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ORCHESTRE DE LA SUISSE ROMANDE Director Titular: JONATHAN NOTT
A.7 ORCHESTRE DE LA SUISSE ROMANDE Director Titular: JONATHAN NOTT SERIE ARRIAGA 2016.2017 Auditorio Nacional Medio colaborador de Música A.7 ORCHESTRE DE LA SUISSE ROMANDE Fue fundada, en 1918, por Ernest Ansermet, que fue su Director hasta 1967. Está formada por 112 músicos permanentes. Sus actividades incluyen una serie de conciertos de abono, en Ginebra y Lausana, los conciertos sinfónicos oficiales de la ciudad de Ginebra, el Concierto Benéfico Anual de las Naciones Unidas y representaciones de ópera en el Grand Théâtre de Ginebra. Jonathan Nott ocupa el puesto de Director Titular, a partir de la temporada 2016-2017. Su Principal Director Invitado es el japonés Kazuki Yamada. Desde sus inicios y bajo el liderazgo de su fundador y de sus sucesores Paul Kletzki (1967-1970), Wolfgang Sawallisch (1970-1980), Horst Stein (1980-1985), Armin Jordan (1985-1997), Fabio Luisi (1997-2002), Pinchas Steinberg (2002- 2005), Marek Janowski (2005-2012) y Neeme Järvi (2012-2015), la orquesta ha contribuido activamente a la historia de la música a través del apoyo a compositores contemporáneos. Una de sus misiones más importantes es el apoyo a nueva música orquestal, especialmente de compositores suizos. Desde sus comienzos y en colaboración con la Televisión Suiza-Francesa sus conciertos llegan a un público de millones de personas en todo el mundo. Gracias a su estrecho trabajo con Decca, se realizaron legendarias grabaciones. El resto de los registros, para unos doce sellos diferentes, han recibido numerosos premios. Más recientemente, la orquesta ha desarrollado una privilegiada colaboración con PentaTone. Sus giras internacionales la han llevado a actuar en las principales salas de concierto de Europa (Berlín, Londres, Viena, Salzburgo, París, Madrid, Barcelona, Budapest y Ámsterdam), Asia (Tokio, Seúl, Beijing), así como en América (Boston, Nueva York, San Francisco, Washington, São Paulo, Buenos Aires y Montevideo). -
Rezension Für: Deutsches Symphonie-Orchester Berlin
Rezension für: Deutsches Symphonie-Orchester Berlin Edition Friedrich Gulda – The early RIAS recordings Ludwig van Beethoven | Claude Debussy | Maurice Ravel | Frédéric Chopin | Sergei Prokofiev | Wolfgang Amadeus Mozart 4CD aud 21.404 Radio Stephansdom CD des Tages, 04.09.2009 ( - 2009.09.04) Aufnahmen, die zwischen 1950 und 1959 entstanden. Glasklar, "gespitzter Ton" und... Full review text restrained for copyright reasons. Neue Musikzeitung 9/2009 (Andreas Kolb - 2009.09.01) Konzertprogramm im Wandel Konzertprogramm im Wandel Full review text restrained for copyright reasons. Piano News September/Oktober 2009, 5/2009 (Carsten Dürer - 2009.09.01) Friedrich Guldas frühe RIAS-Aufnahmen Friedrich Guldas frühe RIAS-Aufnahmen Full review text restrained for copyright reasons. page 1 / 388 »audite« Ludger Böckenhoff • Tel.: +49 (0)5231-870320 • Fax: +49 (0)5231-870321 • [email protected] • www.audite.de DeutschlandRadio Kultur - Radiofeuilleton CD der Woche, 14.09.2009 (Wilfried Bestehorn, Oliver Schwesig - 2009.09.14) In einem Gemeinschaftsprojekt zwischen dem Label "audite" und Deutschlandradio Kultur werden seit Jahren einmalige Aufnahmen aus den RIAS-Archiven auf CD herausgebracht. Inzwischen sind bereits 40 CD's erschienen mit Aufnahmen von Furtwängler und Fricsay, von Elisabeth Schwarzkopf, Dietrich Fischer-Dieskau u. v. a. Die jüngste Produktion dieser Reihe "The Early RIAS-Recordings" enthält bisher unveröffentlichte Aufnahmen von Friedrich Gulda, die zwischen 1950 und 1959 entstanden. Die Einspielungen von Beethoven, Debussy, Ravel und Chopin zeigen den jungen Pianisten an der Schwelle zu internationalem Ruhm. Die Meinung unserer Musikkritiker: Eine repräsentative Auswahl bisher unveröffentlichter Aufnahmen, die aber bereits alle Namen enthält, die für Guldas späteres Repertoire bedeutend werden sollten: Mozart, Beethoven, Debussy, Ravel, Chopin. -
