first call for God’s mercy, to its final prayer for peace, the B Minor Mass is a trove of musical riches. Weaving together moments of overwhelming majesty with intimate solo arias decorated with intricate instrumental filigree, and outbreaks of dancing joy, the Mass has everything that gives Bach’s
music its timeless power.
The Symphony No. 1 in E♭ major, K. 16, was written by Wolfgang Amadeus Mozart in 1764, while in London, UK. He was eight years. By this time, he was already notable in Europe as a wunderkind performer, but had composed little
music. The piece was written on the Mozart family's Grand Tour of Europe in London when they had to move to Chelsea during the summer of 1764 due to Mozart's father's throat infection. The house at 180 Ebury Street, now in the borough of Westminster, where this this symphony was written, is marked with a plaque.
This symphony was first performed on 21 February 1765. The work shows the influence of
several composers, including his father Leopold Mozart and the sons of Johann Sebastian Bach, in particular, Johann Christian Bach, an early symphonist working in London whom Mozart had met there.
Madama Butterfly (Madame Butterfly) is an opera in three acts (originally two) by Giacomo Puccini, with an Italian libretto by Luigi Illica and Giuseppe Giacosa.
It is based on the short story "Madame Butterfly" (1898) by John Luther Long, which in turn was based on stories told to Long by his sister Jennie Correll and on the semi-autobiographical 1887 French novel Madame Chrysanthème by Pierre Loti. Long's version was dramatized by David Belasco as the one-act play Madame Butterfly: A Tragedy of Japan, which, after premiering in New York in 1900, moved to London, where Puccini saw it in the summer of that year.
On February 17, 1904, Giacomo Puccini's masterpiece, Madama Butterfly
premiered at Teatro alla Scala, sung in Italian.
The opera, briefly
Lieutenant B.F. Pinkerton, an officer in the U.S. Navy, is captivated with Cio-Cio San, a young geisha, known as 'Madam Butterfly'. Pinkerton's desire for Butterfly is so strong that he would do anything to have her. He therefore arranges through Goro, a
marriage broker, to marry her in a Japanese wedding ceremony.
This tale of a young Japanese geisha who marries an American naval officer who then leaves her explores themes of devotion and responsibility, fidelity and justice.
Food for thought: It should be noted that 'Madama Butterfly' was composed by Puccini during the 18th and 19th century opera – quite different from the current gender and racial implications, to a degree that no small number of hyper-critical observers are demanding its removal from the repertoire entirely for what may be construed as racist. Simply, let's enjoy the show, the music, the performance.
Japan, at the turn of the 20th century. Lieutenant Benjamin Franklin Pinkerton of the U.S. Navy inspects a house overlooking Nagasaki harbor he is leasing from Goro, a marriage broker. The house comes with three servants and a geisha wife named Cio-Cio-San, known as 'Madam Butterfly'. Subject to a monthly renewal, the lease runs for 999 years. Sharpless, the American consul, arrives breathless from climbing the hill. Pinkerton describes his philosophy of the fearless Yankee roaming the world in search of experience and pleasure. He intends to marry Butterfly although unsure of his feelings for the young girl. Sharpless warns him that the girl may view the marriage differently, but Pinkerton brushes off such concerns and says someday he will take a real, American wife. He offers the consul whiskey and proposes a toast. Butterfly arrives with her friends for the ceremony. After the formal introduction, Butterfly admits her age is 15, and explains that her family was once prominent but now earns a living as a geisha to earn her living. Her relatives arrive for the marriage of Butterfly to Pinkerton. Cio-Cio-San shows Pinkerton her few possessions and tells him that she has been to the Christian
mission and will embrace her husband’s religion. The Imperial Commissioner reads the marriage agreement, and the relatives congratulate the couple. Suddenly, a threatening voice is heard from afar—it is the priest Bonze, Butterfly’s uncle. He curses the girl for going to the mission and rejecting her ancestral religion. Pinkerton
orders them to leave, and as they go, the Bonze and the relatives denounce Cio-Cio-San. Pinkerton tries to console Butterfly. Suzuki helps her into her wedding kimono before the couple meets in the garden, where they make love.
Act II.
