Sydney Youth Orchestras Presents Saturday 30 May, Verbrugghen Hall

Total Page:16

File Type:pdf, Size:1020Kb

Sydney Youth Orchestras Presents Saturday 30 May, Verbrugghen Hall Sydney Youth Orchestras Presents Saturday 30 May, Verbrugghen Hall Saturday 31 May, Riverside Theatre Sydney Youth Orchestras Sydney Youth Orchestras strives to In all aspects of its operations, Sydney nurture and inspire young people to Youth Orchestras is committed achieve artistic excellence by providing to upholding its core values. We the best possible orchestral training pride ourselves on our provision of program. This leads to the highest inspiration, creativity, collaboration and standards of performance supported excellence. by an engaged community of members, parents and stakeholders. SYO is made up of 12 ensembles, with an age range of 6-25. Sydney Youth Orchestra Speer Orchestra SYO Philharmonic John Hopkins Orchestra Peter Seymour Orchestra Camerata Vibrata Symphonic Wind Orchestra Cameratissimo TangoOz Chamber Strings Percussion Ensemble Sinfonietta Upcoming Concerts ^ Janácek’s The Cunning Little Vixen Romance and Tragedy with Pacific Opera TCHAIKOVSKY Romeo & Juliet: Overture Sydney Grammar School MAHLER Symphony No.5 Conducted by Alexander Briger Conducted by Fabian Russell Friday 2 October, 7pm Friday 6 November Saturday 3 October, 7pm Sydney Town Hall SYO TODDLERS’ PROMS SYO Concerto Competition Final Leichhardt Town Hall Chapter Hall, St Mary’s Cathedral College Peter Seymour Orchestra Sunday 16 August Conducted by John Ockwell 10am Sunday 9 August 9:30, 10:30 & 11:30am 2 SYDNEY YOUTH ORCHESTRA - THE RIDE OF THE VALKYRIES THE RIDE OF THE VALKYRIES Conductor Mr Alexander Briger Sydney Youth Orchestra Michael Dauth – Violin The Sydney Youth Orchestra is excited We’re joined by violin virtuoso to present The Ride of the Valkyries. and former Sydney Symphony Wagner’s magnificentDer Ring Ohne concertmaster Michael Dauth for the Worte (The Ring without words), is an world premiere of Concerto for Violin orchestral selection from the world’s and Orchestra by Australian composer most epic opera. It features many Lee Bracegirdle. of The Ring’s best loved moments including the Ride of the Valkyries, Magic Fire Music, Siegfried’s Funeral March and many more. SYDNEY YOUTH ORCHESTRA - THE RIDE OF THE VALKYRIES 3 Conductor - Alexander Briger Alexander Briger is the newly appointed de Paris, Radio orchestra of France, Artistic Director for the Sydney Youth Konzerthausorchester, Berlin; and opera Orchestras and is one of the most at such houses as the Royal Opera exciting conductors appearing on the House, Covent Garden, Glyndebourne, podium today. After studying at the Aix-en-Provence, Theatre du Chatelet, Sydney Conservatorium of Music, he Paris, the Komische Oper, Berlin and moved to Munich and in 1993, won first the Canadian Opera Company. He prize at the International Competition has also worked extensively around for Conductors in the Czech Republic. Australia with Opera Australia and all He went on to assist and work the state orchestras. As Artistic and closely with Pierre Boulez and Sir Music Director of the Australian World Charles Mackerras. He has conducted Orchestra, Alexander is a visionary international orchestras such as the leader who regularly works with SYO London Philharmonic, LSO, CBSO, BBC alumni currently placed in major Symphony, Philharmonia, Orchestre orchestras around the world. 4 SYDNEY YOUTH ORCHESTRA - THE RIDE OF THE VALKYRIES Orchestra Bold = Principal * = Guest Violin 1 Cello Bassoon Darcy Dauth Annabelle Oomens Alison Wormell Samantha Chiu Hikaru Fuminashi Brighdie Chambers Liam Fogarty Joshua Grasso Maria Smith Sarah Qiu Nick McManus Sophia Vasic Katherine Moses Horns Holly Smith Amy Chang Bevan Nicholas Ashkan Khoshab Julia Zhong Eve McEwen Lily Mullin-Chivers Rachel Liang Thomas Edwards Amy Cohen William Goh Lotti Ropert Colin Camphausen Andie Wittenoom Louw Nick Mooney* Miriam Greenbaum Patrick Carreon Katie Garman* David Carreon Levi Johnson* Sagar Nagaraj Double Bass Jack Stephens* Vanessa Li Violin 2 Jessica Brown Trumpet Emily Beauchamp Ethan Ireland Jenna Smith Karen Kong Adrian Whitehall Alfie Carslake Daniel Zhou Annabel Cameron Sam Thompson Vincent Tsang Raphael Coulhon Flute Trombone Anthony Youssef Kinsey Alexander Chris Upton Sabrina Macdonald Elissa Koppen Darcy