Beata Kornatowska Wspomnienia Głosem Pisane : O Autobiografiach Śpiewaków
Beata Kornatowska Wspomnienia głosem pisane : o autobiografiach śpiewaków Acta Universitatis Lodziensis. Folia Litteraria Polonica 16, 140-154 2012 140 | FOLIA LITTERARIA POLONICA 2 (16) 2012 Beata Kornatowska Wspomnienia głosem pisane. O autobiografiach śpiewaków W literackim eseju Güntera de Bruyna poświęconym autobiografii czytamy: Opowiadający dokonuje pewnego okiełznania tego, co zamierza opowiedzieć, wtłacza to w formę, której wcześniej nie miało; decyduje o początku i zakończeniu, układa szczegóły [...] w wybranych przez siebie związkach, tak że nie są już tylko szczegółami, ale nabierają znaczenia, i określa punkty ciężkości1. Przy lekturze wspomnień znanych śpiewaków trudno oprzeć się wrażeniu, że przyszli na świat po to, żeby śpiewać. Już dobór wspomnień z dzieciństwa ma coś z myślenia magicznego: wydarzenia, sploty okoliczności, spotkania — wszystko to prowadzi do rozwoju kariery muzycznej. Dalsze powtarzalne elementy tych wspomnień to: odkrycie predyspozycji wokalnych i woli podję- cia zawodu śpiewaka, rola nauczycieli śpiewu i mentorów (najczęściej dyrygen- tów), największe sukcesy i zdobywanie kolejnych szczytów — scen kluczowych dla świata muzycznego, pamiętne wpadki, kryzysy wokalne, podszyte rywali- zacją relacje z kolegami, ciągłe podleganie ocenie publiczności, krytyków i dy- rygentów, myśli o konieczności zakończenia kariery, refleksje na temat doboru repertuaru, wykonawstwa i — generalnie — muzyki. W tle pojawiają się rów- nież wydarzenia z historii najnowszej, losy kraju i rodziny, kondycja instytucji muzycznych, uwarunkowania personalne. Te uogólnione na podstawie sporej liczby tekstów z niemieckiego kręgu ję- zykowego2 prawidłowości w organizowaniu wspomnień „głosem pisanych” chciałabym przedstawić na przykładzie wyróżniających się w mojej ocenie ja- kością autobiografii autorstwa ikon powojennej wokalistyki niemieckiej — Christy Ludwig ...und ich wäre so gern Primadonna gewesen. Erinnerungen („...a tak chciałam być primadonną. Wspomnienia”)3 i Dietricha Fischer-Dies- kaua Zeit eines Lebens. -
Contents: 1000 South Denver Avenue Suite 2104 Biography Tulsa, OK 74119 Critical Acclaim
Conductor Jack Price Managing Director 1 (310) 254-7149 Skype: pricerubin [email protected] Rebecca Petersen Executive Administrator 1 (916) 539-0266 Skype: rebeccajoylove [email protected] Olivia Stanford Marketing Operations Manager [email protected] Karrah O’Daniel-Cambry Opera and Marketing Manager [email protected] Mailing Address: Contents: 1000 South Denver Avenue Suite 2104 Biography Tulsa, OK 74119 Critical Acclaim Website: DIscography http://www.pricerubin.com Testimonials Indiana University Review Video LInks Complete artist information including video, audio and interviews are available at www.pricerubin.com Grzegorz Nowak – Biography Grzegorz Nowak is the Principal Associate Conductor of the Royal Philharmonic Orchestra in London. He has led the Orchestra on tours to Switzerland, Turkey and Armenia, as well as giving numerous concerts throughout the UK. His RPO recordings include Mendelssohn’s ‘Scottish’ and ‘Italian’ Symphonies, Shostakovich’s Symphony No.5, Dvořák’s Symphonies Nos. 6–9, all the symphonies of Schumann and complete symphonies and major orchestral works of Brahms and Tchaikovsky. He is also the Music Director & Conductor of the Orquesta Clásica Santa Cecilia and Orquesta Sinfonica de España in Madrid. Recordings of Grzegorz Nowak have been highly acclaimed by the press and public alike, winning many awards. Diapason in Paris praised his KOS live recording with Martha Argerich and Sinfonia Varsovia as ”indispensable…un must”, and its second edition won the Fryderyk Award. His recording of The Polish Symphonic Music of the XIX Century with Sinfonia Varsovia won the CD of the Year Award, the Bronze Bell Award in Singapore and Fryderyk Award nomination; the American Record Guide praised it as “uncommonly rewarding… 67 minutes of pure gold” and hailed his Gallo disc of Frank Martin with Biel Symphony as “by far the best”. -
