Source: The Concert
Title: Not Just for Singers
Published: Thu, 1 Oct 2009
Description: Works for solo piano and for voice and piano performed by Gleb Ivanov, piano, Randall Scarlata, baritone, Jennifer Aylmer, soprano, and Laura Ward, piano. -Rachmaninoff: Vocalise -Rachmaninoff: Etudes Nos. 8 and No. 9, Op. 39 -Songs from Tin Pan Alley This week we’ll bring you a few works that started off as songs, but have had great success instrumentally. Rachmanioff’s lyrical Vocalise is undoubtedly one of the best-known melodies in the canon. Originally the last of his opus 34 set of songs, the gorgeous tune seems to have been a more or less immediate hit. Rachmaninoff himself wrote several arrangements, augmented over the years by dozens more. Today, we’ll hear Rachmaninoff’s own arrangement for piano. The Vocalise will be followed by more Rachmaninoff, Etudes nos. 8 and 9 from opus 39. Then, we’ll move to the popular end of the spectrum, with a set of songs from the Gardner’s Tin Pan Alley series. Today’s selections range from the traditional Danny Boy to the marching band hits You’re A Grand Old Flag and When Johnny Comes Marching Home to the ballad Shine On, Harvest Moon. Recorded live in the Tapestry Room of the Isabella Stewart Gardner Museum, Boston. The Isabella Stewart Gardner Museum is pleased to share this concert under a Creative Commons Music Sharing License. For details see www.gardnermuseum.org.
Automatically Generated Transcript (may not be 100% accurate)
" Hello I'm Scott -- prince. Music director at Isabella Stewart Gardner Museum in Boston. And you're listening to the conflict. From Gardner museum -- war. Join me in museums tapestry room as we listen to some outstanding live performances you won't hear. Anywhere --"
" This week on the concert will bring you a few works that are not just for singers. Pieces that started off the songs that have had great success in eastern mentally. -- not enough lyrical vocal -- is undoubtedly one of the best known melodies in the cannon and justifiably so. Originally the last of the so this 34 set of songs the gorgeous tunes seems to have been a more or less immediate hit. But c'mon enough himself wrote several arrangements. Demented over the years by dozens more by Morton cool. Just -- fits even Guns 'N Roses front man slash. An entire CD dedicated to arrangements of the work includes an eclectic mix of versions for piano and orchestra soprano. Counter tenor flute and violin cello electronics. A full thirteen different versions and -- Today we're here rock -- not own arrangement for piano played by young pianist Glenn -- enough. The vocal -- will be followed by -- performances of more Rachmaninoff. -- numbers eight and nine from opus 39. Then moved to the popular and the spectrum. With a set of songs from the gardeners tend finale series sung by Jennifer Elmer and -- Carmona was Laura -- on piano. Ten finale that stretch of west 28 street in New York that poured out songs by the dozens in the late nineteenth and early twentieth centuries. Was the source of many maladies that have become favorites with jazz musicians and bands as well as singers. Today's selections range from the traditional Danny boy to the marching band hits your grand old flag and when Johnny comes marching home. To the ballot shine on harvest moon. First -- enough spoke release her piano. "
" And but."
" Food."
" Okay."
" I."
" Yes."
" It's. And then. It's. Yeah."
" That's not. Duties."
" little illness. And it."
" Okay."
" And."
" Andy in this world. Yeah."
" Clean."
" And news. Yeah."
" Yeah it's."
" us it's cool. Yeah it's an easy smile the."
" Duty. Yeah. Okay."
" So."
" The house loan. The alliance honeymoon. This. Big. This and hey this."
" And."
" Yeah."
" Okay yeah this."
" Okay. This."
" Soon we'll see how."
" Okay."
" It's. Yeah. The balloons and hair was weighing --"
" Okay. Here's."
" So we're."
" It's. OK to be here -- else."
" Yeah. It's okay. See it narrows the meal alone."
" yeah."
" The house. It's mean and it's."
" It's. Okay."
