2020 Programme Announcement
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Abstract Title of Dissertation : Dance Based Music on Piano You Sang Kim, Doctor of Musical Art, 2015 Dissertation dirented by: Professor Larissa Dedova School of Music, Piano Division According to the Merriam-Webster dictionary, the definition of dance is “to move your body in a way that goes with the rhythm and style of music that is being played.” 1 As you can see in that definition, these two important ways of expressing human feelings, music and dance, are very closely related. Countless pieces of music have been composed for dance, and are still being composed. It is impossible and useless to count how many kinds of dances exist in the world. Different kinds of dances have been developed according to their purposes, cultures, 1 Merriam-Webster Dictionary. “Dance.” http://www.merriam-webster.com/dictionary/dance rhythm and tempo. For this reason, the field of dance-related music necessarily expanded significantly. A great deal of dance music has been written for orchestras, small ensembles, or vocals. Along with them, keyboard music also has a huge repertoire of dance pieces. For example, one of the most famous form in Baroque period was suites. Suites usually include 5 or more dance movements in the same key, such as Minuet, Allemende, Courant, Sarabande, Gigue, Bourree, Gavotte, Passepied, and so on. Nationalistic dances like waltz, polonaise, mazurka, and tarantella, were wonderful sources for composers like Chopin, Brahms, and Tchaikovsky. Dance-based movements were used for Mozart and Beethoven’s piano sonatas, chamber works and concertos. Composers have routinely traveled around the world to collect folk and dance tunes from places they visit. -
MIGROS-KULTURPROZENT-CLASSICS Präsentiert
MIGROS-KULTURPROZENT-CLASSICS präsentiert SAISON 2021*22 PROGRAMM BERN Genf*Luzern*Zürich PROGRAMM 2021*22 IM CASINO BERN DI, 19*10*2021 — ABO I LONDON SYMPHONY ORCHESTRA Daniel Harding (Leitung) Antoine Tamestit (Viola) Seite 06 DI, 16*11*2021 — ABO II ORCHESTRE DES CHAMPS-ÉLYSÉES Philippe Herreweghe (Leitung) Collegium Vocale Gent Regula Mühlemann (Sopran), Sophie Harmsen (Mezzosopran), David Fischer (Tenor), Krešimir Stražanac (Bass) Seite 12 36 Seine Diskographie umfasst über 100 Werke: Seite Migros-Kulturprozent-Classics präsentiert MIKHAIL PLETNEV mit Werken MI, 08*12*2021 — ABO I von Rachmaninov und Tschaikowski. VERBIER FESTIVAL ORCHESTRA Gábor Takács-Nagy (Leitung) Sheku Kanneh-Mason (Violoncello) Seite 20 SA, 29*01*2022 — ABO II MAHLER CHAMBER ORCHESTRA Mitsuko Uchida (Klavier) Mark Steinberg (Konzertmeister) Seite 28 DI, 22*03*2022— ABO I RUSSISCHES NATIONALORCHESTER INHALT Mikhail Pletnev (Leitung) Vorwort 03 Lucas Debargue (Klavier) Seite 36 Zum Programm 05 Konzert I: London Symphony Orchestra 06 Konzert II: Orchestre des Champs-Élysées 12 SA, 21*05*2022 — ABO II Konzert III: Verbier Festival Orchestra 20 CITY OF BIRMINGHAM SYMPHONY ORCHESTRA Konzert IV: Mahler Chamber Orchestra 28 Mirga Gražinyte˙ -Tyla (Leitung) Konzert V: Russisches Nationalorchester 36 Gabriela Montero (Klavier) Seite 42 Konzert VI: City of Birmingham Symphony Orchestra 42 Abos und Karten 48 Saalplan Casino Bern 50 Tourneen und Einzelkonzerte 52 Club-Konzerte 54 2 1 VORWORT ist ein freiwilliges, in den Statuten Das MIGROS-KULTURPROZENT verankertes Engagement der Migros, das in ihrer Verantwortung gegenüber der Gesellschaft gründet. Es verpflichtet sich dem Anspruch, der Bevölkerung einen breiten Zugang zu Kultur und Bildung zu verschaffen, Liebes Publikum ihr die Auseinandersetzung mit der Gesellschaft zu ermöglichen und die Menschen zu befähigen, an den sozialen, wirtschaftlichen und Cyan, Magenta, Gelb — die drei Komplementärfarben prägen den neuen visu- kulturellen Veränderungen zu partizipieren. -
Jansen/Maisky/ Argerich Trio Tuesday 6 February 2018 7.30Pm, Hall
