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PROGRAM NOTES: TARA ERRAUGHT & JAMES BAILLIEU Over a span of 40 years he wrote over 80 songs in German, French, Italian, Hungarian, Russian, and even English. The songs based on poems by Victor Hugo (author of Les Misérables and The Hunchback of Notre-Dame) date from the period 1842-1844, a time when Liszt was busy touring Europe as a piano virtuoso. The hefty keyboard textures in his PROGRAM NOTES: STEVEN ISSERLIS & ROBERT LEVIN Program notes: Steven Isserlis & Robert Levin — Performance 1. Posted on March 12, 2015 by VRS. Ludwig van Beethoven. 12 Variations on a Theme. from Handel’s Judas Maccabaeus Wo0 45. In 1796 Beethoven paid a visit to the court of King Friedrich Wilhelm II in Berlin, and cellists the world over are glad that he did. PROGRAM NOTES: SHOSTAKOVICH PRELUDES AND FUGUES Program Notes: Shostakovich Preludes and Fugues. Dmitri Shostakovich: 12 Preludes and Fugues from Op. 87. Like many of the great composers before him (Bach, Handel, Mozart, Beethoven, Chopin, Liszt and Rachmaninoff, among others), Shostakovich possessed the skills of a keyboard virtuoso, and might well have sustained a successful careeras such.
PROGRAM NOTES: CHARLIE ALBRIGHT Franz Schubert. Impromptus Op. 90, Nos. 1-4. The impromptu is just one of a number of small-scale instrumental genres arising in the early 19th century, known under the collective title of “character pieces”.Cultivated by composers of the Romantic era, these pieces present a simple musical idea in an intimate lyrical style with the aim of evoking a particular mood or moment of personal PROGRAM NOTES: PAUL LEWIS Beethoven’s farewell to the piano sonata genre is a two-movement work of striking contrasts – contrasts of form (sonata-form vs. variation form), of key (C minor vs. C major), of tempo ( allegro vs. adagio) and of mood (restless argument vs. transcendent serenity). The work opens with a slow introduction in grandstyle, Maestoso, in theIESTYN DAVIES
Iestyn Davies’ unique sound and refined artistry have made him the countertenor of choice for everyone from Baroque specialists to Thomas Adès. This young artist has been described by The New York Times as having “one of the most glorious Continue reading → PROGRAM NOTES: RICHARD GOODE Echoing throughout is the melodic curve of rising and falling scale notes announced in the opening bar. With as many as five, and never fewer than three, voices active at a time, this prelude is designed to fill a room with sound and has prompted organists to adopt it intotheir repertoire.
PROGRAM NOTES: ANTHONY ROTH COSTANZO Program Notes: Anthony Roth Costanzo. Henri Duparc was, with Berlioz and Fauré, among the pioneers of la mélodie (the French art song, as distinguished from folk song). His career was remarkable in that although he lived for 85 years, his reputation rests on barely more than a dozen songs. “Chanson triste” was Duparc’s first song VANCOUVER RECITAL SOCIETYSINGLE TICKETSABOUT USSUBSCRIPTIONSYOUNG ADULT PROGRAM: RU35LATESTDONATE NOW The Vancouver Recital Society (VRS) is one of the premier of classical music concert presenters in North America, offering a milestone debut series for rising stars and an internationally renowned concert series for the world’s most celebrated performing artists. The Vancouver Recital Society concerts provide the experience of discovery, of hearing the "future" of classical music, and of PROGRAM NOTES ARCHIVES Program Notes: Ema Nikolovska. Posted on May 31, 2021 by VRS. Mezzo-soprano Eva Nikolovska has curated an intriguing recital program of songs composed in the forty years between 1865 and 1905, a selection that highlights the changing styles of music emanating from three important centres of music-making. From Vienna there are thecontrasting
PROGRAM NOTES: TARA ERRAUGHT & JAMES BAILLIEU Over a span of 40 years he wrote over 80 songs in German, French, Italian, Hungarian, Russian, and even English. The songs based on poems by Victor Hugo (author of Les Misérables and The Hunchback of Notre-Dame) date from the period 1842-1844, a time when Liszt was busy touring Europe as a piano virtuoso. The hefty keyboard textures in his PROGRAM NOTES: STEVEN ISSERLIS & ROBERT LEVIN Program notes: Steven Isserlis & Robert Levin — Performance 1. Posted on March 12, 2015 by VRS. Ludwig van Beethoven. 12 Variations on a Theme. from Handel’s Judas Maccabaeus Wo0 45. In 1796 Beethoven paid a visit to the court of King Friedrich Wilhelm II in Berlin, and cellists the world over are glad that he did. PROGRAM NOTES: SHOSTAKOVICH PRELUDES AND FUGUES Program Notes: Shostakovich Preludes and Fugues. Dmitri Shostakovich: 12 Preludes and Fugues from Op. 87. Like many of the great composers before him (Bach, Handel, Mozart, Beethoven, Chopin, Liszt and Rachmaninoff, among others), Shostakovich possessed the skills of a keyboard virtuoso, and might well have sustained a successful careeras such.