Shevlin Lizzy Greenhalgh Clara Pitt Jason Ulbrich Pana Panaretos Chloe Hill* Cian Malikides* Tania Ma David Williams* Annia Mao Oboe Callum Hogan Tuba Viola Eve Osborn Yoann Degioanni Sergio Insuasti Kate Mostert Joshua Cannon Toby Debelak* Percussion Calida Tang Rory Wilson Tim Dickinson Clarinet Stuart Rynn Zoe Brown Jarred Mattes Jessica Fang Marlon Schroeder James Julian Oliver Brighton Alexander Pettaras Jessica Budge Mitchell Sloan* Liam Kinney Rachel Thompson* Harp Joanne Baee Kate Moloney SYDNEY YOUTH ORCHESTRA - THE RIDE OF THE VALKYRIES 5 This concert presents several extraordinary musical milestones, not only in a historical sense but as a chance for young musicians to grapple with some of the greatest orchestral challenges. Wagner unleashed the full expressive force of the orchestra like never before in his composition of The Ring Cycle, and the work presented today reveals Wagner at the height of his power. Our musicians in the Sydney Youth Orchestra have bravely toiled with the great cultural and artistic significance of this masterpiece, as well as with their sheer virtuosity, however equally challenging is the task of interpreting a world premiere. Ride with them on this tour de force of orchestral music-making! Richard Wagner (1813-1883): The Ring Without Words With the new season of Game of admitted in a letter to a close friend Thrones well under way, what better that “The whole will become – out with time to reflect on a work that in it! I am not ashamed to say so – the many ways laid the foundations of greatest work of poetry ever written.” the numerous fantastic, mythology- The story essentially depicts the rise inspired stories that have achieved cult and fall of gods and civilisations via status in recent years. A precursor to the passage of an accursed ring, authors such as J.R.R. Tolkien, George forged from gold stolen from the Lucas and J.K. Rowling, not to mention river Rhine. The famous and strangely the many cast and crew who helped familiar characters include Alberich bring their stories to life, Richard the Nibelungen Dwarf, Brünnhilde the Wagner, combining music, poetry and Valkyrie and Siegfried, grandson of spectacular visual staging, achieved Wotan, the head of the gods. There something unprecedented and unique are however close to thirty individual in the history of aesthetic endeavour. characters and numerous ‘extras’ who all inhabit the multigenerational plotline Wagner created a new world from his on a plane shared by mortals and 19th century romanticized readings immortals. of including the epic tale Das Nibelungenlied, writing every word In order to stage this ‘never-before- of the libretto and every note of the seen-or-heard’ scale of work, which 15 hour score himself. Wagner boldly took Wagner around 25 years of 6 SYDNEY YOUTH ORCHESTRA - THE RIDE OF THE VALKYRIES compositional and poetic labour, he The orchestra sings on triumphantly built the Bayreuth Festspielhaus, the even once all the voices have died largest ever free-standing wooden down in Wagner’s Ring. Wieland, structure. grandson of Richard, explained to Lorin Maazel that the orchestra “is where The gargantuan scale of the it all is – the text behind the text, the performance limits the choices of universal subconscious that binds venues however, thus providing Erich Wagner’s personae one to the other Leinsdorf’s justification for his orchestral and to the proto-ego of legend”. Maazel arrangement. beautifully translated these profound comments after a later performance Erich Leinsdorf was one of the most of the complete cycle: “its orchestra renowned and famously severe score is the Ring itself, coded in sound. conductors of the 20th century, he also Decoded, it becomes story, legend, arranged Wagner’s other epic opera song, philosophy in countless cosmic trilogy Parsifal. Leinsdorf opens The overtones and human undertones.” Ring with the magnificent “Ride of the Valkyries”, moving on to the “Magic Fire - Anthony Albrecht Scene” where Wotan warns any who would attempt to clime his mountain and seize Brünnhilde from the flames. Evidently ignoring the warning, the next musical scene depicts the fearless Siegfried traversing the flames, albeit slightly before he musically ascends Valkyrie Rock. At the break of dawn, we move with Siegfried on his Rhine journey and find ourselves at Hagen’s lair, with