Jansen/Maisky/ Argerich Trio Tuesday 6 February 2018 7.30pm, Hall Beethoven Cello Sonata in G minor, Op 5 No 2 Shostakovich Piano Trio No 2 in E minor, Op 67 interval 20 minutes Schumann Violin Sonata No 1 in A minor, Op 105 Mendelssohn Piano Trio No 1 in D minor, Op 49 Janine Jansen violin Mischa Maisky cello Martha Argerich piano Adriano Heitman Adriano Part of Barbican Presents 2017–18 Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel. 020 3603 7930) Confectionery and merchandise including organic ice cream, quality chocolate, nuts and nibbles are available from the sales points in our foyers. Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. If anything limits your enjoyment please let us know The City of London during your visit. Additional feedback can be given Corporation is the founder and online, as well as via feedback forms or the pods principal funder of located around the foyers. the Barbican Centre Welcome Tonight we are delighted to welcome three friend Ivan Sollertinsky, an extraordinarily musicians so celebrated that they need no gifted man in many different fields. introduction. Martha Argerich and Mischa Maisky have been performing together We begin with Beethoven, and his Second for more than four decades, while Janine Cello Sonata, a work that is groundbreaking Jansen is a star of the younger generation. for treating string instrument and piano equally and which ranges from sheer Together they present two vastly different wit to high drama. -
Mikhail Pletnev a Difficult Birth Peter Ilyich Tchaikovsky (1840 – 1893) Symphony No
Peter Ilyich Tchaikovsky SYMPHONY NO1. IN G MINOR, OP.13 SLAVONIC MARCH, OP.31 HYBRID MUL TICHANNEL RUSSIAN NATIONAL ORCHESTRA Mikhail Pletnev A difficult birth Peter Ilyich Tchaikovsky (1840 – 1893) Symphony No. 1 in G Minor, Op. 13 (1866, revised 1874) he genre of the symphony played a cal characteristics met, by contrast, with “Winter Daydreams” Tmajor role throughout the creative life euphoric approval from a wide-ranging of Pyotr Tchaikovsky. He composed his first audience. After all, especially in German- 1 Daydreams on a winter journey – Allegro tranquillo 13. 19 symphony at the age of 26, and his sixth and speaking countries, his music was unjustly 2 Land of desolation, land of mists – Adagio cantabile ma non tanto 11. 43 last symphony – the Pathétique – in 1893, stamped as follows: “Beware! Sensitive, 3 Scherzo – Allegro scherzando giocoso 7. 23 the year in which he died. Whereas his three sloppy sentiment!”. But Tchaikovsky abso- 4 Finale – Andante lugubre - Allegro moderato - Allegro maestoso – last symphonies have remained an integral lutely did not want to get involved in an part of the concert repertoire, performances academic game with empty notes. And Andante lugubre - Allegro vivo 13. 14 of his first three symphonies are still quite rightly so. rare. Unfairly so, as they are unique indi- One certainly cannot accuse (1876) 5 Marche Slave (Slavonic March), Op. 31 9.15 vidual works, artistic expressions of a high Tchaikovsky of having taken an easy path quality. Tchaikovsky defined the symphony in life. After all, the law graduate gave up Russian National Orchestra as “the most lyrical of musical forms. -
T H E P Ro G
Wednesday, February 20, 2019 at 8:00 pm m Pre-concert lecture by Harlow Robinson at 6:45 pm in the a Stanley H. Kaplan Penthouse r g Symphonic Masters o r P Russian National Orchestra e Kirill Karabits , Conductor (New York debut) h Mikhail Pletnev , Piano T ALL-RACHMANINOFF PROGRAM Piano Concerto No. 2 in C minor (1900–01) Moderato Adagio sostenuto Allegro scherzando Intermission Symphonic Dances (1940) Non allegro—Lento—Tempo I Andante con moto (Tempo di valse) Lento assai—Allegro vivace Mr. Pletnev performs on the Shigeru Kawaii Piano. Please make certain all your electronic devices are switched off. These programs are supported by the Leon Levy Fund for Symphonic Masters. Symphonic Masters is made possible in part by endowment support from UBS. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Steinway Piano David Geffen Hall Great Performers Support is provided by Rita E. and Gustave M. Hauser, The Shubert Foundation, The Katzenberger Foundation, Inc., Audrey Love Charitable Foundation, Great Performers Circle, Lincoln Center Spotlight, Chairman’s Council, and Friends of Lincoln Center Public support is made possible by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature Endowment support for Symphonic Masters is provided by the Leon Levy Fund Endowment support is also provided by UBS Nespresso is the Official Coffee of Lincoln Center NewYork-Presbyterian is the Official Hospital of Lincoln Center UPCOMING GREAT PERFORMERS EVENTS: Sunday, February 24 at 11:00 am in the Walter Reade Theater Verona Quartet MOZART: String Quartet in F major, K.590 (“Prussian”) JANÁCˇ EK: String Quartet No. -