" Okay. -- online."
" Oh. Yeah views the."
" Yes yes. Yeah."
" Yeah --"
" And."
" It's. Cool."
" Okay."
" Okay. Okay."
" And yeah."
" Do you use this."
" It's."
" We're."
" Homes and no. Strengths."
" Okay."
" News. It is me. Just read."
" It's okay."
" It's."
" So mom. This time machine. And it's. Yeah. And yeah. It's the and long. Yeah."
" Yeah me."
" Cindy and it's. Yeah. -- its. Most hurricanes. And green mill and."
" Yeah. News -- Yeah it's."
" Yes. Yeah."
" Okay. And."
" We're okay."
" We're all."
" It's."
" Okay. -- it's. It's. Yeah it's. Really need."
" My."
" These. Things --"
" It's. Oh."
" And -- happens. OK. Ma."
" Me."
" Yeah."
" It's. Wrong. Sunnis. Who. It's."
" Hey."
" Yeah. I. We."
" Love this it's."
" It's okay."
" Okay. It's. A."
" Yeah."
" Okay."
" It from me."
" Okay. Yeah."
" yeah I mean."
" yeah."
" You must -- and."
" I yeah. Yeah paying."
" Okay --"
" Yeah."
" It's."
" I'm thank you thank you game on the events on eight."
" It's a great."
" There is a slow."
" When it was."
" Whom he didn't."
" Yeah yeah."
" It's."
" Here. So it's cool we didn't miss seeing my. Yeah."
" yeah."
" it's. Unbelievable the."
" Woo it's. The."
" It's. Yeah."
" Yeah."
" It -- it's. Yeah okay."
" Yeah review -- yeah. And -- Atlanta."
" The if everything goes well yeah."
" The -- yeah. He's an animal and I'll. Yeah they're all home."
" Yeah."
" Oh yeah."
" And album to yeah. It's."
" Little."
" Yeah."
" And snow yeah."
" And yeah."
" My. News. Long."
" Okay. In his little. And it's."
" Okay we'll. Here."
" Yeah."
" He."
" It's."
" And."
" Okay."
" Okay."
" Long gone news. All."
" You can."
" Okay. All."
" Okay."
" yeah."
" Okay yeah."
" It's funny that."
" And then it was hard."
" Okay."
" It was just you just yeah we've. And it's funny moment -- cool."
" Send me."
" And yeah. I mean."
" Yeah."
" Ohio."
" Yeah yeah."
" Yeah. It's."
" It was a."
" Okay. Yeah."
" Song yeah."
" Yeah and the Indians. And yeah. Okay."
" It's."
" Okay. Yeah."
" Yeah and a --"
" And he won."
" So close them out."
" Yeah."
" being home to."
" Also yeah. Yeah. Yeah."
" And yeah."
" is often times I'm in this is yeah. Since. Been -- to. Yeah. Home never experienced and I yeah. -- Yeah. -- Yeah. Yeah."
" And yeah."
" Acts in funny to me -- yeah this most. I agree on deficits. And I don't. The following me. -- All the -- yeah. -- While you always. I. --"
" The news."
" Yeah and."
" It's."
" And this. Sitting behind him. This. And some. It's going to find it's."
" You want -- eat through news."
" Yeah yeah well Wilson and -- those duties as."
" Mom. Okay so yeah."
" Soon. -- and yeah this. Lol yeah."
" This. It's."
" And yeah."
" Home."
" News -- not. Rules and yeah. Not time yeah. It's."
" It's. Song -- Yeah you iron. It."
" And."
" It's. Oh."
" And -- half. And earnings -- and."
" It's then we'll talk."
" Okay. Well. Finance and so harsh."
" Okay."
" Yeah. Okay. This room and."
" It's. A ball. Game."
" Okay."
" It's. Heat there."
" Okay."
" Okay."
" Here's some news."
" Okay yes."
" It is an all. Yeah it's."
" Yeah yeah. It's."
" Yeah. Yeah."