Three years have passed. Cio-Cio-San continuously awaits her husband’s return. Suzuki prays to the gods for help, but Butterfly berates her for believing in lazy Japanese gods rather than in Pinkerton’s promise to
return. Sharpless appears with a letter from Pinkerton, but before he can read it to Butterfly, Goro arrives with the latest suitor, the wealthy Prince Yamadori. Butterfly politely serves the guests tea but insists she is not available for marriage—as she awaits her husbands return. Sharpless attempts to read Pinkerton’s letter and suggests that perhaps Butterfly should reconsider Yamadori’s offer. In response, she presents the consul with
her young son by Pinkerton. She says that his name is “Sorrow,” but will be called "Joy" when his father returns. Unable to read Pinkerton's letter, Sharpless leaves, promising to tell the former of the child. A cannon shot in the harbor announces the arrival of a ship. Butterfly and Suzuki take a telescope to the terrace and read the name of the vessel—it is Pinkerton’s. Overjoyed, Butterfly joins Suzuki in decorating the house to welcome Pinkerton. Butterfly, her son, and Suzuki settle into a vigil watching over the harbor but with no Pinkerton in sight.
Act III.
Another Dawn breaks. Suzuki insists that Butterfly get some sleep. Butterfly carries the child into the house. Sharpless appears with Pinkerton and Kate, Pinkerton’s new wife. Suzuki realizes who the American woman is and agrees to help break the news to Butterfly. Pinkerton is overcome with guilt and runs from the scene, pausing to remember his days in the little house. Cio-Cio-San rushes in hoping to find Pinkerton, but sees Kate instead. Grasping the situation, she agrees to give up her son but insists Pinkerton return for him. Dismissing everyone, Butterfly takes out the dagger with which her father committed suicide, choosing to die with honor rather than live in shame. She is interrupted when the child comes in, but Butterfly says goodbye and blindfolds him. She stabs herself as Pinkerton arrives, calling out for her.
Video Credit:
2018.Puccini - Madama Butterfly full Opera english subtitles Soprano Mirella Freni Tenore Placido Domingo. YouTube, uploaded by Giacomo James. Accessed February 17, 2023. (Note: Herbert Von Karajan, Norbert Balatsch; Wiener Philarmoniker, staged and directed by Jean-Pierre Ponnelle. Artists: Mirella Freni, Placido Domingo, Christa Ludwig, Robert Kerns, Michel Sénéchal, Marius Rintzler, Elke Schary, Giorgio Stendoro.)
Arcangelo Corelli (b. 17 February 1653 – d. 8 January 1713), was an Italian composer and violinist of the Baroque era. Baptismal records indicate that he was born on 17 February in the smal Romagna town of Fusignano, (family were land-owners), then in the diocese of Ferrara, Papal States. His father, from whom he took the name Arcangelo, died five weeks
before the composer's birth. Consequently, he was raised by his mother,
Santa (née Ruffini, or Raffini), alongside four elder siblings.
He visited Modena and Nales, conducted at the Roman residence of Queen Christina of Sweden, and t uaght many pupils including Geminiani.
His music, marked by graceful melody, is richer in contrapuntal and harmonic interest, and admired for the balance and brilliance of its style. He was key in the development of the modern genres of sonata and concerto, in establishing the preeminence of the violin.
Image Credit:
Arcangelo Corelli as painted in 1697 by the Irish painter Hugh Howard. Public Domain.
Join Sydney Philharmonia Choirs this year 2018 for their Discover series! The music will bring great choral masters that allow us to explore the
history behind the works, what inspired the composers and the chance to
sing excerpts from the scores. All this under the guidance of a skilled
group of workshop leaders who specialize in choral music. Each workshop
leader has been selected based on their experience with particular
composers and will bring a wealth of knowledge, enthusiasm and expertise
to the workshop.
Why join Discover?
Gain a deeper understanding of the times in which the music was written and uncover the stories around the work
Actively engage in the music, singing sections of the work
Learn about your voice and the ways it is used to sing these great choral works
For the first half of 2018 Discover workshops take place in SPC rehearsal space at Pier 4, Hickson Road, Millers Point. Pier 4 is
located in Walsh Bay, is easily accessible by public transport and is
surrounded by cafes, restaurants all with gorgeous views of Sydney
Harbour. With renovations scheduled to begin on the Walsh Bay wharves in
July 2018, they will be holding the remainder of workshops CBD
locations, soon to be confirmed.