Transcultural Representation Of
TRANSCULTURAL REPRESENTATION OF CIRCASSIAN MUSIC IN MILY BALAKIREV’S ISLAMEY: ORIENTAL FANTASY (1869) BY ANASTASSIA GRANKINA Thesis submitted to the Faculty of Graduate and Postdoctoral Studies in partial fulfillment of the requirements for Master’s of Arts degree in Musicology Department of Music Faculty of Arts University of Ottawa © Anastassia Grankina, Ottawa, Canada, 2015 TABLE OF CONTENTS TABLE OF CONTENTS…………………………………………………………………………ii ABSTRACT……………………………………………………………………………………...iv ACKNOWLEDGEMENTS………………………………………………………………………v INTRODUCTION ...........................................................................................................................1 Chapter Outline ............................................................................................................................3 CHAPTER 1: Said’s theory: Orientalism as a European construct and the image of Circassians as constructed by the Russian Empire .................................................................................................5 Edward Said and Orientalism ....................................................................................................6 Application of Said’s theory to the fields of literature and history and Said’s limitations in his own work on Orientalism……………………………………………………………………..15 “Western” representations of the Orient in the literary studies……………………….15 Reconsideration of Europe’s textual representation of the foreign lands as part of colonial history………………………………………………………………………...18 Orientalism and Gender: Said’s -
The 2018 Guide Festivals
April 2018 The 2018 Guide Festivals FEATURE ARTICLE 10 Questions, Two (Very Different) Festivals Editor’s Note Our fifth annual Guide to Summer Festivals is our biggest yet, with some 85 annotated entries, plus our usual free access to the 1400 listings in the Musical America database. The details for the 85—dates, locations, artistic directors, programming, guest artists, etc.—have been provided by the festivals themselves, in response to a questionnaire sent to our list of Editor’s Picks. Those are determined by a number of factors: it’s hardly a surprise to see the big-budget events, such as Salzburg, Tanglewood, and Aspen, included. But budget is by no means the sole criterion. The 2018 Guide Programming, performers, range and type of events offered—all of these factor into the equation. For our feature article, we chose two highly regarded events and asked them one set of questions, just for the purposes of compare and contrast. Since George Loomis traveled to Ravenna last summer and knows Ojai well, we decided he was the perfect candidate to get the answers. Our hunch that the two couldn’t be more different turned out to be quite accurate: one takes place over a weekend, the over a two-month period; one is in the U.S., the other in Europe; one is rural, the other urban; one’s in a valley, the other by the sea; one focuses on contemporary fare, the other on traditional; one houses its artists in homes, the other in hotels; one is overseen by a man, the other by Festivals a woman; Ojai’s venues are primarily outdoor and strictly 20th century, Ravenna’s are mostly indoor and date as far back as the sixth century. -
28-03 Noseda.Indd
