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DTSTART;TZID=America/New_York:20190413T200000
DTEND;TZID=America/New_York:20190413T220000
DTSTAMP:20260411T021649
CREATED:20180126T172027Z
LAST-MODIFIED:20190401T182107Z
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SUMMARY:Influence of the World: The Tucker-Boatwright Concert
DESCRIPTION:As a grand finale to conclude the University of Richmond’s Tucker-Boatwright Festival\, the Richmond Symphony Orchestra and Chorus will present a concert of works inspired by non-Western traditions featuring the world premiere of a new work for chorus and orchestra by Reena Esmail as part of our Altria Masterworks series. \nDespite disliking the term “impressionism” applied to his music\, Debussy describes his three Nocturnes in almost painterly terms: Nuages (Clouds) renders the immutable aspect of the sky and the slow\, solemn motion of the clouds\, fading away in gray tones slightly tinged with white. Fetes (Festivals) gives us the vibrating\, dancing rhythm of the atmosphere with sudden flashes of light. But the background remains persistently the same: the festival with its blending of music and luminous dust participating in the rhythm. Sirenes (Sirens) depicts the sea and its innumerable rhythm. Among the waves\, silvered by moonlight is heard the mysterious song of the Sirens as they laugh and pass on. Work on the Nocturnes was not easy for Debussy. His personal life was a wreck. In financial trouble and broken up from his longtime mistress\, he wrote\, “The three Nocturnes have been infected by my private life\, first full of hope\, then full of despair\, and then full of nothing!” \nLike Debussy\, Ravel is classified as an impressionist composer. His Rapsodie espagnole\, is saturated with musical color; almost as breathtaking as the color of the impressionist painters. There is a certain vagueness of form in the music that is reminiscent of Monet and Turner. “Suggestion and atmosphere” are key ideas for the musical impressionists. Ravel’s fascination with Spanish culture is heard throughout the piece\, permeated with the flavors of Spanish music. \nIn the late 1920s\, the Canadian composer Colin McPhee “quite by accident heard [a] few gramophone records that were to change [his] life completely. The clear\, metallic sounds were like the stirring of a thousand bells\, delicate\, confused\, with a sensuous charm\, a mystery that was quite overpowering.” McPhee moved to Bali where he quickly absorbed the culture. He started incorporating Balinese materials into his own music. Tabuh-Tabuhan was his first large-scale orchestral work to use Balinese musical material. Interested in fusing western orchestral traditions with Balinese motifs\, McPhee considers it a purely personal work. \nLearn more about Joanne Kong\, Keyboard.\nLearn more about Paul Hanson\, Piano.\nLearn more about Reena Esmail\, Guest Composer.\nLearn more about Steven Smith\, Conductor. \nProgram Notes \n  \nSeries Sponsor \nConcert Sponsor \nConcert Partner \nMedia Sponsor \n  \n  \n  \n  \n  \n 
URL:https://www.richmondsymphony.com/event/influence-world-tucker-boatwright-concert/
LOCATION:Carpenter Theatre\, 612 East Grace Street\, Richmond \, VA\, 23219\, United States
CATEGORIES:Masterworks Series
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DTSTART;TZID=America/New_York:20190414T150000
DTEND;TZID=America/New_York:20190414T170000
DTSTAMP:20260411T021649
CREATED:20180126T172505Z
LAST-MODIFIED:20190401T172937Z
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SUMMARY:Influence of the World: The Tucker-Boatwright Concert
DESCRIPTION:As a grand finale to conclude the University of Richmond’s Tucker Boatwright Festival\, the Richmond Symphony Orchestra and Chorus will present a concert of works inspired by non-Western traditions featuring the world premiere of a new work for chorus and orchestra by Reena Esmail\, as part of our Altria Masterworks series. \nDespite disliking the term “impressionism” applied to his music\, Debussy describes his three Nocturnes in almost painterly terms: Nuages (Clouds) renders the immutable aspect of the sky and the slow\, solemn motion of the clouds\, fading away in gray tones slightly tinged with white. Fetes (Festivals) gives us the vibrating\, dancing rhythm of the atmosphere with sudden flashes of light. But the background remains persistently the same: the festival with its blending of music and luminous dust participating in the rhythm. Sirenes (Sirens) depicts the sea and its innumerable rhythm. Among the waves\, silvered by moonlight is heard the mysterious song of the Sirens as they laugh and pass on. Work on the Nocturnes was not easy for Debussy. His personal life was a