DVORÁK of Eight Pieces for Piano Duet
GRZEGORZ NOWAK CONDUCTS DVO RÁK Symphonies no 6 - 9 Carnival Overture 3 CDs ˇ composer complied in 1878 with a set Symphony No.6 in D major, Op.60 the Vienna cancellation must have galled ANTONÍN DVORÁK of eight pieces for piano duet. These did the composer, was a resounding success. I. Allegro non tanto The work was published in Berlin in 1882 as (1841-1904) much to enhance his reputation abroad, II. Adagio and in 1884 he was invited to conduct ‘Symphony No.1’, ignoring the fact it actually III. Scherzo: Furiant-Presto had five symphonic predecessors, and leading his Stabat Mater in London, where his Antonín Dvorˇák was born in what was IV. Finale: Allegro con spirito to a situation where the celebrated work we music became immensely popular. In then known as Bohemia, in the small In the mid-1870s Dvorˇák, then in his now know as the Ninth appeared in print village of Mühlhausen, near Prague. 1891 he was made an honorary Doctor mid-thirties, was still struggling to gain as the Fifth. He was apprenticed as a butcher in of Music by Cambridge University and recognition and renown outside his native Dvorˇák’s earlier symphonies were strongly the following year made the first of his country. In 1874 he was awarded the first his father’s shop, encountering strong influenced by those of Beethoven. Indeed, visits to America, a country that would of several Austrian State Stipendium grants, paternal opposition to his intended his First Symphony, which was composed through which he made the acquaintance career as a musician. -
OWN BRAND Many Great Composers Are Decent Pianists, but Great Pianists Who Write Substantially for Themselves to Perform Tend to Be Taken Less Seriously As Composers
PIANIST-COMPOSERS OWN BRAND Many great composers are decent pianists, but great pianists who write substantially for themselves to perform tend to be taken less seriously as composers. Benjamin Ivry celebrates the achievements of these pianist-composers, and highlights some works that throw light on their inspiration and artistry at the keyboard OMPOSERS WHO PLAY THE PIANO FOR PRACTICAL recognised composer/orator/statesman as well as pianist, Liszt purposes and pianists who write music from inner pupil Emil von Sauer (1862-1942) produced the witty miniature necessity are different beings: composer-pianists and Music Box (Boîte à musique), catnip for such performers as Karol Cpianist-composers. If we disqualify pieces by those principally Szreter (although rather more po-faced in Sauer’s own recording). known asc composers, glitzy display works, and didactic études, Sauer’s Aspen Leaf (Espenlaub) is a more earnest assertion of music written by pianist-composers can be compelling and humanity, better suited to the pianist’s temperament, like the sometimes overlooked, perhaps in part because they are not taken elegant nostalgia of his Echo from Vienna (Echo aus Wien) and so seriously as those by full-time composers. Concert Galop, giving the impression that Sauer had witnessed Unlike the authors of most compositions performed in concert, the can-can being danced in French estaminets during the pianist-composers are alive and present, adding vivacity to the Belle Époque. occasion. Recitals can become uniquely personal statements. In Unlike the massive landscape of Carnaval de Vienne by Moriz the 19th century, Clara Schumann (1819-1896) wrote a Piano Rosenthal (1862-1946), an arrangement of Johann Strauss, Trio, Op 17 (1846) that is an ardent triangular conversation. -
