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31  DOWNLOADS ARRANGED BY NATIONALITY / Downloads: discussion without links should be posted here, for the access of both members and non-members alike / Re: United States Music on: June 23, 2015, 01:32:09 pm

More About Vincent Persichetti


Vincent Persichetti
From Wikipedia, the free encyclopedia


Vincent Ludwig Persichetti (June 6, 1915 – August 14, 1987) was an American composer, teacher, and pianist. An important musical educator and writer, Persichetti was a native of Philadelphia. He was known for his integration of various new ideas in musical composition into his own work and teaching, as well as for training many noted composers in composition at the Juilliard School.

His students at Juilliard included Philip Glass, Michael Jeffrey Shapiro, Kenneth Fuchs, Richard Danielpour, Robert Dennis, Peter Schickele, Lowell Liebermann, Robert Witt, Elena Ruehr, Randell Croley, William Schimmel, Leonardo Balada, and Leo Brouwer. He also taught composition to Joseph Willcox Jenkins and conductor James DePreist at the Philadelphia Conservatory.


Persichetti was born in Philadelphia, Pennsylvania in 1915 and remained a resident of that city throughout his life. Though neither of his parents were musicians, his musical education began early. Persichetti enrolled in the Combs College of Music at the age of five, where he studied piano, organ, double bass and later music theory and composition with Russel King Miller, whom he considered a great influence.

He first performed his original works publicly at the age of 14. By the time he reached his teens, Persichetti was paying for his own education by accompanying and performing. He continued to do so throughout high school, adding church organist, orchestral player and radio staff pianist to his experience. In addition to developing his musical talents, the young Persichetti attended art school and remained an avid sculptor until his death. He attended Combs for his undergraduate education as well. After receiving a bachelor's degree in 1936, he was immediately offered a teaching position.

By the age of 20, Persichetti was simultaneously head of the theory and composition department at Combs, a conducting major with Fritz Reiner at the Curtis Institute, and a student of piano (with Olga Samaroff) and composition at the Philadelphia Conservatory. He earned a master's degree in 1941 and a doctorate in 1945 from the Conservatory, as well as a conducting diploma from Curtis. In 1941, while still a student, Persichetti headed the theory and composition department as well as the department of postgraduate study at Philadelphia Conservatory.

In 1947, William Schuman offered him a professorship at Juilliard. Persichetti's students included Einojuhani Rautavaara, Leonardo Balada, Steven Gellman, Peter Schickele (P.D.Q. Bach), Michael Jeffrey Shapiro, Larry Thomas Bell, Claire Polin, Toshi Ichiyanagi, Robert Witt (who also studied with Persichetti at the Philadelphia Conservatory) and Philip Glass. He became Editorial Director of the Elkan-Vogel publishing house in 1952.

Persichetti is one of the major figures in American music of the 20th century, both as a teacher and a composer. Notably, his Hymns and Responses for the Church Year has become a standard setting for church choirs. His numerous compositions for wind ensemble are often introductions to contemporary music for high school and college students. His early style was marked by the influences of Stravinsky, Bartók, Hindemith, and Copland before he developed his distinct voice in the 1950s.

Persichetti's music draws on a wide variety of thought in 20th-century contemporary composition as well as Big Band music. His own style was marked by use of two elements he refers to as "graceful" and "gritty": the former being more lyrical and melodic, the latter being sharp and intensely rhythmic. He frequently used polytonality and pandiatonicism in his writing, and his music could be marked by sharp rhythmic interjections, but his embracing of diverse strands of musical thought makes characterizing his body of work difficult. This trend continued throughout his compositional career. His music lacked sharp changes in style over time. (Persichetti once said in an interview in Musical Quarterly that his music was "...not like a woman, that is, it does not have periods!").[this quote needs a citation] He frequently composed while driving in his car, sometimes taping staff paper to the steering wheel.

His piano music forms the bulk of his creative output, with a concerto, a concertino, twelve sonatas, and a variety of other pieces written for the instrument. These were virtuosic pieces as well as pedagogical and amateur-level compositions. Persichetti was an accomplished pianist. He wrote many pieces suitable for less mature performers, considering them to have serious artistic merit.

Persichetti is also one of the major composers for the concert wind band repertoire, with his 14 works for the ensemble. The Symphony No. 6 for band is of particular note as a standard larger work. He wrote one opera, entitled The Sibyl. The music was noted by critics for its color, but the dramatic and vocal aspects of the work were found by some to be lacking.