the brass ominously hinting at his evil intentions. Suddenly, Siegfried is no more, and his funeral march is followed by the transcendent and overpowering final scene which sees the Rhine reclaim its gold, while in the distance the palace of the gods burns to the ground. SYDNEY YOUTH ORCHESTRA - THE RIDE OF THE VALKYRIES 7 Lee Bracegirdle - Composer After early musical studies in Philadelphia, Lee Bracegirdle attended the Juilliard School in New York as a French horn student of James Chambers, earning Bachelor’s and Master’s degrees. During his studies he led a multi-faceted free-lance career which involved recordings with many prominent jazz musicians, including Clark Terry, Ornette Coleman, Stanley Clark and Teo Macera. From 1976-1977 he was Co-Principal Horn with México’s Orquesta Filarmónica de la UNAM and Principal Horn with the Chamber Orchestra of México City. In 1977 he moved to Germany, where he co-founded the Chicago-based Kodaly Academy. Germany’s premier brass quintet, Since 1999 he has been Musical
Recommended publications
  • Alexander Briger: What Makes a Conductor Is Personality
    Alexander Briger: What Makes a Conductor is Personality The Australian conductor tells us about growing up in a musical clan, founding the Australian World Orchestra, and reducing the work load to better enjoy performances and time with his young family. by Jo Litson, 16 May 2019 The Australian conductor tells us about growing up in a musical clan, founding the Australian World Orchestra, and reducing the work load to better enjoy performances and time with his young family. Was there lots of music around you when you were growing up? Yeah, a lot. My mother was a ballet dancer. My uncle Alastair [Mackerras] who lived downstairs was the Headmaster of Sydney Grammar, and he would drive me to school. He was a classical music fanatic. He owned thousands and thousands of CDs, from A to Z, and he was so methodical about it. So, I learnt a hell of a lot of music. Alexander Briger. Photo © Cameron Grayson What instrument did you play? I played violin but I didn’t really take it all that seriously, I have to say. I was much more into aeroplanes, that sort of thing. My uncle was Charles Mackerras, although I didn’t really know him well, he didn’t live here. He would come home to conduct the Sydney Symphony or the opera occasionally. I remember when I was 12, I was taken to a concert that he gave, Mahler’s Fourth Symphony with the Sydney Symphony, and that was the first concert that I was allowed to go to. I remember just being completely blown away by it and that’s when I started to take music very seriously and to think about conducting.
    [Show full text]
  • Mozart and Brahms I Contents Welcome 1
    Music to soothe your soul Mozartand Brahms 28 + 29 MAY 2021 CONCERT HALL, QPAC PROGRAM | MOZART AND BRAHMS I CONTENTS WELCOME 1 IF YOU'RE NEW TO THE ORCHESTRA 2 FOR YOUNGER EARS 4 DEFINTION OF TERMS 8 LISTENING GUIDE 10 ARTIST BIOGRAPHIES 14 SUPPORTING YOUR ORCHESTRA 24 MUSICIANS AND MANAGEMENT 26 II PROGRAM | MOZART AND BRAHMS WELCOME Today we are very privileged to welcome back to the QPAC stage one of the world's greatest oboists - Diana Doherty. The oboe is a notoriously tricky instrument with several parameters that make it hard to master, none more so than the temperamental double reed at the top. These are hand- made by the oboist from a weed similar to bamboo (Arundo Donax for those playing at home). There are but a handful of oboists in the world who are invited to perform as soloists outside of their country, and Diana is one of them. One of my first trips to see the Sydney Symphony Orchestra as a teenager was to witness Diana perform the Richard Strauss Oboe Concerto. I marvelled at her gloriously resonant oboe sound, especially as she was 37 weeks pregnant! Nearly a decade later I watched Diana premiere Ross Edwards' Oboe Concerto, dressed (as instructed by the composer) as a wild bird, whilst undertaking dance choreography. I can’t think of any other oboist in the world who can pull off these jaw-dropping feats. Today, Diana performs the most famous work from the oboe repertoire - Mozart's Oboe Concerto in C. Diana is one of those oboists who makes the instrument sound like a human voice, and I have no doubt that you will enjoy her breathtaking rendition of this charming yet virtuosic concerto.
