DOCSLIB.ORG

LONDON PHILHARMONIC ORCHESTRA 56238 LPO 27 October 10 56238 LPO 27 October 10 20/10/2010 12:15 Page 2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
LONDON PHILHARMONIC ORCHESTRA 56238 LPO 27 October 10 56238 LPO 27 October 10 20/10/2010 12:15 Page 2 56238 LPO 27 October 10_56238 LPO 27 October 10 20/10/2010 12:15 Page 1 Principal Conductor VLADIMIR JUROWSKI Principal Guest Conductor YANNICK NÉZET-SÉGUIN Leader PIETER SCHOEMAN Composer in Residence JULIAN ANDERSON Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM† MAHLER ANNIVERSARY PROGRAMME £3 CONTENTS SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL Wednesday 27 October 2010 | 7.30pm 2 List of Players 3 Orchestra History 4 Leader 5 Vladimir Jurowski VLADIMIR JUROWSKI 6 Sarah Connolly conductor 7 Programme Notes 12 Southbank Centre SARAH CONNOLLY 13 Supporters 14 Recordings mezzo soprano 15 Administration 16 Future Concerts The timings shown are not MENDELSSOHN precise and are given only as a guide. Symphony No. 5 in D (Reformation) (33’) MAHLER Kindertotenlieder (23’) INTERVAL BRAHMS Symphony No. 3 in F (33’) † supported by Macquarie Group CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA 56238 LPO 27 October 10_56238 LPO 27 October 10 20/10/2010 12:15 Page 2 LONDON PHILHARMONIC ORCHESTRA FIRST VIOLINS CELLOS BASS CLARINET * Holds a professorial Pieter Schoeman* Leader Kristina Blaumane Principal Paul Richards Principal appointment in London Vesselin Gellev Sub-Leader Chair supported by Chair supported by Simon Yates and Kevin Roon BASSOONS + Chevalier of the Brazilian John and Angela Kessler Francis Bucknall Gareth Newman* Principal Order of Rio Branco Julia Rumley Laura Donoghue Stuart Russell Katalin Varnagy Santiago Sabino Carvalh o+ Simon Estell Catherine Craig Jonathan Ayling ASSISTANT CONDUCTOR Thomas Eisner Chair supported by Caroline, CONTRA BASSOONS Nicholas Collon Tina Gruenberg Jamie and Zander Sharp Simon Estell Principal Martin Höhmann Gregory Walmsley Claire Webster Chair supported by Sue Sutherley Richard Karl Goeltz Susanna Riddell HORNS Geoffrey Lynn Tom Roff Abel Pereira Guest Principal Robert Pool David Bucknall Martin Hobbs Sarah Streatfeild Timothy Ball Yang Zhang DOUBLE BASSES Gareth Mollison Kevin Rundell* Principal Marcus Bates SECOND VIOLINS Tim Gibbs Co-Principal Clare Duckworth Principal Laurence Lovelle TRUMPETS Chair supported by George Peniston Nicholas Betts Principal Richard and Victoria Sharp Joe Melvin Anne McAneney* Jeongmin Kim Tom Walley Chair supported by Joseph Maher Helen Rowlands Geoff and Meg Mann Kate Birchall Louis Garson Chair supported by David TROMBONES and Victoria Graham Fuller FLUTES Mark Templeton* Principal Nancy Elan Jaime Martin* Principal David Whitehouse Fiona Higham Jane Spiers Marie-Anne Mairesse Stewart McIlwham* BASS TROMBONE Ashley Stevens Lyndon Meredith Principal Dean Williamson PICCOLO Sioni Williams Stewart McIlwham* Principal TIMPANI Heather Badke Simon Carrington* Principal Peter Graham OBOES Ian Hardwick Principal PERCUSSION VIOLAS Angela Tennick Andrew Barclay* Principal Alexander Zemtsov* Principal Chair supported by Chair supported by COR ANGLAIS Andrew Davenport The Tsukanov Family Sue Bohling Principal Robert Duncan Chair supported by HARP Katharine Leek Julian and Gill Simmonds Rachel Masters* Principal Susanne Martens Benedetto Pollani CLARINETS CELESTE Emmanuella Reiter-Bootiman Nicholas Carpenter Principal Catherine Edwards Alistair Scahill Emily Meredith Isabel Pereira Daniel Cornford Miranda Davis 2 | London Philharmonic Orchestra 56238 LPO 27 October 10_56238 LPO 27 October 10 20/10/2010 12:15 Page 3 LONDON PHILHARMONIC ORCHESTRA Patrick Harrison Seventy-eight years after Sir Thomas Beecham founded residencies in Brighton and Eastbourne, and performs the London Philharmonic Orchestra, it is recognised regularly around the UK. It is unique in combining these today as one of the finest orchestras on the international concert activities with esteemed opera performances stage. Following Beecham’s influential founding tenure each summer at Glyndebourne Festival Opera where it the Orchestra’s Principal Conductorship has been passed has been the Resident Symphony Orchestra since 1964. from one illustrious musician to another, amongst them Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus The London Philharmonic Orchestra performs to Tennstedt and Kurt Masur. This impressive tradition enthusiastic audiences all round the world. In 1956 it continued