He wrote nine symphonies, of which the first two were withdrawn (as were the first two symphonies by two other American composers of the late thirties and early forties, William Schuman and Peter Mennin), and four string quartets.

Many of his other works are organized into series. One of these, a collection of primarily instrumental works entitled Parables, contains 25 works, many for unaccompanied wind instruments (complete listing below). His 15 Serenades include such unconventional combinations as a trio for trombone, viola, and cello, as well as selections for orchestra, for band, and for duo piano.

Persichetti frequently appeared as a lecturer on college campuses, for which he was noted for his witty and engaging manner. He wrote the noted music theory textbook, Twentieth Century Harmony: Creative Aspects and Practice, which informed readers such as Robert Fripp.[1] He and Flora Rheta Schreiber wrote a monograph on William Schuman.


Also please check out the Bruce Duffie interview with Persichetti at: 
http://www.bruceduffie.com/persichetti.html

Also included in the download is a copy of John Christie's thesis providing a Strucutural Analysis of Persichetti's Symphony 6 ( for Band)

32  DOWNLOADS ARRANGED BY NATIONALITY / Downloads: discussion without links should be posted here, for the access of both members and non-members alike / Re: United States Music on: June 23, 2015, 01:30:12 pm
Music of Vincent Persichetti

From the collection of Karl Miller
Quote

If I knew you very well, I would rather not be talking to you in words; I would rather talk to you in a piece I write.  All my relationships are more meaningful when it's through my music.
[/i]



Concertino for Piano and Orchestra
Likely performers
Composer,piano
Eastman-Rochester Symphony Orchestra
Howard Hanson Conductor
[22 October 1945]


Symphony No. 1 (Reading session)
Eastman-Rochester Symphony Orchestra
Howard Hanson Conductor
[28 October 1947]


Symphony No. 4
New York Philharmonic
James de Priest, Conductor
[21 April 1988]


Symphony No. 4
Philadelphia Orchestra
Eugene Ormandy, Conductor
[March 1976]


Concerto for English Horn and Strings
Thomas Stacey, English Horn
New York Philharmonic
Eric Leinsdorf, conductor
[17 November 1977]


Symphony No. 7 "Liturgical"
Buffalo Philharmonic Orchestra
Lukas Foss, Conductor
[25 September 1967]


Symphony No. 7 "Liturgical"
Indianapolis Symphony Orchestra
Izler Solomon, Conductor
[17 December 1960]


Concerto for Piano and Orchestra
1. Allegro Not Troppo
2. Andante Sostenuto
3. Allegro Vivace
Anthony de Bonaventura, Piano


The Pleiades
Gordon Mathie, Trumpet
Crane Chorus
Crane Symphony Orchestra
Composer. Conductor
[10 May 1968]


Concerto for Piano and Orchestra
Anthony de Bonaventura, Piano
Dartmouth Community Symphony Orchestra
Mario de Bonaventure, Conductor
First Performance
[2 August 1964]


Concerto for Piano and Orchestra
James Dick, piano
Chicago Symphony Orchestra
Eugene Ormandy, Conductor
Date unknown


Concerto for Piano and Orchestra
James Dick, piano
Philadelphia Orchestra
Eugene Ormandy, conductor
[7 December, 1979]


Concerto for Piano and Orchestra
James Dick, piano
Houston Symphony Orchestra
C. William Harwood, conductor
[16 March, 1982]



also, some of his works for band from other sources....

Symphony No. 6 (Symphony for Band)
Hofstra University Wind Ensemble
Fall 2013


Masquerade for Band
Opus 82 Wind Band
Norwegian Wind Band Championships, 2013


Psalm for Band
Pageant

North Texas Wind Symphony


Divertimento for Band
USAF Heartland of America Band
Frederick Fennell conducting
Strauss Auditorium, 
University of Nebraska at Omaha
November 1992.






David Dubal and Vincent Persichetti  Radio Show
One in a series of radio programs titled "For the Love of Music,"
hosted by David Dubal on WNCN-FM, New York. Guest is composer Vincent Persichetti. Originally broadcast on June 3, 1984.