    [Show full text]
  • BRITISH and COMMONWEALTH CONCERTOS from the NINETEENTH CENTURY to the PRESENT Sir Edward Elgar
    BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Sir Edward Elgar (1857-1934) Born in Broadheath, Worcestershire, Elgar was the son of a music shop owner and received only private musical instruction. Despite this he is arguably England’s greatest composer some of whose orchestral music has traveled around the world more than any of his compatriots. In addition to the Conceros, his 3 Symphonies and Enigma Variations are his other orchestral masterpieces. His many other works for orchestra, including the Pomp and Circumstance Marches, Falstaff and Cockaigne Overture have been recorded numerous times. He was appointed Master of the King’s Musick in 1924. Piano Concerto (arranged by Robert Walker from sketches, drafts and recordings) (1913/2004) David Owen Norris (piano)/David Lloyd-Jones/BBC Concert Orchestra ( + Four Songs {orch. Haydn Wood}, Adieu, So Many True Princesses, Spanish Serenade, The Immortal Legions and Collins: Elegy in Memory of Edward Elgar) DUTTON EPOCH CDLX 7148 (2005) Violin Concerto in B minor, Op. 61 (1909-10) Salvatore Accardo (violin)/Richard Hickox/London Symphony Orchestra ( + Walton: Violin Concerto) BRILLIANT CLASSICS 9173 (2010) (original CD release: COLLINS CLASSICS COL 1338-2) (1992) Hugh Bean (violin)/Sir Charles Groves/Royal Liverpool Philharmonic Orchestra ( + Violin Sonata, Piano Quintet, String Quartet, Concert Allegro and Serenade) CLASSICS FOR PLEASURE CDCFP 585908-2 (2 CDs) (2004) (original LP release: HMV ASD2883) (1973)
    [Show full text]
  • GEOFFREY TOZER in CONCERT Osaka 1994
    GEOFFREY TOZER IN CONCERT Osaka 1994 Mozart Concerto K 467 • Liszt Raussian Folk Song + Rigoletto + Nighingale Geoffrey Tozer in Concert | Osaka 1994 Osaka Symphony Orchestra Wolfgang Amedeus Mozart (1756-1791) Concerto for Piano and Orchestra no. 21 in C, K 467 1 Allegro 13’34” 2 Romance 6’40” 3 Rondo. Allegro assai 7’14” Franz Liszt (1811-1886) 4 Russian Folk Song 2’55” 5 Rigoletto 6’44” 6 Nightingale 4’04” Go to move.com.au for program notes for this CD, and more information about Geoffrey Tozer There are more concert recordings by Geoffrey Tozer … for details see: move.com.au P 2014 Move Records eoffrey Tozer was an artist of Churchill Fellowship (twice, Australia), MBS radio archives in Melbourne and the first rank, a consummate the Australian Creative Artists Fellowship Sydney, the BBC archives in London and musician, a concert pianist (twice, Australia), the Rubinstein Medal in archives in Israel, China, Hungary, and recitalist with few peers, (twice, Israel), the Alex de Vries Prize Germany, Finland, Italy, Russia, Mexico, Gpossessing perfect pitch, a boundless (Belgium), the Royal Overseas League New Zealand, Japan and the United musical memory, the ability to improvise, (United Kingdom), the Diapason d’Or States, form an important part of Tozer’s to transpose instantly into any key or (France), the Liszt Centenary Medallion musical legacy; a gift of national and to create on the piano a richly textured (Hungary) and a Grammy Nomination international importance in music. reduction of an orchestral score at sight. for Best Classical Performance (USA), Throughout his career Tozer resisted He was a superb accompanist and a becoming the only Australian pianist to the frequent calls that he permanently generous collaborator in chamber music.