in September 2007 when Vladimir Jurowski became the first British orchestra to appear in Soviet became the Orchestra’s Principal Conductor and, in a Russia and in 1973 made the first ever visit to China by a further exciting move, the Orchestra appointed Yannick Western orchestra. Touring continues to form a Nézet-Séguin its new Principal Guest Conductor from significant part of the Orchestra’s schedule and is September 2008. supported by Aviva, the International Touring Partner of the London Philharmonic Orchestra. Tours in 2010/11 The London Philharmonic Orchestra has been performing include visits to Finland, Germany, South Korea, Spain, at Southbank Centre’s Royal Festival Hall since it opened France, Belgium and Luxembourg. in 1951, becoming Resident Orchestra in 1992. It plays there around 40 times each season with many of the Having long been embraced by the recording, world’s most sought after conductors and soloists. broadcasting and film industries, the London Concert highlights in 2010/11 include an exploration of Philharmonic Orchestra broadcasts regularly on domestic Mahler’s symphonies and complete song cycles during and international television and radio. It also works with the composer’s anniversary season; the premières of the Hollywood and UK film industries, recording works by Matteo D’Amico, Magnus Lindberg and Brett soundtracks for blockbuster motion pictures including Dean; a rare opportunity to hear Rossini’s opera Aureliano the Oscar-winning score for The Lord of the Rings trilogy in Palmira in collaboration with long term partner Opera and scores for Lawrence of Arabia, The Mission, Rara; and works by the Orchestra’s new Composer in Philadelphia and East is East. Residence, Julian Anderson. The London Philharmonic Orchestra made its first In addition to its London season and a series of concerts recordings on 10 October 1932, just three days after its at Wigmore Hall, the Orchestra has flourishing first public performance. It has recorded and broadcast London Philharmonic Orchestra | 3 56238 LPO 27 October 10_56238 LPO 27 October 10 20/10/2010 12:15 Page 4 LONDON PHILHARMONIC ORCHESTRA PIETER SCHOEMAN LEADER n o s i r r a H regularly ever since, and in 2005 established its own In 2002, Pieter Schoeman k c i r t record label. The recordings on its own label are taken joined the London a mainly from live concerts given with distinguished Philharmonic Orchestra as P conductors over the years including the Orchestra’s Co-Leader. In 2008 he was appointed Leader. Principal Conductors from Beecham and Boult, through Haitink, Solti and Tennstedt, to Masur and Jurowski. Born in South Africa, he made his solo debut with the Cape Town Symphony Orchestra at the age of ten. He Recent additions to the catalogue have included studied with Jack de Wet in South Africa, winning acclaimed releases of Elgar’s Symphony No. 1 and Sea numerous competitions, including the 1984 World Youth Pictures with Vernon Handley and Janet Baker; Mahler’s Concerto Competition in America. In 1987 he was offered Symphony No. 2 conducted by Klaus Tennstedt; Brahms’s the Heifetz Chair of Music scholarship to study with Symphonies Nos 1 and 2 conducted by Vladimir Jurowski; Eduard Schmieder in Los Angeles and in 1991 his talent and Dvo řák’s Requiem under the baton of Neeme Järvi. was spotted by Pinchas Zukerman who recommended The Orchestra’s own-label CDs are also widely available that he move to New York to study with Sylvia Rosenberg. to download. Visit www.lpo.org.uk/shop for the latest In 1994 he became her teaching assistant at Indiana releases. University, Bloomington. Pieter Schoeman has performed as a soloist and recitalist ‘ … a simply tremendous performance of throughout the world in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Mahler’s 3rd Symphony … Jurowski and his Hall, Capella Hall in St Petersburg, Staatsbibliothek in players plunged us into a winter of Berlin, Hollywood Bowl in Los Angeles and Queen discontent so profoundly expectant that Elizabeth Hall in London. As a chamber musician he even the inveterate coughers were silenced.’ regularly performs at London’s prestigious Wigmore Hall. EDWARD SECKERSON, THE INDEPENDENT, As a soloist with the London Philharmonic Orchestra, he 23 SEPTEMBER 2010 has performed Arvo Pärt’s Double Concerto with Boris Garlitsky and Benjamin Britten’s Double Concerto with Alexander Zemtsov, which was recorded and released The Orchestra reaches thousands of Londoners through on the Orchestra’s own record label to great critical its rich programme of community and school-based acclaim. Earlier this season he performed the Brahms activity in Lambeth, Lewisham and Southwark, which Double Concerto with Kristina Blaumane. includes the offshoot ensembles Renga and The Band, its Foyle Future Firsts apprenticeship scheme for In 1995 Pieter Schoeman became Co-Leader of the outstanding young instrumentalists, and regular family Orchestre Philharmonique de Nice. Since then he has and schools concerts. performed frequently as Guest Leader with the symphony orchestras of Barcelona, Bordeaux, Lyon, To help maintain its high standards and diverse workload, Baltimore and the BBC Symphony Orchestra. This season the Orchestra is committed to the welfare of its he has been invited to lead the Rotterdam musicians and
Load more

Recommended publications
  • Phd Commentary Final
    PORTFOLIO OF COMPOSITIONS Towards a New Aesthetic in Contemporary Instrumental Ensemble, Vocal and Chamber Opera Composition A thesis submitted for the degree of Doctor of Philosophy by Shirley J. Thompson School of Arts, Brunel University September 2011 Shirley J. Thompson Submission for Doctor of Philosophy School of Arts Brunel University 1 ABSTRACT This submission for the degree of Doctor of Philosophy focuses on works for large instrumental ensemble in conjunction with the voice. Instrumental ensemble and vocal mediums such as the orchestral art song, the song cycle and the opera in one act, provide platforms to explore the expressiveness of the lyrical dramatic voice and the dialectic tension between composing for the solo voice with a range of instrumental ensemble forces. The portfolio of compositions includes the orchestral song, The Woman Who Refused to Dance; the orchestral song trilogy, Spirit Songs; and the opera in one act, Queen Nanny of the Maroons. Issues of composition technique, vocal expression and operatic narrative are examined and in addition the three named works explore notions of post-colonial heroic representation of subjects that might not usually attract ideological recognition in Western European art music contexts. Methods for developing inclusive, post-modern musical language for the mixed instrumental and vocal ensemble are explored; including the employment of spoken word expression and the integration of popular music idioms within contemporary Western European art music contexts. In the writing of lyrics for the songs and libretto for the opera, increased responsibility is assumed in the completion of vocal works in addition to musical consideration to find the effects on the works when the roles of composer and writer are combined.
    [Show full text]
  • Em Residência 2010 040 Maestros Titulares 047 Orquestra Nacional Do Porto
    APOIO INSTITUCIONAL MECENAS PRINCIPAL DA CASA DA MÚSICA 2 MECENAS DA CASA DA MÚSICA 4 6 Índice 011 Introdução 017 Calendário Programação 032 Ano Áustria 2010 037 Compositores em Residência 2010 040 Maestros Titulares 047 Orquestra Nacional do Porto 054 À Sexta SÉRIE CLÁSSICA 074 Ao Sábado SÉRIE DESCOBERTA 088 Ao Domingo 100 Fora de Série 123 Remix Ensemble 143 Coro Casa da Música 161 Orquestra Barroca Casa da Música 173 Agrupamentos Associados 177 Ciclo Piano EDP e mais piano 195 Ciclo Jazz Galp 217 Domingo Ao Meio Dia 221 Terça Fim de Tarde 230 Festivais 248 Serviço Educativo Público Geral 256 Cursos, Seminários, Masterclasses, Workshops, Conferências/Debate 262 Edições Casa da Música 264 Fora de Casa A Casa da Música é membro de 272 Assinaturas 2010 8 Sob o signo de Janus Se tivesse de escolher hoje um símbolo para a Casa dade das propostas, mas sobretudo a sua articu- da Música ele seria com certeza Janus, essa extra- lação e coerência (sem dúvida uma das marcas ordinária gura da mitologia Romana: o deus mais importantes do legado de Pedro Burmester) bifronte, a quem foi concedido o dom de olhar têm, por seu lado, ganho legibilidade e gravidade simultaneamente em duas direcções opostas; o em circunstâncias que, encarecidas por uma certa deus que perscruta o passado e o futuro e que, excepcionalidade, só podem, a nal, ser classi - para os Antigos, representa a passagem ritual entre cadas como de normalidade institucional. Uma uma condição e outra – e, num dia sem névoa, a excepcional normalidade que é o que no fundo clarividência do presente, porque Janus, convém permite que as tensões inerentes ao acto de tomar lembrar, não é um deus da adivinhação.
