SOMMERCAMPUS 2017 24.Aug-01.Sep Rostock
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Parsifal and Canada: a Documentary Study
Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article. -
ARSC Journal
A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers. -
Programme 2016
71e CONCOURS DE GENÈVE INTERNATIONAL MUSIC COMPETITION PROGRAMME 2016 CONCOURSGENEVE.CH Partenaire principal Croquis du sinistre Quoi qu’il arrive – nous vous aidons rapidement et simplement. mobiliere.ch Agence générale Genève Denis Hostettler Route du Grand-Lancy 6a 1227 Les Acacias T 022 819 05 55 [email protected] SOMMAIRE SUMMARY I. INTRODUCTION INTRODUCTION 3 Messages de bienvenue Official messages 3 Comment fonctionne le Jury How the Jury works 10 II. CONCOURS DE CHANT VOICE COMPETITION 11 Programme Programme 12 Prix et récompenses Prizes & awards 15 Candidats Candidates 17 Membres du Jury Jury members 28 Accompagnateurs Accompanists 40 Orchestre et chef Orchestra & conductor 42 III. CONCOURS DE QUATUOR STRING QUARTET À CORDES COMPETITION 45 Programme Programme 46 Prix et récompenses Prizes & awards 48 Candidats Candidates 51 Membres du Jury Jury members 60 Compositeur Composer 71 IV. AUTOUR DU CONCOURS AROUND THE COMPETITION 73 Concert d’ouverture Opening concert 75 Concert vernissage Concert inauguration 76 Pédagogie et médiation Education & mediation 77 V. LAURÉATS PRIZE-WINNERS 85 Programme de soutien Career development programme 86 Coup de Cœur Breguet Coup de Cœur Breguet Prize 89 Tournée des lauréats Laureates tour 91 Festival des lauréats Laureates festival 93 Interview du Quatuor Voce Interview of Quatuor Voce 95 Nouvelles des lauréats News of the laureates 100 VI. SOUTIENS SUPPORTS 107 Amis du concours Friends association 108 Partenaires et soutiens Partners & Supports 111 VII. PRATIQUE PRACTICAL 113 Billetterie, tarifs Tickets, prices 115 Lieux Places 118 Organisation Organization 119 Contacts Contacts 120 — 1 — ALTERNATIVE.CH | CI/UN/CH/F/121215 CI/UN/CH/F/121215 La discipline crée la stabilité. -
LE MONDE Mort De Christophe Desjardins, Un Alto Pour La Musique De Tous Les Temps
LE MONDE Mort de Christophe Desjardins, un alto pour la musique de tous les temps L’instrumentiste français, soliste à l’Ensemble intercontemporain durant deux décennies et interprète privilégié des plus grands compositeurs, est mort jeudi à 57 ans. Par Marie-Aude Roux Publié le 15 février 2020 Il avait su faire de son instrument une arme de création massive : l’altiste Christophe Desjardins, bien connu des mélomanes amis de la musique contemporaine, est mort à Paris jeudi 13 février des suites d’un cancer. Il avait 57 ans. L’un de ses enregistrements maîtres restera le somptueux récital réalisé pour Aeon, Alto/Multiples, en 2010, dix-sept pièces en 2 CD, dont le premier rassemble des grands solos (d’Hindemith à Elliott Carter) qui ont jalonné le XXe siècle, le second regroupant des œuvres en lien avec un répertoire plus ancien ou réclamant le procédé du re-recording afin de démultiplier son instrument – ainsi, le trio Ockeghem-Maderna, le quatuor de Wolfgang Rihm ou le septuor Messagesquisse de Boulez, dont il a créé en 2000 la version pour sept altos. Christophe Desjardins naît à Caen (Calvados) le 24 avril 1962. Il commence la musique très jeune et étudie d’abord le piano, avant de découvrir l’alto à 10 ans, dont le côté mystérieux le séduit. Il entre au Conservatoire national supérieur de musique de Paris en 1982 dans les classes de Serge Collot pour l’alto, de Geneviève Joy (femme d’Henri Dutilleux) pour la musique de chambre. Muni d’un Premier Prix à l’unanimité l’année suivante (1983), il se perfectionne à la Hochschule der Künste (actuelle Universität der Künste) de Berlin auprès de Bruno Giuranna. -
Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
(De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification. -
