L.A. Chamber Orchestra's 2018-19 Season Features Three World Premieres
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Acclaimed Pianist and Conductor Jeffrey Kahane Named a Professor at the USC Thornton School of Music
Web Version | Contact Media Reps | Find Experts Like Tweet Forward Acclaimed Pianist and Conductor Jeffrey Kahane Named a Professor at the USC Thornton School of Music CONTACT: Evan Calbi 213/740-3229 [email protected] Libby Huebner 562/799-6055 and Laura Stegman 310/470-6321 [email protected] Jeffrey Kahane, the acclaimed pianist and music director of the Los Angeles Chamber Orchestra (LACO), will join the USC Thornton School of Music faculty part time in fall 2015 during his final two years with LACO, becoming a full-time professor after he steps down from his LACO post in 2017. He will be transitioning to music director laureate at LACO after a 20-year run, the longest of any music director in the ensemble’s history. This appointment ensures he will remain a musical force in Los Angeles for years to come. Officials from USC Thornton and LACO made the joint announcement today that Kahane will join the keyboard studies department to teach piano as well as other classes. “Jeffrey is an important addition to the USC Thornton faculty as we continue to assemble what we believe to be the strongest music faculty in the world,” said Robert Cutietta, dean of USC Thornton. “He has such a strong humanities background that he will be a diverse and strong addition to our school. The sky is the limit on what might evolve.” Kahane said he was “deeply honored to join the immensely distinguished faculty” of USC Thornton and said he is “profoundly grateful for their warm and enthusiastic welcome and support.” Kahane said that a commitment to education has been a central part of his musical life for more than two decades. -
Familiar Faces in Symphony Season
Albanian violinist Tedi Papavrami will play Shostakovich’s Violin Concerto No. 1 with the Santa Rosa Symphony Oct. 5, 6 & 7. The Press Democrat . Friday, October 4, 2013 by Diane Peterson Familiar Faces in Symphony Season There will be lots of familiar faces when the Santa Rosa Symphony opens its 2013-2014 season this weekend at the Green Music Center's Weill Hall. The “Encores and Debuts” season not only welcomes back such soloists as cellist Maya Beiser but showcases familiar works such as Jean Sibelius' Symphony No. 2. “That's a theme running through the season,” said Santa Rosa Symphony Music Director Bruno Ferrandis. “Because it's anchored in the repertoire, it's one of the most balanced seasons I've ever realized.” The orchestra also will present a few contemporary works on the heels of winning an award from the American Society of Composers, Authors and Publishers (ASCAP) for innovative programming during 2012-2013. “For me, it's mission accomplished, as far as the first season in the hall,” Ferrandis said. “This year, we have a lot of things to explore as well ... it's a very creative and modern program.” For Ferrandis, last season flew by quickly — it was the symphony's first year as resident orchestra of the new hall — and ended on a high note with Dmitri Shostakovich's Symphony No. 10. This season, the symphony picks up where it left off by performing Shostakovich's Symphony No. 5, one of the composer's most popular works. When it was written in 1937, Shostakovich was under intense scrutiny by the Soviet government. -
Jeffrey Kahane
JEFFREY KAHANE Equally at home at the piano or on the podium, Jeffrey Kahane is recognized around the world for his mastery of a diverse repertoire ranging from Bach and Mozart to the music of our time. Kahane has appeared as soloist with major orchestras such as the New York Philharmonic, Cleveland Orchestra, Los Angeles Philharmonic, Philadelphia Orchestra, and the Chicago and San Francisco Symphonies, and is also a popular artist at all of the major US summer festivals, including Aspen, Blossom, Caramoor, Mostly Mozart, and Ravinia. In August 2016 he was appointed Music Director of the Sarasota Music Festival, which offers master classes and chamber music coaching by a distinguished international faculty, and features