Program Notes

Telemann was a composer of the late Baroque era and began composing in the early Classical era (starting approximately 1750). He was revered as one of the leading German composers of his time, although through his travels he was able to incorporate several national styles including French, Italian and Polish. He was, and is to this day, compared to J.S. Bach and G.F. Handel. Telemann was actually the godfather for J.S. Bach ¶s son C.P.E. Bach. Fantasia in a minor is a transcription from Telemann ¶s Fantasia No. 10 in f sharp minor for flute. It is from a collection of 12 unaccompanied fantasias for flute. The collection ¶s arrangement can be compared to that of Bach ¶s Well Tempered Clavier, since it arranged in stepwise key order, excluding the keys that were impractical on the flute of his day. Performance practice of the Baroque era included a lot of improvisation and embellishment. During this era virtuosic players were just beginning to emerge. This common practice allowed them to show their ability and add their own flair to the music. The unaccompanied nature of this piece also gives the soloist greater freedom with tempi and articulation.

¿Por qué escribir notas al programa? Aunque no es indispensable, es una convención aceptada que la música clásica necesita una «explicación». La costumbre de acompañar los conciertos con unos textos impresos se remonta al siglo XVIII y es una opinión extendida que unas buenas notas contribuyen a mejorar la apreciación y el disfrute del recital. ¿Para qué escribirlas? En general, las notas responden a un doble objetivo: informar al público sobre la historia y el contexto de la obra y ofrecer una «guía de escucha», un «mapa», para que el oyente sepa qué va a escuchar. ¿Para quién escribirlas? No es fácil saber quiénes van a ser leer los textos ni cuál es su horizonte de expectativas: precisamente ahí estriba la dificultad de escribir unas notas al programa. Como suele ser habitual, la virtud se sitúa en el punto medio: ni tratar al lector con condescendencia y paternalismo -como si fuera un completo ignorante-ni escribir para un público de especialistas, dándolo todo por supuesto. ¿Qué escribir / sobre qué escribir? Las obras deben ser el punto de partida. Pero también interesan otros datos: la época, el contexto intelectual y estético, el compositor, el mecenas (si lo hay), el momento biográfico en el que surgen esas obras, sus características formales... En definitiva, todo lo que pueda ser relevante sin resultar impertinente, lo que pueda ser interesante sin resultar irrelevante, lo que pueda ser comprensible para un lector medio sin resultar banal. ¿Son las «notas al programa» un género literario? No, o al menos no de manera definida. Y ahí reside la dificultad (y parte de la belleza) de escribir notas: no hay fórmulas prefijadas, ni esquemas que puedan servir como modelo. Pero siempre hay algunos ejemplos que pueden guiar al autor de las notas (VER ANEXOS).

Program Notes for Newberry Consort (2006/2007 season), with Patricia Firca (Arzaga); performers used transcriptions I made from manuscripts in the Austrian National Library. https://newberryconsort.org/past-seasons/2011-2012-season/2006-2007-season/

is Xenakis's second major work for piano. Like its predecessor, Herma , it is notoriously difficult to perform. Its title refers to one of the Gorgons and also signifies "open sea." This ambiguity is fitting, for the work features a number of wave-like cascades of sounds whose percussive intensity is frequently awe-inspiring. The use of the piano's registers varies greatly, beginning with a narrow band of pitches in the middle of the instrument and progressing to wide expanses in the work's middle and final sections. Moments of repose are few, functioning in the manner of islands within a stormy sea. One such moment occurs immediately after the rhythmically charged opening: here the music opens out suddenly into a glittering star cluster of stochastically generated sounds, punctuated here and there by echoes of the previously stated rhythmic idea. A second star cluster occurs after the midpoint, combined this time with numerous arborescences (branching structures) whose contours curl and wind like the serpentine locks of the Gorgons' hair. The arborescences culminate in a spectacular cascade across the full range of the instrument. From here the music moves from the outer registers toward the middle and then outward again as it trails off into silence. Xenakis concludes Evryali with a brilliant touch of dialectical logic: a brief coda that fuses arborescences with pulsating rhythms in order to create a new, composite musical idea.

Forza italiana- Notas al programa de concierto
Concierto: Orquesta Sinfónica de la Región de Murcia, Alberto Velasco (fagot) y Sylvain Gasançon (director)
Sábado, 30 de abril 2016
Auditorio y Centro de Congresos “Víctor Villegas de Murcia”

giovedì 31 ottobre, ore 20.30 -turno A sabato 2 novembre, ore 19 -turno G domenica 3 novembre, ore 17 -turno D martedì 5 novembre, ore 20.30 -turno F mercoledì 6 novembre, ore 20.30 -turno B giovedì 7 novembre, ore 19 -turno L venerdì 8 novembre, ore 20.30 -turno C sabato 9 novembre, ore 17 -turno I domenica 10 novembre, ore 17 -turno E

Lirica e Balletto J Antonio Vivaldi triumphans devicta Holofernis barbarie Giuditta trionfante sulla barbarie di Oloferne 5 La locandina 7 E giù teste… di Michele Girardi 13 Carlo Vitali In tempore belli 35 Carlo Fiore Perché mettere in scena oggi Juditha triumphans (e anche altri oratori) 45 Elena Barbalich Juditha triumphans: tragedia e misticismo 49 Juditha triumphans: libretto e guida all'opera a cura di Emanuele Bonomi 87 Juditha triumphans in breve a cura di Tarcisio Balbo 89 Argomento -Argument -Synopsis -Handlung 95 Emanuele Bonomi Bibliografia 113 Dall'archivio storico del Teatro La Fenice Un grande operista veneziano che suonava il violino: Antonio Vivaldi a cura di Franco Rossi 123 Biografie La Fenice prima dell'Opera 2014-2015 5 Sommario Res et verba accomodando, singulorum affectuum vim esprimendo, rem quasi actam ante oculos ponendo. SAMUEL QUICHELBERG 1

Fondazione I Teatri di Reggio Emilia, 2016 A cura dell'Area comunicazione ed editoria L'editore si dichiara pienamente disponibile a regolare le eventuali spettanze relative a diritti di riproduzione per le immagini e i testi di cui non sia stato possibile reperire la fonte.

