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Christine Brewer, soprano (Feb. 9 @ 7:30 p.m.)

Christine Brewer, soprano

with Peter Henderson, piano

Wednesday, February 9, 2022 • 7:30 p.m.
Maryville University Auditorium
Free admission • Donations gratefully accepted
Campus guests must:
    • Complete Maryville’s online health screening on the day of your campus visit.
    • Wear a mask at all times, while indoors on campus.
    • Sign in on paper when entering the Maryville University Auditorium, providing your name, phone number, and email address.

Click here to register for the realtime-only livestream of this concert

Christine Brewer, soprano

Grammy Award-winning American soprano Christine Brewer’s appearances in opera, concert, and recital are marked by her own unique timbre, at once warm and brilliant, combined with a vibrant personality and emotional honesty reminiscent of the great sopranos of the past. Named one of the top 20 sopranos of all time (BBC Music), her range, golden tone, boundless power, and control make her a favorite of the stage and a highly sought-after recording artist, one who is “in her prime and sounding glorious” (Anthony Tommasini, New York Times).

On the opera stage, Brewer is highly regarded for her striking portrayal of the title role in Strauss’s Ariadne auf Naxos, which she has performed with the Metropolitan Opera, Opéra de Lyon, Théatre du Châtelet, Santa Fe Opera, English National Opera, and Opera Theatre of St. Louis. Attracting glowing reviews with each role, she has performed Wagner’s Tristan und Isolde at San Francisco Opera, Gluck’s Alceste with Santa Fe Opera, the Dyer’s Wife in Strauss’s Die Frau ohne Schatten at Lyric Opera of Chicago and the Paris Opera, and Lady Billows in Britten’s Albert Herring at Santa Fe Opera and the Los Angeles Opera. She created the role of Sister Aloysius in the world premiere of Doug Cuomo’s opera Doubt with the Minnesota Opera in 2013 and reprised the role in 2016 with the Union Avenue Opera in St. Louis.

Ms. Brewer began the 2017/2018 season with Mahler’s Symphony No. 8 conducted by Michael Sanderling to open the Dresden Philharmonic’s season. She sang the title role in Ariadne auf Naxos with the Kentucky Opera before returning to the St. Louis Symphony for Berg’s Seven Early Songs led by David Robertson. She sang Barber’s Knoxville: Summer of 1915 with Symphony NH, Strauss’s Four Last Songs with the Duluth Superior Symphony Orchestra, and scenes from Wagner’s Götterdämmerung with the Jacksonville Symphony led by Courtney Lewis. During the summer of 2017 she sang Lady Billows in Albert Herring for Union Avenue Opera and Act II from Die Walküre with baritone Alan Held for the Miami Music Festival.

Ms. Brewer continues her work with the Marissa, Illinois 6th graders in a program called Opera-tunities, which is now in its 14th year. She also works with the voice students at Webster University. On April 29, 2015, Christine Brewer joined 140 other notable celebrities receiving a bronze star on the St. Louis Walk of Fame.

Brewer’s discography includes over 25 recordings. Her most recent recording, Divine Redeemer on Naxos, contains selections performed with concert organist Paul Jacobs.


PROGRAM

English translations of the German texts

RICHARD STRAUSS (1864 – 1949)

      • Ich liebe dich (I Love You) (text: Detlev von Liliencron)
      • Breit’ über mein Haupt dein schwarzes Haar (Unbind Your Black Hair), op. 19 no. 2 (text: Adolf Friedrich, Graf von Schack)
      • Wiegenlied (Lullaby), op. 41 no. 1 (text: Richard Dehmel)
      • Allerseelen (All Souls’ Day), op. 10 no. 8 (text: Hermann von Gilm)
      • Zueignung (Dedication), op. 10 no. 1 (text: Hermann von Gilm)

JOSEPH MARX (1882 – 1964)

