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Relatório Anual De Atividades 2008
Relatório Anual de Atividades 2008 1 FUNDAÇÃO OSESP Concertos A Orquestra Sinfônica do Estado de São Paulo – OSESP apresentou 99 concertos sinfônicos, em 2008, tendo iniciado suas atividades para o público em 06 de março e encerrado a temporada em 31 de dezembro. Os concertos de câmara dos grupos mantidos pela Fundação Osesp, que englobam Câmara, Quartetos, “Um Certo Olhar”, Coro e Convidados, totalizaram 41 apresentações. O público total dos concertos da OSESP (sinfônicos e câmara), na Sala São Paulo, foi de 149,7 mil pessoas em 2008, nem constante crescimento (+ 4,7% sobre 2007; + 25,2% sobre 2006). A programação e o respectivo público seguem abaixo: Capacidade Índice de Datas Programa/Regente/Solista Público Total * Ocupação 06/03, 07/03, 08/03 SSP 01: John Neschling, reg - Mahler: Sinfonia nº 2 3.837 3.657 95% 13/03, 14/03, 15/03 SSP 02: Rodolfo Fischer, reg - Nicolas Koeckert, violino 4.119 3.217 78% 20/03, 21/03, 22/03 SSP 03: John Neschling, reg - Olga Kern, piano 4.119 4.028 98% 27/03, 28/03, 29/03 SSP 04: Xian Zhang, reg - Prokofiev: Ivan, o terrível 3.837 3.502 91% 03/04, 04/04, 05/04 SSP 05: Sir Peter Maxwell Davies, reg - Mozart, Haydn e Davies 4.119 3.540 86% 10/04, 11/04, 12/04 SSP 06: John Neschling, reg - Arnaldo Cohen, piano 4.119 4.018 98% 17/04, 18/04, 19/04 SSP 07: John Neschling, reg - Arnaldo Cohen, piano 4.119 3.977 97% 24/04, 25/04, 26/04 SSP 08: John Neschling, reg - Jean-Philippe Collard, piano 4.119 3.429 83% 01/05, 02/05, 03/05 SSP 09: Victor Hugo Toro, reg - Boris Belkin, violino 3.837 3.679 96% 08/05, 09/05, -
The Art of Making Mistakes
The Art of Making Mistakes Misha Alperin Edited by Inna Novosad-Maehlum Music is a creation of the Universe Just like a human being, it reflects God. Real music can be recognized by its soul -- again, like a person. At first sight, music sounds like a language, with its own grammatical and stylistic shades. However, beneath the surface, music is neither style nor grammar. There is a mystery hidden in music -- a mystery that is not immediately obvious. Its mystery and unpredictability are what I am seeking. Misha Alperin Contents Preface (by Inna Novosad-Maehlum) Introduction Nothing but Improvising Levels of Art Sound Sensitivity Fairytales and Fantasy Music vs Mystery Influential Masters The Paradox: an Improvisation on the 100th Birthday of the genius Richter Keith Jarrett Some thoughts on Garbarek (with the backdrop of jazz) The Master on the Pedagogy of Jazz Improvisation as a Way to Oneself Main Principles of Misha's Teachings through the Eyes of His Students Words from the Teacher to his Students Questions & Answers Creativity: an Interview (with Inna Novosad-Maehlum) About Infant-Prodigies: an Interview (with Marina?) One can Become Music: an Interview (with Carina Prange) Biography (by Inna Novosad-Maehlum) Upbringing The musician’s search Alperin and Composing Artists vs. Critics Current Years Reflections on the Meaning of Life Our Search for Answers An Explanation About Formality Golden Scorpion Ego Discography Conclusion: The Creative Process (by Inna Novosad-Maehlum) Preface According to Misha Alperin, human life demands both contemplation and active involvement. In this book, the artist addresses the issues of human identity and belonging, as well as those of the relationship between music and musician. -
A Culture of Recording: Christopher Raeburn and the Decca Record Company
A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon. -
2013-2014 Subscription Series