PROGRAM NOTES: CHARLIE ALBRIGHT Franz Schubert. Impromptus Op. 90, Nos. 1-4. The impromptu is just one of a number of small-scale instrumental genres arising in the early 19th century, known under the collective title of “character pieces”.Cultivated by composers of the Romantic era, these pieces present a simple musical idea in an intimate lyrical style with the aim of evoking a particular mood or moment of personal PROGRAM NOTES: PAUL LEWIS Beethoven’s farewell to the piano sonata genre is a two-movement work of striking contrasts – contrasts of form (sonata-form vs. variation form), of key (C minor vs. C major), of tempo ( allegro vs. adagio) and of mood (restless argument vs. transcendent serenity). The work opens with a slow introduction in grandstyle, Maestoso, in theIESTYN DAVIES
Iestyn Davies’ unique sound and refined artistry have made him the countertenor of choice for everyone from Baroque specialists to Thomas Adès. This young artist has been described by The New York Times as having “one of the most glorious Continue reading → PROGRAM NOTES: RICHARD GOODE Echoing throughout is the melodic curve of rising and falling scale notes announced in the opening bar. With as many as five, and never fewer than three, voices active at a time, this prelude is designed to fill a room with sound and has prompted organists to adopt it intotheir repertoire.
PROGRAM NOTES: ANTHONY ROTH COSTANZO Program Notes: Anthony Roth Costanzo. Henri Duparc was, with Berlioz and Fauré, among the pioneers of la mélodie (the French art song, as distinguished from folk song). His career was remarkable in that although he lived for 85 years, his reputation rests on barely more than a dozen songs. “Chanson triste” was Duparc’s first songINDIVIDUAL GIVING
Vancouver Recital Society. 201-513 Main Street. Vancouver, BC V6A 2V1. Call us to make your gift over the phone. Call 604-602-0363 ext. 202 and speak to Sara Getz, Manager of Donor Relations & Development. Gifts received are acknowledged throughout the season in our concert programs, and charitable receipts are issued for the full value ofyour
ERIC OWENS - VANCOUVER RECITAL SOCIETY A former member of the Houston Grand Opera Studio, Owens has sung Sarastro, Mephistopheles in Faust, Frère Laurent, Angelotti in Tosca, and Aristotle Onassis in the world premiere of Jackie O (available on the Argo label) with that company. Owens is a regular guest of SOUVENIR DE FLORENCE OP. 70 ARCHIVES Richard Strauss String Sextet from Capriccio. Capriccio (1942), Richard Strauss’ last stage work, is an opera about opera, constructed as a series of elegant salon conversations dealing with a question that has bedevilled opera lovers for centuries: which is more important, the words or the music?. The year is 1775 and the setting is the aristocratic chateau of the aesthetically refined CONSOLATION NO. 3 IN D AT MAJOR ARCHIVES Franz Joseph Haydn Sonata in B minor Hob. XVI:32 . It is not often that you catch the congenial, ever-chipper Haydn writing in a minor key. But minor keys were all the rage in the 1770s, the age of Sturm und Drang (storm and stress), an age when composers such as C. P. E. Bach sought to