33  DOWNLOADS ARRANGED BY NATIONALITY / Downloads: discussion without links should be posted here, for the access of both members and non-members alike / Re: Czech Music on: March 02, 2015, 09:48:16 pm
Frantisek Emmert: Symphony 7


From the collection of Karl Miller


Brno State Philharmonic Orchestra
Frantisek Kilek, conductor


From the Czech Music Information Center:

After completing his studies in Prague he entered the Janacek's Academy of Performing Arts in Brno, where he studied composition with Jan Kapr (1961 - 1965). He continued as a postgraduate under guidance of Miloslav Istvan from 1967 to 1970. Since then he has become a lecturer in instrumentation and music theory at the Janacek's Academy, from 1975 he has lectured also in composition (in 2006 he was appointed professor). His compositional output includes such large music forms as symphonies, cantatas and oratorios, and more intimate pieces (vocal and chamber music). His Christian faith is a great source of inspiration for most of his works.
34  DOWNLOADS ARRANGED BY NATIONALITY / Downloads: discussion without links should be posted here, for the access of both members and non-members alike / Re: United States Music on: March 02, 2015, 09:37:47 pm
Richard Danielpour: Symphony No. 2 "Visions"


From the collection of Karl Miller
[url]



Tenor and soprano unknown
San Francisco Symphony Orchestra
Cond. Charles Wourinen
[19 Dec 1986]


Composer's Program Note:

Symphony No. 2, Visions is a five-movement work. The text is from Dylan Thomas’s “Vision and Prayer,” a poem in two parts, each part consisting of six sections. The poems in the first half of the work were written and are printed in diamond shapes; each poem of the second part appears on the page in the form of an hourglass. I have used all the sections of the first part and the last section of the second part. The last poem serves as an epilogue to Thomas’s entire work and is used in a similar way in the last movement of this symphony – as a final point of arrival and reflection.

In the first half of his cycle, Thomas uses imaes of the life of Christ in birth (movements one and two), in suffering (movement three), and in death and resurrection (movement four). Thomas’s work is, however, not simply a poetic narrative of the life of Jesus as much as it documents a journey of the soul – the soul of the poet-mystic who undergoes his own transformation as he experiences an often fantastic and sometimes frightening vision.

In the last movement (“I turn the corner of prayer…”), an ultimate reaction and resolution occurs in the heart of the poet. Here he returns to the center of his soul to discover that the power of his vision has indeed transformed him. In short, Dylan Thomas’s “Vision and Prayer” is a journey from darkness to light, from unanswered questions to illumination. It was with this spiritual passage in mind that I conceived my Second Symphony, both dramatically and structurally.

In the first movement, the tenor rises out of a darkly orchestrated introduction to ask, “Who / Are You / Who is born / In the next room…” Images of darkness and solitude are evoked with the words “And the heart print of man / Bows no baptism / But dark alone….” The second movement is the shortest of the five. In this movement, the witness experiences an epiphany of sorts, which culminates with the words “And the winges wall is torn / by his torrid crown / And the dark thrown / From his loin / To bright / Light.” Here, as in all five movements, a substantial amount of purely orchestral music follows the final words sung by the voice, and provides an opportunity for reflection and development of the textual and musical ideas.

The appearance of the soprano in the third movement reflects a pivotal turn in the progress of the drama and also provides a coloristic contrast, highlighting the structural centerpiece of the symphony. This central movement is musically the most complex of all and it could be compared to the development section of a sonata movement. It also contains the most violent music in the work, as it expresses an inner confrontation on the part of the poet, who, in his awareness of Christ’s suffering, discovers his own pain (“For I was lost who am / Crying at the man drenched throne….”) A quote from the second movement of Mahler’s Das Lied von der Erde is used here.

I have used two voices in this symphony as a projection of two sides of the same personality. The soprano voice symbolizes the physical and the temporal. She is a harbinger and symbol of death. Indeed, the last words given to the soprano in the fourth movement are “And the whole pain / Flows open / And I / Die.” The tenor, on the other hand, represents the soul and the will of the poet, and in the fourth movement he sings in an impassioned quasi recitative style that is clearly influenced by the violence and fury of the music in the third movement. What follows this furious chant-like introduction is a series of events that lead ultimately to the dramatic climax of the work: the joining of the soprano and the tenor voices, unaccompanied. But before this happens, music that harks back to the ideas and emotional environment of the first movement is heard. “Silent Night” is quoted in the oboe and solo horn, emerging as a by-product of the musical material. What follows is an evocation of the tenor’s opening lines in the first movement (“Who / Are you / Who is born / In the next room…”), rendered now by muted strings.