    [Show full text]
  • Concerts with the London Philharmonic Orchestra for Seasons 1946-47 to 2006-07 Last Updated April 2007
    Artistic Director NEVILLE CREED President SIR ROGER NORRINGTON Patron HRH PRINCESS ALEXANDRA Concerts with the London Philharmonic Orchestra For Seasons 1946-47 To 2006-07 Last updated April 2007 From 1946-47 until April 1951, unless stated otherwise, all concerts were given in the Royal Albert Hall. From May 1951 onwards, unless stated otherwise, all concerts were given in The Royal Festival Hall. 1946-47 May 15 Victor De Sabata, The London Philharmonic Orchestra (First Appearance), Isobel Baillie, Eugenia Zareska, Parry Jones, Harold Williams, Beethoven: Symphony 8 ; Symphony 9 (Choral) May 29 Karl Rankl, Members Of The London Philharmonic Orchestra, Kirsten Flagstad, Joan Cross, Norman Walker Wagner: The Valkyrie Act 3 - Complete; Funeral March And Closing Scene - Gotterdammerung 1947-48 October 12 (Royal Opera House) Ernest Ansermet, The London Philharmonic Orchestra, Clara Haskil Haydn: Symphony 92 (Oxford); Mozart: Piano Concerto 9; Vaughan Williams: Fantasia On A Theme Of Thomas Tallis; Stravinsky: Symphony Of Psalms November 13 Bruno Walter, The London Philharmonic Orchestra, Isobel Baillie, Kathleen Ferrier, Heddle Nash, William Parsons Bruckner: Te Deum; Beethoven: Symphony 9 (Choral) December 11 Frederic Jackson, The London Philharmonic Orchestra, Ceinwen Rowlands, Mary Jarred, Henry Wendon, William Parsons, Handel: Messiah Jackson Conducted Messiah Annually From 1947 To 1964. His Other Performances Have Been Omitted. February 5 Sir Adrian Boult, The London Philharmonic Orchestra, Joan Hammond, Mary Chafer, Eugenia Zareska,
    [Show full text]
  • Tasmania Discovery Orchestra 2011 Concert 1
    Tasmania Discovery Orchestra 2011 The Discovery Series, Season II Concert 1: Discover the Orchestra Alex Briger – Conductor Mozart Overture Die Zauberflöte , K. 620 Beethoven Symphony No. 7 in A Major, Op. 92 Coffee and Cake in the foyer with musicians and conductor Sunday 17 h April 2011 | 2:30pm Stanley Burbury Theatre Sandy Bay, Hobart The Tasmania Discovery Orchestra The TDO is a refreshingly new, bold idea in Australian orchestral music making, designed to offer musicians with advanced orchestral instrument skills the opportunity to come together and make great music in Hobart, Tasmania. The TDO was created in 2010, and was an immediate success, drawing musicians from around Australia to Hobart for the inaugural performance. The response for more performance opportunities for orchestral players is evident by the large number of TDO applicants for both the 2010 and 2011 seasons. This demand led to the creation of another new initiative by the Conservatorium of Music, the TDO Sinfonietta , which will be continuing in 2011. This ensemble performs the chamber music repertoire of the 20th- Century and works composed for mixed orchestral ensemble. With a repertoire of known favourites, this ensemble of more intimate proportions than the TDO, is designed for orchestral musicians with advanced chamber instrumental skills. The TDO and TDO Sinfonietta are about investing in the future of Australian music. Our mission is simple: Australian orchestral musicians, not employed in full-time positions with orchestras, need more opportunities to perform. We want our community and audience to get involved! Have you ever wondered how an orchestra works? Or, perhaps, you’ve always wanted to know what the Conductor does.