elicit powerful, sometimes worrisome emotions from their audiences by means of syncopated rhythms, dramatic PROGRAM NOTES: PAUL LEWIS The Partita No. 1 in B flat, published in 1726, is quite an upbeat affair, ranging in mood from cheerful and celebratory in the opening movements to ecstatic, almost manic, in its closing gigue. Even when the pace is slow, as in the sarabande, the tone remains distinctly bright and chipper. A prelude is intended to introduce the listener tothe
IESTYN DAVIES
Iestyn Davies’ unique sound and refined artistry have made him the countertenor of choice for everyone from Baroque specialists to Thomas Adès. This young artist has been described by The New York Times as having “one of the most glorious Continue reading → PROGRAM NOTES: MARC-ANDRÉ HAMELIN Program Notes: Marc-André Hamelin Alban Berg: Piano sonata, Op. 1 “Among the most auspicious Opus Ones ever written,” was Glenn Gould’s assessment of Alban Berg’s piano sonata. Berg wrote this work in 1907-08 while studying with Arnold Schönberg. Originally Continue reading → GEORGE LI: PROGRAM NOTES The second movement offers an oasis of tranquility and repose. It is a theme-and-variations movement, built, like the second movement of the Seventh Symphony, more from a harmonic progression than from a melody. Each of the three variations employs increasingly rapid note values (eighths, sixteenths, thirty-seconds). PROGRAM NOTES: STEVEN OSBORNE Program Notes: Steven Osborne. The year 1801 marked not only the dawn of a new century, but also a significant new approach on Beethoven’s part to matters of form and structure in the piano sonata. The bold use of unusual and exotic keys, quasi-programmatic elements, irregular forms and unorthodox ordering of movements all contributed to PROGRAM NOTES: YO-YO MA & KATHRYN STOTT The composer writes into the score the lazy, languorous rubato performing style typical of street bands of the time, as well as the wide range of emotions that characterize the genre. The fifth in this series, subtitled Alma Brasileira (Brazilian soul), travels from a mood of brooding fatalism on to heights of lyrical ecstasy, and backagain.
VANCOUVER RECITAL SOCIETYSINGLE TICKETSABOUT USSUBSCRIPTIONSYOUNG ADULT PROGRAM: RU35LATESTDONATE NOW The Vancouver Recital Society (VRS) is one of the premier of classical music concert presenters in North America, offering a milestone debut series for rising stars and an internationally renowned concert series for the world’s most celebrated performing artists. The Vancouver Recital Society concerts provide the experience of discovery, of hearing the "future" of classical music, and ofINDIVIDUAL GIVING
Vancouver Recital Society. 201-513 Main Street. Vancouver, BC V6A 2V1. Call us to make your gift over the phone. Call 604-602-0363 ext. 202 and speak to Sara Getz, Manager of Donor Relations & Development. Gifts received are acknowledged throughout the season in our concert programs, and charitable receipts are issued for the full value ofyour
VANCOUVER RECITAL SOCIETY × Welcome to the VRS online sales site. Please enter your email/password from a previous visit -or-choose from one of theoptions below.