The last movement is the most orchestral (and least song-like) of the five and serves not only as a denouement to the fourth movement, but also as an epilogue to the entire symphony. Much of the musical material of the first three movements is brought back and transformed to achieve a sense of dramatic closure. The climax of the movement occurs at the words “I / Am found.” These are the only words in the entire text that I have repeated. They are reiterated to mirror both the personal sense of revelation as well as the subsequent need to share the new-found awareness. The coda of the last movement, quiet and intimate in character, uses both solo violin and cello as shadows of the voices in the drama.
35  DOWNLOADS ARRANGED BY NATIONALITY / Downloads: discussion without links should be posted here, for the access of both members and non-members alike / Re: United States Music on: March 02, 2015, 09:12:28 pm
Update to Karl Millers Ross Lee Finney Collection
If you have downloaded the original, I have just posted a link for the files for Radio Program 6 from that collectiion.
36  DOWNLOADS ARRANGED BY NATIONALITY / Downloads: discussion without links should be posted here, for the access of both members and non-members alike / Re: Italian Music on: March 02, 2015, 09:01:30 pm
Music of Riccardo Zandonai

From the collection of Karl Miller




Works:

Colombina, Overture
Orchestra of the la Fenice Theatre Venice
Carlo Felice Cillario


La Farsa Amorosa Ouverture
Torino RAI Orchestra
N. Bonavolonta

Concerto Andaluso for Cello and Orchestra
Massimo Amphiteatrof, cello

Orchestra of the la Fenice Theatre Venice
Carlo Felice Cillario


La Via della Finestra, Symphonic Suite from the Opera
Rome RAI Orchestra
Armando Gatto


Wikipedia Bio
Biography

Zandonai was born in Borgo Sacco, Rovereto, then part of Austria–Hungary.

As a young man, he showed such an aptitude for music that he entered the Pesaro Conservatorio in 1899 and completed his studies in 1902;[1] he completed the nine-year curriculum in only three years. Among his teachers was Pietro Mascagni, who regarded him highly.

During this period he composed the Inno degli studenti trentini, that is, the anthem of the organised irredentist youth of his native province. His essay for graduation was an opera named Il ritorno di Odisseo (The Return of Ulysses), based on a poem by Giovanni Pascoli, for singers, choir and orchestra. The same year 1902 he put to music another Pascoli poem, Il sogno di Rosetta. In 1908, in Milan, he was heard by Arrigo Boito at a soirée, and Boito introduced him to Giulio Ricordi, one of the dominating figures in Italian musical publishing at the time.

Zandonai's fame rests largely on his opera Francesca da Rimini, a free adaptation of a tragedy which Gabriele d'Annunzio had written expanding a passage from Dante's Inferno; it has never fallen entirely from the repertoire, and has been recorded several times. A while after the première, he married soprano Tarquinia Tarquini, for whom he had created the role of Conchita in the eponymous opera (dealing with a topic that Puccini had first considered and then rejected).

Soon, however, war broke out; patriotic Zandonai in 1916 composed a song, Alla Patria ("For the Motherland"), dedicated to Italy, with the result that his home and belongings in Sacco (then still in Austro–Hungarian hands) were confiscated (he received them back after the war).

When Puccini died without completing the music for the last act of Turandot, Zandonai was among several composers the Ricordi publishing firm considered for the task of finishing it. Puccini himself, in his final illness, seems to have supported the choice of Zandonai —certainly Toscanini looked with approval on this choice— but his son Tonio Puccini, for reasons still obscure, vetoed it. One version is that Tonio Puccini thought that Zandonai was too well-lknown and for that reason would be associated with the opera and might even overshadow his father. Ultimately Franco Alfano was chosen to complete Turandot.

In 1935 Zandonai became the director of the Rossini Conservatory in his beloved Pesaro. There he revived some works of Rossini, such as Il viaggio a Reims and the overture for Maometto secondo. In 1941 he re-orchestrated —and reduced to three acts— La gazza ladra.

Three years later, he died in Trebbiantico, Pesaro, after undergoing gallstone surgery. His last words were for the priest who announced to him that the day before, Rome had been liberated. The dying composer said, in his native dialect: "Good! Viva l'Italia;".