Background
The composer Jan Dismas Zelenka (1679–1745) has often been described as becoming a melancholic recluse in his later life. While the accuracy of these claims has been debated, the question of whether such claims influence the emotional responses of listeners to his music has not been explored.

Aims
The aim of this study was to investigate whether reading a neutrally worded or negatively worded biography about Zelenka prior to listening to his music would influence the emotional response of listeners.

Method
The study involved 179 participants in an online listening exercise. Participants provided demographic information before being randomly allocated into one of three conditions, in which they either read a negative biography of Zelenka, a neutral biography, or no biography. They then listened to two short excerpts of Zelenka’s music and responded to a series of 27 items concerning their emotional response (completed after each excerpt). Lastly, participants were asked to describe in their own words how the two musical excerpts made them feel.

Results
Two principal axis factor analyses with promax rotation identified five factors underlying the emotional responses of participants for each musical excerpt. For excerpt 1, the factors defining listeners’ emotional responses included “Aesthetic pleasure”, “Anxious fright”, “The extra-musical”, “The unexpected”, and “Peace and calm”. For excerpt 2, the emotional response factors included “Aesthetic pleasure, “Anxious sadness”, “The extra-musical”, “Surprise”, and “Calm and peaceful”. To test whether the condition influenced participants’ emotional responses to the two musical excerpts, a series of ten Generalised Linear Mixed-Model analyses were performed (one for each factor that emerged in the factor analysis). For both excerpts, the biography condition affected participants’ emotional response with regard to “The extra-musical” factor, which was concerned with the idea that music can induce emotion through memories, associations, and mental images. With regard to excerpt 1, participants who read the neutral biography reported significantly stronger “extra-musical” responses compared to the participants in the control condition. For excerpt 2, people who read the neutral biography reported a significantly stronger “extra-musical” response than participants who read the negative biography. Additionally, participants’ free-text responses explaining their emotional response to the musical excerpts were coded according to whether they described negative or neutral emotional states, or a combination of both. A Pearson’s chi-square test of contingencies evaluated whether the condition influenced the language used by participants, indicating that participants who read the negative biography of Zelenka were significantly more likely to use negative language or a combination of negative and neutral language to describe their emotional response to the music compared to participants who read the neutral biography.

Conclusions
Findings demonstrate that being primed by biographical information about a composer influences the emotional responses of listeners to their music in specific ways. It also highlighted that emotional responses to music are not only shaped by the listening context, but also by their position within unfolding reception histories.

Fondazione I Teatri di Reggio Emilia, 2013 Area comunicazione L'editore si dichiara pienamente disponibile a regolare le eventuali spettanze relative a diritti di riproduzione per le immagini e i testi di cui non sia stato possibile reperire la fonte.

In concerts of western classical music the provision of a program note is a widespread practice dating back to the 18th century and still commonly in use. Program notes tend to inform listeners and performers about historical context, composer biographical details, and compositional thinking. However, the scant program note research conducted to date reveals that program notes may not foster understanding or enhance listener enjoyment as previously assumed. In the case of canonic works, performers and listeners may already be familiar with much of the program note information. This is not so in the case of newly composed works, which formed the basis of the exploratory study reported here. This article reports the views of 17 living contemporary composers on their writing of program notes for their own works. In particular, the study sought to understand the intended recipient, role and the content of composer-written program notes. Participating composers identified three main roles for their program notes: to shape a performer's interpretation of the work; to guide, engage or direct the listener and/or performer; and as collaborative mode of communication between the composer, performer, and listener. For some composers, this collaboration was intended to result in "performative listening" in which listeners were actively engaged in bringing each composition to life. This was also described as a form of empathy that results in the coconstruction of the musical experience. Overall, composers avoided giving too much personal information and they provided performers with more structural information. However, composers did not agree on whether the same information should be provided to both performers and listeners. Composers' responses problematize the view of a program note as a simple statement from writer to recipient, indicating instead a more complex set of relations at play between composer, performer, listener, and the work itself. These relations are illustrated in a model. There are implications for program note writers and readers, and for educators. Future research might seek to enhance understanding of program notes, including whether the written program note is the most effective format for communications about music.

NADAL AMB BACH: KOMM, JESU, KOMM
Quan Johann Sebastian Bach va escriure els seus motets, aquest gènere era ja pràcticament una rèmora del passat. El kantor de Leipzig, però, passa per ser més que conservador en alguns aspectes, i aquest n’és un, precisament. Sense prodigar-se gaire, tampoc no va dubtar a escriure alguns motets quan l’ocasió ho va requerir. En època de Bach, en efecte, els motets es feien servir com a introducció d’algunes celebracions litúrgiques, i només en determinades ocasions -la major part dels escrits per Bach van ser per a funerals-. En aquests casos, a més, la tradició estava molt definida. Els motets s’escollien del recull Florilegium Portense, recopilat un segle abans de Bach, i que incloia sobre tot obres del segle XVI. Per tant, parlar de motets a Sant Tomàs de Leipzig era anar ni més ni menys que dos segles enrere.