    [Show full text]
  • The Turn of the Screw
    OPÉRA DE BENJAMIN BRITTEN THE TURN OF THE SCREW VENDREDI 12 MARS 2021 À 19 H 30 — CONSERVATOIRE DE PARIS ALEXANDER BRIGER DIRECTION MUSICALE ORCHESTRE DU CONSERVATOIRE DE PARIS BRIGITTE JAQUES-WAJEMAN MISE EN SCÈNE CONSERVATOIRE NATIONAL SUPÉRIEUR DE MUSIQUE ET DE DANSE DE PAR I S RETRANSMISSION EN DIRECT VENDREDI 12 MARS 2021 — 19 H 30 www.conservatoiredeparis.fr SALLE RÉMY-PFLIMLIN DURÉE ESTIMÉE 1 H 45 SANS ENTRACTE Coproduction Conservatoire de Paris et Cité de la musique – Philharmonie de Paris en partenariat avec le CRR de Paris/ Nous remercions l’Opéra national de Paris et la Comédie-Française pour le prêt gracieux de costumes et d’accessoires. photographies : Ferrante Ferranti conception graphique : Mioï Lombard THE TURN OF THE SCREW MUSIQUE DE BENJAMIN BRITTEN LIVRET DE MYFANWY PIPER Une fois par an, le Conservatoire de Paris propose, avec la Philharmonie de Paris, une grande production lyrique qui rassemble tous les talents de l’école. Dirigés par des grands noms de la scène internationale de l’opéra, pour la direction musicale comme pour la mise en scène, ils abordent tous les aspects du processus de création, dans des conditions professionnelles. L’orchestre et les étudiants des classes de chant du Conservatoire de Paris donnent l’opéra de chambre The Turn of the Screw, composé en 1954 pour la Biennale de Venise par Britten. « La cérémonie de l’innocence est noyée », chantent Miss Jessel et Peter Quint, morts dans des conditions mystérieuses, et qui hantent maintenant le manoir où Flora et Miles sont envoyés avec leur nouvelle gouvernante. Fondé sur une nouvelle fantastique d’Henry James datant de la toute fin du XIXe siècle, l’opéra de Britten est dirigé par Alexander Briger, familier de ce répertoire (il a notamment dirigé en Australie, dont il est originaire, The Rape of Lucretia et A Midsummer Night’s Dream, dans une mise en scène de Baz Luhrmann), et que les Parisiens connaissent pour l’avoir apprécié dans les opéras de John Adams, Nixon in China et I Was Looking at the Ceiling and Then I Saw the Sky au Théâtre du Châtelet.
    [Show full text]
  • Le Tour D'écrou
    SALLE RÉMY PFIMLIN – CONSERVATOIRE DE PARIS Vendr edi 12 mar s 2021 – 19h30 Le Tour d’écrou Orchestre et étudiants du département des disciplines vocales du Conservatoire de Paris Maîtrise de Paris Alexander Briger Brigitte Jaques-Wajeman CONCERT FILMÉ Concert diffusé le 12 mars 2021 à 19h30 sur conservatoiredeparis.fr où il restera disponible pendant 6 mois et sur Philharmonie Live où il restera disponible pendant 4 mois. Concert également diffusé sur les pages Facebook du Conservatoire national supérieur de musique de Paris et de la Philharmonie de Paris. Programme PROLOGUE P. 6 SYNOPSIS P. 7 BENJAMIN BRITTEN ET LA MUSIQUE DU TEXTE, OU LES ENJEUX D’UNE NOUVELLE TRANSFORMÉE P. 10 SYNOPSIS – D’APRÈS FLORA ET MILES P. 12 AMBIGUÏTÉ D’INTERPRÉTATION ET DUALITÉ DES PERSONNAGES P. 16 SYNOPSIS – D’APRÈS PETER QUINT P. 18 UNE INQUIÉTANTE ÉTRANGETÉ : ENTRETIEN AVEC BRIGITTE JAQUES-WAJEMAN P. 20 SYNOPSIS – D’APRÈS LA GOUVERNANT P. 23 BENJAMIN BRITTEN ET LA FRACTURE DES CODES DE L’OPÉRA TRADITIONNEL : ENTRETIEN AVEC ALEXANDER BRIGE P. 25 LE COMPOSITEUR P. 30 L’ÉQUIPE ARTISTIQUE P. 32 Programme Benjamin Britten Le Tour d’écrou Orchestre du Conservatoire de Paris Étudiants du département des disciplines vocales du Conservatoire de Paris CRR de Paris Thomas Ricart, ténor (le Prologue) Clarisse Dalles, soprano (la Gouvernante) Lucie Peyramaure, soprano (Mrs Grose) Parveen Savart, mezzo-soprano (Miss Jessel) Léo Vermot Desroches, ténor (Peter Quint) Clélia Horvat et Bérénice Arru, sopranos (Flora, en alternance) Robinson Hallensleben et Émile Grizzo, sopranos (Miles, en alternance) Alexander Briger, direction Antoine Petit-Dutaillis, chef assistant Brigitte Jaques-Wajeman, mise en scène Raphaëlle Blin, assistante mise en scène Grégoire Faucheux, scénographie Nicolas Faucheux, création lumières Pascale Robin, création costumes Catherine Saint-Sever, création coiffures et maquillages Coproduction Conservatoire national supérieur de musique et de danse de Paris, Conservatoire à rayonnement régional de Paris, Philharmonie de Paris.