    [Show full text]
  • PROGRAM NOTES Gustav Mahler Symphony No. 1 in D Major
    PROGRAM NOTES by Phillip Huscher Gustav Mahler Born July 7, 1860, Kalischt, Bohemia. Died May 18, 1911, Vienna, Austria. Symphony No. 1 in D Major Mahler did most of the work on his First Symphony in February and March of 1888, incorporating music that had been written much earlier. He revised the score on several occasions. The first performance was given on November 20, 1889, in Budapest, with the composer conducting. The score calls for four flutes and three piccolos, four oboes and english horn, four clarinets, two E-flat clarinets and bass clarinet, three bassoons and contrabassoon, seven horns, four trumpets, three trombones and tuba, timpani, bass drum, cymbals, triangle, tam-tam, harp, and strings. Performance time is approximately fifty-seven minutes. The Chicago Symphony Orchestra's first subscription concert performances of Mahler's First Symphony were given at Orchestra Hall on November 6 and 7, 1914, with Frederick Stock conducting. Our most recent subscription concert performances were given on April 5, 6, 7, and 10, 2007, with Gustavo Dudamel conducting. The Orchestra first performed this symphony at the Ravinia Festival on July 19, 1949, with William Steinberg conducting, and most recently on June 24, 2005, with James Conlon conducting. When Alma Schindler first met Gustav Mahler, whom she later married, she could only remember how much she had disliked his First Symphony. She wasn't alone. The history of this symphony, even into relatively recent times, is one of misunderstanding and rejection. The first performance, in Budapest in 1889, was greeted with indifference, bewilderment, and, in the words of the local critic, "a small, but, for all that, audible element of opposition." Mahler seldom understood the animosity his music aroused.
    [Show full text]
  • Principal Partner 2 an ORCHESTRA LIKE NO OTHER Meet Southbank Sinfonia: 33 Outstanding Young Players Poised to Make a Significant Impact on the Music Profession
    Principal partner 2 AN ORCHESTRA LIKE NO OTHER Meet Southbank Sinfonia: 33 outstanding young players poised to make a significant impact on the music profession. Every year we welcome an entirely new cohort of exceptional talents from all over the world and are fascinated to hear and see what they will achieve together. Let them guide you through a vast array of repertoire and invigorating collaborations with artists such as Antonio Pappano, Vladimir Ashkenazy and Guy Barker as well as venerable organisations like the Royal Opera House and Academy of St Martin in the Fields. Whatever events you can attend, you are sure to experience the immense energy and freshness the players bring to every performance. They make a blazing case for why orchestras still matter today, investing new life in a noble tradition and reminding us all what can be accomplished when dedicated individuals put their hearts and minds together. Join us on their remarkable journey, and be enlivened and inspired. Simon Over Music Director and Principal Conductor For the latest concert listings and to book tickets online, visit us at southbanksinfonia.co.uk All information in this Concert Diary was correct at the time of going to press, but Southbank Sinfonia reserves the right to vary programmes if necessary. 3 MEET THE PLAYERS Alina Hiltunen Karla Norton Anaïs Ponty Duncan Anderson Violin Violin Violin Viola Yena Choi Tamara Elias Rachel Gorman Kaya Kuwabara Cara Laskaris Colm O’Reilly Timothy Rathbone Violin Violin Violin Violin Violin Violin Violin Martha Lloyd Helen