      • Selige Nacht (Blissful Night!) (text: Otto Erich Hartleben)
      • Marienlied (Song to Mary) (text: Novalis)
      • Hat dich die Liebe berührt (If Love Has Touched You) (text: Paul Heyse)

INTERMISSION (ca. 10 minutes)

HAROLD ARLEN (1905 – 1986)

      • Come Rain or Come Shine (from the musical production St. Louis Woman; lyrics: Johnny Mercer)
      • I Had Myself a True Love (from St. Louis Woman; lyrics: Johnny Mercer)
      • Happiness is Just a Thing Called Joe (from the motion picture Cabin in the Sky; lyrics: Yip Harburg)
      • Somewhere Over the Rainbow (from the motion picture The Wizard of Oz; lyrics: Yip Harburg; arr. Randy Kerber)

CELIUS DOUGHERTY (1902 – 1986)

      • Review (The words of this song were excerpted, adapted, and paraphrased from published reviews of concert performances.)

FRANK BRIDGE (1879 – 1941)

      • Love went A-Riding (text: Mary E. Coleridge)

ERNEST CHARLES (1895 – 1984)

      • When I Have Sung My Songs (text: Ernest Charles)

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Titus Underwood, Artina McCain, and the IMI Chamber Players (Feb. 20 @ 3 p.m.)

Titus Underwood, oboe

Artina McCain, piano

and the IMI Chamber Players

Sunday, February 20, 2022 • 3:00 p.m.

Maryville University Auditorium

Free admission • Donations gratefully accepted

Campus guests must:

  • Complete Maryville’s online health screening on the day of your campus visit.
  • Wear a mask at all times, while indoors on campus.
  • Sign in on paper when entering the Maryville University Auditorium, providing your name, phone number, and email address.

Click here to register for the realtime-only livestream of this concert

IMI — Music at Maryville, February 2022

The Intercultural Music Initiative (IMI) is collaborating with Maryville University to present a Black History Month concert of music by BIPOC composers. The concert will take place Sunday, February 20 at 3:00 p.m. in the Maryville University Auditorium, with a pre-concert Q&A at 2:30 p.m. featuring a showing of the short film, “A Tale of Two Tails.”

Guest artists include oboist Titus Underwood, pianist Artina McCain along with members of the IMI Chamber Players woodwind quintet.

Musical selections will include:

  • Passion Medley by Joseph Joubert
  • Tumbao by Tania Leon
  • I Wouldn’t Normally Say by Wallen
  • Pan Con Timba by Aldo Lopez Gavilan
  • Suite for Flute and Oboe by Ulysses Kay
  • Aires Tropicales by Paquito D’Rivera
  • Startin’ Sumthin’ by Jeff Scott
  • Six Sketches for Oboes and Piano by Fred Onovwerosuoke
  • Three Romances for Oboe and Piano by Clara Schumann

IMI has its roots in St. Louis since 1994, with a programming mission always rooted in promoting cultural diversity. The IMI Chamber Music Concert Series integrates new and unfamiliar musical works into the existing performance repertoire and partners with a growing community of interculturally minded artists and educators from around the globe. Our local ensemble, IMI Chamber Players has a mixed instrumentation for regular features on our St. Louis concert series and in performances across the U.S. and internationally. These artists are all top-notch musicians known for their passion for performing chamber music by lesser-known composers, particularly those of African descent and other racial minorities.

Titus Underwood, Principal Oboe of the Nashville Symphony, is the first Black tenured principal oboist with a major U.S. symphony, Nashville Symphony Orchestra. A renowned artist, Titus has been honored as one of three recipients of the 2021 Sphinx Medal of Excellence awards and most recently was awarded the 2021 Midsouth Regional Emmy® for ‘We Are Nashville’. The collective of his experiences enthuses him to create content that reimagines the aesthetics and presentations of classical music. A leader in the movement for inclusion in the field of classical music, Titus is often invited to perform, as well as teach, speak, and write about change and innovation in the field. Titus also produced the viral video, “Lift Every Voice” which reached over 1 million views in one week. His latest project was a short film he directed entitled “A Tale of Two Tails”. (The story of one man navigating his existence as both a Black man and classical musician. It is a call to action for all creatives, affirming there can be innovation from disruption.)