wreck. In financial trouble and broken up from his longtime mistress\, he wrote\, “The three Nocturnes have been infected by my private life\, first full of hope\, then full of despair\, and then full of nothing!” \nLike Debussy\, Ravel is classified as an impressionist composer. His Rapsodie espagnole\, is saturated with musical color; almost as breathtaking as the color of the impressionist painters. There is a certain vagueness of form in the music that is reminiscent of Monet and Turner. “Suggestion and atmosphere” are key ideas for the musical impressionists. Ravel’s fascination with Spanish culture is heard throughout the piece\, permeated with the flavors of Spanish music. \nIn the late 1920s\, the Canadian composer Colin McPhee “quite by accident heard [a] few gramophone records that were to change [his] life completely. The clear\, metallic sounds were like the stirring of a thousand bells\, delicate\, confused\, with a sensuous charm\, a mystery that was quite overpowering.” McPhee moved to Bali where he quickly absorbed the culture. He started incorporating Balinese materials into his own music. Tabuh-Tabuhan was his first large-scale orchestral work to use Balinese musical material. Interested in fusing western orchestral traditions with Balinese motifs\, McPhee considers it a purely personal work. \nLearn more about Joanne Kong\, Keyboard.\nLearn more about Paul Hanson\, Piano.\nLearn more about Steven Smith\, Conductor. \nProgram Notes \n  \nSeries Sponsor \nConcert Sponsor \nConcert Partner \nMedia Sponsor \n  \n  \n  \n  \n  \n 
URL:https://www.richmondsymphony.com/event/influence-world-tucker-boatwright-concert-2/
LOCATION:Carpenter Theatre\, 612 East Grace Street\, Richmond \, VA\, 23219\, United States
CATEGORIES:Masterworks Series
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DTSTART;TZID=America/New_York:20190428T150000
DTEND;TZID=America/New_York:20190428T170000
DTSTAMP:20260411T021649
CREATED:20180126T174553Z
LAST-MODIFIED:20190103T182657Z
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SUMMARY:Metro Collection 4
DESCRIPTION:The Metro Collection offers audiences fantastic classical music in an intimate setting. Concerts feature smaller scale works from the classical repertoire and newer pieces by contemporary composers. This performance will feature David Lemelin\, clarinet. \nWith works like Music for the Theatre\, Aaron Copland paved the way for a truly American “classical” music. In the piece\, you can hear the budding nationalism that comes to fruition in Copland’s later works. For the national element Copland turned to jazz\, “I was preoccupied with the idea of adding to the great history of serious music something with an American accent\, and jazz seemed to be a comparatively simple way of introducing the American note in an authentic way . . . It was an easy way to be an American.” \nSchubert began work on his Symphony in C Major when he was only nineteen. The music of Gioacchino Rossini was currently the rage in Vienna and it seems that Schubert modeled much of this symphony on the light-hearted and almost facile style of that Italian composer. The slow introduction to the first movement begins dramatically enough\, but soon melts into pure melody. The flutes introduce the main body of the movement with a jaunty little melody and from then on\, it is all good-hearted mirth. The slower second movement is as melodic as an operatic aria\, and the third movement is a lilting romp. The last movement is a succession of light-hearted tunes in contrasting tempos that eventually give way to a dramatic conclusion. \nWhen Louis Spohr wrote his first concerto for clarinet\, the instrument had only five keys\, compared to the seventeen of a modern clarinet. He confessed that he really didn’t know what he was doing. Aside from the obvious virtuosic aspects of Spohr’s Clarinet Concerto No. 1\, the piece contains some unusual elements. It is in a minor key\, and the orchestra plays a slow introduction before fingerwork begins. The slow movement confines the accompaniment to just violins and cellos. In spite of the minor key\, the third movement has a jaunty quality to it. Instead of ending with a technical flourish\, there is a surprising and sudden fade to nothing. \nLearn more about David Lemelin\, Clarinet. \nLearn more about Chia-Hsuan Lin\, Conductor. \nProgram Notes \n  \n  \nMedia Sponsor \nConcert Sponsor: \nMr. Ralph R. Crosby\, Jr. \n  \n 
URL:https://www.richmondsymphony.com/event/metro-collection-4-2/2019-04-28/
LOCATION:Blackwell Auditorium at Randolph-Macon College\, 	204 Henry Street\, Ashland\, VA\, 23005\, United States
CATEGORIES:Metro Series
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