chamber music performances and orchestral concerts performed by highly advanced students and young professionals, as well as faculty members. Since making his Carnegie Hall debut in 1983, he has given recitals in many of the nation’s major music centers including New York, Chicago, Boston, San Francisco, Los Angeles, and Atlanta. A highly respected chamber musician, Kahane collaborates with many of today’s most important chamber ensembles and was the Artistic Director of the Green Music Center Chamberfest during the summers of 2015 and 2016. Kahane made his conducting debut at the Oregon Bach Festival in 1988. Since then, he has guest conducted many of the major US orchestras including the New York and Los Angeles Philharmonics; Philadelphia and Cleveland Orchestras; Saint Paul Chamber Orchestra; and the Chicago, Detroit, St. Louis, Baltimore, Indianapolis, and New World Symphonies. In May 2017 Kahane completed his 20th and final season as Music Director of the Los Angeles Chamber Orchestra. -
Conducting from the Piano: a Tradition Worth Reviving? a Study in Performance
CONDUCTING FROM THE PIANO: A TRADITION WORTH REVIVING? A STUDY IN PERFORMANCE PRACTICE: MOZART’S PIANO CONCERTO IN C MINOR, K. 491 Eldred Colonel Marshall IV, B.A., M.M., M.M, M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2018 APPROVED: Pamela Mia Paul, Major Professor David Itkin, Committee Member Jesse Eschbach, Committee Member Steven Harlos, Chair of the Division of Keyboard Studies Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Marshall IV, Eldred Colonel. Conducting from the Piano: A Tradition Worth Reviving? A Study in Performance Practice: Mozart’s Piano Concerto in C minor, K. 491. Doctor of Musical Arts (Performance), May 2018, 74 pp., bibliography, 43 titles. Is conducting from the piano "real conducting?" Does one need formal orchestral conducting training in order to conduct classical-era piano concertos from the piano? Do Mozart piano concertos need a conductor? These are all questions this paper attempts to answer. Copyright 2018 by Eldred Colonel Marshall IV ii TABLE OF CONTENTS Page CHAPTER 1. INTRODUCTION: A BRIEF HISTORY OF CONDUCTING FROM THE KEYBOARD ............ 1 CHAPTER 2. WHAT IS “REAL CONDUCTING?” ................................................................................. 6 CHAPTER 3. ARE CONDUCTORS NECESSARY IN MOZART PIANO CONCERTOS? ........................... 13 Piano Concerto No. 9 in E-flat major, K. 271 “Jeunehomme” (1777) ............................... 13 Piano Concerto No. 13 in C major, K. 415 (1782) ............................................................. 23 Piano Concerto No. 20 in D minor, K. 466 (1785) ............................................................. 25 Piano Concerto No. 24 in C minor, K. -
Booklet 125X125.Indd
1 2 3 CONTENTS A RECORDED HISTORY Philip Stuart 7 REMINISCENCES BY LADY MARRINER 18 A FEW WORDS FROM PLAYERS 21 HISTORY OF THE ACADEMY OF SAINT MARTIN IN THE FIELDS Susie Harries (née Marriner) 36 CD INFORMATION 44 INDEX 154 This Edition P 2020 Decca Music Group Limited Curation: Philip Stuart Project Management: Raymond McGill & Edward Weston Digital mastering: Ben Wiseman (Broadlake Studios) TH 60 ANNIVERSARY EDITION Design & Artwork by Paul Chessell Special thanks to Lady Marriner, Joshua Bell, Marilyn Taylor, Andrew McGee, Graham Sheen, Kenneth Sillito, Naomi Le Fleming, Tristan Fry, Robert Smissen, Lynda Houghton, Tim Brown, Philip Stuart, Susie Harries, Alan Watt, Ellie Dragonetti, Gary Pietronave (EMI Archive, Hayes) 4 5 A RECORDED HISTORY Philip Stuart It all started with L’Oiseau-Lyre - a boutique record label run by a Paris-based Australian heiress who paid the players in cash at the end of the session. The debut LP of Italianate concerti grossi had a monochrome photograph of a church porch on the cover and the modest title “A Recital”. Humble beginnings indeed, but in 1962 “The Gramophone” devoted a full page to an enthusiastic review, concluding that it was played “with more sense of style than all the chamber orchestras in Europe put together”. Even so, it was more than a year before the sequel, “A Second Recital”, appeared. Two more such concert programmes ensued [all four are on CDs 1-2] but by then the Academy had been taken up by another label with a shift in policy more attuned to record collectors than to concert goers. -