Described as a pianist with “power and finesse” (Dallas Arts Society), “beautiful and fiery” (KMFA Austin) and having a “sense of color, balance and texture” (Austin Chamber Music Center) pianist Artina McCain has a built a three-fold career as a performer, educator and speaker also dedicated to promoting the works of Black and other underrepresented composers. Recent performance highlights include guest appearances with the Dallas Symphony Orchestra, Oregon East Symphony, and the Memphis Symphony Orchestra. As a recitalist, her credits include performances at the Mahidol University in Bangkok, Hatch Recital Hall in Rochester, Cummer Museum of Art and Gardens in Jacksonville, FL and the Desoto Arts Commission in Desoto, TX. In 2022 (February 5), she will have her debut at Wigmore Hall in London performing the works of Fred Onovwerosuoke.

The featured members of the IMI Chamber Players woodwind quintet are Wendy Hymes, flute; Carrie Smith, oboe; Mary Bryant, clarinet; Hank Skolnick, bassoon; and Tricia Jöstlein, french horn.

As Gary Scott of St. Louis Magazine remarked, “IMI [Intercultural Music Initiative] is a new series of concerts, which works to build bridges of true understanding and cooperation between cultures…” During the past two years when live concerts weren’t possible, IMI presented free virtual concerts including a 7-part concert series to celebrate the centennial of noted Ghanaian composer and musicologist J.H. Kwabena Nketia, reaching tens of thousands of audience members worldwide.

Web: www.imusici.net
Social media contacts:

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Suggested Music at Maryville Donations

Dear Music at Maryville Patrons,

Admission to Music at Maryville concerts is free. If you were moved by the music you heard, please consider making a tax-deductible donation.

If you wish to honor the legacy of Katja Georgieff by donating toward the endowment of the Music at Maryville series she founded in 1980, then please:

  1. Visit this Maryville University Donations webpage.
  2. Fill in your donation amount and personal information.
  3. In the box headed “Direct My Donation To,” please choose “Other.”
  4. In the box headed “If Other Please Specify Here,” please enter “Toward the endowment of the Music at Maryville series.”

If you’d like to support Maryville University generally, please visit this Maryville University Donations webpage. Please consider directing your Maryville donation in one of these three ways:
Toward endowment of the Music at Maryville series (as above)
To the William Briggs Scholarship Fund for Maryville music therapy students
To the Maryville Fund

Thanks for your supporting our Music at Maryville series!
Peter Henderson, D.M.

Artist-in-Residence
Associate Professor of Music
Music at Maryville series director
Maryville University

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Music at Maryville — Spring 2022 concert series

Dear Music Lovers,

We are pleased to announce the dates and performers for the Spring 2022 Music at Maryville concert series, which honors the legacy of our series founder, Dr. Katja Georgieff (1926-2021). Admission will be free for all events, but we ask that patrons kindly consider donating to Maryville University.

Maryville University’s current health and safety policies are always available on the SaintStrong website. These policies are subject to change — as of March 16, 2022, campus guests must sign in on paper when entering the Maryville University Auditorium, providing your name, phone number, and email address. Mask-wearing is now optional on campus.

