03–20 AUG 18 Konzerthaus Berlin Festival Der Besten

Total Page:16

File Type:pdf, Size:1020Kb

03–20 AUG 18 Konzerthaus Berlin Festival Der Besten Hier spielt die Zukunft Young-Euro-Classic.de 03 –20 AUG 18 Festival der besten Jugendorchester der Welt Konzerthaus Berlin Hauptpartner Öffentlicher Partner DE EN Das „Festival der offenen Ohren“ The “festival of open ears” Tagesspiegel, 2017 Tagesspiegel, 2017 „Sie schaffen scheinbar mühelos, was im klassi- “Apparently effortlessly, they manage to do schen Musikbetrieb als schwierig gilt: Die Orchester what is considered difficult in classical begeistern ein junges Publikum für klassische music: the orchestras awaken a young audience’s Musik, engagieren sich für Neue Musik und enthusiasm for classical music, champion New werben für ein grenzenloses Miteinander.“ Music and promote unlimited understanding.” Berliner Morgenpost, 2016 Berliner Morgenpost, 2016 Zwei charismatische Persönlichkeiten prägen das Programm Two charismatic personalities bookend the programme of von Young Euro Classic 2018: Nelson Mandela und Leonard Young Euro Classic 2018: Nelson Mandela and Leonard Bern- Bernstein, die in diesem Jahr ihren 100. Geburtstag gefeiert stein, who would both have celebrated their 100th birthdays hätten. Young Euro Classic feiert erst seinen 19. – oder schon? this year. Young Euro Classic is only celebrating its 19th – or In jedem Fall bleibt sich das weltweit einzigartige Jugend- is it already? Be that as it may, the unique festival of the orchesterfestival treu, indem es immer wieder neue Ideen, world’s best youth orchestras remains true to itself: it keeps neue Werke und neue Gesichter vorstellt. on presenting new ideas, new works and new faces. Lauschen Sie dem großen Bekannten, dem hinreißend Unbe- Listen to great familiar music and ravishing unknown works – kannten – und lassen Sie sich von grenzenloser Begeisterung come meet these young players and their boundless anstecken! enthusiasm! Young Euro Classic – Hier spielt die Zukunft! Young Euro Classic – Tomorrow’s Musicians Today! Anzeige Eröff nung Young Euro Classic 2018 FR MIAGI Youth Orchestra 03 Südafrika 19 Uhr Konzerteinführung mit Dieter Rexroth im Werner-Otto-Saal 20 Uhr Duncan Ward Dirigent FESTKONZERT ZUM MIAGI YOUTH ORCHESTRA Visser Liebenberg Klarinette 100. GEBURTSTAG VON NELSON MANDELA DUNCAN WARD DIRIGENT LUDWIG VAN BEETHOVEN ·„Egmont“ Ouvertüre f-Moll op. 84 (1810) JUST6 A CAPPELLA ENSEMBLE 02. AUGUST 2018, 20 UHR IGOR STRAWINSKI · „Der Feuervogel“ Suite für Orchester (1919) KONZERTHAUS BERLIN TICKETS FÜR 22 € / 29 € LEONARD BERNSTEIN · „Prelude, Fugue and Riff s“ (1949) DUNCAN WARD · „Rainbow Beats” Suite zu 100 Jahre Nelson Grußworte: Mandela (2018) Heiko Maas Bundesminister des Auswärtigen Bettina Hagedorn Parlamentarische Staatssekretärin beim Grußwort Michael Müller Bundesminister der Finanzen Der Regierende Bürgermeister von Berlin, S.E. Phumelele Stone Sizani Botschafter der Republik Südafrika Schirmherr von Young Euro Classic in Deutschland Dr. Willi Steul Vorstellung der deutsch-südafrikanischen Gemeinschaftsbriefmarke 1. Vorsitzender Deutscher Freundeskreis Klassik mit südafrikanischen Klängen: europäischer Jugendorchester e.V. Werke von Beethoven, Tsotetsi, Ward’s „Rainbow Beats“ sowie traditionelle und südafrikanische Weltmusik des A Cappella Ensembles Just 6. Moderation Ulrich Deppendorf 2. Vorsitzender Deutscher Freundeskreis gefördert durch: europäischer Jugendorchester e.V. SA Bundesjugendorchester YOUNG EURO CLASSIC 04 Deutschland Konzerthaus Berlin Pate des Abends: Oliver Mommsen Schauspieler 03. bis 20. August 2018 19 Uhr Konzerteinführung mit Dieter Rexroth im Werner-Otto-Saal