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Veronika Vitaitė: Discoveries in Pianism
Veronika Vitaitė: Discoveries in Pianism Summary The book is devoted to the analysis of the performance skills, pedagog- ical and organisational activities of Veronika Vitaitė, a prominent cur- rent piano pedagogue, pianist, promoter of Lithuanian piano culture. Manifestations of the Professor’s personality in different fields of musi- cal activity, the universality of her works influenced the development of Lithuanian piano culture of the past decades: performance skills, a close relationship with Lithuanian composers encouraged the creation of piano duet, inspired the premiers of works of different genres; zeal- ous work, preparation of her students for international competitions yielded several generations of young pianists; intense organisational activities, long-time leadership of the Piano Department of the Lithua- nian Academy of Music and Theatre, constant supervision and care of training of young pianists of the Republic laid strong foundations for a further development of piano excellence. Thus far Veronika Vitaitė’s intense and multi-faceted activities have not been thoroughly discussed and properly assessed. Whereby the present monograph it is sought to fill the existing gap. In preparing the book, the following works by Lithuanian researchers were used: col- lections of articles compiled by Kęstutis Grybauskas (1984), Veronika Vitaitė (1993), studies of the development of the art of piano by Mariam Azizbekova (1991, 1998, 1999), Liucija Drąsutienė (1996, 2004, 2015), Eugenijus Ignatonis (1997, 2003, 2010), Rita Aleknaitė-Bieliauskienė (2003, 2014, 2017), Ramunė Kryžauskienė (2004, 2007), scientific in- sights of Leonidas Melnikas (2006, 2007), Lina Navickaitė-Martinelli (2013). To discuss Veronika Vitaitė’s artistic activities, we drew on the reviews of her concerts, and to analyse general principles of her teach- ing methods, reminiscences of her former students and a questionnaire survey were used, lessons of the experienced pedagogue, as well as workshops and master classes that she conducted were attended. -
Narbutaitė Onutė
Onutė Narbutaitė (b. 1956) learned the basics of composition from Bronius Kutavičius, studied composition with Julius Juzeliūnas at the Lithuanian State Conservatoire (now the Lithuanian Academy of Music and Theatre), graduating in 1979. In 1997 the composer was awarded the Lithuanian National Arts and Culture Prize, the highest artistic distinction in Lithuania. She was awarded prizes at the competitions of the best music compositions of the year held by the Lithuanian Composers’ Union in 2004 and 2005 (Best Orchestral Work), in 2008 (Best Choral Work) and in 2015 (Composer of the Year). Her music was featured at the International Rostrum of Composers in 2004 (number one in the list of nine recommended works) and in 2010 (in the top ten list of best compositions). Onutė Narbutaitė’s works, a large number of which has been specially commissioned, have been performed at various festivals: Gaida (Vilnius), Vilnius Festival, Warsaw Autumn, Musica Viva (Munich), MaerzMusik (Berlin), Klangspuren (Schwaz), ISCM World Music Days (Bern and Vilnius), Icebreaker II: Baltic Voices (Seattle), Pan Music Festival (Seoul), Est-Ovest (Turin), Festival Onutė NARBUTaitė de Música (Alicante), Ars Musica (Brussels), Frau Musica Nova (Cologne), ArtGenda (Copenhagen), De Suite Muziekweek (Amsterdam), Schleswig- Holstein Music Festival (1992), Helsinki Festival WAS THERE (1992), Music Harvest (Odense), Czesław Miłosz Centennial Festival (Cracow), many other festivals and concerts in Europe, the USA, and A BUTTERFLY? Canada. Her music, as the featured composer, (2013) has been more widely presented at Aboa Musica (Turku), Kaustinen Chamber Music Week FOR STRING ORCHESTRA 20’30” (1998), Europäisches Musikfest Münsterland, the international summer arts school Synaxis Baltica ST. -