PROGRAM NOTES: TARA ERRAUGHT & JAMES BAILLIEU Over a span of 40 years he wrote over 80 songs in German, French, Italian, Hungarian, Russian, and even English. The songs based on poems by Victor Hugo (author of Les Misérables and The Hunchback of Notre-Dame) date from the period 1842-1844, a time when Liszt was busy touring Europe as a piano virtuoso. The hefty keyboard textures in his PROGRAM NOTES: STEVEN ISSERLIS & ROBERT LEVIN Program notes: Steven Isserlis & Robert Levin — Performance 1. Posted on March 12, 2015 by VRS. Ludwig van Beethoven. 12 Variations on a Theme. from Handel’s Judas Maccabaeus Wo0 45. In 1796 Beethoven paid a visit to the court of King Friedrich Wilhelm II in Berlin, and cellists the world over are glad that he did. PROGRAM NOTES: LUCA PISARONI & WOLFRAM RIEGER PROGRAM NOTES: LUCA PISARONI & WOLFRAM RIEGER. Posted on October 21, 2014 by VRS. Wolfgang Amadeus Mozart. Four Songs. The earliest German lieder we have in the concert repertoire come from the more than 30 works that Mozart wrote between 1768 (at the age of twelve!) and his death in 1791. His mature songs reflect his skill as .IESTYN DAVIES
Iestyn Davies’ unique sound and refined artistry have made him the countertenor of choice for everyone from Baroque specialists to Thomas Adès. This young artist has been described by The New York Times as having “one of the most glorious Continue reading → PROGRAM NOTES: CHARLIE ALBRIGHT Franz Schubert. Impromptus Op. 90, Nos. 1-4. The impromptu is just one of a number of small-scale instrumental genres arising in the early 19th century, known under the collective title of “character pieces”.Cultivated by composers of the Romantic era, these pieces present a simple musical idea in an intimate lyrical style with the aim of evoking a particular mood or moment of personal PROGRAM NOTES: PAUL LEWIS Beethoven’s farewell to the piano sonata genre is a two-movement work of striking contrasts – contrasts of form (sonata-form vs. variation form), of key (C minor vs. C major), of tempo ( allegro vs. adagio) and of mood (restless argument vs. transcendent serenity). The work opens with a slow introduction in grandstyle, Maestoso, in the PROGRAM NOTES: ANTHONY ROTH COSTANZO Program Notes: Anthony Roth Costanzo. Henri Duparc was, with Berlioz and Fauré, among the pioneers of la mélodie (the French art song, as distinguished from folk song). His career was remarkable in that although he lived for 85 years, his reputation rests on barely more than a dozen songs. “Chanson triste” was Duparc’s first song VANCOUVER RECITAL SOCIETYSINGLE TICKETSABOUT USSUBSCRIPTIONSYOUNG ADULT PROGRAM: RU35LATESTDONATE NOW The Vancouver Recital Society (VRS) is one of the premier of classical music concert presenters in North America, offering a milestone debut series for rising stars and an internationally renowned concert series for the world’s most celebrated performing artists. The Vancouver Recital Society concerts provide the experience of discovery, of hearing the "future" of classical music, and ofINDIVIDUAL GIVING
Vancouver Recital Society. 201-513 Main Street. Vancouver, BC V6A 2V1. Call us to make your gift over the phone. Call 604-602-0363 ext. 202 and speak to Sara Getz, Manager of Donor Relations & Development. Gifts received are acknowledged throughout the season in our concert programs, and charitable receipts are issued for the full value ofyour
VANCOUVER RECITAL SOCIETY × Welcome to the VRS online sales site. Please enter your email/password from a previous visit -or-choose from one of theoptions below.
PROGRAM NOTES: TARA ERRAUGHT & JAMES BAILLIEU Over a span of 40 years he wrote over 80 songs in German, French, Italian, Hungarian, Russian, and even English. The songs based on poems by Victor Hugo (author of Les Misérables and The Hunchback of Notre-Dame) date from the period 1842-1844, a time when Liszt was busy touring Europe as a piano virtuoso. The hefty keyboard textures in his PROGRAM NOTES: STEVEN ISSERLIS & ROBERT LEVIN Program notes: Steven Isserlis & Robert Levin — Performance 1. Posted on March 12, 2015 by VRS. Ludwig van Beethoven. 12 Variations on a Theme. from Handel’s Judas Maccabaeus Wo0 45. In 1796 Beethoven paid a visit to the court of King Friedrich Wilhelm II in Berlin, and cellists the world over are glad that he did. PROGRAM NOTES: LUCA PISARONI & WOLFRAM RIEGER PROGRAM NOTES: LUCA PISARONI & WOLFRAM RIEGER. Posted on October 21, 2014 by VRS. Wolfgang Amadeus Mozart. Four Songs. The earliest German lieder we have in the concert repertoire come from the more than 30 works that Mozart wrote between 1768 (at the age of twelve!) and his death in 1791. His mature songs reflect his skill as .IESTYN DAVIES