Festivalhymne von Iván Fischer Auftragswerk für Young Euro Classic 20 Uhr Mario Venzago Dirigent Gerhild Romberger Mezzosopran Festival Hymn by Iván Fischer commissioned by Young Euro Classic ANTON BRUCKNER · Ouvertüre g-Moll (1863) Die Konzerte werden von prominenten Paten eröff net. OLIVER MESSIAEN · „L’Ascension“ („Die Himmelfahrt“), The concerts will be introduced by prominent patrons. Vier Symphonische Meditationen für Orchester (1934) GUSTAV MAHLER · „Kindertotenlieder“ (1905) Einlass zu den Konzerteinführungen mit dem PAUL HINDEMITH · Symphonie „Mathis der Maler“ (1934) Konzertticket des Abends. Pre-Concert Talks are open to all ticket holders for the Das Konzert wird von kulturradio vom rbb (UKW 92,4 und Kabel 95,35) evening in question. mitgeschnitten; Ausstrahlung im Rahmen des ARD Radiofestivals. SO Joven Orquesta Nacional DI Symphonieorchester der 05 07 de España (JONDE)Spanien Musikakademie Ljubljana Slowenien Pate des Abends Partner Pate des Abends: 19 Uhr Konzerteinführung mit Dieter Dr. Klaus Lederer Rexroth im Werner-Otto-Saal Senator für Kultur und Europa, Berlin 20 Uhr Pablo González Dirigent Asier Polo Violoncello 19 Uhr Konzerteinführung mit Dieter Rexroth im Werner-Otto-Saal ALICIA DÍAZ DE LA FUENTE · „Llueven estrellas en el mar” 20 Uhr Quentin Hindley Dirigent (2018, Deutsche Erstauff ührung) Urban Stanič Klavier RICHARD STRAUSS · „Don Quixote“ Phantastische Variationen über ein Thema ritterlichen Charakters op. 35 (1898) LEON FIRŠT · „The Symphonic Waltz“ (2018, Deutsche BÉLA BARTÓK · Konzert für Orchester Sz. 116 (1944/45) Erstauff ührung) ROBERT SCHUMANN · Klavierkonzert a-Moll op. 54 (1841) RICHARD STRAUSS · „Also sprach Zarathustra“ op. 30 (1896) MO Bundesjugendballett 06 International MI National Youth Orchestra Pate des Abends 08 of Canada Kanada 20 Uhr Pate des Abends: Ulrich Deppendorf Journalist Tanz zu Strawinski, Ballett zu Pop und Rock: Das Bundes- jugendballett zeigt die Eigenkreation „Dumbarton Oaks“ 19 Uhr Konzerteinführung mit Dieter sowie das mehrteilige „BJB Songbook – What We Call Rexroth im Werner-Otto-Saal Growing Up“ mit Stücken junger Nachwuchschoreografen 20 Uhr Jonathan Darlington Dirigent zu neu arrangierten und live interpretierten Songs der letzten Jahrzehnte. Martin Mangrum Horn Dance and ballet settings of Stravinsky, pop and rock music: GEORGE GERSHWIN · „Catfi sh Row“ Suite aus „Porgy and Bess“ the National Youth Ballet presents its own creation “Dumbarton (1936) Oaks” as well as the “BJB Songbook – What We Call Growing Up”, RICHARD STRAUSS ∙ Hornkonzert Nr. 2 Es-Dur op. 132 (1942) a multi-part assembly of pieces by young choreographers setting songs from recent decades, newly arranged and interpreted live. JOHN ESTACIO · „Moontides“ (2018, Deutsche Erstauff ührung) ALEXANDER SKRJABIN · „Le Poème de l’extase“ op. 54 (1905-08) Das Konzert wird von Deutschlandfunk Kultur aufgezeichnet und bundesweit gesendet – über UKW, DAB+, Kabel, online und app. DO SA Nationales Jugendorchester 11 Nationales Jugendorchester 09 Rumäniens Rumänien der Niederlande Niederlande Pate des Abends: Stefan Raue Pate des Abends: Stefan Jürgens Schauspieler Intendant Deutschlandradio 19 Uhr Konzerteinführung mit Dieter 19 Uhr Konzerteinführung mit Dieter Rexroth im Werner-Otto-Saal Rexroth im Werner-Otto-Saal 20 Uhr Antony Hermus Dirigent 20 Uhr Cristian Mandeal Dirigent Mihai Ritivoiu Klavier SERGEI PROKOFJEW · „Cinderella Suites“ op. 107, 108, 109 (1945/46, Auszüge) DAN DEDIU · „Levante“ (Uraufführung) WILLEM JETHS · „Mors Aeterna“ (2015, Deutsche Erstauff ührung) LUDWIG VAN BEETHOVEN · Klavierkonzert Nr. 1 C-Dur op. 15 JOHANNES BRAHMS · Symphonie Nr. 4 e-Moll op. 98 (1885) (1800) DMITRI