37  DOWNLOADS ARRANGED BY NATIONALITY / Downloads: discussion without links should be posted here, for the access of both members and non-members alike / Re: Italian Music on: March 02, 2015, 08:50:02 pm
Music of Vincenzo Tommasini



From the collection of Karl Miller



Works:
Chiari di Luna
Milano RAI
Missamo Pradella


Paesaggi Toscani
Torino RAI Orchestra
Fernando Previtali



La Donne di Buon Umore, Suite after D. Scarlatti
Napoli RAI Orchestra
Mario Rossi




Wikipedia Bio:

1878 – 23 December 1950) was an Italian composer.

Born in Rome, Tommasini studied philology and the Greek language at the University of Rome, at the same time pursuing equally intensive studies in music at the Academy of St. Cecilia. In 1902 he traveled extensively throughout Europe; during this time he studied under Max Bruch in Berlin. He first achieved note with a one-act opera, Uguale fortuna, which won a national competition. His biggest success internationally was his 1916 arrangement of keyboard sonatas by Domenico Scarlatti for the Sergei Diaghilev ballet in The Good-Humoured Ladies (Le donne di buon umore). It was he and Arturo Toscanini who completed Arrigo Boito's unfinished opera Nerone.

Tommasini was a leading figure in the revival of orchestral music in twentieth-century Italy. Among his other works are Paesaggi toscani (Tuscan Landscapes) for orchestra and a set of variations, also for orchestra, on the Carnival of Venice.
38  DOWNLOADS ARRANGED BY NATIONALITY / Downloads: discussion without links should be posted here, for the access of both members and non-members alike / Re: French music on: March 02, 2015, 08:40:20 pm
More Music of Charles Koechlin

From the collection of Karl Miller

This disc should have been with the last collection-- we had some problems with it, and Karl sent a replacement.  I've numbered and tagged these files as a continuation of the previous post. 

The Composer Speaks (in French, and English Translation)
Poem for Horn and Orchestra, Op 70

Performers, venue and date unknown
Symphony No 2 Op 196
I. Fugue on a subject by Ernest La Grand
II Scherzo: L'ame libre et Fantastique
III Andante( a suite of 6 chorales)
IV. Fugue modale sur un subject de Catherine Urner
V Final
London Philharmonic
Cond by Constantine Silvestri, 1967
39  MEMBERS' CORNER / Members' own compositions, performances & productions / Adventures in Multitrack on: February 14, 2015, 01:05:57 am
Adventures in Multi-track


For the last year or two I've been creating "compositions" using multi-track recording, combining improvisations and "composed" backing tracks and loops, making "non-traditional music with traditional instruments"-- the hammered dulcimer, hurdy-gurdy, frame drum and Indian Tambura.  I freely dabble in early music, microtonal, northern Indian classic music, jazz, blues, minimalism, and whatever else may seem to fit what I'm working on.  Some of the work I've been doing has worked a lot with alternate tunings (just-intonation, pythagorean, meantone quarter comma), and I've also been working with waveform analysis to capture "micro rhythms" from live music with waveform analysis so that I can create sythnthesized tracks that hopefully have a more natural feel.  Finally, I do a lot of editing of improvised tracks to create works.  Whether all of this is "composition" or "art music", I won't say.  I lack much knowledge and any training with harmony, so my work is generally modal.  (I also enjoy cutting videos to match the works-- I can't promise they are anything significant.. )

With all of that said, if you are willing to sample, here are a few works.

Monsier Colombe's Blues: I applied  the meantone quarter comma tuning, and edited and assembled a series of variatons on Colombe's Chacconne in D Minor.  In order to get a rough, bluesy sense of swing, the tune is in 12/8, and the tempo changes slightly with every 8th note.  The thirds are very tasty in this tuning.
 https://www.youtube.com/watch?v=lcfTWdsgKS8

Heironymous- Composition for Frame Drum and Medieval Ensemble
(Yes, I spelled the name wrong)  I threw this together when we were snowed in for a long weekend- I was looking for something to highlight the Frame Drum.   This is simply an edit of multiple improvised tracks assembled with a sequencer.  All instruments in Pythagorean tuning. 
https://www.youtube.com/watch?v=Q0qjU1Zyeio

Los  Set Gotxs This is an acoustically "rocked" out version of one of my favorite medieval tunes with some fun  tempo changes, with all instruments set to pythagorean tuning.
https://www.youtube.com/watch?v=6xEwP8NH3Gg