TFO Tour 2017
Tongyeong Festival Orchestra European Tour 2017 Celebrating the 100th Anniversary of Isang Yun (1917-1995) 23 September to 2 October 2017 Program Maurice Ravel: Le Tombeau du Couperin Isang Yun: Violin Concerto No. 3 (1992) Isang Yun: Harmonia (1974) Maurice Ravel: Ma Mère l´oye (Ballett) Clara Jumi Kang Violin Tongyeong Festival Orchestra Heinz Holliger Conductor Inquiries: Tongyeong International Music Foundation www.timf.org [email protected] Tongyeong Festival Orchestra Following the example of Lucerne, Switzerland, Tongyeong Festival Orchestra (TFO) was created to enhance the musical spectrum of the Tongyeong International Music Festival, and to serve as an artistic ambassador for Tongyeong City, a UNESCO Creative City of Music. Since the festival’s first edition in 2002, TIMF has been striving to assemble highly qualified musicians in order to build its own ensemble. In 2011, then Alexander Liebreich initiated a collaboration of musicians from Ensemble TIMF with the Munich Chamber Orchestra, thus for the first time building a truly international Festival Orchestra. From then on, the group was assembled annually, performing at home and abroad. At the opening of the new Tongyeong Concert Hall in 2014, TFO was again led by Alexander Liebreich and included musicians from Ensemble TIMF, Polish National Radio Orchestra of Katowice, and from major international symphony orchestras, such as NDR Hamburg, Munich Philharmonic, Kremerata Baltica, Osaka Philharmonic, Melbourne Symphony and Sydney Symphony Orchestra. In 2015, TFO truly became a musical centerpiece of the Tongyeong International Music Festival. Following the festival theme „Voyages“, the orchestra went abroad to play in Japan and China. Performing together with violinist Gidon Kremer and German conductor Christoph Poppen, the orchestra consisted of musicians mainly from Korea, Japan and China to create a musical bridge between the three countries. -
Premio Corso Salani 2015
il principale appuntamento italiano con il cinema dell’Europa centro orientale un progetto di Alpe Adria Cinema Alpe Adria Cinema 26a edizione piazza Duca degli Abruzzi 3 sala Tripcovich / teatro Miela 34132 Trieste / Italia 16-22 gennaio 2015 tel. +39 040 34 76 076 fax +39 040 66 23 38 [email protected] con il patrocinio di www.triesteflmfestival.it Comune di Trieste twitter.com/TriesteFilmFest Direzione Generale per il Cinema – facebook.com/TriesteFilmFest Ministero dei Beni e delle Attività Culturali e del Turismo con il contributo di Regione Autonoma Friuli Venezia Giulia Creative Europe – MEDIA Programme CEI – Central European Initiative Provincia di Trieste Comune di Trieste Direzione Generale per il Cinema – Ministero dei Beni e delle Attività Culturali e del Turismo CCIAA – Camera di Commercio di Trieste con il sostegno di Lux Film Prize Istituto Polacco – Roma con la collaborazione di Fondazione Teatro Lirico Giuseppe Verdi – Trieste Fondo Audiovisivo FVG Associazione Casa del Cinema di Trieste La Cappella Underground FVG Film Commission Eye on Films Associazione Culturale Mattador Associazione Corso Salani Centro Ceco di Milano media partner mymovies.it media coverage by Sky Arte HD direzione artistica promozione, coordinamento volontari biglietteria Annamaria Percavassi e direzione di sala Rossella Mestroni, Alessandra Lama Fabrizio Grosoli Patrizia Pepi Gioffrè desk accrediti presidente comunicazione, progetto grafco Ambra De Nobili organizzazione generale immagine coordinata e allestimenti Cristina Sain Claimax -immagina.organizza.comunica- -