2013-2014 Subscription Series Fri. Sun. Thursday 6 8PM 8PM Fri 9 2PM Saturday 6 8PM Sat. 9 8PM 2PM 2013-2014 Subscription Series A B C D A B A B C D A B September Fri. Sun. Beethoven 9 PREMIuM Thursday 6 8PM 8PM Fri 9 2PM Saturday 6 8PM Sat. 9 8PM 2PM Yannick Nézet-Séguin Conductor Beethoven Calm Sea and Sept. Sept. Sept. Sept. Westminster Symphonic Choir Prosperous Voyage A B C D A B A B C D A B Joe Miller Director Muhly “Bright Mass with Canons” 26 27 28 28 Beethoven Symphony September No. 9 (“Choral”) Beethoven 9 PREMIuM Yannick Nézet-Séguin Conductor Beethoven Calm Sea and Sept. Sept. Sept. Sept. OctoberWestminster Symphonic Choir Prosperous Voyage Joe Miller Director Muhly “Bright Mass with Canons” 26 27 28 28 Mahler 4 Beethoven Symphony Oct. Oct. Oct. Oct. Yannick Nézet-Séguin Conductor Britten No. 9 (“Choral”)Variations and Fugue Richard Woodhams Oboe on a Theme of Purcell 4 5 5 6 Christiane Karg Soprano Strauss Oboe Concerto October Mahler Symphony No. 4 Mahler 4 Oct. Oct. Oct. Oct. BronfmanYannick Nézet-Séguin Plays BeethovenConductor Britten Variations and Fugue Richard Woodhams Oboe on a Theme of Purcell Semyon Bychkov Conductor Beethoven Piano Concerto No. 4 Oct. 4 Oct. Oct. 5 5 6 Christiane Karg Soprano Strauss Oboe Concerto Yefim Bronfman Piano Shostakovich Symphony No. 11 Mahler Symphony No. 4 10 11 12 (“The Year 1905”) BronfmanPines of Rome Plays BeethovenPREMIuM Rafael Frühbeck de Burgos Beethoven Overture to Semyon Bychkov Conductor Beethoven Piano Concerto No. 4 Oct. Oct. -
Radu Lupu | Biography Piano
Radu Lupu | Biography Piano Born in Romania, Radu Lupu began taking piano lessons from Lia Busuioceanu at the age of six. At the young age of 12, he made his public debut with a complete programme of his own music. He continued his studies for several years with Florica Muzicescu and Cella Delavrancea before winning a scholarship in 1961 to the Moscow Conservatoire, where he studied with Galina Eghyazarova, Heinrich Neuhaus and later with Stanislav Neuhaus. He won first prize in three competitions: the 1966 Van Cliburn, the 1967 Enescu International, and the 1969 Leeds International. Mr Lupu has performed in conjunction with many of the most prestigious orchestras of the world. He made his Salzburg Festival debut in 1978, conducted by Karajan and the Berlin Philarmonic Orchestra. Lupu has also worked with the Vienna Philharmonic, with which he opened the 1986 Salzburg Festival under Muti, along with the Royal Concertgebouw, all of the major London orchestras, and each of the great American orchestras. In the United States, his first significant appearances were in 1972 with the Cleveland Orchestra and Barenboim in New York, as well as with the Chicago Symphony and Giulini. He has been featured at many notable music festivals worldwide and has been a regular guest at the Salzburg and Lucerne Festivals. His recordings for Decca include the Beethoven Piano Concertos, Brahms Concerto No 1, Grieg and Schumann Concertos, the complete collection of Mozart Violin and Piano Sonatas with Szymon Goldberg, Debussy and Franck Violin and Piano Sonatas with Kyung Wha Chung. In addition, he has recorded solo works by Beethoven, Brahms, Schumann and Schubert. -
Landsberg Garden in Hell.Pdf (132.6Kb)
Melvin Landsberg Department of English University of Kansas Lawrence, Kansas 66044 Telephone (785) 749-1766 A Garden in Hell Suppose you have a small library, with pictures to adorn the walls—a garden laid out around—and contemplate scientific and literary pursuits, etc., and discover all at once that your villa, with all its contents, is located in hell, and that the justice of the peace has a cloven foot and a forked tail—do not these things suddenly lose their value in your eyes? Henry David Thoreau, in his essay “Slavery in Massachusetts” (1854) I became enthusiastic about classical music much later than I like to acknowledge to myself, and my joy in it was