The Hanging Man: I'll confess that this is a "flawed" experiment, but I learned a lot here, and I like the general vibe and will need to revisit the idea in the future.  I had recording an improvisation on Raga Malkuans (notes 1,3,4, 6, 7 and 8 of a Phrygian Scale), with the opening and ending and free meter, and a rhythmic central section based on a 16 beat rhythmic pattern.  It came out pretty well to my ears, and I decided to compose some tracks and add rhythmic loops without changing the original at all.  WHen I tried to apply loops and tracks, however, I found out how much my tempo varied, and needed to do some waveform analysis to record the length of each measure.   For three straight 16 beat measures, I kept the tempo within .001 of a second, but there were a lot of other places where I slowed down or sped up by as much as 15 BPM , and no single tempo would fit.  So I set up a framework to change the tempo at each measure, and composed tracks (and bent some percussion loops) to fit the tempo map.  I've been doing this analysis on other works since,  and I honestly believe that "real" music, even professional stuff, often stretches and contracts the beat, and this is a good thing.  Anyway, this work is now an interpretation of the Sylvia Plath poem of the same name.

That being said- there are parts in the Central section I would love to revise, some that I could not really integrate as well as I would have liked with the backing tracks.



Other stuff:  I've not yet created a  video for a 20 minute Indian flavored suite for Hurdy Gurdy in Just Intonation, using Tabla loops and a 16 beat rythmn.  My current project is a cover of "Equinox" by the John COltrane Quarter (whom I consider every bit as essential music as any "serious" 20th century music. )  I've had t develop a mapping of an individual length of each beat, as well as am applying some statistical modeling and "Participatory Discretiony" theory to capture the essence of improved music in a reproducible form, where differnent musicians would be  eitehr slightly ahead or behind the beat by 5-20 milliseconds. .  Even if this does not come off, I've shared my analysis with a couple of academics that specialize in micro-rhythms and wave form analysis to define "groove"

I've got a couple other early experiments of my overdubbing existing backing tracks on teh web as well as some solo Hammered Dulcimer, but I wouldn't consider those as compositions.

No harm, no foul if you don't want to listen, or, if you do, they aren't your cup of tea.  I'd welcome any constructive (or not so constructive) criticism. I  do this because I have to. 


NOTE:
If this sort of stuff shouldn't be posted here, please let me know.  I've been trying to adapt my playing/recording/composing to my musical limitations, so if you are looking for any sophisticated harmonies, you won't find them here. 






40  DOWNLOADS ARRANGED BY NATIONALITY / Downloads: discussion without links should be posted here, for the access of both members and non-members alike / Re: French music on: February 10, 2015, 09:43:25 pm
Corrected file from the Francois Piano Concerto

Courtesy of Karl Miller


For those of you who were puzzled by the silent first movement of the Francois piano concerto, Karl has sent me a replacement version.  If you go the the Collection of 20 Century French Piano Concerti in the Downloads section, you will see the new link.





41  DOWNLOADS ARRANGED BY NATIONALITY / Downloads: discussion without links should be posted here, for the access of both members and non-members alike / Re: Romanian Music on: February 10, 2015, 09:34:13 pm
Music of Paul Richter

From the collection of Karl Miller



Piano Concerto
Variations for Piano and Orchestra


Adrian Stoica, piano
Iasi Moldova Philharmonic Orchestra
I. Ionescu-Galati, conductor
Electrecord ST-ECE3788

42  DOWNLOADS ARRANGED BY NATIONALITY / Downloads: discussion without links should be posted here, for the access of both members and non-members alike / Re: Israeli Music on: February 10, 2015, 09:14:04 pm
Music of Menachem Avidom


Menahem Avidom presenting Albert Einstein a copy of his symphony no. 2 "David" during a tour of the Israel Philharmonic Orchestra to the U.S.A, around 1949


From the collection of Karl Miller


Symphony No. 1: "A Folk Symphony"
Kol Israel Orchestra
Heinz Freudenthal, Conductor
Radio broadcast, date unknown


Symphony No. 5: "The Song of Eilat"
(Signal loss at beginning)
Soprano, unidentified
Kol Israel Orchestra
George Singer, Conductor
[Broadcast 25 February 1962]



Bio from National Library of Israel:
Menahem Avidom
 Menahem Avidom, born 6 January 1908 (as Mahler-Kalkstein) in Stanislav, Russia (then Hungary), died 5 August 1995 in Tel Aviv, Israel.