January 19, 2020 Luc De Wit 3:00–4:40 PM
ALBAN BERG wozzeck conductor Opera in three acts Yannick Nézet-Séguin Libretto by the composer, based on the production William Kentridge play Woyzeck by Georg Büchner co-director Sunday, January 19, 2020 Luc De Wit 3:00–4:40 PM projection designer Catherine Meyburgh New Production set designer Sabine Theunissen costume designer Greta Goiris The production of Wozzeck was made possible lighting designer Urs Schönebaum by a generous gift from Robert L. Turner A co-production of the Metropolitan Opera; Salzburg Festival; the Canadian Opera Company, Toronto; and Opera Australia general manager Peter Gelb jeanette lerman-neubauer music director Sunday matinee performances at the Met are Yannick Nézet-Séguin sponsored by the Neubauer Family Foundation 2019–20 SEASON The 75th Metropolitan Opera performance of ALBAN BERG’S wozzeck conductor Yannick Nézet-Séguin in order of vocal appearance the captain the fool Gerhard Siegel Brenton Ryan wozzeck a soldier Peter Mattei Daniel Clark Smith andres a townsman Andrew Staples Gregory Warren marie marie’s child Elza van den Heever Eliot Flowers margret Tamara Mumford* puppeteers Andrea Fabi the doctor Gwyneth E. Larsen Christian Van Horn ac tors the drum- major Frank Colardo Christopher Ventris Tina Mitchell apprentices Wozzeck is stage piano solo Richard Bernstein presented without Jonathan C. Kelly Miles Mykkanen intermission. Sunday, January 19, 2020, 3:00–4:40PM KEN HOWARD / MET OPERA A scene from Chorus Master Donald Palumbo Berg’s Wozzeck Video Control Kim Gunning Assistant Video Editor Snezana Marovic Musical Preparation Caren Levine*, Jonathan C. Kelly, Patrick Furrer, Bryan Wagorn*, and Zalman Kelber* Assistant Stage Directors Gregory Keller, Sarah Ina Meyers, and J. -
The Little Match Girl, Choral Music by Gordon Getty
FOR IMMEDIATE RELEASE NEW PENTATONE CLASSICS CD: THE LITTLE MATCH GIRL CHORAL WORKS BY GORDON GETTY A new recording of choral music by composer Gordon Getty, The Little Match Girl, has just been released on the PentaTone Classics label (PTC 5186 480). Four of Getty’s choral works are performed by the Münchner Rundfunkorchester (Munich Radio Orchestra) and Chor des Bayerischen Rundfunks (Bavarian Radio Choir), with soloists Nikolai Schukoff, Melody Moore and Lester Lynch. The world premiere recordings of The Little Match Girl, after the story by Hans Christian Andersen, and A Prayer for My Daughter, based on the Yeats poem, are coupled with Poor Peter, with text by the composer (a premiere recording of this arrangement), and Joan and the Bells, Getty’s cantata for soprano, baritone, chorus and orchestra. Contents of the CD PentaTone Classics (PTC 5186 480) THE LITTLE MATCH GIRL COMPOSER GORDON GETTY (b. 1933) 2 Nikolai Schukoff, tenor Melody Moore, soprano Lester Lynch, baritone Chor des Bayerischen Rundfunks Chorus Masters: Jörn Hinnerk Andresen (tracks 1-5) and Robert Blank (6-8) Münchner Rundfunkorchester Conducted by Asher Fisch (1-5) and Ulf Schirmer (6-8) A PRAYER FOR MY DAUGHTER* (TRACK 1) For Chorus and Orchestra Text by William Butler Yeats POOR PETER* (TRACKS 2-4) For Tenor, Chorus and Orchestra Text by Gordon Getty THE LITTLE MATCH GIRL* (TRACK 5) For Chorus and Orchestra Text by Hans Christian Andersen (English translation by H. B. Paull) From the short story The Little Match Girl JOAN AND THE BELLS (TRACKS 6-8) Cantata for Soprano, Baritone, Chorus and Orchestra Text by Gordon Getty Total playing time = 66:59 * World Premiere Recording About Gordon Getty (Composer) The music of the American composer Gordon Getty has been widely performed in North America and Europe in such prestigious venues as New York’s Carnegie Hall and Lincoln Center, London’s Royal Festival Hall, Vienna’s Brahmssaal, and Moscow’s Tchaikovsky Hall and Bolshoi Theatre, as well as at the Aspen, Spoleto, and Bad Kissingen festivals. -