The Original Motion Picture Soundtrack (1965) of the film Doctor Zhivago. Composed and Conducted by Maurice Jarre, performed by the MGM Studio Orchestra.
Movie information: Based on the novel by Boris Pasternak. Producer: Carlo Ponti, Director: David Lean, Screenplay: Robert Bolt. Starring: Omar Sharif, Julie Christie, Geraldine Chaplin, Tom Courtenay, Alec Guinness, Siobhan McKenna, Ralph Richardson, Rod Steiger, Rita Tushingham
Playlist:
1. As played by The Metropolitan Pops Orchestra (1965)
2. Main Title
3. Komarovsky And Lara's Rendezvous
4. The Funeral
5. Lara's Theme
6. Sventyski's Waltz
7. Overture
8. Lara's Theme (Waltz Version)
9. At The Student Cafe
10. Tonya's Theme
11. March Theme-45rpm
12. March Theme-33rpm
In a globe-spanning collaboration, Sydney Philharmonia - VOX and Estonia’s E Stuudio Youth Choir celebrate the rich vocal music of our countries. The young voices of Sydney’s VOX choir are a product of
Australia’s bold musical culture – and its great choral music. VOX
performs new Australian music by leading composers such as Ross Edwards,
Paul Stanhope and Dan Walker inspired by Australia’s unique
environment. E Stuudio Choir will showcase the spiritually-inclined
music of their homeland. Finally, the
two choirs join forces to stunning effect in a meeting of north and
south.
On the face of it, the tiny Baltic state of Estonia and the vast continent of Australia couldn't be more different, or distant. But there's at least one thing that unites us: the vibrancy of our musical
traditions.
Featuring works by Arvo Pärt, Eric Whitacre, Ola Gjeilo, Dan Walker and Paul Stanhope.
Celebrating the genius of Wolfgang Amadeus Mozart with three favourite overtures, six great piano concertos, and his final three symphonies.
This post is inspired by a recent series of performances hosted by the Sydney Symphony Orchestra, February 1-10, 2018. The events featured the SSO with pianist Emanuel Ax, Maestro David Robertson, conducting.
I. Dramatic Mozart
Don Giovanni: Overture
Piano Concerto No.14 in E flat, K449
Piano Concerto No.20 in D minor, K466
Symphony No.40
II. Seductive Mozart
Cosi fan tutte: Overture
Piano Concerto No.16 in D, K.451
Piano Concerto No.17 in G, K453
Symphony No.39
III. Magnificent Mozart
The Marriage of Figaro: Overture
Piano Concerto No.19 in F, K.459
Piano Concerto No.27 in B flat, K.595
Symphony No.41 (Jupiter)
Resources:
Booklets, and SSO programs to subscribers. 2018.
Sydney Symphony Orchestra. SSO website. Accessed February 2018.
(c) 2018. Tel Asiado. Inspired Pen Web. All rights reserved.
The Hours is the original soundtrack album, on the Elektra/Nonesuch
label, of the 2002 film of the same name, The Hours, starring Nicole Kidman, Meryl Streep
and Julianne Moore. The original score was composed by Philip Glass.
Note: Not all of the music in the film was composed specifically for it: earlier music by Glass, including a theme from his opera Satyagraha, was also featured and credited separately at the end of the film.
Beautiful recording and interpretation of Philip Glass's The Hours, arranged for piano solo by Michael Riesman and Nico Muhly.
The Tracks
1. The Poet Acts
2. Morning Passages
3. Something She Has to Do
4. I'm Going to Make a Cake
5. An Unwelcome Friend
6. Dead Things
7. Why Does Someone Have to Die?
8. Tearing Herself Away
9. Escape!
10. Choosing Life
11. The Hours
Johannes Chrysostomus Wolfgangus Theophilus Mozart
(January 27, 1756 - December 5, 1791)
What can I say of this beloved composer that I haven't already said? Inspired Pen Web joins Mozart lovers and enthusiasts worldwide in celebrating the 262nd birthday anniversary of Wolfgang Amadeus Mozart, January 27.