EDGAR MOREAU, Cellist
EDGAR MOREAU, cellist “Mr. Moreau immediately began to display his musical flair and his distinctive persona. His incredibly beautiful tone spoke directly to the heart and soul. Mr. Moreau established his credentials as a player of remarkable caliber. His intriguing presence, marvelously messy hair, and expressive face were all reflections of the inner poet.” —OBERON’S GROVE (NY) “This cello prodigy belongs in the family of the greatest artists of all time. The audience gave him an enthusiastic ovation in recognition of a divinely magical evening.” —LA PROVENCE ”He is just 20 years old, but for the past five years, this young musketeer of the bow has been captivating all of his audiences. He is the rising star of the French cello.” —LE FIGARO “Edgar Moreau captivates all those who hear him. Behind his boyish looks lies a performer of rare maturity. He is equally at ease in a chamber ensemble, as a soloist with orchestra or in recital, and his facility and pose are simply astounding.” —DIAPASON (Debut CD: “Play” ) European Concert Hall Organization’s 2016-2017 Rising Star 2015 Arthur Waser Foundation Award, in association with the Lucerne Symphony (Switzerland) 2015 Solo Instrumentalist of the Year, Victoires de la Musique Tchaikovsky Competition, 2011, Second Prize and Prize for Best Performance of the Commissioned Work First Prize, 2014 Young Concert Artists International Auditions Florence Gould Foundation Fellowship The Embassy Series Prize (Washington, DC) • The Friends of Music Concerts Prize (NY) The Harriman-Jewell Series Prize (MO) • The Saint Vincent College Concert Series Prize (PA) Chamber Orchestra of the Triangle Prize (NC) • University of Florida Performing Arts Prize The Candlelight Concert Society Prize (MD) YOUNG CONCERT ARTISTS, INC. -
Diskothek: Richard Wagner: Tannhäuser
Diskothek: Richard Wagner: Tannhäuser Montag, 14. Januar 2013, 20.00 - 22.00 Uhr Samstag, 19. Januar 2013, 14.00 - 16.00 Uhr (Zweitsendung) Gäste im Studio: Graziella Contratto und François Lilienfeld Gastgeberin: Eva Oertle Die Sage vom Sängerkrieg auf der Wartburg sowie die Venusberg-Geschichte inspirierten Richard Wagner zu seiner Oper Tannhäuser, in der er die Spannung zwischen heiliger und gottloser Liebe thematisiert. In der Diskothek stehen fünf Aufnahmen dieser wichtigen Oper von Wagner im Vergleich. Tannhäuser ist Richard Wagners fünfte vollendete Oper. Ab 1842 hat er mit der Komposition begonnen, und ungefähr dreieinhalb Jahre hat er dann an Textbuch und Partitur gearbeitet. Aber auch später hat er die Oper immer wieder überarbeitet. Wagner verbindet in seinem Tannhäuser zwei ursprünglich unabhängige Sagen aus dem 13. Jahrhundert miteinander - die von Heinrich von Ofterdingen und dem Sängerkrieg auf der Wartburg, und die vom Tannhäuser, der für sein Verweilen im Venusberg in Rom um Vergebung bei Papst Urban IV. bittet. Die Oper thematisiert den Zwiespalt zwischen reiner, heiliger und sinnlich-gottloser Liebe sowie der Erlösung durch Liebe, ein Leitthema, welches sich durch viele von Wagners späten Werken zieht. Eva Oertle diskutiert mit der Dirigentin Graziella Contratto und dem Musikwissenschaftler François Lilienfeld fünf Aufnahmen von Wagners Tannhäuser. Aufnahme 1: Gottlob Frick (Hermann, Landgraf von Thüringen); Hans Hopf (Tannhäuser); Dietrich Fischer-Dieskau (Wolfram von Eschenbach); Fritz Wunderlich (Walter von der Vogelweide); -
Year of Recording* Conductor Soloists Orchestra Live Label Date