21-Asis Aktualios Muzikos Festivalis GAIDA 21Th Contemporary Music Festival
GAIDA 21-asis aktualios muzikos festivalis GAIDA 21th Contemporary Music festival 2011 m. spalio 21–29 d., Vilnius 21–29 October, 2011, Vilnius Festivalio viešbutis Globėjai: 21-asis tarptautinis šiuolaikinės muzikos festivalis GAIDA 21th International Contemporary Music Festival Pagrindiniai informaciniai rėmėjai: MINIMAL | MAXIMAL • Festivalio tema – minimalizmas ir maksimalizmas muzikoje: bandymas Informaciniai rėmėjai: pažvelgti į skirtingus muzikos polius • Vienos didžiausių šiuolaikinės muzikos asmenybių platesnis kūrybos pristatymas – portretas: kompozitorius vizionierius Iannis Xenakis • Pirmą kartą Lietuvoje – iškiliausio XX a. pabaigos lenkų simfoninio kūrinio, Henryko Mikołajaus Góreckio III simfonijos, atlikimas • Dėmesys tikriems šiuolaikinės muzikos atlikimo lyderiams iš Prancūzijos, Vokietijos ir Italijos Partneriai ir rėmėjai: • Intriguojantys audiovizualiniai projektai – originalios skirtingų menų sąveikos ir netikėti sprendimai • Keletas potėpių M. K. Čiurlioniui, pažymint kompozitoriaus 100-ąsias mirties metines • Naujų kūrinių užsakymai ir geriausi Lietuvos bei užsienio atlikėjai: simfoniniai orkestrai, ansambliai, solistai Festivalis GAIDA yra europinio naujosios muzikos kūrybos ir sklaidos tinklo Réseau Varése, remiamo Europos Komisijos programos Kultūra, narys. The GAIDA Festival is a member of the Réseau Varése, European network Rengėjai: for the creation and promotion of new music, subsidized by the Culture Programme of the European Commission. TURINYS / CONTENT Programa / Programme.......................................................................................2 -
Prog14 29 Maggio Canto
Mercoledì 29 maggio 2019 Milano, Palazzina Liberty Dario Fo e Franca Rame CONCERTO ORE 19 Raffaele Sargenti, Liquid preludes* per voce sola (2018) Elisa Bonazzi, soprano Alessandro Solbiati, Tre Lieder su George (2006) per voce e pianoforte Valentina Piovano, soprano Gerardo De Pasquale, Silenzi irregolari* (2018) per due voci femminili Giulia Zaniboni e Felicita Brusoni, soprani Daniele Bravi, Lettere dal manicomio. Il lamento del Tasso (2009) per voce e pianoforte - Giulia Zaniboni, soprano Stefano Gervasoni, Tre canzoni popolari (2011/14) per voce, pianoforte e assistente - Maria Eleonora Caminada, soprano; Federica Passoni, assistente Yuko Ito, pianoforte CONCERTO ORE 21 Maurizio Azzan, Aria(e). Tre studi sull’aura* (2018) per voce, percussioni e dispositivo elettroacustico - Anna Piroli, soprano Pasquale Corrado, Lahmer (2011) per voce e percussioni Felicita Brusoni, soprano Federico Gardella, An die Nacht ( 2010) per voce femminile e un percussionista - Elisa Bonazzi, soprano Antonio Magnatta, percussioni Mauricio Kagel, Der Turm zu BaBel, Melodien für eine Solostimme** (2002) Elisa Bonazzi, Felicita Brusoni, Maria Eleonora Caminada, Anahita Malakooti, Valeria Matrosova, Gaia Mattiuzzi, Federica Passoni, Valentina Piovano, Anna Piroli, Giulia Zaniboni, Ilaria Zuccaro, soprani * prima esecuzione assoluta ** prima esecuzione italiana I due concerti di questa sera concludono il Call for Young Perfermers di canto che si è svolto nell’ambito di IDEA-International Divertimento EnsemBle Academy sotto la guida del soprano Alda Caiello. CONCERTO DELLE ORE 19 Raffaele Sargenti, Liquid preludes per voce sola (2018) I Liquid Preludes sono una momentanea “cristallizzazione vocale” in forma concertistica dei contenuti espressivi di #liquidOpera, organismo artistico ibrido e in continuo divenire (per info vedere: https://gruppo222.wixsite.com/liquidopera). -