Roman TREKEL Baritone
Roman TREKEL Baritone Roman Trekel is born in Pirna, Germany, both parents were opera singers, with eight years he started to study Oboe, later on he studied at the Academy of Music in Berlin with Prof. Heinz Reeh, where he finished his studies also with distinction. First he was member of the opera studio at Staatsoper Berlin and became then member of the ensemble, he is still engaged at Staatsoper Berlin where he has been heard with roles like Pelleas, Count in "Nozze di Figaro", Gugliemo/Don Alfonso, Harlekin, Papageno, Sharpless, Ford, Onegin, Wolfram, Kurwenal and Amfortas, He made his debut at Festival in Bayreuth , where he returned for more than 10 years and sang at most of the major houses including Covent Garden London , Madrid , Zürich , Amsterdam , Florence , Madrid , Tokyo , he made his successful debut at Scala Milano as Wolfram. He was heard in solo concerts at Alte Oper Frankfurt , with MDR Leipzig , NDR Hannover , Philharmonie Cologne , at Schwetzinger Festival, at Ludwigsburger Schlossfestspielen, at Wigmore Hall London , Musikverein Vienna , Zürich , Brussels , Atlanta , Chicago , New York , and in orchestra concerts with Berliner Philharmoniker, Deutsches Symphonie Orchester Berlin , Münchner Philharmoniker, Chicago Symphonie Orchestra, Cleveland Orchestra, Israel Philharmonic Orchestra in Tel Aviv . He worked with conductors such as Claudio Abbado , Daniel Barenboim , Pierre Boulez , Michael Gielen , Hartmut Haenchen , Eliahu Inbal , René Jacobs , Marek Janowski , Fabio Luisi , Zubin Mehta , Ingo Metzmacher , Kent Nagano , Antonio Pappano , Helmut Rilling, Sir Georg Solti , Horst Stein , Christian Thielemann , Franz Welser-Möst , Lothar Zagrosek and stage directors like Philippe Arlaud , Ruth Berghaus , Fred Berndt , Nicolas Brieger , Patrice Chereau , Doris Dörrie , August Everding , Erhard Fischer , Harry Kupfer , Nikolaus Lehnhoff , Jonathan Miller , Alexander Schulin and Keith Warner. -
Professor Doctor FRIEDRICH GULDA Called to the Waiter, Member to Qualify for the Final Eliminations
DOWN BEAT, august 1966 VIENNESE COOKING written by Willis Conover Professor Doctor FRIEDRICH GULDA called to the waiter, member to qualify for the final eliminations. Then he'd have to "Dry martini!'' The waiter, thinking he said "Drei martini|'' go through it all again. brought three drinks. It's the only time Gulda's wishes have The jurors were altoist Cannonball Adderley, trombonist J. J. ever been unclear or unsatisfied. Johnson, fluegelhornist Art Farmer, pianist Joe Zawinul, The whole city of Vienna, Austria snapped to attention when drummer Mel Lewis and bassist Ron Carter. The jury Gulda, the local Leonard Bernstein decided to run an chairman who wouldn't vote except in a tie, was critic Roman international competition for modern jazz. Waschko. The jury's refreshments were mineral water, king- For patrons he got the Minister of Foreign Affair, the Minister size cokes, and Viennese coffee. For three days that was all of Education, the Lord Mayor of Vienna and the they drank from 9:30 am till early evening. The jury took la Amtsfuhrender fur Kultur, Volksbildung und Schulverwaltung duties seriously. der Bundeshauptstadt Wien. For his committee of honor he A dialog across the screen might go like this. enlisted the diplomatic representatives of 20 countries, the Young lady in the organization (escorting contestant): "Mr. directors of 28 music organizations, and Duke Ellington. For Watschko?" expenses he obtained an estimated $80,000. For contestants Watschko: "Yes?" he got close to 100 young jazz musicians from 19 countries- Young lady: "Candidate No. 14 " some as distant as Uruguay and Brazil. -