Norwegian Chamber Orchestra IONA BROWN, Artistic Director
THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN Norwegian Chamber Orchestra IONA BROWN, Artistic Director IONA BROWN and ATLE SPONBERG, Violinists LARS ANDERS TOMTER, Violist THURSDAY EVENING, OCTOBER 8, 1987, AT 8:00 RACKHAM AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Concerto in D minor for Two Violins .............................. BACH Vivace Largo, ma non tanto Allegro IONA BROWN and ATLE SPONBERG, Violinists Rendez-vous for Strings (1987), American premiere........ ARNE NORDHEIM Praembulum Intermezzo Eco INTERMISSION String Symphony No. 10 .................................. MENDELSSOHN In one movement Sinfonia Concertante in E-flat major, K. 364, for Violin and Viola .......................................... MOZART Allegro maestoso Andante Presto IONA BROWN, Violinist, and LARS ANDERS TOMTER, Violist The Norwegian Chamber Orchestra acknowledges with gratitude the following companies who have helped to make possible its 1987 North American tour: Norseland Foods, Norsk Hydro Sales Corporation (New York), and Olsten Services. Hall's Cough Tablets, courtesy of Warner-Lambert Company, are available in the lobby. Fifth Concert of the 109th Season Twenty-fifth Annual Chamber Arts Series Johann Sebastian Bach (1685-1750): Concerto in D minor for Two Violins This concerto is very likely the best known of all Baroque concertos for two instruments. Stravinsky once called it "the most perfect Baroque concerto in existence." Written while Bach was Kapellmeister at the small but musically active court in Kothen, from 1717 to 1723, it follows the pattern of the Italian concerto with its two fast movements and an aria-like slow movement in the middle. Arne Nordheim (b. 1931): Rendez-vous for Strings (1987) Rendez-vous for Strings is a brand new composition, written specially for the Norwegian Chamber Orchestra. -
Ambassador Auditorium Collection ARS.0043
http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf194 No online items Guide to the Ambassador Auditorium Collection ARS.0043 Finding aid prepared by Frank Ferko and Anna Hunt Graves This collection has been processed under the auspices of the Council on Library and Information Resources with generous financial support from the Andrew W. Mellon Foundation. Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] 2011 Guide to the Ambassador Auditorium ARS.0043 1 Collection ARS.0043 Title: Ambassador Auditorium Collection Identifier/Call Number: ARS.0043 Repository: Archive of Recorded Sound, Stanford University Libraries Stanford, California 94305-3076 Physical Description: 636containers of various sizes with multiple types of print materials, photographic materials, audio and video materials, realia, posters and original art work (682.05 linear feet). Date (inclusive): 1974-1995 Abstract: The Ambassador Auditorium Collection contains the files of the various organizational departments of the Ambassador Auditorium as well as audio and video recordings. The materials cover the entire time period of April 1974 through May 1995 when the Ambassador Auditorium was fully operational as an internationally recognized concert venue. The materials in this collection cover all aspects of concert production and presentation, including documentation of the concert artists and repertoire as well as many business documents, advertising, promotion and marketing files, correspondence, inter-office memos and negotiations with booking agents. The materials are widely varied and include concert program booklets, audio and video recordings, concert season planning materials, artist publicity materials, individual event files, posters, photographs, scrapbooks and original artwork used for publicity. -
Musical Performance and Cocktail Reception September 08, 2011