    [Show full text]
  • Margaret Catchpole: Two Worlds Apart
    Stephen DODGSON Margaret Catchpole: Two Worlds Apart (Chamber opera in four acts) Howden • Wallace • Morris • Ollerenshaw Edgar-Wilson • Brook • Moore • Willcock • Sporsén Perpetuo • Julian Perkins Stephen Act I: By the Banks of the Orwell Act II: The Cobbold Household 1 [Introduction] 2:27 Scene 1: The drawing room at Mrs Cobbold’s house DO(1D924G–20S13O) N ^ 2Scene 1: Harvest time at Priory Farm & You are young (Dr Stebbing) 4:25 3 What an almighty fuss (Luff, Laud) 1:35 Ah! Dr Stebbing and Mr Barry Margaret Catchpole: Two Worlds Apart 4 For so many years (Laud, Luff) 2:09 (Mrs Cobbold, Barry, Margaret) 6:54 Chamber opera in four acts (1979) 5 Oh harvest moon (Margaret, Laud) 5:26 * Under that far and shining sky Interlude to Scene 2 1:28 Libretto by Ronald Fletcher (1921–1992), 6 (Laud, Margaret) 1:35 based on the novel by Richard Cobbold (1797–1877) The harvest is ended Scene 2: Porch – Kitchen/parlour – First performance: 8–10 June 1979 at The Old School, Hadleigh, Suffolk, UK 7 (Denton, Margaret, Laud, Labourers) 2:19 (Drawing room Oh, my goodness gracious – look! I don’t care what you think Margaret Catchpole . Kate Howden, Mezzo-soprano 8 (Mrs Denton, Lucy, Margaret, Denton) 2:23 ) (Alice, Margaret) 2:26 Will Laud . William Wallace, Tenor 9 Margaret? (Barry, Margaret) 3:39 Come in, Margaret John Luff . Nicholas Morris, Bass The ripen’d corn in sheaves is born ¡ (Mrs Cobbold, Margaret) 6:30 (Second Labourer, Denton, First Labourer, John Barry . Alistair Ollerenshaw, Baritone Come then, Alice (Margaret, Alice, Laud) 8:46 0 Mrs Denton, Lucy, Barry) 5:10 ™ Crusoe .
    [Show full text]
  • Turnage Anna Nicole
    Boosey & Hawkes Music Publishers Limited June 2011 2011/2 Turnage Anna Nicole New from Included in this issue: boosey.com Birtwistle Mark-Anthony Turnage’s new opera enjoyed a sell-out premiere run at The Royal Opera, New violin concerto travels followed by BBC television and radio broadcasts and a forthcoming DVD release. to BBC Proms ‘gentleman’s club’ in Houston... The more reflective passages often take the surprising form of beguiling, varied waltzes. Mr. Turnage and Mr. Thomas have come up with a slew of operatic characters that singers are going to relish, as this cast did. The London audience ate it up. But so did I, because in the end this is a musically rich, Online Scores launched audacious and inexplicably poignant work. The We are pleased to announce the launch of ovations were tumultuous.” New York Times Online Scores: a new boosey.com music “Turnage’s score is both immediately attractive service that allows you to view a digitised and dramatically purposeful, while Thomas’s pithy library of full scores from the B&H catalogue, text is integral to the success of an opera that hits free of charge. all the G-spots.” Sunday Times • over 400 scores currently available, with The Royal Opera’s production of Anna frequent additions Reich Nicole, with cast including Eva-Maria Kronos Quartet tours 9/11 wide range of leading composers from Westbroek, Gerald Finley and Alan Oke • Adams to Xenakis memorial to Europe conducted by Antonio Pappano, is released on DVD and Blu-ray by Opus Arte in August. first time access to many rare or • contemporary scores Turnage’s Blood on the Floor is choreographed by Wayne Macgregor in a available when you want, for study or • research new Francis Bacon-inspired ballet at the Opéra Bastille in Paris on 29 June.