SCHOSTAKOWITSCH · Symphonie Nr. 11 „Das Jahr 1905“ Feiern Sie mit uns! Beim traditionellen g-Moll op. 103 (1956-57) Fest für PUBLIKUMSFEST im Anschluss an das Konzert. Alle Celebrate with us! At the traditional AUDIENCE PARTY Das Konzert wird von Deutschlandfunk Kultur aufgezeichnet und bundesweit gesendet – über UKW, DAB+, Kabel, online und app. after the concert. FR NYO Jazz USA SO Youth Chamber Orchestra 10 12 Pate des Abends St. Petersburg Russland 20 Uhr Sean Jones Trompete, Pate des Abends Künstlerische Leitung 19 Uhr Konzerteinführung mit Anne Special Guest: Dianne Reeves Gesang Kussmaul im Werner-Otto-Saal 20 Uhr Migran Agadzhanyan Dirigent Der neueste Ableger des National Youth Orchestra of the USA, eine Initiative der Carnegie Hall in New York, unter- Aleksandr Bykov Oboe nimmt im ersten Jahr seines Bestehens eine Europatournee Karina Flores Sopran und bringt dabei den Sound der amerikanischen Big Band Felix Kudryavtsev Bass ins Konzerthaus, von Klassikern von Duke Ellington und Count Basie bis zu einer Deutschen Erstauff ührung eines PIOTR I. TSCHAIKOWSKI ∙ Serenade für Streichorchester C-Dur neuen Werks des viel geehrten Komponisten Miguel Zenón. op. 48 (1880) DOWLET ANSAROKOW ∙ Konzert für Oboe und kleines Orchester The latest off spring of the National Youth Orchestra of the USA, (2004, Deutsche Erstauff ührung) an initiative of New York’s Carnegie Hall, undertakes a Europe- an tour in the fi rst year of its existence and brings the sound of DMITRI SCHOSTAKOWITSCH ∙ Symphonie Nr. 14 für Sopran, American Big Bands to the Konzerthaus. Works range from classics Bass und Kammerorchester op. 135 (1969) by Duke Ellington and Count Basie to a German premiere by the award-winning composer Miguel Zenón. MO Ungdomssymfonikerne MI Southbank Sinfonia 13 Norwegen 15 International Pate des Abends Pate des Abends: Denis Scheck Literaturkritiker und Journalist 19 Uhr Konzerteinführung mit Anne Kussmaul im Werner-Otto-Saal 19 Uhr Konzerteinführung mit Anne 20 Uhr Johannes Gustavsson Dirigent Kussmaul im Werner-Otto-Saal Ann-Helen Moen Sopran 20 Uhr Simon Over Dirigent Håvard Stensvold Bariton Ivana Gavrić Klavier ANDERS HILLBORG ∙ „Eleven Gates“ (2006) WOLFGANG AMADEUS MOZART · Symphonie Nr. 31 D-Dur KV 297 EDVARD GRIEG ∙ Lieder für Sopran und Orchester: „Pariser Sinfonie“ (1778) „Solveigs Lied“ aus op. 23 (1874/1892) CHERYL FRANCES-HOAD ∙
Recommended publications
  • Digital Concert Hall Where We Play Just for You
    www.digital-concert-hall.com DIGITAL CONCERT HALL WHERE WE PLAY JUST FOR YOU PROGRAMME 2016/2017 Streaming Partner TRUE-TO-LIFE SOUND THE DIGITAL CONCERT HALL AND INTERNET INITIATIVE JAPAN In the Digital Concert Hall, fast online access is com- Internet Initiative Japan Inc. is one of the world’s lea- bined with uncompromisingly high quality. Together ding service providers of high-resolution data stream- with its new streaming partner, Internet Initiative Japan ing. With its expertise and its excellent network Inc., these standards will also be maintained in the infrastructure, the company is an ideal partner to pro- future. The first joint project is a high-resolution audio vide online audiences with the best possible access platform which will allow music from the Berliner Phil- to the music of the Berliner Philharmoniker. harmoniker Recordings label to be played in studio quality in the Digital Concert Hall: as vivid and authen- www.digital-concert-hall.com tic as in real life. www.iij.ad.jp/en PROGRAMME 2016/2017 1 WELCOME TO THE DIGITAL CONCERT HALL In the Digital Concert Hall, you always have Another highlight is a guest appearance the best seat in the house: seven days a by Kirill Petrenko, chief conductor designate week, twenty-four hours a day. Our archive of the Berliner Philharmoniker, with Mozart’s holds over 1,000 works from all musical eras “Haffner” Symphony and Tchaikovsky’s for you to watch – from five decades of con- “Pathétique”. Opera fans are also catered for certs, from the Karajan era to today. when Simon Rattle presents concert perfor- mances of Ligeti’s Le Grand Macabre and The live broadcasts of the 2016/2017 Puccini’s Tosca.