Iestyn Davies’ unique sound and refined artistry have made him the countertenor of choice for everyone from Baroque specialists to Thomas Adès. This young artist has been described by The New York Times as having “one of the most glorious Continue reading → PROGRAM NOTES: CHARLIE ALBRIGHT Franz Schubert. Impromptus Op. 90, Nos. 1-4. The impromptu is just one of a number of small-scale instrumental genres arising in the early 19th century, known under the collective title of “character pieces”.Cultivated by composers of the Romantic era, these pieces present a simple musical idea in an intimate lyrical style with the aim of evoking a particular mood or moment of personal PROGRAM NOTES: PAUL LEWIS Beethoven’s farewell to the piano sonata genre is a two-movement work of striking contrasts – contrasts of form (sonata-form vs. variation form), of key (C minor vs. C major), of tempo ( allegro vs. adagio) and of mood (restless argument vs. transcendent serenity). The work opens with a slow introduction in grandstyle, Maestoso, in the PROGRAM NOTES: ANTHONY ROTH COSTANZO Program Notes: Anthony Roth Costanzo. Henri Duparc was, with Berlioz and Fauré, among the pioneers of la mélodie (the French art song, as distinguished from folk song). His career was remarkable in that although he lived for 85 years, his reputation rests on barely more than a dozen songs. “Chanson triste” was Duparc’s first song CONTACT US - VANCOUVER RECITAL SOCIETY Vancouver Recital Society 201 – 513 Main Street Vancouver, BC V6A 2V1 Canada. Telephone: 604-602-0363. Office hours Monday – Friday9.00am – 5.00pm
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Subscription packages for the 2020-21 Season are now available! Download our 2020-21 Season brochure and order form. Renewing seat owning subscribers can renew their subscriptions online. Super Classic and Build-Your-Own subscriptions are not available to purchase online. Please call the VRS office at 604-602-0363 to purchase over the phone. ABOUT US - VANCOUVER RECITAL SOCIETY About Us. The Vancouver Recital Society (VRS) is one of the premier concert presenters in North America, offering a milestone debut series for rising stars and an internationally renowned concert series for the world’s most celebrated performing artists. Started in 1980 by Founder and Artistic Director Leila Getz, the VRS presents twenty VANCOUVER RECITAL SOCIETY × Welcome to the VRS online sales site. Please enter your email/password from a previous visit -or-choose from one of theoptions below.
CONSOLATION NO. 3 IN D AT MAJOR ARCHIVES Franz Joseph Haydn Sonata in B minor Hob. XVI:32 . It is not often that you catch the congenial, ever-chipper Haydn writing in a minor key. But minor keys were all the rage in the 1770s, the age of Sturm und Drang (storm and stress), an age when composers such as C. P. E. Bach sought to elicit powerful, sometimes worrisome emotions from their audiences by means of syncopated rhythms, dramatic PROGRAM NOTES: PAUL LEWIS The Partita No. 1 in B flat, published in 1726, is quite an upbeat affair, ranging in mood from cheerful and celebratory in the opening movements to ecstatic, almost manic, in its closing gigue. Even when the pace is slow, as in the sarabande, the tone remains distinctly bright and chipper. A prelude is intended to introduce the listener tothe
VANCOUVER RECITAL SOCIETY × Renew your subscription from the list (even if you wish changes) or you can create a new subscription altogether. PROGRAM NOTES: SHOSTAKOVICH PRELUDES AND FUGUES Program Notes: Shostakovich Preludes and Fugues. Dmitri Shostakovich: 12 Preludes and Fugues from Op. 87. Like many of the great composers before him (Bach, Handel, Mozart, Beethoven, Chopin, Liszt and Rachmaninoff, among others), Shostakovich possessed the skills of a keyboard virtuoso, and might well have sustained a successful careeras such.
GEORGE LI: PROGRAM NOTES The second movement offers an oasis of tranquility and repose. It is a theme-and-variations movement, built, like the second movement of the Seventh Symphony, more from a harmonic progression than from a melody. Each of the three variations employs increasingly rapid note values (eighths, sixteenths, thirty-seconds).Skip Content? ↓
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