Israeli Composer. His mother was a cousin of Gustav Mahler. He studied at the American University in Beirut and at the Paris Conservatoire where his teachers included the composer Henri Rabaud. In 1925 Avidom immigrated to Palestine where he taught at the Music Teacher Training College in Tel Aviv and at the Tel Aviv Conservatory. Avidom was also a music critic, general secretary of the Israel Philharmonic Orchestra (1946-52), adviser on the arts to the Ministry of Tourism (1952-55), chair of the Israel Composers’ League (1958-71) and general director of ACUM, the Israeli Performing Rights Society (1955-80). Avidom composed orchestral, chamber and piano music, operas and songs. After writing in an impressionist style he turned towards atonal composition. While studying in Beirut and during a four-year stay in Egypt, however, he became deeply influenced by Mediterranean and Asian folk music and French culture. These influences found their expression in arrangements for the Yemenite singer Bracha Zefira (1939). In the early 1960s Avidom was Influenced by the international trends and turned to 12- tones technique.

 
Among his works:
· Concerto for Flute and string (1944)
· Symphny No. 1 Symphonie Populair (1945)
· Concertino for violin and piano (1949)
· Symphony No. 3 Mediterranean Sinfonietta (1952)
· The Opera Alexandra ha'khashmonait (Alexandra the Hasmonean) (1955–6)
· Enigma Woodwind Quintet, piano and percussion (1962)
· ArtHur ruBinStEin six inventions for piano, hommage to the pianist (1974)
· Symphony no.10 Sinfonia Brevis (1981)
 
Avidom won the Israel Prize (1961), Engel Prize (1947), The Israel Philharmonic Orchestra Prize (1951) and ACUM Prize (1962).

43  DOWNLOADS ARRANGED BY NATIONALITY / Downloads: discussion without links should be posted here, for the access of both members and non-members alike / Re: United States Music on: February 10, 2015, 09:05:40 pm
Music of Louis Mennini



From the collection of Karl Miller

Overture Breve
Eastman Rochester Orchestra
Howard Hanson, Cond.
[Broadcast 16 Feb 1954]


Cantilena  for Orchestra
Eastman Rochester Orchestra
Howard Hanson, Cond.
[c 1951-2]


Andante for Orchestra
Eastman Rochester Orchestra
Howard Hanson, Cond.
[date unknown]



Allegro Energico for Orchestra
Eastman Rochester Orchestra
Howard Hanson, Cond.
[c. 1949-50]


Symphony No. 2 "da Festa"
Oklahoma City Symphony
Gury Fraser Harrison, conductor
[date unknown]





From the Gordon Skene Sound Collection
Arioso
Eastman Rochester Orchestra
Howard Hanson, Cond.
[Broadcast 9 Feb 1953]

44  DOWNLOADS ARRANGED BY NATIONALITY / Downloads: discussion without links should be posted here, for the access of both members and non-members alike / Re: French music on: February 10, 2015, 08:49:44 pm
July 14th Incidental Music for a play by Romain Rolland


From the collection of Karl Miller

Overture /​ Jacques Ibert
Palais-Royal /​ Georges Auric
Introduction et marche funèbre /​ Darius Milhaud
Prélude /​ Albert Roussel
Liberté /​ Charles Koechlin
Marche sur la Bastille /​ Arthur Honegger
Fête de la liberté /​ Daniel Lazarus


Chorale de la Préfecture de police
Musique des Gardiens de la paix
Désiré Dondeyne, conductor
Source LP: LDX-M-8197


Curtain Designs for play by Picasso:



Cover for second vinyl release in 1976:


PDF of the play (in French) available here:
https://archive.org/download/le14juilletactio00roll/le14juilletactio00roll.pdf



45  DOWNLOADS ARRANGED BY NATIONALITY / Downloads: discussion without links should be posted here, for the access of both members and non-members alike / Re: British and Irish Music on: February 10, 2015, 08:43:18 pm
Music of Robin Orr


From the collection  of Karl Miller



Symphony in One Movement (No. 1- 1963)
Scottish National Orchestra
Alexander Gibson, conductor
EMI ASD 2279