    [Show full text]
  • Shostakovich: Cello Concerto No 2 & Britten: Cello Symphony
    Shostakovich Cello Concerto No. 2 Britten Cello Symphony Dmitri Shostakovich (1906 - 1975) Concerto for Cello and Orchestra No. 2 in G, Op. 126 1.Largo [14.39] 2. Allegretto [4.32] 3. Allegretto [15.41] Benjamin Britten (1913 - 1976) Symphony for Cello and Orchestra, Op. 68 4. Allegro maestoso [13.10] 5. Presto inquieto [3.55] 6. Adagio [9.43] 7. Passacaglia: Andante allegro [7.48] Total Timings [69.33] Jamie Walton cello Philharmonia Orchestra Alexander Briger conductor www.signumrecords.com Shostakovich’s Second Cello Concerto and the apparent condescension from an older Britten’s Cello Symphony make the most likely of generation of British composers, excoriated them bedfellows. These works were written by composers as, ‘the “eminent English Renaissance” composers who were pretty much direct contemporaries, who, sniggering in the stalls…There is more in a single in their own ways, and within utterly different page of his Macbeth than in the whole of their political climates, composed in an approachable “elegant” output.’ Around this time, Shostakovich’s manner which could speak not only to their own occasional influence can be spotted in a number of homeland, but to the world at large. Both were Britten’s works, including the Sinfonia da Requiem catapulted into the international limelight as and Britten continued to be fascinated by young men (age 27 in Shostakovich’s case, 31 in Shostakovich’s major works over the years, issuing a Britten’s) by virtue of the phenomenal success of heartfelt and warm tribute on the occasion of the full scale, serious and surprisingly mature operas latter’s 60th birthday.
    [Show full text]
  • 301278 Vol1.Pdf
    INTERPRETATIVE ISSUE PERFO CONTEMPORARY PIANO MUSIC J by\ Philip Thomas (Volume I) Submitted in partial fulfilment of the requirements for the degree of PhD in Performance Practice Department of Music University of Sheffield April 1999 SUMMARY This thesis explores practical and theoretical issues in interpreting contemporary notated piano music. Interpretative problems and approaches are discussed with a practical bias, using a varied selection of musical sources mostly from the last fifty years. The diversity of compositional styles and methods over this period is reflected in the diversity of interpretative approaches discussed throughout this thesis. A feature of the thesis is that no single interpretative method is championed; instead, different approaches are evaluated to highlight their benefits to interpretation, as well as their limitations. It is demonstrated how each piece demands its own approach to interpretation, drawing from different methodologies to varying degrees in order to create a convincing interpretation which reflects the concerns of that piece and its composer. The thesis is divided into four chapters: the first discusses the implications and ambiguities of notation in contemporary music; the second evaluates the importance of analysis and its application to performance and includes a discussion of the existing performance practice literature as well as short performer-based analyses of three pieces (Saxton's Piano Sonata, Tippett's Second Piano Sonata, and Feldman's Triadic Memories); the third chapter considers notions of style and performing traditions, illustrating the factors other than analysis that can 'inform' interpretation; and the fourth chapter draws together the processes demonstrated in the previous chapters in a discussion of the interpretative issues raised by Berio's Seguenza IV.