Year of Conductor Soloists Orchestra Live Label Date of Recording* Recording 1 1936 Bruno Walter Kerstin Thorborg, Wiener Philharmoniker Live EMI May 23 & 24, Charles Kullman 1936 2 1939 Carl Schuricht Kerstin Thorborg, Koninklijk Live MINERVA Oct 5, 1939 Carl-Martin Öhmann Concertgebouworkest, Amsterdam 3 1948 Otto Klemperer Judit Sándor, A Magyar Rádió Live archiphon Nov 2, 1948 Endre Rösler Szimfonikus Zenekarát [CD 2012] 4 1948 Bruno Walter Kathleen Ferrier, New York Philharmonic Live NYP Jan 18, 1948 Set Svanholm Editions 5 1951 Otto Klemperer Elsa Cavelti Wiener Symphoniker Live VOX 28–30 Mar 1951 Anton Dermota 6 1952 Bruno Walter Kathleen Ferrier, Wiener Philharmoniker DECCA May 14, 15 & 16, Julius Patzak 1952 7 1964 Josef Krips Dietrich Fischer-Dieskau, Wiener Symphoniker Live DGG Jun 14, 1964 Fritz Wunderlich 8 1966 Otto Klemperer Christa Ludwig, Philharmonia/New EMI Feb 19–22 & Fritz Wunderlich Philharmonia Orchestra Nov 7–8, 1964, Jul 6–9, 1966 9 1966 Leonard Bernstein Dietrich Fischer-Dieskau, Wiener Philharmoniker DECCA Mar 1966 James King 10 1972 Leonard Bernstein Christa Ludwig, Israel Philharmonic Live SONY May 18, 20 & 23, René Kollo Orchestra 1972 11 1972 Jascha Horenstein Alfreda Hodgson, BBC Northern Symphony Live BBC Apr 28, 1972 John Mitchinson Orchestra Legends 12 1972 Sir Georg Solti Yvonne Minton, Chicago Symphony DECCA May 1972 René Kollo Orchestra 13 1974 Herbert von Christa Ludwig, Berliner Philharmoniker DGG Dec 7–10, 1973, Karajan René Kollo Oct 14, 1974 14 1975 Bernard Haitink Janet Baker, Koninklijk PHILIPS -
Dossier De Presse
DOSSIER DE PRESSE 1 SOMMAIRE Edito ............................................................................................ p.3 Calendrier ..................................................................................... p.4 Prélude au festival ........................................................................... p.5 Résidence Oscar Bianchi 2015 .............................................................. p.5 Installation «le son installé» ............................................................... p.6 Installation «72 Impulse» .................................................................. p.7 Installation «Fantômes» ..................................................................... p.8 Installation «D’ore et d’espace» ........................................................... p.10 Installation «Un orchestre de papier» .................................................... p.11 Installation «Apertures» ................................................................... p.12 Entre chou et loup ........................................................................... p.14 Visages ......................................................................................... p.15 Un temps fort autour de l’orgue contemporain ......................................... p.17 Kevin Bowyer (Ecosse), 6 novembre ....................................................... p.17 Kevin Bowyer (Ecosse), 7 novembre ....................................................... p.20 Incline ......................................................................................... -
Guildhall School Gold Medal 2020 Programme
Saturday 3 October 2020 5pm Milton Court Concert Hall Junior Guildhall Lutine Prize 2020 Final Round Samuel Frith Ellen Baumring-Gledhill Marlon Barrios Araya George Smith Sasha Canter Viviane Ghiglino Guildhall School of Music & Drama Founded in 1880 by the City of London Corporation Chairman of the Board of Governors Vivienne Littlechild Principal Lynne Williams AM Director of Guildhall Young Artists and Safeguarding Alison Mears BMus PGCE FGS Head of Junior Guildhall Rosie Whitfield ARCM DipRCM PGCE BIFF Head of Junior Music Courses Nigel Springthorpe PhD BMus FLCM PGCert. RCM PGCE Please visit our website at gsmd.ac.uk Guildhall School is part of Culture Mile: culturemile.london Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation Lutine Prize The Lutine Prize is the Junior Guildhall’s equivalent of the senior school’s Gold Medal competition. Six students are selected from a preliminary round to perform in the final and the winner is given the opportunity to perform a concerto with one of the Junior Guildhall ensembles, in addition to a cash prize. The Lutine Prize was founded in 1982, originally supported by Lloyds of London, who named the competition after their Lutine bell. The bell was formerly rung at the insurers’ offices to announce the loss of a ship or other news of great importance to the underwriters. Previous winners of the Prize include Thomas Ades, Thomas Poster and Annabel Thwaite, and many have gone on to have professional careers in -