    [Show full text]
  • GUEST ARTIST RECITAL KEYBOARD CONVERSATIONS? With
    GUEST ARTIST RECITAL KEYBOARD CONVERSATIONS® with JEFFREY SIEGEL Franz Schubert in the Age of the Sound Bite Tuesday, October 29, 2013 8:00 p.m. Lillian H. Duncan Recital Hall PROGRAM Three Waltzes Franz Schubert (1797-1828) Impromptu in E-flat Major, Op. 90, No. 2 (D. 899) Impromptu in F Minor, Op. 142, No. 4 (D. 935) INTERMISSION Sonata in B-flat, Op. Posthumous (D. 960) Molto moderato Andante sostenuto Scherzo: Allegro vivace con delicatezza Allegro, ma non troppo Questions and Answers Please join us for a reception in the Grand Foyer immediately following the concert. BIOGRAPHY American pianist JEFFREY SIEGEL returns to the Shepherd School for the third consecutive season to present Keyboard Conversations®. Jeffrey Siegel has been soloist with the world’s great orchestras. Abroad, these include the Berlin Philharmonic, London Symphony, Philharmonic and Philharmonia, Moscow State Symphony, Munich’s Bayerischer Rund- funk, the Amsterdam, Oslo and Stockholm Philharmonic, Orchestra of La Scala and NHK Symphony of Japan. In the United States, engagements include the New York Philharmonic, Los Angeles Philharmonic, The Phila- delphia Orchestra, The Cleveland Orchestra, Boston Symphony Orches- tra and Chicago Symphony Orchestra. Mr. Siegel has collaborated with many of the pre-eminent conductors of our time: Claudio Abbado, Pierre Boulez, Charles Dutoit, Neeme Järvi, James Levine, Lorin Maazel, Zubin Mehta, Leonard Slatkin, Michael Tilson Thomas, and David Zinman, as well as legendary maestros of the past, including Eugene Ormandy, Sir George Solti, William Steinberg, Klaus Tennstedt and Yevgeny Svetlanov. In addition to his solo appearances, Jeffrey Siegel presents Keyboard Conversations®, a brilliantly polished concert-with-commentary format in which captivating remarks precede virtuoso performances of piano masterpieces.
    [Show full text]
  • A CONCERT with COMMENTARY, JEFFREY SIEGEL to PRESENT MOZART and HAYDN “The Leonard Bernstein of the Piano” Returns for His Ninth Season
    Contact: Dave Webb Phone: 530-400-1253 E-mail: [email protected] Web: harriscenter.net/about/press-room A CONCERT WITH COMMENTARY, JEFFREY SIEGEL TO PRESENT MOZART AND HAYDN “The Leonard Bernstein of the piano” returns for his ninth season (August 2, 2019, Folsom, CA) Hailed as “an artist who means every note he plays” (New York Times), internationally acclaimed pianist Jeffrey Siegel brings power and passion to his celebrated Keyboard Conversations — returning to Folsom for his ninth season. He has been called “the Leonard Bernstein of the piano” (Chicago Tribune); "Jeffrey Siegel has everything: massive technique, musical sensitivity and character, wide tonal resources, immense reserves of power, and the ability to communicate" (Los Angeles Times). In presenting these “concerts with lively commentary” Mr. Siegel offers comments on the work, the composer, even the times in which the work was composed and then gives a virtuosic performance of a piano masterpiece. A lively Q&A concludes the concert. His presentations enrich the listening experience for the avid music lover as well as provide an inviting, instantly accessible introduction to great music for those new to classical music. "Siegel's programs strengthen the fragile bonds of communication between composer and listener and are as welcome as they are rare." (Chicago Tribune). For his concert on Saturday, August 24, Mr. Siegel will perform MOZART AND HAYDN – HUMOR AND HEARTACHE, an evening of irresistible charm and wit – and deep anguish and sadness. Haydn’s exuberant “Gypsy Rondo” and melancholy “F Minor Variations,” Mozart’s passionate “A Minor Sonata.” The inaugural Keyboard Conversations® With Jeffrey Siegel commences on Saturday, August 24 at 7:30 pm.