Alongside all the many articles written about Mozart, including those I've posted in this website, for this year 2018, the 262nd birthday anniversary of this beloved genius, I've decided to feature 12 of his music, thanks to Youtube, uploaded by olfux, and narrated by the late Peter Ustinov, two-time Academy Award-winning film actor, director, writer, journalist and raconteur.
2. Mozart and his music (2 of 12)
The years of traveling. Wolfgang Mozart, "das Wunderkind," performs
for the most dignified persons all over Europe with his father as absolute promoter and
accountant.
3. Mozart and his music (3 of 12)
Mozart's life as an adult begins with new journeys, but on
account of his father's professional necessity, now accompanied by his
mother. The first destinations were Augsburg and Mannheim.
In Mannheim he became acquainted with a new kind of music marking the end
of the Baroque period. In 1778 he composed 'Paris Symphony '
with many of the new musical features and to his father's dismay he fell in
love with the fifteen years old soprano Aloysia Weber.
4. Mozart and his music (4 of 12)
After many desperate warnings from his father against women Mozart and
his mother went to Paris on the fathers orders. Here a great artistic
war raged between supporters of Gluck and Piccini and in this war there
were no place for the young Mozart.
Depressed and lonely the mother collapsed and shortly after she died. On
his way home to his father Mozart passed by Munich to see Aloysia only
to be rejected by the now celebrated singer credited the Bavarian
Court.
Heartbroken he came home to Salzburg, but shortly after he was
comissioned to write an opera, Idomeneo, the premiere of which he
watched in Munich.
5. Mozart and his music (5 of 12)
After some time living at home in Salzburg with his father, Mozart moved to Vienna. After some time he marries Constanze Weber, Aloysia's younger sister, without his fathers approval. He now writes the Mass in C minor.
6. Mozart and his music (6 of 12)
Mass in C Minor. Mozart now composed with a new intensity and his
reputation grew hastily. Emperor Joseph II commissioned a new opera,
The Abduction from the Seraglio, which became the first of his five
greatest opera
7. Mozart and his music (7 of 12)
A happy period with one
masterpiece after another from Mozart's hand with an astonishing
speed. With help from his
librettist Lorenzo da Ponte, favoured by emperor Joseph II, and then
The marriage of Figaro which many has called an advance of the french
revolution, written in six weeks!
8. Mozart and his music (8 of 12)
At the height of his career as a composer Mozart's self-confidence was
boundless, but as a person he never grew up to act as an adult. He
was at times unspeakably childish and always as thoughtless as his work
was disciplined.
Symphony in G minor, Symphony in C major "Jupiter," Piano sonata in C
major.
9. Mozart and his music (9 of 12)
Vienna became a center for musical backbiting in which Mozart took part
with enthusiasm. He never forgot, that his opera, written when he was a
child - La finta semplice - The Pretended Simpleton - had been rejected
by older colleagues. His new opera - Don Giovanni - therefore had its
premiere in Prague, where later, it also became a great success in
Vienna.
10. Mozart and his music (10 of 12)
After the death of his father Mozart's marriage became less happy as
Constance's physical virtues could no longer hide her limited
intellectual capabilities. Besides they were often low on money.
11. Mozart and his music (11 of 12)
Cosi fan tutte - Sinfonia concertante for violin, viola and orchestra -
23 piano concertos - String quintet in G minor. Mozart was no
revolutionary, but he constantly changed the concept of the known forms
and often let the instruments sing like the human voice in
solo-parties.
In spite of his enormous popularity he never had an official employment. Gradually his personal
problems worsened and eventually the Vienna-public let him down. He tried
to find new strength by the free masons. In this sad period he was commissioned an opera for the celebration of the coronation of
Leopold II - La clemenca di Tito - and soon after, The magic flute, and
finally a requiem.
12. Mozart and his music (12 of 12)
Requiem.
A mysterious person ordered a requiem which would be well paid for on
certain conditions: Nor the composer or whom the requiem was written
for was ever to be revealed. (Later a count Wallsegg claimed the requiem
was his work). Mozart agreed, he needed the money and the deadly illness
of smallpox already raged in his body. He never completed the work (Franz Xaver Süssmayr was an Austrian composer
and conductor, Mozart's pupil and friend completed the unfinished Requiem in D Minor), and
on his deathbed listened with friends and family around him to the
Lacrimosa and died, 35 years old. He was buried in a massgrave which
was common practise with people of modest wealth and which Mozart himself
would have found naturally.