heightened by a CD of three Beethoven piano sonatas—the “Moonlight,” “Pathétique,” and “Waldstein,” played by a notably sensitive pianist, Radu Lupu. Suddenly I was in a passion to hear more Beethoven. A modicum of experience quickly convinced me that the ability of a performing artist or a conductor could make a huge difference in my response to any work by Beethoven, and indeed by any other composer. Several listeners’ guide to classical music offered information about composers’ and sometimes performers’ lives, careers, and works. I already had the Rough Guide to Classical Music (ed. by Joe Staines and Duncan Clark), and I bought The NPR Listener’s Encyclopedia of Classical Music (by Ted Libbey). Both of these gave further help by recommending CD versions of the musical works they discussed. Landsberg 2 As I oriented myself among conductors and performers whose CDs were sometimes recommended, I found in Libbey noisome chunks of information about several of their careers. -
GUSTAV MAHLER JUGENDORCHESTER Musicians for Europe
1987 – 2019 GUSTAV MAHLER JUGENDORCHESTER Musicians for Europe Gustav Mahler Jugendorchester Founded by Claudio Abbado (1933-2014) Tobias Wögerer, Assistant Conductor Alexander Meraviglia-Crivelli, Secretary General The GUSTAV MAHLER JUGENDORCHESTER (GMJO) was founded in Vienna in 1986/87 on the initiative of Claudio Abbado. Today it is regarded as the world’s leading youth orchestra and was awarded by the European Cultural Foundation in 2007. As well as supporting young musicians and their work, Abbado was keen to encourage the music making of young Austrian musicians together with colleagues from the then socialist republics of Czechoslovakia and Hungary. As a consequence, the GMJO became the first international youth orchestra to hold open auditions in the countries of the former Eastern Bloc. In 1992, the GMJO opened up to musicians aged up to 26 from all over Europe. As the youth orchestra for the whole of Europe, it is under the patronage of the Council of Europe. At the auditions that take place every year in over twenty-five European cities, an international jury selects candidates from an average of 2000 applicants. Prominent orchestra musicians are members of this jury and also responsible for the preparation of the repertoire in the individual sections during the rehearsal periods of the orchestra. The GMJO tour repertoire ranges from classical to contemporary music with the emphasis on the great symphonic works of the Romantic and late Romantic periods. Its high artistic level and international success have prompted many leading conductors and soloists to perform with the GMJO, such as Claudio Abbado, David Afkham, Herbert Blomstedt, Pierre Boulez, Myung-Whun Chung, Sir Colin Davis, Christoph Eschenbach, Peter Eötvös, Christoph Eschenbach, Iván Fischer, Daniele Gatti, Bernard Haitink, Daniel Harding, Paavo Järvi, Mariss Jansons, Philippe Jordan, Vladimir Jurowski, Ingo Metzmacher, Kent Nagano, Václav Neumann, Jonathan Nott, Seiji Ozawa, Sir Antonio Pappano, Lorenzo Viotti, and Franz Welser-Möst. -
Donald Runnicles Leads Cso in Program of Works by Elgar, Strauss, and Britten
For Immediate Release: Press Contacts: April 29, 2016 Eileen Chambers, 312-294-3092 Photos Available By Request [email protected] DONALD RUNNICLES LEADS CSO IN PROGRAM OF WORKS BY ELGAR, STRAUSS, AND BRITTEN May 5, 7 and 10, 2016 CHICAGO—Conductor Donald Runnicles leads the Chicago Symphony Orchestra (CSO) in concerts on Thursday, May 5, at 8:00 p.m., Saturday, May 7, at 8:00 p.m., and Tuesday, May 10, at 7:30 p.m. The program includes Benjamin Britten’s Sinfonia da requiem, Richard Strauss’ gripping tone poem Death and Transfiguration, and Edward Elgar’s Enigma Variations. Britten’s Sinfonia