" I."
" And this."
" Okay. This. Okay."
" It's."
" C."
" Music yeah."
" Okay."
" And we'll. Look. It."
" Plus they're."
" Man it's. And."
" Yeah. Neo cons but yeah I. Long and not do that bottle that nice yeah yeah."
" He's not yeah."
" Yeah. Yeah. I thought yeah. --"
" yeah."
" And I need."
" The movie Iron Man and I do. Let's move."
" Okay."
" Okay."
" It's thanks -- you. He's not."
" Eighties mom mom. Beings. -- us yeah. I'm not --"
" In -- song. The line and he."
" Things. I and they create this."
" Thanks for listening to the concert. We're proud to share these podcasts with few under music sharing license from creative commons. You'll find more information on the music you've heard new podcast posted on the first and fifteenth of every month. And our complete digital library of music from past podcasts on a website at Carnegie museum dot pork. While you're there also check -- online scheduled to find out about upcoming live concerts we you can hear more great music almost every Sunday from September through May. You can support music programs at the gardener by going to -- museum dot org slash support music. This is -- programs at all at the Isabella Stewart Gardner Museum in Boston."
Related Video and Audio
Musical Boston
Works for piano trio and for string quartet performed by the Claremont Trio and musicians from the Ravinia Festival’s Steans Institute. -Kirchner: Trio No. 1 -Mendelssohn: String Quartet No. 2 in B Flat Major, Op 87 It comes as little surprise that Boston, one of America’s oldest cities, has a rich musical history. The Gardner Museum’s own concert series is the longest-running museum music program in the country. But the roots of Boston’s chamber music life stretch even further back, to the famed Mendelssohn Quintet Club, the very first professional chamber music ensemble in the U.S., founded in Boston in 1849. For almost fifty years, the ensemble was a cornerstone of Boston’s musical life. On today’s podcast, we hear one of the works that gave them their name. First, though, we have a work from much more recent history: Kirchner’s Trio No. 1. A longtime Harvard professor, Leon Kirchner was deeply involved in Boston’s new music community, as a teacher and a composer. He also conducted the Gardner Chamber Orchestra from 1995 to 2002, cementing his strong relationship with the museum, which has given performances and premieres of many of his works, some of which have been featured on this podcast. Our recording is taken from a January 2009 concert celebration of Kirchner’s 90th birthday at the Gardner. Recorded live in the Tapestry Room of the Isabella Stewart Gardner Museum, Boston. The Isabella Stewart Gardner Museum is pleased to share this concert under a Creative Commons Music Sharing License. For details see www.gardnermuseum.org.
Audio|Sun, 15 Nov 2009
|string quintetfound at1:11, 2:27
“…longest running museum music program in the country. The director of Boston's chamber music like stretched even further back to the famed -- quintet club. The very first professional chamber music ensemble and the US founded in Boston in 1849. For almost fifty years the ensemble was a cornerstone of Boston's musical life. On today's podcast we hear one of the works that gave them their name -- second string quintet in B flat major. A firsthand Contra report from 1855. Quoted by Robert winters in the Beethoven quartet companion. Confirms that indeed …”
“…music community as a teacher and composer. He also conducted the carnage chamber orchestra from 1995 to 2000 into cementing his strong relationship with the museum. Which is given performances and premieres of many of -- …”
Pictures in Sound
Works for solo piano performed by Alexander Ghindin. -Mussorgsky: Pictures at an Exhibition -Liszt/Schubert: Der Müller und der Bach, Op. 25, No. 19 -Liszt/Schubert: Auf dem Wasser zu Singen, D. 774, Op. 72 -Liszt: Concert paraphrase of Verdi’s opera Rigoletto This week’s program features several works that conjure visual images. First up is Mussorgsky’s Pictures at an Exhibition, based on artwork by Viktor Hartmann. Even without seeing those paintings, it’s not hard to imagine the depictions of the dim Parisian catacombs and the majestic gates of Kiev that inspired Mussorgsky’s music. We then get two very different depictions of flowing water, in a set of Franz Liszt arrangements of Schubert songs. The first song, the sorrowful final movement of Schubert’s Die schöne Müllerin, changes character entirely when the voice of the brook enters, bringing with it flowing sextuplets and a major tonality shift. The second work, loosely translated as “To be sung upon the water,” is perhaps a more obvious depiction of water, with a fluid triple meter throughout, the undulating water a constant beneath the singer’s description of a glowing sunset. Finally, we hear Liszt’s concert paraphrase of Verdi’s opera Rigoletto, specifically an arrangement of the famous Act 3 quartet. Recorded live in the Tapestry Room of the Isabella Stewart Gardner Museum, Boston. The Isabella Stewart Gardner Museum is pleased to share this concert under a Creative Commons Music Sharing License. For details see www.gardnermuseum.org.