Thursday 28 March 2019 7.30–9.30pm Barbican LSO SEASON CONCERT RUSSIAN ROOTS Rachmaninov Piano Concerto No 2 Interval SHOST Balakirev arr Casella Islamey Shostakovich Symphony No 1 Gianandrea Noseda conductor Seong-Jin Cho piano OVICH Streamed live at youtube.com/lso and on medici.tv Welcome Latest News On Our Blog Shostakovich’s First Symphony completes OUR 2019/20 SEASON ORA SINGERS LAUNCH RESIDENCY AT the concert, an early work by the prodigious LSO ST LUKE’S teenage composer which, at its 1926 premiere, The LSO’s 2019/20 season is now on sale. promised one of the most prolific and varied Sir Simon Rattle continues his exploration of Suzi Digby, music director of the ORA Singers, careers of any symphonic composer. the roots and origins of music, including a explains how the choir launched their Design look back to the influence of Beethoven in Series – collaborating with stage designer At tonight’s concert we welcome the LSO’s his 250th anniversary year and a focus on Nicky Shaw earlier this month – and discusses wide family of generous supporters, so how folk music inspired Bartók and Percy how government funding has given rise to that members of the Orchestra can thank Grainger. François-Xavier Roth conducts a significant revival of singing in schools. them personally for their commitment to complementary programmes of Bartók our work. I add my thanks to theirs – you and Stravinsky, while Gianandrea Noseda elcome to tonight’s LSO concert make our achievements possible and we continues his survey of Russian works. WATCH THE LSO ON YOUTUBE at the Barbican. -
London's Symphony Orchestra
London Symphony Orchestra Living Music Thursday 24 November 2016 7.30pm Barbican Hall A SWISS JOURNEY Rossini Overture: William Tell London’s Symphony Orchestra Bruch Violin Concerto No 1 INTERVAL Strauss An Alpine Symphony Sir Antonio Pappano conductor Roman Simovic violin Concert finishes approx 9.40pm 2 Welcome 24 November 2016 Welcome Living Music Kathryn McDowell In Brief Welcome to this evening’s LSO concert at the Barbican. BRITISH COMPOSER AWARDS Tonight Sir Antonio Pappano conducts two works with a Swiss connection – the famous overture to Rossini’s The LSO is delighted that eight alumni of its William Tell, which tells the story of Switzerland’s composer schemes have been nominated for folk hero, and An Alpine Symphony, Richard Strauss’ British Composer Awards. Luke Bedford, Leo orchestral tone poem inspired by the Alps. Chadburn, Joe Cutler, Tansy Davies, Emily Howard, Oliver Leith, Anna Meredith and Richard Walley In the Alpine Symphony, Strauss quotes a theme from are all up for awards, along with Jonathan Dove for Bruch’s popular Violin Concerto No 1, which will be The Monster in the Maze, an LSO co-commission. played between the two Swiss-inspired works by the The winners will be announced on 6 December. LSO’s Leader Roman Simovic. It is always a special occasion when a member of the Orchestra steps britishcomposerawards.com out as the soloist for a concerto, and tonight Roman Simovic plays a Stradivarius generously loaned to the LSO for the use of its Leader by Jonathan Moulds. A WARM WELCOME TO TONIGHT’S GROUPS Thank you to our media partner Classic FM, which The LSO offers great benefits for groups of 10+, has supported and recommended tonight’s concert including 20% discount on standard tickets, a and the LSO Principals series to its listeners. -
Steinway Society 2019-2020 Program Two (Pdf)
PIANO CONCERTS FEBRUARY 2020–MAY 2020 THE BAY AREA Steinway SocietyMusic You’ll Love. Artists You’ll Cherish. Daria Rabotkina Juho Pohjonen Alexander Sinchuk Federico Colli SteinwaySociety.com PIANO CONCERTS 2019–2020 President’s Letter Dear Friend of Steinway Society, Jon Nakamatsu Saturday, September 21, 2019, 7:30 p.m. We hope you enjoyed the first half of our exhilarating McAfee Performing Arts and Lecture Center, Saratoga 25th season! With only four concerts remaining in our Silver Anniversary Season, we’re sure you’ll agree that our Artistic Committee (Nancy Daggett Jensen and Anna Dmytrenko Donald Wright) has brought another lineup of thrilling, Sunday, October 27, 2019, 2:30 p.m. captivating pianists to San Jose for your enjoyment. Hammer Theatre, San Jose If you are a subscriber, thank you so much for your ongoing support. If you have not yet subscribed, there is still time to