Our four Spring 2022 Music at Maryville concerts are scheduled to take place in the Maryville University Auditorium on the following dates:

Christine Brewer, soprano — Wednesday, February 9, 7:30 p.m.PROGRAM DETAILS

Titus Underwood, oboe; Artina McCain, piano; and the IMI Chamber PlayersSunday, February 20, 3:00 p.m.PROGRAM DETAILS

– Musicians from Sangeetha St. Louis introduce and perform Classical Indian Music — Friday, March 18, 7:30 p.m. — PROGRAM DETAILS

– Tribute to Dr. Katja Georgieff — Peter Henderson, solo piano — Sunday, April 24, 3:00 p.m.PROGRAM DETAILS

We hope to see you at our concerts! If you cannot attend in person, please consider viewing the realtime-only livestreams; you can find each performance’s Zoom registration link on their PROGRAM DETAILS page linked above.

Sincerely,
Peter Henderson, D.M.
Artist-in-Residence
Associate Professor of Music
Music at Maryville concert series director
Maryville University

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English translations of the German texts set by Richard Strauss and Joseph Marx

Ich liebe dich (I Love You)

Text: Detlev von Liliencron (1844 – 1909)

Four noble horses
Draw our carriage,
We live in the castle
Proud and content.
The rays of dawn
And the lightning at night,
Everything that they shine on
Belongs to us.

And though you roam the land,
Abandoned and banished:
I shall walk through the streets with you
In poverty and shame!
Our hands will bleed,
Our feet be sore,
Four pitiless walls,
Not a dog will know us.

When your silver-edged coffin
Stands at the altar,
They must lay me
Beside you on the bier.
Whether you die on the heath
Or die in distress,
I’ll draw my dagger
And join you in death!


Breit’ über mein Haupt dein schwarzes Haar (Unbind Your Black Hair)

Text: Adolf Friedrich, Graf von Schack (1815 – 1894)

Unbind your black hair right over my head,
Incline to me your face!
Then clearly and brightly into my soul
The light of your eyes will stream.

I want neither the glory of the sun above
Nor the gleaming garland of stars,
All I want are your black tresses
And the radiance of your eyes.


Wiegenlied (Lullaby)

Text: Richard Dehmel (1863 – 1920)

Dream, dream, my dear one,
of the heaven that brings flowers.
Shimmering there are blossoms that are
the song that your mother is singing.

Dream, dream, bud of my worries,
of the day the flower bloomed;
of the bright morning of blossoming,
when your little soul opened up to the world.

Dream, dream, blossom of my love,
of the quiet, of the holy night
when the flower of his love
made this world a heaven for me.


Allerseelen (All Souls’ Day)

Text: Hermann von Gilm (1812 – 1864)

Set on the table the fragrant mignonettes,
Bring in the last of the red asters,
And let us talk of love again
As once in May.

Give me your hand to press in secret,
And if people see, I do not care,
Give me but one of your sweet glances
As once in May.

Each grave today has flowers and is fragrant,
One day each year is devoted to the dead;
Come to my heart and so be mine again,
As once in May.


Zueignung (Dedication)

Text: Hermann von Gilm

Ah, you know, sweet, all my anguish,
In your absence, how I languish
Love brings sorrow to the heart!
Thanks, sweet heart!

Once, when merry songs were ringing
I to liberty was drinking,
You a blessing did impart.
Thanks, sweet heart!

You did lay those wanton spirits;
Comfort, peace my soul inherits,
Joy and bliss shall your love impart.
Thanks, sweet heart!


Selige Nacht (Blissful Night!)

Text: Otto Erich Hartleben (1864 – 1905)

In love’s arms we fell blissfully asleep.
The summer wind listened at the open window,
and carried the peace of our breathing
out into the moon-bright night. —

And from the garden a scent of roses
came timidly to our bed of love
and gave us wonderful dreams,
ecstatic dreams — so rich in longing!


Marienlied (Song to Mary)

Text: Novalis (Friedrich von Hardenberg; 1772 – 1801)

In a thousand images I see you,
Mary, lovingly depicted.
But none of them can portray you
Quite like my soul beholds you.

I only know that, ever since that time,
The turmoils of this world have drifted away like a dream,
And that a sweet and unimaginable heaven
Remains forever in my thoughts.