    [Show full text]
  • Tedeschi & Omega
    Principal sponsor Media partner Major sponsor and Artistic Director’s Chair sponsor Other supporters Huntington Estate, Art Gallery Society of NSW, 2easy Telecom, Ars Musica Australis, Carlisle Print, City of Sydney, City Recital Hall Angel Place, Boardroom Partners, DFK Laurence Varnay Patrons’ Program $5000 + Mr and Mrs Bruce and Mary Anne Terry Mr and Mrs Chris and Pat Wetherall Anonymous (1) Dr Nicholas Wilcken Anonymous (3) $1000 + Professors Peter and Christine Alexander $250 + Mr and Mrs Steve and Maggie Banks Dr Danielle Chiel Ms Erica Booker Ms Phillipa Clark Mr Randell Heyman Ms Sarah Dunn Mr and Mrs Diccon and Liz Loxton Drs Russ and Virginia Hancock Tedeschi & Omega Drs Keith and Eileen Ong Mr and Mrs Bruce and Alison Handmer The Hon. George Palmer AM QC Mr and Mrs Robert and Jocelyn Hellyer Mr and Mrs Adrian and Dairneen Pilton Mr and Mrs Alex and Libby Jones Françaix Quartet for Winds "Quatuor à vents" John Sydney Smith and Nola Charles Ms Anne Knight Spohr Septet for Flute, Clarinet, Horn, Bassoon, Violin, Cello Professor John Snowdon Mr and Mrs Richard and Alison Morgan and Piano in A minor, Op. 147 The Suttie Family Ms Rossie Ogilvie Dr and Mrs Anthony and Doffy White Ms Petrina Slaytor Anonymous (2) Professor Gill Straker INTERVAL Mr Mark Tedeschi and Ms Sharon Tofler $500 + Robert Titterton Strauss Capriccio, Op. 85 Mr and Mrs Roberto and Ofelia Brozky Mr Geoffrey White Shostakovich Quintet for Piano and Strings in G minor, Op. 57 Mr Mark Dempsey SC Ms Sandy Williams Mr and Mrs Hugh and Frances Dixson Justice David
    [Show full text]
  • Media Kit 2015 Season
    MEDIA KIT 2015 SEASON Partnerships www.australianworldorchestra.com.au MEDIA RELEASE The Australian World Orchestra brings Australia’s finest musical talent home for three extraordinary concerts “… the Mehta Stravinsky and Mahler concert was such a thrilling night of brilliant musicianship (always GREAT when Melbourne audiences get to their feet in rapture!)” – Geoffrey Rush “The Australian World Orchestra brings together some of the finest musicians I have had the pleasure to make music with. I adored conducting them last year.” – Zubin Mehta In July/August 2015, the Australian World Orchestra (AWO) performs under the baton of Chief Conductor of the Berlin Philhar- monic Orchestra, Sir Simon Rattle, together with internationally renowned mezzo-sopranoMagdalena Kožená. AWO will perform three electrifying performances in Australia, at the Sydney Opera House and the Arts Centre Melbourne, Hamer Hall, before the orchestra makes its international debut, accepting Zubin Mehta’s invitation to perform in India in October 2015. AWO Founder and Artistic Director, Alexander Briger, said: “It’s so exciting that the AWO will come together in 2015 to work with the incomparable Sir Simon Rattle in Australia, and that we give our first international performances, reuniting with Maestro Zubin Mehta in India.” Since its inaugural concert series in 2011, AWO has dazzled Australian audiences and established its place as one of the world’s premier orchestras. Founded through the creative vision of internationally acclaimed conductor Alexander Briger, AWO brings Australia’s utmost classical music talent from around the world to perform together. The 2015 season includes 95 Australian musicians from over 30 cities and 45 of the world’s leading orchestras and ensembles, from the Berlin and Vienna Philharmonic Orchestras, the Royal Concertgebouw, and the London and Chicago Symphony Orchestras, as well as Australia’s own magnificent state orchestras.
    [Show full text]