subscribe to a mini-series Changyong Shin and save. Sunday, November 17, 2019, 2:30 p.m. The second half of this Anniversary Season opens with “requisite ferocity Independence High School, San Jose and tenderness” displayed by Daria Rabotkina, performing works by Schubert, Beethoven, Griffes, and Aurandt. Alexander Sinchuk shows his Albert Cano Smit “bright artistic temperament and particular charm,” playing a program of Sunday, December 8, 2019, 2:30 p.m. Beethoven, Schubert, Liszt, Tchaikovsky-Pletnev, and Rachmaninoff. Music West Valley College, Saratoga of Brahms and Ravel will allow Juho Pohjonen to showcase his critically praised “pearly touch, singing tone and sensitivity.” The final concert of this 25th Silver Anniversary Season will feature Federico Colli bringing Alessio Bax and Lucille Chung his “beautiful light touch and lyrical grace” to the music of Scarlatti, Bach, Saturday, January 11, 2020, 7:30 p.m. -
Mikhail Pletnev
Peter Ilyich Tchaikovsky SYMPHONY NO.5IN E MINOR, OP.64 FRANCesCA DA RIMINI, OP.32 RUssIAN NATIONAL ORCHestRA Mikhail Pletnev Peter Ilyich Tchaikovsky (1840-1893) Conflict suppression the ‘rulebook’ recapitulation and the coda, the movement fades out in (1888) Symphony No.5in E minor, Op.64 ollowing the completion of the Fourth’s subtle psychography, eleven pianissimo. - The slow movement, a tripartite Andante cantabile charac- 1 Andante – Allegro con anima 14.48 Fyears would pass before Pyotr Ilyich Tchaikowsky would return to terised by an emphasis on the lyrical and a preoccupation with melody 2 Andante cantabile, con alcuna licenza 13.55 the composition of a ‘purely’ symphonic work – the Fifth Symphony (the as such, is one of the movements that have occasioned severe criticism 3 Valse : Allegro moderato 5.43 composer considered his mighty Manfred Symphony dating from 1885 of Tchaikowsky amongst German-language commentators. It prompted 4 Finale : Andante maestoso – Allegro vivace 12.22 as his only explicitly programmatic symphony). And, despite having Theodor W. Adorno, who compared it with the music used to accompany 5 Francesca da Rimini, Op.32 (1876) Fantasy for orchestra after Dante 24.30 just returned from a spectacularly received European concert tour, he silent films and even characterised it as kitsch, to accuse Tchaikowsky of commenced the project in a state of complete exhaustion, self-doubt emotional overstatement. Also with regard to the movement, German- Russian National Orchestra and uncertainty. From his new country -
Virtual Verbier Festival Programme Announcement
MEDIA RELEASE FOR IMMEDIATE RELEASE VERBIER’S MUSIC PLAYS ON: LAUNCH OF VIRTUAL VERBIER FESTIVAL June 9, 2020 — VERBIER (Switzerland) — The Verbier Festival invites music-lovers around the world to enjoy its annual festival in a new way this summer. The classical music festival has teamed up with long-time partners medici.tv — the world’s leading classical music channel — and Radio Télévision Suisse (Espace 2 and the RTSCulture platform) to present the Virtual Verbier Festival from July 16 to August 12. Viewers and listeners can access the Festival, discover programme listings and subscribe for updates via the 'VF at Home' platform at verbierfestival.com. The Virtual Verbier Festival is all free to access for the period of the Festival, and select material at medici.tv will be available via free replay until 31 October. “It’s been a very challenging few months for artists in general,” said Verbier Festival Founder & Director, Martin T:son Engstroem. “That aspect of not having concerts to look forward to, not to have an income; it has been very, very tough. I see this Virtual Festival as a tribute to our artists. Many of them are regulars who come back year after year and I want to pay homage to this close friendship. The Festival wouldn’t be anything without them.” From July 16 through August 2, medici.tv—partner of the Festival since 2007— will stream video interviews, masterclasses and re-broadcasts of favourite concerts and rarities that haven’t been seen or heard since they first appeared on the Festival’s stages.