    [Show full text]
  • Träum Weiter Vom Orchester Der Zukunft
    1 7. DEUTSCHER ORCHESTERTAG 3. UND 4. NOVEMBER 2019 Umweltforum Berlin Auferstehungskirche TRÄUM WEITER VOM ORCHESTER DER ZUKUNFT. Gefördert von: VORWORT WILLKOMMEN BEIM DOT 2019 Wir begrüßen Sie herzlich zum 17. Deutschen Orchestertag 2019! Im vergangenen Jahr haben wir den zweiten Tag unserer Konferenz zum ersten Mal für Orchestermusiker*innen geöffnet, damit der Orchestertag zu einem Forum für Aus­ tausch, Dialog und dem besseren gegenseitigen Verstehen für Management und Musiker wird. Das konstruktive und positive Feedback bestätigt uns darin, diesen Prozess in diesem Jahr fortzuführen. Neben praktischen Aspekten der Digitalisierung wie etwa Apps und Technik, die das Konzerterlebnis bereichern, und den Chancen von digitalem Noten­ material für den gesamten Theater­ oder Orchesterbetrieb legen wir einen deutlichen Schwerpunkt auf die Fragestellung: Was ist das Orchester der Zukunft? Was ist die Zukunft der Orchester? Gemeinsam mit dem Dirigenten Iván Fischer, Mitgliedern der Jungen Deutschen Philharmonie und anderen Impulsgebern möchten wir überlegen, wie ein Orchester aussehen könnte, das (noch) nicht den Zwängen des Arbeitsalltags und unseren verfestigten Vorstellungen von Orchesterleben unterworfen ist. Am Sonntag werden wir uns wie üblich der Fortbildung widmen. Mit unserem bewährten Premiumpartner der Mannheimer Versicherung haben wir für die gleich­ namige Akademie erneut ein Programm zusammengestellt, das wertvolle Impulse für den Orchestermanagement­Alltag zu den Themen New Work und Agiles Management gibt. Wir freuen uns auf
    [Show full text]
  • BUNDESJUGENDORCHESTER Ethoven Rende Chiaro Fin Da Principio, Nell’Attacco Del Movimento, Dove La Cellula Del Opera, Incisa Da Naxos E Registrata Da Euroarts
    MUSICA tutto deriva: anche i motivi che ne sembrano diversi od opposti; lo stesso cosiddetto e Münchner Philharmoniker, Gewandhausorchester Leipzig, Wiener Symphoniker, Orche- secondo tema è derivato dal primo, offrendo un saggio del principio della derivazione stra dell'Accademia di Santa Cecilia, Orchestre National de France, London Philharmonic domenica 19 gennaio 2020 - ore 20.45 per contrasto, emblematico frutto del “lavoro tematico” caratterizzante lo stile beetho- Orchestra, Orchestre Symphonique de Montreal, HK Symphony Orchestra Tokyo, Royal lunedì 20 gennaio 2020 - ore 9.30 veniano. E la diffusione della cellula del destino è capillare, tanto che, se non fosse per Concertgebouw Orchestra ad Amsterdam e Atlanta Symphony Orchestra. Ha parteci- lo sfondo armonico (stabilizzato solo nelle sezioni espositive e riepilogative) il movi- pato ai più prestigiosi festival europei quali: Glyndebourne Festival, Wiener e Berliner concerto riservato alle scuole mento potrebbe addirittura sembrare un unico vasto sviluppo. Festwochen, London Proms, Munich Opera Festival e Salzburg Festival; è, inoltre, ospi- Il brano inoltre appare concentratissimo anche perché è privo di “codette”: pressoché te abituale di festival di musica contemporanea a Donaueschingen, Berlino, Bruxelles e tutto il materiale è tematico (in questa seconda accezione, “tema” è ciò che si ripe- Parigi. Nel 2006 si è aggiudicato il premio Hessischer Kulturpreis e nel 2009 il Premio te; ciò che, anche variato, torna). Frutto di una progressiva metamorfosi della cellula della Associazione dei Critici Tedeschi. Della sua estesa e pluripremiata discografia ri- principale è perfino l’episodio dello sviluppo, di poco precedente la ripresa, nel quale cordiamo Saint François d'Assise Olivier Messiaen (con Dietrich Fischer-Dieskau) e l’ope- l’orchestra sembra fermarsi, ansimante, a riprender fiato.