Audio|Thu, 15 Oct 2009
|isabella stewart gardner museumfound at0:21, 1:38
“…Hello I'm Scott -- music director at Isabella Stewart Gardner Museum in Boston. And you're listening to the conflict from Gardner museum dot or. Join me in museums tapestry room. As we listen …”
“…it flowing sextuplets and the major -- shift. The second work loosely translated us to be some upon the water is perhaps more obvious depiction of water with a fluid triple meter throughout. The until …”
Two Keyboard Masters
Works for cello and piano played by cellist Laurence Lesser and pianists Yunjie Chen and Russell Sherman -Bach: Partita for keyboard No. 5 in G Major, BWV 829 -Beethoven: Cello Sonata in G minor, Op. 5, No. 2 Today, we’ll hear pieces by two great composers that reflect instrumental developments in their time. Bach was a dedicated keyboardist and composed for nearly every keyboard instrument. His Partita No. 5 in G Major was written specifically for a single-manual harpsichord; therefore, there are very few sustained notes. Instead, Bach uses intricate counterpoint and fugal relationships between the voices to create a densely textured and swirling set of dance movements. Beethoven, a gifted keyboard player himself, was also a pioneer in utilizing the cello as a solo instrument. In his Cello Sonata in G minor – one of the very first cello sonatas ever written – we hear the young composer beginning to realize the full potential of both instruments. He skillfully matches the sustained tones of the cello with rhythmic articulation and cascading notes in the piano. And in the final Rondo-Allegro, the piano and cello take turns carrying the lyrically playful melody and adding sparkling embellishment. Recorded live in the Tapestry Room of the Isabella Stewart Gardner Museum, Boston. The Isabella Stewart Gardner Museum is pleased to share this concert under a Creative Commons Music Sharing License. For details see www.gardnermuseum.org.
Audio|Tue, 15 Sep 2009
|cellofound at1:21, 0:30
“…part Tito -- here today was written specifically for a single manual harpsichord. . As such there are very few sustained notes. Instead Fox -- as intricate counterpoint and Hugo relationships between the voices. To created densely textured and swirling set of dance movements. We're here the -- to number five played by UNG Chan. Our second pieces Beethoven Sonata in G minor for cello and piano. Like Bach Beethoven -- immensely gifted and dedicated keyboard player. They'll -- his time the fourteen piano was the primary instrument the news. At the same time Beethoven was a pioneer in utilizing the cello as a solo instrument. Indeed this is one of the very first show some modest ever written. In this piece we can -- Beethoven as a young composer beginning to realize the full potential of both instruments. He skillfully -- the sustained tones of the cello with rhythmic articulation and cascading notes from the piano. And in the final Rondo allegro. The piano -- take turns carrying the lyrically play formality and adding sparkling embellishment. As they trade off the rolls of soloist and accompanist but two instruments become equal musical partners. This Sonata will be performed by Lawrence lesser on cello and Russell Sherman on piano. …”
“…Hello I'm Scott -- prince music director at Isabella Stewart Gardner Museum in Boston. And you're listening to the conflict from Gardner museum -- or. Join me in museums have a -- as we …”