Cello Biennale 2018
programmaoverzicht Cellists Harald Austbø Quartet Naoko Sonoda Nicolas Altstaedt Jörg Brinkmann Trio Tineke Steenbrink Monique Bartels Kamancello Sven Arne Tepl Thu 18 Fri 19 Sat 20 Sun 21 Mon 22 Tue 23 Wed 24 Thu 25 Fri 26 Sat 27 Ashley Bathgate Maarten Vos Willem Vermandere 10.00-16.00 Grote Zaal 10.00-12.30 Grote Zaal 09.30 Grote Zaal 09.30 Grote Zaal 09.30 Grote Zaal 09.30 Grote Zaal 09.30 Grote Zaal 09.30 Grote Zaal Kristina Blaumane Maya Beiser Micha Wertheim First Round First Round (continued) Bach&Breakfast Bach&Breakfast Bach&Breakfast Bach&Breakfast Bach&Breakfast Bach&Breakfast Arnau Tomàs Matt Haimovitz Kian Soltani Jordi Savall Sietse-Jan Weijenberg Harriet Krijgh Lidy Blijdorp Mela Marie Spaemann Santiago Cañón NES Orchestras and Ensembles 10.15-12.30 10.15-12.30 10.30-12.45 Grote Zaal 10.15-12.30 10.15-12.30 10.15-12.30 10.15-12.30 10.30 and 12.00 Kleine Zaal Master class Master class Second Round Masterclass Masterclass Masterclass Masterclass Valencia Svante Henryson Accademia Nazionale di Santa Show for young children: Colin Carr (Bimhuis) Jordi Savall (Bimhuis) Jean-Guihen Queyras Nicolas Altstaedt (Bimhuis) Roel Dieltiens (Bimhuis) Matt Haimovitz (Bimhuis) Colin Carr Quartet Cecilia Spruce and Ebony Jakob Koranyi (Kleine Zaal) Giovanni Sollima (Kleine (Bimhuis) Michel Strauss (Kleine Zaal) Chu Yi-Bing (Kleine Zaal) Reinhard Latzko (Kleine Zaal) Zaal) Kian Soltani (Kleine Zaal) Hayoung Choi The Eric Longsworth Amsterdam Sinfonietta 11.00 Kleine Zaal Chu Yi-Bing Project Antwerp Symphony Orchestra Show for young children: -
© S U Za N N E D O P P E Lt
© Suzanne Doppelt GEORGES APERGHIS (*1945) 1 Crosswind (1997) 12:51 for viola and four saxophones 2 Alter ego (2001) 7:53 for saxophone 3 Rasch (2006) 6:07 version for viola and saxophone 4 Volte-face (1997) 8:42 for viola 5 Signaux (1978) 13:17 version for 12 saxophones TT: 49:25 1 3 4 Geneviève Strosser viola 1 5 XASAX * ensemble de saxophones modulable: Serge Bertocchi, Jean-Michel Goury, Pierre-Stephane Meugé and Marcus Weiss 2 Marcus Weiss tenor saxophone 3 Pierre-Stephane Meugé soprano saxophone Volte-face (Fragment) © Durand-Salabert-Eschig (Universal Music Publishing Group) > 2 3 „Quasi parlando“ – Kreuzungen für Saxophon und Bratsche von Georges Aperghis Patrick Hahn Er wäre nicht der erste bekannte Musiktheater- meisten interessiert. Ein Sänger kann verschie- komponist, der die weniger „spektakulären“ Spiel- dene Stimmen annehmen, mit Hauchen, ohne arten der Musik vernachlässigte. Doch anders als Hauchen, mit Vibrato, ohne Vibrato, er kann sogar die „sinfonische Form“, die Georges Aperghis schreien. Warum Instrumente nicht auch?“ seit einem ersten Versuch 1972 nur selten be- dacht hat, zieht sich Kammermusikalisches wie Das älteste Werk auf dieser Veröffentlichung ein roter Faden durch sein Œuvre. Wie auf der bildet in dieser Hinsicht eine Ausnahme. Aperghis Theaterbühne treibt Aperghis im Kammermusik- schrieb es für „vier Instrumente gleicher Klang- saal sein Spiel mit immer neuen Besetzungen farbe und gleicher Tonhöhe“ – es wäre also theo- und stellt sie zugleich in Bezug zur europäischen retisch auch von vier Pauken zu realisieren – und Musiktradition. Hier wie dort sucht er nach Stim- zeugt noch vom Einfluss von John Cage auf das men.