    [Show full text]
  • The Role of Music in European Integration Discourses on Intellectual Europe
    The Role of Music in European Integration Discourses on Intellectual Europe ALLEA ALLEuropean A cademies Published on behalf of ALLEA Series Editor: Günter Stock, President of ALLEA Volume 2 The Role of Music in European Integration Conciliating Eurocentrism and Multiculturalism Edited by Albrecht Riethmüller ISBN 978-3-11-047752-8 e-ISBN (PDF) 978-3-11-047959-1 e-ISBN (EPUB) 978-3-11-047755-9 ISSN 2364-1398 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.dnb.de. © 2017 Walter de Gruyter GmbH, Berlin/Boston Cover: www.tagul.com Typesetting: Konvertus, Haarlem Printing: CPI books GmbH, Leck ♾ Printed on acid free paper Printed in Germany www.degruyter.com Foreword by the Series Editor There is a debate on the future of Europe that is currently in progress, and with it comes a perceived scepticism and lack of commitment towards the idea of European integration that increasingly manifests itself in politics, the media, culture and society. The question, however, remains as to what extent this report- ed scepticism truly reflects people’s opinions and feelings about Europe. We all consider it normal to cross borders within Europe, often while using the same money, as well as to take part in exchange programmes, invest in enterprises across Europe and appeal to European institutions if national regulations, for example, do not meet our expectations.
    [Show full text]
  • Érma Ensemble
    ÉRMA ENSEMBLE MEMBERS LOTTE NURIA ADLER Lotte Nuria Adler (* 28th May 1998) discovered the mandolin for herself at the age of seven. From 2011 to 2015 she participated in the talent program of the Folkwang Music School Essen. Later, she has repeatedly taken master classes with Joseph Brent, Mike Marshall, Gertrud Weyhofen, Marga Wilden-Hüsgen, Markus Stockhausen and others. After graduating from high school in 2016, Lotte Nuria Adler took up her studies at Cologne Music College (Wuppertal branch) with Prof. Caterina Lichtenberg. At the same college she concurrently studies Elementary Music Pedagogy. Lotte Nuria Adler has frequently participated in both national and international competitions since 2008. As a child already, she had won numerous first prices and reached the maximum score at the federal competition of Jugend musiziert more than once. Participating in the most renowned international competitions for mandolin she has obtained a second prize at the 2nd International Solo Mandolin Competition Luxembourg in 2016 and the first price along with the audience award at the Yasuo-Kuwahara-Wettbewerb in 2018 where earlier she had already obtained the third price along with the audience award in 2015 at the age of 16. At the age of 13 Lotte Nuria Adler became concertmaster of the Plucked String Orchestra Düsseldorf. Regular guest performances with different orchestras from across the province have granted her entry to numerous concert houses such as Tonhalle, German Opera on the Rhine and Philharmonie Essen. In 2017, Lotte Nuria joined the «Studio Musikfabrik“, youth ensemble of the «Ensemble Musikfabrik». From an early age she has been attached to Contemporary Music.