Musical Performance and Cocktail Reception September 08, 2011 The Consul General of the Czech Republic in Los Angeles, Michal Sedlacek, will host the Garden Party in his residence in honor of the 170th anniversary of the birth of classical composer Antonin Dvořák. The Salastina Music Society and Walden String Quartet will present a few samples of Dvořák’s work. Music Professors Robert Winter of UCLA and Nick Strimple of USC will speak briefly on the importance of Dvořák in American music. Film Producer/Actor Lenora May and Emmy Award winner Craig Heller will take you inside the fascinating world of independent filmmaking for a detailed look at their upcoming film project, Spillville, the true story of Dvořák's inspirational 1893 trip to Spillville, Iowa (participation upon invitation only). Deo Gratias (directed by Martin Suchanek), September 14 and 21 at 7:30 pm Film documentary depicting Dvorak´s life and work (English subtitles) Screening at the Consulate General of the Czech Republic 10990 Wilshire Blvd, Ste 1100, Los Angeles CA 90024 A documentary that portrays the world-renowned Czech composer as a man of strong character, sensitivity, education and Christian faith, as a patriot and a man whose talent took him from a very modest family background to the highest peak of fame. How was it that a musician unknown until the age of 33 became adored all over Europe, was invited to the USA to help create a national American music, and was awarded doctorates and honorary memberships from top international orchestras? From where did Dvořák draw the strength to preserve his own unique identity and not succumb to contemporary fashion trends? All these questions are addressed in this fascinating documentary. -
We Are TEN – in This Issue
RVW No.31 NEW 2004 Final 6/10/04 10:36 Page 1 Journal of the No.31 October 2004 EDITOR Stephen Connock RVW (see address below) Society We are TEN – In this issue... and still growing! G What RVW means to me Testimonials by sixteen The RVW Society celebrated its 10th anniversary this July – just as we signed up our 1000 th new members member to mark a decade of growth and achievement. When John Bishop (still much missed), Robin Barber and I (Stephen Connock) came together to form the Society our aim was to widen from page 4 appreciation of RVW’s music, particularly through recordings of neglected but high quality music. Looking back, we feel proud of what we have achieved. G 49th Parallel World premieres Through our involvement with Richard Hickox, and Chandos, we have stimulated many fine world by Richard Young premiere recordings, including The Poisoned Kiss, A Cotswold Romance, Norfolk Rhapsody No.2, page 14 The Death of Tintagiles and the original version of A London Symphony. Our work on The Poisoned Kiss represents a special contribution as we worked closely with Ursula Vaughan Williams on shaping the libretto for the recording. And what beautiful music there is! G Index to Journals 11-29 Medal of Honour The Trustees sought to mark our Tenth Anniversary in a special way and decided to award an International Medal of Honour to people who have made a remarkable contribution to RVW’s music. The first such Award was given to Richard Hickox during the concert in Gloucester and more . -
Busy Coast Pianist Joins in Salute to Rubinstein Singers, Played Chamber Music, Did by HAROLD C
L Busy Coast Pianist Joins In Salute to Rubinstein singers, played chamber music, did By HAROLD C. SCHONBERG some jazz.” He also started entering competitions. In his very first one, Call it a shared Carnegie Hall the Clara Haskil in Switzerland, he debut. Jeffrey Kahane, the West took second place. He tried’ the Coast pianist, will be playiñg there Chopin Competition in Warsaw. “I tomorrow night, along with Leonard did not do so great,” he said with a Bernstein, Jerome Lowenthal and the wry grin. He had his ups and downs. 11-year-old Israeli prodigy, Elisha Then came the Clibum and Rubin Abas. The occasion is the concert of stein, and now Mr. Kahane is se the America-Israel Cultural Founda curely established. tion honoring the memory of Arthur With the new demands on him, his Rubinstein, who died last Dec. 20. repertory has expanded. Previously, It is specially appropriate for Mr. he had concentrated on the classics Kahane to be one of the four pianists, from Bach through the 19th century. for only last April he won the fourth Now he is beginning to examine 20th- Arthur Rubinstein International oentury music, and has in his reper Piano Competition in Tel Aviv. But he tory such pieces as the Elliott Carter already had attracted national atten Sonata and the Aaron Copland Fanta tion when he took fourth place, two sy. years ago, at the Van Clibum Compe The Music, Not the Player tition in Forth Worth. His style? “I have not thought Mr. Kahane is having a busy few about it very much,” he said. -