(c) 2018. Tel Asiado. Inspired Pen Web. All rights reserved.
Jacqueline Mary du Pré, OBE (26 January 1945 – 19 October 1987) was a British cellist. At a young age, she achieved enduring popularity. Despite
her short career, she is regarded as one of the most distinctive
cellists of all time. At the age of 28, her career was cut short by multiple sclerosis.
Du Pré was born in Oxford, England, the second child of Iris Greep and Derek du Pré. Derek was born in Jersey, where his family had lived for generations. After working as an accountant at Lloyds Bank in St Helier and London, he became assistant editor and later editor of The Accountant. Jacqueline's mother was a talented concert pianist who had studied at the Royal Academy of Music. At the age of four du Pré is said to have heard the sound of the
cello on the radio and asked her mother for "one of those." She began lessons from her mother, who composed little pieces accompanied by illustrations, before enrolling her at the London Violoncello School at age
five, studying with Alison Dalrymple.
For her general education, du Pré was enrolled first at Commonweal Lodge, and then at the age of eight,
transferred to Croydon High School, an independent day school for girls.
In a story depicted in oil painted animation, a young man comes to the
last hometown of painter Vincent van Gogh to deliver the troubled
artist's final letter and ends up investigating his final days there.
Loving Vincent is a 2017 animated biographical drama film about the life of Dutch painter Vincent van Gogh, in particular, the circumstances of his death. It is the first fully painted animated feature film. It is a Polish production, funded by the Polish Fil Institute, and partially through a Kickstarter campaign. It was first conceived as a seven minute short movie in 2008. which was idealized by Dorota Kobiela, a painter herself, after studying the techniques and the artist's story through his letters.
The film is said to consist of 65,000 frames, each of them an oil painting on canvas, using
the same technique as Van Gogh's, created by a team of 125 painters. The film premiered at the Annecy International Animated Film Festival in 2017.
Directors: Dorota Kobiela, Hugh Welchman Writers: Dorota Kobiela, Hugh Welchman Stars: Douglas Booth, Jerome Flynn, Robert Gulaczyk
Film Award:
Loving Vincent won Best Animated Feature Film Award at the 30th European Film Awards in Berlin and was nominated and was nominated for Best Animated Feature at the 90th Academy Awards.
"The Windmills of Your Mind" is a song with music by Michel Legrand, one of my favourite French composers of film and television scores. The English lyrics of this piece is written by Americans Alan and Marilyn Bergman. The melody was inspired by the theme of Wolfgang A. Mozart's Sinfonia Concertante second movement. The French lyrics (under the title "Les Moulins de mon cœur") was written by Eddy Marnay. The song (with the English lyrics) was introduced in the film The Thomas Crown Affair (1968), starring Steve McQueen and Faye Funaway. It was sung by Noel Harrison, and the film won the Academy Award for Best Original Song in the same year.
In 2004, "The Windmills of Your Mind" was ranked 57 in AFI's 100 Years
... 100 Songs survey of top songs in American cinema. Above, is a
recording of Noel Harrison singing this haunting and moving Oscar
winning classic song from the Thomas Crown Affair film.
Join Sydney Philharmonia Choirs this year 2018 for their Discover series! The music will bring great choral masters that allow us to explore the
history behind the works, what inspired the composers and the chance to
sing excerpts from the scores. All this under the guidance of a skilled
group of workshop leaders who specialize in choral music. Each workshop
leader has been selected based on their experience with particular
composers and will bring a wealth of knowledge, enthusiasm and expertise
to the workshop.
Why join Discover?
Gain a deeper understanding of the times in which the music was written and uncover the stories around the work
Actively engage in the music, singing sections of the work
Learn about your voice and the ways it is used to sing these great choral works
For the first half of 2018 Discover workshops take place in SPC rehearsal space at Pier 4, Hickson Road, Millers Point. Pier 4 is
located in Walsh Bay, is easily accessible by public transport and is
surrounded by cafes, restaurants all with gorgeous views of Sydney
Harbour. With renovations scheduled to begin on the Walsh Bay wharves in
July 2018, they will be holding the remainder of workshops CBD
locations, soon to be confirmed.