    [Show full text]
  • Saveeuyo Support Messages Support Listing As at 2 June 2016
    #SaveEUYO Support Messages Support Listing as at 2 June 2016 We have been amazed by the depth & breadth of response to the #SaveEUYO Campaign. Below we list many of the support messages received, & related Press reports. We would like to thank everyone who has expressed support. “Financing the European Union Youth Orchestra has become a very important and challenging issue. This orchestra has a longstanding tradition of excellence and has represented the musical heritage of the European Union across the world, and in so many prestigious fora over the last four decades." Italian delegation to the European Union, ‘Supporting the European Union Youth Orchestra’ “The youth orchestra has been a symbol of cultural diversity in Europe for 40 years. To take away funds from the orchestra right now is the wrong signal at the wrong time.” “If this European Union Youth Orchestra did not already exist, you’d have to start one now” Monika Grütters, Minister of State in the German Federal Chancellery, and Federal Government Commissioner for Culture and the Media “Culture is the glue that should keep Europe together. That is why the EU should find a way to support the EUYO & keep it going”. Androulla Vassiliou, European Commissioner for Health (March 2008 - February 2010), European Commissioner for Education, Culture, Multilingualism and Youth (March 2010 – November 2014) “On Tuesday of next week there is a meeting in Brussels of the EU's Ministers of Culture and Education. During the last two weeks the worlds of music and education have spoken with one global voice about the critical importance of the EU and its 28 countries finding a funding solution to allow the European Union Youth Orchestra to continue.
    [Show full text]
  • Musx Brochure 2012-14
    The MusXchange programme has been funded with support from the MusXchange 2012–14 European Commission. This publication reflects the view only of the author, and the Commission cannot be held responsible for any use FINAL REPORT which may be made of the information contained therein. MusXchange 2012–14 A Cooperation Project of the European Federation of National Youth Orchestras EFNYO’s programme for fostering transnational mobility of pre-professional musicians pre-professional opening horizons Youth mobility matters Orchestras innovative training concerts new skills needs europe changing new mindsets With its 35 member organisations, the European Federation of National Youth Orchestras (EFNYO) is an association deeply rooted in European musical life. It provides a platform for the exchange of expertise in music training and performance between the leading national youth orchestras of Europe and takes over responsibility for skilling future generations of musicians. In this regard, the Federation truly benefits from its unique po- sition at the interface of higher music education and the music profession. Following its beginnings in 1996, the musicians’ exchange programme of EFNYO has developed into an indispensable instrument for the profes- sionalization of the music sector in the European Union. It gives young pre-professional musicians opportunities to gain orchestral practice in partner orchestras abroad, discover new repertoire, different performance styles and orchestra traditions, meet conductors, teachers, and young artists in a different cultural environment. This experience will widen their perception of musicians’ job profiles today, help them to compete on the European labour market, and increase their social, intercultural and language skills. The programme “MusXchange” has certainly been the highlight among EFNYO cooperation projects since its foundation in 1994.