Hat dich die Liebe berührt (If Love Has Touched You)

Text: Paul Heyse (1830 – 1914)

If love has touched you,
Then quietly among the noisy throng
You walk in a golden cloud,
Led safely by a god

As if lost, you let your gaze
Stray about,
You do not begrudge others their joys,
You only yearn for one thing.

Timidly withdrawn into yourself in rapture,
You vainly try to conceal
That now the crown of life
Glowingly adorns your brow. adorns your brow.

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Directions to the Maryville University Auditorium

This link is to Maryville University’s official campus map. The University Auditorium is in Building #2 on that map.

Maryville’s official Campus Parking Map is available here.

In case you want to use a navigation app, the precise address of the Maryville University Auditorium is 630 Maryville University Drive; Saint Louis, MO 63141. When traveling to our West County Main Campus, the Conway Rd. entrance is the easiest one to negotiate. To reach the University Auditorium, travel on I-64/Hwy. 40 toward Hwy. 141, then take the exit for Hwy. 141 N. Travel ca. 1/4-mile north on Hwy. 141, then turn right on Conway Rd. After a few hundred yards, enter the campus to the right at the sign. Take the winding drive uphill. When you reach the stop sign at Campus Circle Drive, turn right.

We suggest that you park in either Lot #7 or Lot #6 on the Campus Parking Map. There will likely be spaces available when you arrive; both lots are convenient to the Auditorium. We recommend avoiding a designated Visitor parking space.

Our music performance space, the University Auditorium, occupies the entire second (top) floor of the University Auditorium building. After entering the building on the ground floor, either take the elevator visible on your left to the second floor and then walk back toward the University Auditorium building entrance (now up one floor); or ascend the staircase to Pfaff Lobby, an open atrium in front of the University Auditorium’s entrance.

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Debussy: Complete Piano Music — Recitals 15-16 December 2012

At the invitation of Dr. Thomas Zirkle, I performed Beethoven’s 32 piano sonatas at Saint Louis Community College-Forest Park during December 2011. He invited me to perform another marathon concert series this month, and I’ve decided to continue our tradition by presenting the complete solo piano works of the masterful French composer Claude Debussy (1862-1918), in recognition of the 150th anniversary of his birth, on the weekend of December 15-16, 2012. All four of these Debussy recitals, which will take place in the Mildred E. Bastian Performing Arts Center (located here), are free and open to the public. The concerts will begin at the following times:

  • Saturday, December 15, at 12:00 noon
  • Saturday, December 15, at 3:00 pm
  • Sunday, December 16, at 12:00 noon
  • Sunday, December 16, at 3:00 pm

Detailed program information is listed below:

Claude Debussy (1862-1918): The Complete Works for Solo Piano

Peter Henderson, piano

Mildred E. Bastian Performing Arts Center

at St. Louis Community College, Forest Park

December 15-16, 2012

Recital 1 — Saturday, December 15, 2012, 12:00 noon

Danse bohémienne (Bohemian Dance), L (Lesure catalog number) 9; Composed: 1880 / First published: 1932

Deux arabesques (Two Arabesques), L 66; 1888-1891 / 1891

1. Andantino con moto

2. Allegretto scherzando

Mazurka (Mazurka), L 67; 1890? / 1904

Rêverie (Reverie), L 68; 1890 / 1891

Tarantelle styrienne (Styrian Tarantella) [Later published as Danse pour piano (Dance for Piano)], L 69; 1890 / 1891, 1903

Ballade slave (Slavic Ballade) [Later published as Ballade (Ballade)], L 70; 1890 / 1891, 1903

Valse romantique (Romantic Waltz), L 71; 1890 / 1890

Suite bergamasque (Suite Bergamasque), L 75; 1890 (revised 1905) / 1905

1. Prélude (Prelude)

2. Menuet (Minuet)

3. Clair de lune (Moonlight)

4. Passepied (Passepied)

Intermission (ten minutes)