SAN DIEGO SYMPHONY ORCHESTRA a JACOBS MASTERWORKS CONCERT Jeffrey Kahane, Conductor and Piano
SAN DIEGO SYMPHONY ORCHESTRA A JACOBS MASTERWORKS CONCERT Jeffrey Kahane, conductor and piano April 13 and 14, 2018 WOLFGANG AMADEUS MOZART Piano Concerto No. 27 in B-flat Major, K. 595 Allegro Larghetto Allegro Jeffrey Kahane, piano SAMUEL BARBER Music for a Scene from Shelley, Op. 7 INTERMISSION ROBERT SCHUMANN Symphony No. 3 in E-flat Major, Op. 97: Rhenish Lebhaft Scherzo: Sehr mässig Nicht schnell Feierlich Lebhaft Piano Concerto No. 27 in B-flat Major, K. 595 WOLFGANG AMADEUS MOZART Born January 27, 1756, Salzburg Died December 5, 1791, Vienna Mozart completed the Concerto in B-flat Major on January 5, 1791, eleven months to the day before his death, and he gave the first performance on March 4. The conditions of that premiere are especially poignant. Mozart’s own concerts in Vienna had done so poorly for the previous several years that he had been forced to abandon them – he played this concerto on a program given by the clarinetist Joseph Bähr. Such dismal circumstances, the expressive mood of the music itself, and the imminence of the composer’s death have led Mozart’s biographers to make some staggering claims for this concerto. Alfred Einstein feels that it “stands at the gate of heaven… [and is] the musical counterpart to the confession he made in his letters to the effect that life had lost attraction for him.” H.C. Robbins Landon suggests that in this music “we meet a new, resigned Mozart, a Mozart who no longer really cared about worldly acclaim.” Painful as the thought of Mozart’s premature death may be for us two centuries later, it is far better to regard this wonderful concerto not as a message of farewell (Mozart had no idea when he wrote it that he would be dead within a year) but as a promise of what might have been, had he been allowed even a few more years, for every measure of this music is suffused with a calm and expressive beauty. -
Lorraine Hunt Lieberson Mezzo-Soprano
J. S. Bach 1–3 Brandenburg Concerto No. 4, BWV 1049 14:19 Margaret Batjer leader & violin David Shostac flute Brook Ellen Schoenwald flute 1 Allegro 6:28 2 Andante 3:25 3 Presto 4:26 J. S. Bach 4 Mein Herze schwimmt im Blut, BWV 199 27:46 Jeffrey Kahane conductor Lorraine Hunt Lieberson mezzo-soprano Recitative Mein Herze schwimmt im Blut Aria and Recitative Stumme Seufzer, stille Klagen Allan Vogel oboe d’amore Recitative Doch Gott muss mir genädig sein lorraine Aria Tief gebückt und voller Reue Lorraine Hunt Lieberson Recitative Auf diese Schmerzensreu mezzo-soprano Chorale Ich, dein betrübtes Kind Roland Kato viola Los Angeles Chamber Orchestra Recitative Ich lege mich in diese Wunden Jeffrey Kahane music director Aria Wie freudig ist mein Herz with support from 1 Los Angeles Philanthropic 1 Committee for the Arts Lorraine Hunt Lieberson How does one begin to write about such a human being? Great singers have the ability to communicate deep layers of meaning in a text, teasing out ever more nuanced understandings of the com- poser’s intentions. But Lorraine Hunt Lieberson took this a step further. She made it seem as if she wrote the poetry herself. And Lorraine made it seem as if she were singing this music directly to you and to you alone in the theater. Lorraine addressed the importance of this direct communication in her appreciation of other singers as well. “I like to listen to singers,” she said, “where I feel the direct openness of the heart in the voice.”1 Lorraine acted through the sound and the music, often standing quietly and intensely, while weaving emotional tapestries with the text and delivering vocal lines of glory.