    [Show full text]
  • Creative Europe Culture Music Projects
    Creative Europe Culture Music Projects July 2020 Creative Europe NETWORKS - MUSIC More information on the European Union is available on the Internet (http://europa.eu). Luxembourg : Publications Office of the European Union, 2020 PRINT ISBN : 978-92-9484-121-6 doi : 10.2797/97142 EC-02-19-821-EN-C PDF ISBN : 978-92-9484-120-9 doi : 10.2797/746060 EC-02-19-821-EN-N © Education, Audiovisual and Culture Executive Agency, 2020 The Commission’s reuse policy is implemented by Commission Decision 2011/833/EU of 12 December 2011 on the reuse of Commission documents (OJ L 330, 14.12.2011, p. 39 – https://eur-lex.europa.eu/eli/ dec/2011/833/oj). Unless otherwise noted, the reuse of this document is authorised under the Creative Commons Attribution 4.0 International (CC BY 4.0) licence (https://creativecommons.org/licenses/by/4.0/). This means that reuse is allowed, provided appropriate credit is given and any changes are indicated. For any use or reproduction of elements that are not owned by the EU, permission may need to be sought directly from the respective rightholders. The EU does not own the copyright in relation to any images which do not carry the copyright indicator © European Union. CREDITS Cover photo : © Louise Mather. Creative Europe Culture Music Projects July 2020 TABLE OF CONTENTS TABLE OF CONTENTS FOREWORD 8 - 9 CREATIVE EUROPE PROGRAMME AND INFOGRAPHICS 10 - 11 MUSIC 12 - 77 CLASSICAL MUSIC 12 - 22 EEE - Emerging European Ensembles 12 ARDEA - International Classical Music Masterclasses ARDEA 13 Music Up Close Network - connecting
    [Show full text]
  • Best Practice 2007-2013.Pdf
    best practice EU-PROGRAMM Kultur 2007–2013 Impressum / Imprint best practice, EU-Programm Kultur (2007–2013) Herausgeber / Editors: Bundeskanzleramt, Sektion Kultur, Abt. EU-Kulturpolitik, Creative Europe Desk – Culture, Concordiaplatz 2, 1014 Wien, www.creativeeurope.at Leitung / Head: Kathrin Kneissel Projektkoordination / Coordination: Elisabeth Pacher Mitarbeit / Assistance: Meena Lang, Sabine Raab Produktion und Redaktion / Production and Editing: Jutta Schmiederer Übersetzungen / Translations: Ingrid Fischer-Schreiber (Englisch–Deutsch / English–German), Mel Greenwald (Deutsch–Englisch / German–English) Lektorat / Copyediting: Catherine Lewis, Ingrid Fischer-Schreiber, Jutta Schmiederer Grafische Gestaltung und Produktion / Graphic design and production: Gerhard Kirchschläger, www.kirchschlaeger.at Druck / Printed by: Gutenberg Werbering GmbH, Linz © 2014 Bundeskanzleramt, Sektion Kultur, Abt. EU-Kulturpolitik, Creative Europe Desk – Culture, Concordiaplatz 2, 1014 Wien © 2014 für die abgebildeten Werke bei den Künstlern oder ihren Rechtsnachfolgern / for the reproduced works by the artists, or their legal successors Trotz intensive Bemühungen war es nicht möglich, in allen Fällen die Rechte- inhaber der abgedruckten Fotos ausfindig zu machen. Wenn Sie urheberrechtliche Ansprüche auf Fotos haben sollten, wenden Sie sich bitte an den Herausgeber. Ihre Ansprüche werden Ihnen mit einem marktüblichen Honorar abgegolten. Despite intensive efforts, it has been impossible to ascertain the identity of the owner(s) of the copyright to all photographs used in this publication. If you claim copyright to such a photograph, please contact the publisher. You will be compensated in the form of royalty payments at the currently prevailing rate. Die in dieser Publikation verwendeten Text- und Fotomaterialien wurden dem Herausgeber zum Großteil von den Projektträgern zur Verfügung gestellt. Es wurde versucht, in den Textbeiträgen auf sprachliche Gleichbehandlung zu achten.