da requiem, opens the program. Written in 1940 as a commission for the 2600th anniversary celebrations of the Japanese emperor Hirohito’s ruling dynasty, the piece went unused for the occasion due to its notably mournful tone. Britten’s beautifully orchestrated and strikingly powerful work was later premiered by the New York Philharmonic in Carnegie Hall in 1941. The program continues with one of Richard Strauss’ early tone poems, Death and Transfiguration, which traces a man’s journey through the pain of death to his eventual redemption. Concluding the evening’s program is Elgar’s Variations on an Original Theme, Op. 36 (Enigma) which contains 14 charming and witty musical portraits of the composer’s circle of acquaintances and one of Elgar himself. Arguably one of the most popular English classical works of the 20th century, the Enigma Variations was given its U.S. premiere by the CSO in 1902. Internationally renowned conductor Donald Runnicles serves as General Music Director of the Deutsche Oper Berlin, Chief Conductor of BBC Scottish Symphony Orchestra, and Music Director of the Grand Teton Music Festival, as well as Principal Guest Conductor with the Atlanta Symphony Orchestra. -
16 November 2012 Page 1 of 10
Radio 3 Listings for 10 – 16 November 2012 Page 1 of 10 SATURDAY 10 NOVEMBER 2012 (conductor) Schumann: Sag an, o lieber Vogel mein; Dem roten Röslein gleicht mein Lieb; Was soll ich sagen; Jasminenstrauch; SAT 01:00 Through the Night (b01npjsv) 5:01 AM Volksliedchen; Verratene Liebe Nicola Christie presents a concert from period ensemble Berlioz, Hector (1803-1869) Schumann: Gedichte der Königin Maria Stuart, Op 135 Concerto Copenhagen Le Carnaval romain - overture (Op.9) Schumann: Mignon Lieder, Op 98: Kennst du das land?; Nur Toronto Symphony Orchestra, Andrew Davis (conductor) wer die Sehnsucht kennt; Heiss mich nicht redden; So lass mich 1:01 AM scheinen Handel, Georg Frideric [1685-1759] 5:10 AM Schumann: 'Five heroines': Die Löwenbraut; Die Nonne; Trio sonata in A major Op.5'1 Mozart, Wolfgang Amadeus (1756-1791) Loreley; Die Soldatenbraut; Die Kartenlegerin. Concerto Copenhagen, Alfredo Bernardini (director) Four Notturni (K.549) Vancouver Chamber Choir, Wesley Foster & Nicola Tipton 1:09 AM (clarinets), William Jenkins (bass clarinet), Jon Washburn SAT 15:00 Saturday Classics (b01nt0y4) Corelli, Arcangelo [1653-1713] (director) Giles Fraser Trio sonata in F major Op.3'1 Concerto Copenhagen, Alfredo Bernardini (director) 5:18 AM To mark this year's weekend of Remembrance, Giles Fraser Copland, Aaron (1900-1990) chooses pieces by musicians who were affected by the two 1:17 AM Danzon Cubano version for 2 pianos World Wars. The music includes works by George Butterworth, Hotteterre, Jacques [1674-1763] Aglika Genova (piano), Liuben -
Download Program Notes
Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair ALL-MOZART PROGRAM enerations of listeners have found spe- ey management — in recent years he had Gcial poignancy in the music Wolfgang turned to friends to help him weather dry Amadeus Mozart composed in 1791, the year spells in his cash flow — but he was in no in which he celebrated his 35th birthday way impoverished, and his family was living and, ten and a half months later, was buried in a generally comfortable middle-class life. He an unmarked grave. The pathos is all but irre- had good reason to feel positively about the sistible, and in retrospect one finds it tempting direction his career was taking. Since late to imagine that his music of that year foretells 1787 he had enjoyed a salaried appointment the tragedy that lay around the bend. Howev- (with few obligations) as composer to the er, until his very last weeks Mozart had no rea- Imperial-Royal Chamber Music