Symphony No. 2 (1970)
BBC Scottish Symphony Orchestra
Christopher Seeman, conductor
Usher Hall, Edinburgh
[May 10 1971]


Symphony No. 3 (1978)
BBC Welsh Symphony Orchestra
Norman del Mar, Conductor
Llandaff Cathedral
[14 June 1978]


Notes: 
Description of Symphony 1 by Tony Haywood:
The Robin Orr Symphony is also in a single movement, and also reminiscent of Sibelius, though the Sibelius of nature. It is the shortest of the three, and is a tightly controlled, concisely argued work. The melodic material does not have as much sheer personality as Sibelius, but is an attractive, well-orchestrated piece. Bird-like woodwind cries, horn calls and flashes of trumpet fanfare intersperse the rather sombre, brooding material (originally conceived as incidental music for a Cambridge production of Sophocles’ Oedipus). The Symphony was originally championed by Norman del Mar and the BBC Scottish Orchestra and notched up a number of performances.



Biography from:
http://www.scottishmusiccentre.com


Robin Orr was born in Scotland in 1909 where he lived until he was 25. After studying at the Royal College of Music, at Cambridge University (Organ Scholar at Pembroke College) and with Casella (in Italy) and Nadia Boulanger (in France), he moved to Cambridge, where he has spent most of his professional life. He was Organist and Director of Music at St John's College from 1938 to 1951, interrupted by war service in the RAFVR. From 1947 to 1956 he held a University Lectureship and was also a professor at the RCM. The next nine years were spent in Glasgow where he was the first full-time Professor of Music at the University and became the first Chairman of Scottish Opera, an appointment he held for 15 years. He was Professor of Music at Cambridge from 1965 to 1976 (now Emeritus). During that time he made himself responsible for the new Music Faculty buildings, including raising the necessary funds for a first-class concert hall. For many years he was a Trustee of the Carl Rosa Opera and was a director of Welsh National Opera from 1977 to 1982. He is a Mus. D. of Cambridge, an Honorary Fellow of St John's and Pembroke Colleges, Hon. Mus. D. of Glasgow and LLD of Dundee, and was made CBE in 1972. Since retirement from academic work, he spent much time with his wife in her native Switzerland. He was given Swiss nationality in 1995 and became a member of the Association Suisse des Musiciens in 1997.

Robin Orr's compositions include three commissioned operas: Full Circle (by Scottish Television for Scottish Opera in 1967, followed by four other separate productions); Hermiston (by Scottish Opera for the Edinburgh Festival in 1975); and On the Razzle (by the Royal Scottish Academy of Music and Drama in 1988). He has also written three symphonies that attracted the devoted support of Sir Alexander Gibson and Norman del Mar. The first, In One Movement, has been performed at the Edinburgh International Festival, the London BBC Proms and more than 60 other events worldwide; it was also recorded by HMV. The third, commissioned for the Llandaff Festival in 1978, was taken up in Scotland and had an English première in Cambridge conducted by Stephen Cleobury. The Sinfonietta Helvetica (BBC commission) was premièred in Glasgow (1991), recognising the 700th anniversary of the founding of the Swiss Confederation. Orr has written several works for voice and strings: From the Book of Philip Sparrow (Janet Baker with the SNO 1969 and ECO, 1971) and Journeys and Places (the University of Glasgow, 1971) performed in Cambridge in 1984 by Sally Burgess and the Endellion String Quartet with Chi-Chi-Nwanoku. The Endellion (with tenor and oboe) performed Four Romantic Songs (commissioned by Peter Pears in 1949).

Chamber and church music are an important part of his creative work. Songs of Zion (on texts from four of the Psalms) was commissioned for the St Asaph Festival in 1978 and first performed by Stephen Wilkinson with the BBC Northern Singers. It was performed at the Zurich June Festival in 1986 and subsequently recorded for Nimbus by George Guest and St John's College Choir. There have been a number of performances in Switzerland of the Rhapsody for Strings (1956), most notably by the Zurcher Kammerorchester and the Camerata Bern; the Rhapsody has also been performed many times in Britain, by the ECO, SNO and the City of London Sinfonia. In 1998 Robin's autobiography Musical Chairs was published by Thames Publishing. His latest work is a commission from the BBC for a piece to precede the Monteverdi Vespers, with the BBC Singers under Stephen Cleobury, premièred in Kings College Chapel on 6th August, 1999 and recorded as part of the Sounding the Millennium.


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