Nocturne (Nocturne), L 82; 1892 / 1892

Images [published as Images oubliées (Forgotten Pictures)], L 87; 1894 / 1977

1. Lent (Slow)

2. «Souvenir du Louvre»: Sarabande (“Remembrance of the Louvre”: Sarabande)

3. Quelques aspects de «Nour n’irons plus au bois» parce qu’il fait un temps insupportable (Several Angles on “We’ll Go to the Woods No More” Because the Weather Is So Awful)

Pour le piano (For the Piano), L 95; 1894-1901 / 1901

1. Prélude (Prelude)

2. Sarabande (Sarabande)

3. Toccata (Toccata)

Recital 2 — Saturday, December 15, 2012, 3:00 pm

D’un cahier d’esquisses (From a Sketchbook), L (Lesure catalog number) 99; Composed: 1903 / First published: 1904

Estampes (Prints), L 100; 1903 / 1903

1. Pagodes (Pagodas)

2. La soirée dans Grenade (Evening in Grenada)

3. Jardins sous la pluie (Gardens in the Rain)

Masques (Masks or Maskers), L 105; 1904 / 1904

L’isle joyeuse (The Joyful Island), L 106; 1904 / 1904

Morceau de Concours; Pièce pour piano (Piano Piece for a 1904 / 1905 Composer Identification Contest), L 109; 1904 / 1905

Images, Série I (Pictures, Set I), L 110; 1904-1905 / 1905

1. Reflets dans l’eau (Reflections in the Water)

2. Hommage à Rameau (Homage to Rameau)

3. Mouvement (Movement)

Intermission (ten minutes)

Images, Série II (Pictures, Set II), L 111; 1907 / 1908

1. Cloches à travers les feuilles (Bells through the Leaves)

2. Et la lune descend sur le temple qui fût (And the Moon Sets over the Temple that Was)

3. Poissons d’or (Goldfish)

Children’s Corner (original English title), L 113; 1906-1908 / 1908

1. Doctor Gradus ad Parnassum

2. Jimbo’s Lullaby [Jumbo’s Lullaby was the intended title]

3. Serenade for the Doll

4. The Snow Is Dancing

5. The Little Shepherd

6. Golliwogg’s Cakewalk

Le petit nègre (Cakewalk), L 114; 1909 / 1909

Recital 3 — Sunday, December 16, 2012, 12:00 noon

Hommage à Haydn (Homage to Joseph Haydn), L (Lesure catalog number) 115; Composed: 1909 / First published: 1910

Préludes, Livre I (Preludes, Book I), L 117; 1909-1910 / 1910

1. Danseuses de Delphes (Delphic Dancers)

2. Voiles (Veils or Sails)

3. Le vent dans la plaine (The Wind on the Plain)

4. «Les sons et les parfums tournent dans l’air du soir» (“Sounds and fragrances swirl through the evening air”)

5. Les collines d’Anacapri (The Hills of Anacapri)

6. Des pas sur la neige (Footsteps in the Snow)

7. Ce qu’a vu le vent d’ouest (What the West Wind Saw)

8. La fille aux cheveux de lin (The Girl with the Flaxen Hair)

9. La sérénade interrompue (The Interrupted Serenade)

10. La cathédrale engloutie (The Submerged Cathedral)

11. La danse de Puck (Puck’s Dance)

12. Minstrels (Minstrels)

Intermission (ten minutes)

La plus que lente: Valse (The Even Slower Waltz), L 121; 1910 / 1910

Préludes, Livre II (Preludes, Book II), L 123; 1911-1913 / 1913

1. Brouillards (Mists)

2. Feuilles mortes (Dead Leaves)

3. La Puerta del Vino (The Wine Gate)

4. «Les fées sont d’exquises danseuses» (“Fairies are exquisite dancers”)

5. Bruyères (Heather)

6. Général Lavine—excentric (General Lavine—eccentric)

7. La terrasse des audiences du clair de lune (The Terrace for Moonlit Audiences)

8. Ondine (Water Nymph)

9. Hommage à S. Pickwick Esq. P.P.M.P.C. (Homage to Samuel Pickwick [the titular character from Charles Dickens’s novel The Pickwick Papers])

10. Canope (Canopic Urn)

11. Les tierces alternées (Alternating Thirds)

12. Feux d’artifice (Fireworks)

Recital 4 — Sunday, December 16, 2012, 3:00 pm

Six épigraphes antiques (Six Antique Epigraphs) for solo piano or piano duet, L (Lesure catalog number) 131; Composed: 1914 / First published: 1915

1. Pour invoquer Pan, dieu du vent d’été (For Invoking Pan, God of the Summer Wind)

2. Pour un tombeau sans nom (For a Nameless Tomb)

3. Pour que la nuit soit propice (So That the Night May Be Propitious)

4. Pour la danseuse aux crotales (For the Dancer with Bells)

5. Pour l’égyptienne (For the Egyptian)

6. Pour remercier la pluie au matin (For Thanking the Morning Rain)

Bérceuse héroïque pour rendre hommage à S.M. le Roi Albert I de Belgique et à ses soldats (Berceuse in Homage to King Albert I of Belgium and His Soldiers), L 132; 1914 / 1915

Pièce pour «Le Vêtement du blessé» (Little Waltz for the WWI Relief Organization “The Dressing of the Wounded”) [Later published as Page d’album (Page from an Album)], L 133; 1915 / 1933

Étude retrouvée (Rediscovered Study) [A first version of 11. Pour les arpèges composées from Douze études, Livre II] (Edited/reconstructed by Roy Howat; work not listed in Lesure’s catalog); 1915 / 1980

Douze études (Twelve Studies), L 136; 1915 / 1916

Livre I (Book I):

1. Pour les cinq doigts—d’après Monsieur Czerny (For the Five Fingers—After the Manner of Carl Czerny)

2. Pour les tierces (For Thirds)

3. Pour les quartes (For Fourths)

4. Pour les sixtes (For Sixths)

5. Pour les octaves (For Octaves)

6. Pour les huit doigts (For the Eight Fingers [Omitting the Thumbs])

Intermission (ten minutes)

Livre II (Book II):

7. Pour les degrés chromatiques (For Chromatic Pitches)

8. Pour les agréments (For Ornaments or Embellishments)

9. Pour les notes répétées (For Repeated Notes)

10. Pour les sonoritées opposées (For Contrasting Sonorities)

11. Pour les arpèges composéess (For Compound Arpeggios)

12. Pour les accords (For Chords)

Élégie (Elegy), L 138; 1915 / 1916

Les soirs illuminés par l’ardeur du charbon (Evenings Lit by Burning Coals); 1917 / 2004

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Last two Beethoven recitals, 2011-12

During the 2011-12 season and academic year, Peter Henderson has been performing Beethoven’s 32 piano sonatas. From December 15-18, 2011, he played them at St. Louis Community College-Forest Park in an intensive format (http://www.stlcc.edu/Newsroom/2011/12/News19.html — site no longer available). He has also been presenting them in a series at Maryville University; the final concert in this series, featuring the Sonatas opp. 109, 110 and 111, will take place on Tuesday, April 17, 2012, at 7:00 pm, in the Maryville University Auditorium; admission is free. Directions to Maryville are available here.

The concluding concert of this Beethoven project is on the Sheldon Concert Hall’s 2011-12 Classics series (http://www.sheldonconcerthall.org/showdetail.asp?showID=366 — site no longer available), and will feature a performance of at least three Beethoven sonatas as chosen by the audience—one at the event. This concert will take place on Wednesday, April 25, 2012, at 8:00 pm, in the Sheldon Concert Hall; tickets available via the Sheldon’s website.