Giovanni Sollima Violoncello Enrico Maria Baroni Clarinetto
Stagione 2019-2020 osn.rai.it Auditorium Rai “Arturo Toscanini”, Torino 1 1 Venerdì 11 ottobre 2019, 20.00 11–12/10 Sabato 12 ottobre 2019, 20.30 ConcertoJAMES diCONLON Carnevale direttore FUORIMARIANGELA ABBONAMENTO VACATELLO pianoforte ROBERTO RANFALDI violino Venerdì 21 febbraio 2020, 20.30 JOHNBeethoven AXELROD direttore GIOVANNIMendelssohn-Bartholdy SOLLIMA violoncello ENRICOŠostakovič MARIA BARONI clarinetto Bernstein Offenbach Ellington Gulda Gershwin CONCERTO DI CARNEVALE VENERDÌ 21 FEBBRAIO 2020 ore 20.30 John Axelrod direttore Giovanni Sollima violoncello Enrico Maria Baroni clarinetto Leonard Bernstein (1918-1990) Prelude, fugue and riffs, per clarinetto e jazz ensemble (1949-1952) Prelude for the Brass - Fugue for the Saxes - Riffs for Everyone Durata: 10’ ca. Ultima esecuzione Rai a Torino: 30 novembre 2012 William Eddins, Enrico Maria Baroni. Friedrich Gulda (1930-2000) Concerto per violoncello, fiati e batteria (1980) Ouverture Idylle Cadenza Minuetto Finale. Alla marcia Durata: 32’ ca. Ultima esecuzione Rai a Torino: 11 novembre 2011 Gürer Aykal, Massimo Macrì Jacques Offenbach (1819-1880) Etude n. 11 da 12 Etudes op. 78 per violoncello solo (1855) Durata: 3’ ca. __________ George Gershwin (1898-1937) Cuban Overture (1932) Il concerto Durata: 10’ ca. è trasmesso in diretta su Radio3 Prima esecuzione Rai a Torino per Il Cartellone di Radio3 Suite. Duke Ellington (1899-1974) Harlem (1950) (orchestrazione di Luther Henderson) Nella foto Concerto del pianista Durata: 20’ ca. e compositore Friedrich Gulda - Ultima esecuzione Rai a Torino: Milano, 1962 20 maggio 2011 William Eddins New York Follies «New York aveva tutta l’iridescenza del principio del mondo», scrive Francis Scott Fitzgerald inL’età del jazz, ricordando il suo incontro con la metropoli all’inizio degli anni Venti. -
Bruckner Orchester Linz
Bruckner Orchester Linz The history of the Bruckner Orchester Linz spans 200 years of tradition and excellence. In the last three decades, it has won an international reputation as one of the leading orchestras of Central Europe. Consisting of 128 musicians, the orchestra is not only the concert orchestra for the state of Upper Austria but also the opera orchestra at the Landestheater Linz, and participates in the Bruckner Festival, the Ars Electronica Festival and the Linzer Klangwolke. The Bruckner Orchester Linz has performed extensively in The United States (2005, 2009), Germany, Spain and Italy under Chief Conductor Dennis Russell Davies in addition to appearances in Japan and France. Recent tours have featured concerts in Cologne, Paris, Vienna and Istanbul ans since 2012 the Orchestra is having its own concert cycle at the Musikverein Wien. The Bruckner Orchester records prolifically including recent productions of Bruckner’s “Nullte” and Fifth Symphonies in completion of a Bruckner cycle for arte nova/SONY as well as of Symphonies No. 6, 7, 8 and 9, The Voyage and the opera Kepler as CD and DVD by Philip Glass. The orchestra has already gained an excellent reputation for its recordings of works by Wolfgang Amadeus Mozart, Franz Schubert, Siegfried Matthus, Franz Schmidt, Erich Wolfgang Korngold and Gustav Holst. During its long and venerable history, the orchestra has performed with such luminaries as Clemens Krauss, Hans Knappertsbusch, Sergiu Celibidache, Kurt Eichhorn, Vaclav Neumann, and Christoph von Dohnányi. In recent times, the distinguished roster has included Zubin Mehta, Serge Baudo, Horst Stein, Vladimir Fedosejew, Michael Gielen, Bernhard Klee, Steven Sloane, Stanislaw Skrowaczewski, Michael Schønwandt and Franz Welser-Möst.