    [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]
  • A Collection of Stan Ruttenberg's Reviews of Mahler Recordings From
    A collection of Stan Ruttenberg’s Reviews of Mahler Recordings from the Archives Of the Colorado MahlerFest (Symphonies 3 through 7 and Kindertotenlieder) Colorado MahlerFest XIII Recordings of the Mahler Third Symphony Of the fifty recordings listed in Peter Fülöp’s monumental discography (up to 1955, and many more have been added since then), I review here fifteen at my disposal, leaving out two by Boulez and one by Scherchen as not as worthy as the others. All of these fifteen are recommendable, all with fine points, all with some or more weaknesses. I cannot rank them in any numerical order, but I can say that there are four which I would rather hear more than the others — my desert island choices. I am glad to have the others for their own particular merits. Getting ready for MFest XIII we discovered that the matter of score versions and parts is complex. I use the Dover score, no date but attributed to Universal Edition; my guess this is an early version. The Kalmus edition is copied from who knows which published version. Then there is the “Critical Edition,” prepared by the Mahler Gesellschaft, Vienna. I can find two major discrepancies between the Dover/Universal and the Critical (I) the lack of horns at RN25-5, doubling the string riff and (ii) only two harp glissandi at the middle of RN28, whereas the Critical has three. Our first horn found another. Both the Dover and Critical have the horn doublings, written ff at RN 67, but only a few conductors observe them.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 126, 2006
    2006-2007 SEASON BOSTON SYM PH ORCHESTRA JAMES LEVINE MUSIC DIRECTOR BERNARD HAITINK SEIJI OZAWA MUSIC DIRECTOR LAUREATE Leaa o richer (Ue. ) i * II mmturn tin \ flftffwir " W > f John Hancock is proud to support the Boston Symphony Orchestra, the future is yours S;A« 3nl v 1 IH Hoi View from The McLean Center, Princeton, MA y . i • - j < E McLEAN CENTER AT FERNSIDE JMB^^m A comprehensive residential treatment program. So • Expertise in treating co-occurring psychiatric disorders. Highly discreet and individualized care for adults. Exceptional accommodations in a peaceful, rural setting. 'i»S -'V McLean Hospital: A Legacy of Compassionate Care Uji and Superb Clinical Treatment www.mclean.harvard.edu • 1-800-906-9531 McLean Hospital is a psychiatric teachingfacility Partners. ofHarvard Medical School, an affiliate of Healthcare Massachusetts General Hospital and a member of Partners HealthCare. REASON #75 transplan exper s It takes more than just a steady hand to perform a successful organ transplant. The highly complicated nature of these procedures demands the utmost in experience and expertise. At Beth Israel Deaconess Medical Center, we offer one of the most comprehensive liver, kidney and pancreas transplant programs available today. Our doctors' exceptional knowledge and skill translate to enhanced safety and care in transplant surgery - and everything that goes into it. For more information on the Transplant Center, visit www.bidmc.harvard.edu or call 1-800-667-5356. A teaching hospital of Beth Israel Deaconess Harvard Medical School Medical Center Affiliated with Joslin Clinic | A Research Partner of Dana-Farber/Harvard Cancer Center | Official Hospital of the Boston Red Sox James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 126th Season, 2006-2007 Trustees of the Boston Symphony Orchestra, Inc.
    [Show full text]
  • Heroes and Heroines Handel
    Heroes & Heroines Booklet (New Times) 5/5/05 9:03 Page 2 CORO The Sixteen Edition CORO The Sixteen Edition Sarah Connolly Heroes and Heroines Handel To find out more about HARRY CHRISTOPHERS The Sixteen, concerts tours THE SYMPHONY OF or to buy CDs, visit www.thesixteen.com C O R 1 6 0 2 5 HARMONY AND INVENTION Heroes & Heroines Booklet (New Times) 5/5/05 9:03 Page 46 FROM HERCULES (Dejanira) I have to confess thatOfficial this recording launch of makes‘Heroes me and feel Heroines’ very Sarah Connolly proud. Proud, in thatat everythe 2004 singer Handel who in has Oxford ever Festival,left The bm Sinfonia (Act 2) Sixteen to pursue a solomade career, possible has through been, andthe generousindeed is, Heroes and Heroines very successful. Sarahsupport Connolly, of The however, Zvi Meitar is more Family than Fund. that – she is exceptional. bn Recitative George Frideric Handel She sang with theRecording group in Producer: the late Mark 1980s Brown and early 1990s and her virtuosity,Recording stunning Engineer: performing Mike Hatch ability Dissembling, false, perfidious Hercules!HARRY CHRISTOPHERSThe sun should cease to dawn, the silver moon and vivacious personalityRecorded were at St. very Silas muchthe Martyr, apparent then; Did he not swear, when THEfirst heSYMPHONY woo’d my OFlove, HARMONYBe blotted AND fromINVENTION her orb, ere he prov’d false? Kentish Town, London there was always an additional surge of electricity when Photography: Peter Warren. www.peterwarren.co.uk she was around. Now, of course, Sarah is one ofVocal this Consultant: country’s Gerald finest Martin singers Moore and a great Handelian.
    [Show full text]