Jazzzeitung 2002 / 11
27. Jahrgang Nr. 11-02 www.jazzzeitung.de November 2002 B 07567 PVSt/DPAG Entgelt bezahlt Jazzzeitung Mit Jazz-Terminen ConBrio Verlagsgesellschaft aus Bayern, Hamburg, Brunnstraße 23 93053 Regensburg Mitteldeutschland ISSN 1618-9140 und dem Rest E 2,05 der Republik berichte farewell portrait label portrait dossier Große Namen: die 26. Leipziger Jazztage Unfassbar: zum Tod von Peter Kowald Ready To Play For You: Paul Kuhn Qualität als Rezept: das Label Songlines Ungehorsam: Dietrich Schulz-Köhn S. 4 S. 11 S. 13 S. 16 S. 22–23 Liebe Leserinnen, liebe Leser, die Temperaturen an diesem Tag der ers- ten großen Kälte in München wollten so gar nicht zu den sonnigen Klängen auf WARMEWARME KLÄNGEKLÄNGE AUSAUS DEMDEM SÜDENSÜDEN den neuen CD-Produktionen meiner bei- den Interviewpartner passen. Trotzdem unterhielten wir uns bei griechischem Neue CDs von Lisa Wahlandt & Mulo Francel Bergtee im angenehmen vegetarischen „Bossa Nova Affair“ heißt die neueste CD Restaurant „Prinz Myshkin“ ausnehmend von Lisa Wahlandt und Mulo Francel (Re- gut. Die Ergebnisse des Gesprächs mit zension auf Seite 15 dieser Ausgabe!). der Sängerin Lisa Wahlandt, die überdies Die musikalische „Affäre“ der beiden be- als Titelmädchen diese Ausgabe der Jazz- gann am Bruckner Konservatorium in zeitung ziert, und dem Saxophonisten Linz, wo beide zeitversetzt studierten. Mulo Francel lesen Sie weiter unten auf Mulo hörte Lisas Stimme während ihrer dieser Seite. Rezensionen der beiden CDs Aufnahmeprüfung und verliebte sich – in finden Sie auf Seite 15 dieser Ausgabe die Stimme. Aber erst vier Jahre später, der Jazzzeitung. 1996, begann eine echte Zusammenar- Weniger erfreulich sind die zunehmenden beit, die bis heute ungebrochen weiter Finanzierungsprobleme innovativer Jazz- funktioniert. -
EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES from The
EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES From the 19th Century To the Present A Discography Of CDs And LPs Prepared by Michael Herman Composers K-P MILOSLAV KABELÁČ (1908-1979, CZECH) Born in Prague. He studied composition at the Prague Conservatory under Karel Boleslav Jirák and conducting under Pavel Dedeček and at its Master School he studied the piano under Vilem Kurz. He then worked for Radio Prague as a conductor and one of its first music directors before becoming a professor of the Prague Conservatoy where he served for many years. He produced an extensive catalogue of orchestral, chamber, instrumental, vocal and choral works. Symphony No. 1 in D for Strings and Percussion, Op. 11 (1941–2) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 2, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 2 in C for Large Orchestra, Op. 15 (1942–6) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 3 in F major for Organ, Brass and Timpani, Op. 33 (1948-57) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 2, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Libor Pešek/Alena Veselá(organ)/Brass Harmonia ( + Kopelent: Il Canto Deli Augei and Fišer: 2 Piano Concerto) SUPRAPHON 1110 4144 (LP) (1988) Symphony No. 4 in A major, Op. 36 "Chamber" (1954-8) Marko Ivanovic/Czech Chamber Philharmonic Orchestra, Pardubice ( + Martin·: Oboe Concerto and Beethoven: Symphony No. 1) ARCO DIVA UP 0123 - 2 131 (2009) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos. -
MTO 2.6: Broman, Report on the ISCM World Music Days
Volume 2, Number 6, September 1996 Copyright © 1996 Society for Music Theory Per F. Broman KEYWORDS: ISCM, Boulez, Pli selon Pli—Portrait de Mallarme, Erling Gulbrandsen, IRCAM, Georgina Born ABSTRACT: University of Copenhagen, Department of Musicology hosted a three-day series of lectures in conjunction with the ISCM World Music Days in Copenhagen 1996. The unifying thread running through all seminars was institutionalization of the avant-garde and the concept of pluralism. Of particular interest from a theoretical perspective was the presentation of Norwegian young scholar Erling Gulbrandsen’s recent doctoral dissertation on Boulez’s Pli selon Pli. [1] The ISCM World Music Days is an annual festival for contemporary music and this year’s event was held in Copenhagen, the 1996 Cultural Capital City of Europe, September 7–14. In conjunction with the festival, the University of Copenhagen’s Department of Musicology hosted a three-day series of lectures featuring Georgina Born (London): “Pierre Boulez’s IRCAM. Institution, History, and the Situation of Contemporary Music Today”; Erling Gulbrandsen (Oslo): “New Light on Pierre Boulez and Postwar Modernism”; Reinhard Oehlschlagel (Cologne): “Institutions of New Music: Development, Typology, Problems”; shorter papers were read by a panel including Per O. Broman (Uppsala), Erik Wallrup (Stockholm) Jens Hesselager (Copenhagen), Steen K. Nielsen (Aarhus), and Per F. Broman (Stockholm) and were followed by a discussion. This final session was chaired by Soren Moller Sorensen (Copenhagen). [2] Georgina Born’s presentation consisted of a brief review of her recent book Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avantgarde (Berkeley: University of California Press, 1995), followed by a new, more elaborate discussion of the cultural policy for supporting composers—a topic hinted at in the final chapter of her book. -
Konzerthäuser in Deutschland
Raoul Mörchen Konzerthäuser in Deutschland >> Konzerthaus – Was ist das? Was ein Opernhaus ist, ist leicht gesagt. Ein Opernhaus ist ein Haus, in dem Opern gespielt werden. In Opern- häusern werden gemeinhin die zur Aufführung kommenden Opern auch selbst produziert, und zwar ganz oder zum Teil mit eigenem Personal, mit einem eigenen Ensemble, mit einem eigenen Orchester, auf jeden Fall werden die Opern programmiert von einem eigenen Betrieb, einer eigenen Verwaltung, einer eigenen Dramaturgie und einer künstlerischen Leitung. Ein Opernhaus ist somit ein spezifischer Gebäudetypus – mit Auditorium, Bühne, Bühnenmaschinerie, heute auch mit Orchestergraben – und eine kulturelle Institution, die diesen Gebäudetypus entsprechend bespielt. Was ein Konzerthaus ist, lässt sich dagegen nicht so leicht sagen. Für Konzerte braucht es kein eigenes Haus – ein Saal tut’s eigentlich auch. Genau genommen spielt sogar die meiste Musik in Deutschland, auch die klas- sische, nicht in Konzerthäusern, sondern in Konzertsälen. Und selbst der Konzertsaal ist bei näherem Hinblick weder architektonisch noch soziologisch eine so fest greifbare Entität wie das Opernhaus: Was gestern Abend noch Konzertsaal war, kann vielerorts morgen früh schon leergeräumt werden für einen Kongress oder eine Tagung, für eine Firmenpräsentation oder gar für einen Trödelmarkt. Beinahe jede mittelgroße und große deutsche Stadt verfügt über solche Säle, die als Mehrzweckhallen mehr oder minder oft Aufführungsstätte für Konzerte sind. Ihre Eignung dafür stellt diese beliebte Mischnutzung nicht von vornherein in Frage: Säle wie die alte Duisburger Mercatorhalle oder die Beethovenhalle in Bonn haben sich Jahrzehnte lang als Konzertort bewährt und sind von Musikern und dem Publikum angenommen, manchmal sogar liebgewonnen worden. Historisch betrachtet hat in solchen Mehrzwecksälen das öffentliche Konzert sogar seinen Ursprung genom- men: Sowohl in England, wo sich das bürgerliche Konzertwesen in einer stark merkantil ausgerichteten Ge- sellschaft bereits im frühen 18. -
Slovenske Akademije Znanosti in Umetnosti
SLOVENSKE AKADEMIJE ZNANOSTI IN UMETNOSTI 66. KNJIGA 2015 LJUBLJANA 2016 ISSN 0374-0315 LETOPIS SLOVENSKE AKADEMIJE ZNANOSTI IN UMETNOSTI 66/2015 THE YEARBOOK OF THE SLOVENIAN ACADEMY OF SCIENCES AND ARTS VOLUME 66/2015 ANNALES ACADEMIAE SCIENTIARUM ET ARTIUM SLOVENICAE LIBER LXVI (2015) SLOVENSKE AKADEMIJE ZNANOSTI IN UMETNOSTI 66. KNJIGA 2015 THE YEARBOOK OF THE SLOVENIAN ACADEMY OF SCIENCES AND ARTS VOLUME 66/2015 LJUBLJANA 2016 SPREJETO NA SEJI PREDSEDSTVA SLOVENSKE AKADEMIJE ZNANOSTI IN UMETNOSTI DNE 23. FEBRUARJA 2016 Naslov - Address SLOVENSKA AKADEMIJA ZNANOSTI IN UMETNOSTI SI-1000 LJUBLJANA, Novi trg 3, p.p. 323, telefon (01) 470-61-00, faks (01) 425-34-23, elektronska pošta: [email protected] spletna stran: www.sazu.si VSEBINA / CONTENTS I ORGANIZACIJA SAZU/ SASA ORGANIZATION .............................................................9 Skupščina, redni, izredni, dopisni člani / SASA Assembly, Full Members, Associate Members and Corresponding Members ................................... 11 II POROČILO O DELU SAZU / REPORT ON THE WORK OF SASA ..............................19 Slovenska akademija znanosti in umetnosti v letu 2015 .....................................................21 The Slovenian Academy of Sciences and Arts in the year 2015 .........................................27 Delo skupščine ............................................................................................................................35 I. Razred za zgodovinske in družbene vede ..............................................................................37 -
Annual Report ////////////////////// 2007
Annual report ////////////////////// 2007 The PublicServiceBroadcasterRTVSlovenia Annual report ////////////////////// 2007 ////////////////////////////// 2007 Annual report Accessibility to the programme output of RTV Slovenia /// The programme output of RTV Slovenia is available via the follow- ing paths: – via terrestrial wireless waves in Slovenia; – via IPTV-networks in Slovenia; – in cable networks in Slovenia and those foreign countries that signed contracts on reemission (in Austria, Bosnia and Herze- govina, France, Macedonia, Serbia, Montenegro, Croatia, Po- land, Slovakia, Sweden, the Czech Republic, Hungary); – via the satellite Hot Bird 8 - Vroča ptica 8, 13 degrees east, 12.30288 ghZ, y-polarisation 27.500 – 3/4, Wide Beam; – on the web site www.rtvslo.si; – on mobile devices at addresses www.rtvslo.si/wap or www. rtvslo.si/pda. Broadcasts for foreign countries are regularly also aired in cable systems in Germany, USA, Canada, Argentina, Australia, on the sat- ellite channel 3-sat, the satellite channel Europe by Satellite and the satellite channel Scuola. Published by: RTV Slovenia Edited by: Public Relations Department of RTV Slovenia Concept and design: Aleksander Brezlan, Rajko Vidrih Production: Studio Mazzini Text break and graphical preparation: Fotolito Dolenc, d. o. o. Translation: Nataša Lindič Photos: Stane Sršen, Darko Koren, Zdravko Primožič, Uroš Zagožen, Peter Hanzl, Tjaša Škamperle, Mediaspeed, Euranet, Imprint arhiv RTV Slovenija Print: Tiskarna Januš /// 2 Annual report 2007 //// Table of contents [Introduction]