of Emperor son to imagine that he would be dying anytime Joseph II. What’s more, in May 1791 he was soon. Many of his works from that year are not appointed assistant music director of St. Ste- at all melancholy, including some charming phen’s Cathedral, the major church in Vien- songs, a pleasant set of keyboard variations, a na. That brought him no immediate income, couple of pieces for mechanical musical clock, but it set him up to take over the music di- the String Quintet in E-flat major, and no fewer rectorship should the position open up — than 35 genial minuets, German dances, con- which seemed imminent given the age and tradances, and Ländler. -
Kyung Wha Chung Opens the 2016 Verbier Festival Following Warner Classics Signing
Kyung Wha Chung opens the 2016 Verbier Festival following Warner Classics signing 22 July 2016 | 19:00pm Verbier Festival Orchestra Charles Dutoit conductor Kyung Wha Chung violin Brahms Concerto for Violin and Orchestra in D Major, Op. 77 Berlioz Symphonie Fantastique Op. 14 24 July 2016 | 11:00am Kyung Wha Chung violin Kevin Kenner piano Fauré Sonata for violin and piano No. 1 in A Major, Op. 13 Prokofiev Sonata for Violin and Piano No. 1 in F Minor, Op. 80 Franck Sonata for violin and piano in A Major NEW CD: J.S. Bach Solo Sonatas & Partitas CD October 2016 “A sound of utter resplendency, a brilliantly shining tone right across the instrument…simply, relentlessly magnificent.” The Sunday Times (Paul Driver) December 2014 Kyung Wha Chung, who has made a sensational return to the concert stage, opens the Verbier Festival on 22 July alongside the Festival’s orchestra and conductor Charles Dutoit, with whom she has performed for four decades. Kyung Wha Chung appears twice in the festival, with Brahms’ Violin Concerto for the opening concert, followed by a morning recital on 24 July with sonata partner Kevin Kenner in a programme of Fauré, Prokofiev and Franck. In April, Kyung Wha Chung signed an exclusive contract with Warner Classics to bring out three discs following a 15-year hiatus from the recording studio. To be released in October 2016, the first CD will be J. S. Bach’s Complete Solo Works for Violin. Having made the recording in St George’s Brandon Hill Bristol this spring, Kyung Wha has finally fulfilled a lifelong ambition. -
(Eroica) Edo D
Please note that CSO music director Riccardo Muti is suffering from the flu and has regretfully withdrawn from this week’s concerts. The CSO welcomes Edo de Waart, who has graciously agreed to conduct. The program remains unchanged. PROgRaM ONE HuNdREd TWENTy-SECONd SEASON Chicago Symphony Orchestra Riccardo Muti Music director Pierre Boulez Helen Regenstein Conductor Emeritus Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Wednesday, January 9, 2013, at 6:30 (Afterwork Masterworks, performed with no intermission) Edo de Waart Conductor Beethoven Leonore Overture No. 3, Op. 72b Beethoven Symphony No. 3 in E-flat Major, Op. 55 (Eroica) Thursday, January 10, 2013, at 8:00 Friday, January 11, 2013, at 1:30 Saturday, January 12, 2013, at 8:00 Tuesday, January 15, 2013, at 7:30 Edo de Waart Conductor Radu Lupu Piano Music by Ludwig van Beethoven Leonore Overture No. 3, Op. 72b Piano Concerto No. 1 in C Major, Op. 15 Allegro con brio Largo Rondo: Allegro RAdu LuPu InTERMISSIOn Symphony No. 3 in E-flat Major, Op. 55 (Eroica) Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto These concerts are generously sponsored by the Zell Family Foundation. CSO Tuesday series concerts are sponsored by United Airlines. The Chicago Symphony Orchestras is grateful to WBBM Newsradio 780 and 105.9 FM for its generous support as media sponsor of the Afterwork Masterwork series. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts.