Concert recording 2018-03-02

[Track 1]. Quartet in A major, TWV 43:A1. Soave ; Allegro ; Andante ; Vivace / Georg Phillip Telemann -- [Track 2]. Du bist verflucht, o Shreckensstimmel, TWV 1:385. Aria: Du bist verflucht o Shreckensstimme ; Recitative: So ist\u27s: Seitdem bei Edens Baum des Baum des ersten Menschen erste Sunde ; Aria: Frohlocket, ihr seligen Kinder der Freien! / Telemann -- [Track 3]. Seele, lernce dich erkennen, TWV 1:1258. Aria: Seele, lerne dich erkennen! ; Recitative: Ein Vogelchen, dem noch die Glieder ; Aria: So will ich dich mit Freuden kussen / Telemann -- [Track 4]. Sonatae unarum fidium: Sonata no. 4 in D major. Ciaccona ; Variatio ; Sarabande ; Gigue ; Adagio e recitativo ; Allegro / Johann Heinrich Schmelzer -- [Track 5]. Auf ehernen Mauern, TWV 1:96. Aria; Auf ehernen Mauern, auf marmornen Grunden ; Recitative: So lange noch der Unbestand den Schuchternen ; Aria: Ja, ja, wiederholt nur eure Tucke? / Telemann -- [Track 6]. Nouveaux Quatuors: Quartet no. 6 in E minor, TWV 43:34. Prelude; tres vite ; Gay ; Vite ; Gracieusement ; Distrait ; Modere / Telemann

In Memorium Dylan Thomas – a Salute to the Vocal Music of Igor Stravinsky

2020 is the 75th anniversary of the death of Igor Stravinsky, arguably one of the greatest composers of the 20th century. While Stravinsky wrote in nearly every genre, his works for solo voice are not performed as often as his other works. For this lecture recital, we will look at Stravinsky’s work for tenor, string quartet and trombone quartet – In Memorium Dylan Thomas. Stravinsky met Dylan Thomas in May 1953 and expressed an interest in writing an opera with Thomas as librettist. When Thomas died suddenly in November of that year, Stravinsky wrote, “This was a terrible blow to me as well as to all those who knew Dylan Thomas’s genius. During the following months I thought of composing something to Dylan Thomas’s memory. No poem of his could fit my purpose better than the one he had composed in memory of his father.” Stravinsky set Thomas’s poem “Do not go gentle into that good night”. Stravinsky’s unique use of the tone row will be discussed, as well as other aspects of the work. The full work will be performed as part of the lecture recital. This lecture recital will include information on Stravinsky’s entire output for solo voice. Over the course of his career, he wrote over 20 works for solo voice in Russian, English and French, and many are chamber works for voice and instruments. These works are ideal for college students and professionals, and make a wonderful addition to recital programs