    [Show full text]
  • Bundesjugendorchester Sagt Sommerarbeitsphase Und Tournee 2020 Ab
    Bonn, 26. Mai 2020 Bundesjugendorchester sagt Sommerarbeitsphase und Tournee 2020 ab Das Bundesjugendorchester und sein Träger, die gemeinnützige Projektgesellschaft des Deutschen Musikrats, haben sich aufgrund der aktuellen Situation dazu entschlossen, die Sommerarbeitsphase 2020 des Bundesjugendorchesters abzusagen. Alle Beteiligten bedauern diesen notwenigen Schritt sehr, sehen sich jedoch in der Verantwortung, die Gesundheit aller mitwirkenden MusikerInnen, des Tourneeteams sowie des Publikums zu schützen. Die Sommerarbeitsphase des Bundesjugendorchesters muss aufgrund der aktuellen Auswirkungen des Coronavirus abgesagt werden. Durch die neuen Rahmenbedingungen und Vorgaben von Bundesregierung und Ländern ist es dem Orchester und seinem Team leider nicht möglich, seine Probenphase mit anschließender Tournee wie geplant durchzuführen. Viele Konzerte der Sommertournee fallen dabei auch unter das Verbot für Veranstaltungen über 1.000 Menschen bis einschließlich 31. August 2020. Hinzu kommen die unterschiedlichen Anordnungen an den Reiseorten in Italien, Österreich, den Niederlanden und Russland sowie eine enorm erschwerte Anreise für alle Orchester- und Teammitglieder, die Dirigenten und Solisten sowie den Weltjugendchor. Das Bundesjugendorchester und die gemeinnützige Projektgesellschaft des Deutschen Musikrats bedauern diese Entscheidung sehr, die gemeinsam mit den beteiligten Konzertveranstaltern und Festivals getroffen wurde. Hierzu Sönke Lentz, Orchesterdirektor des Bundesjugendorchesters: „Die Gesundheit unserer Musikerinnen und
    [Show full text]
  • The National Youth Orchestra of Germany – Play, Promote, Inspire!
    The National Youth Orchestra of Germany – Play, Promote, Inspire! The National Youth Orchestra of Germany is Germany’s youngest major orchestra, founded by the German Music Council in 1969 and made up of the country’s finest young musicians between the ages of 14 and 19. Since 2018, Sir Simon Rattle is Conductor Laureate of the National Youth Orchestra. In addition to Sir Simon, distinguished conductors such as Herbert von Karajan, Kurt Masur, Gustavo Dudamel, and Kirill Petrenko have led the orchestra; soloists have included Christian Tetzlaff, Tabea Zimmermann, and Fazil Say, as well as the rock musicians Sting and Peter Maffay. In 2016, the orchestra – together with the conductor Alexander Shelley and Campino from the group “Die Toten Hosen” – was awarded an ECHO Klassik prize in the category “Classic for Children”. In 2013, the Berlin Philharmonic Orchestra assumed an official mentoring role for the youth orchestra, which is invited each year to the Easter Festival in Baden-Baden to join members of the Berlin Philharmonic for master classes, chamber music, and concerts performed together under the direction of Sir Simon Rattle. The young musicians qualify by auditioning for a jury of professionals. During intensive work phases, they prepare significant orchestral works from all periods; contemporary music and premieres of new compositions are an integral part of the repertoire. The engagement with great musical literature, the work with professional musicians from Germany’s finest orchestras and universities, as well as encounters with other like-minded young artists contribute to an unforgettable experience for the members of the orchestra. The National Youth Orchestra of Germany has performed around the world, often as a cultural ambassador for the Federal Republic of Germany.
    [Show full text]
  • Musxchange 2015–17 of the European Union Final Report Musxchange 2015–17
    Co-funded by the Creative Europe Programme MusXchange 2015–17 of the European Union FINAL REPORT MusXchange 2015–17 A Cooperation Project of the European Federation of National Youth Orchestras EFNYO’s programme for fostering transnational mobility, strengthening of skills and audience building for pre-professional musicians in Europe pre-professional opening horizons Youth Orchestras innovative training mobility new skills needs europe changing new mindsets “MusXchange” , the transnational mobility and training programme of the European Federation of National Youth Orchestras (EFNYO) which gathered 12 partners from 10 different countries, has successfully completed its third cycle 2015–2017. As an association deeply rooted in European musical life, EFNYO and its partners provide a platform for the exchange of expertise in music training and performance among the leading national youth orchestras of Europe and take responsibility for imparting necessary skills to future generations of musicians. In this regard, the federation truly benefits from its unique position at the interface of higher music educa- tion and the music profession. Since its beginnings in 1996, the “MusXchange” programme has seen the participation of more than 850 pre-professional musicians to date. It has given them opportunities to gain orchestral practice in youth orchestras abroad, discover new repertoire, experi- ence different performance styles and orchestra traditions, meet conductors, tutors, and young fellow musicians in a different cultural environment. In view of an increasingly global and intercultural community, it has developed into an indispensable instrument for the professionalization of the European music sector. “MusXchange” represents a wonderful example of intercultural dialogue, transnational learning, and the empower- ment of youth and musical excellence throughout the European Union.
    [Show full text]