DOCSLIB.ORG

ESTONIAN NATIONAL SYMPHONY Orchestra

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ESTONIAN NATIONAL SYMPHONY Orchestra PROGRAM: ESTONIAN NATIONAL SYMPHONY OrchESTRA Saturday, November 2, 2013 / 7:30 PM / BING Concert HALL ESTONIAN NATIONAL SYMPHONY ORCHESTRA ARTISTS PROGRAM Estonian National Symphony Orchestra Arvo Pärt: Cantus in memoriam Benjamin Britten (1977) Neeme Järvi, conductor Narek Hakhnazaryan, cello Antonín Dvorˇák: Cello Concerto in B Minor, op. 104, B. 191 (1894–1895) Allegro The enso’s 2013 U.S. tour is made possible Adagio ma non troppo through the support of the Estonian Ministry Allegro moderato of Culture. *INTERMISSION* Jean Sibelius: Symphony No. 5 in E-flat Major, op. 82 (1914–1919) Tempo molto moderato – Allegro moderato Andante mosso, quasi allegretto Allegro molto PROGRAM SUBJECT TO CHANGE. Please be considerate of others and turn off all phones, pagers, and watch alarms, and unwrap all lozenges prior to the performance. Photography and recording of any kind are not permitted. Thank you. 14 STANFORD LIVE MAGAZINE NOVEMBER/DeCEMBER 2013 PROGRAM: ESTONIAN NATIONAL SYMPHONY OrchESTRA ARVO PÄRT (B. 1935) op. 82, no. 1—as the main theme of the Sibelius gradually unravels the CANTUS IN MEMORIAM slow movement. She died shortly after dissonances contained in the theme, only BENJAMIN BRITTEN (1977) Dvorˇák returned home to Prague. Dvorˇák resolving them in the widely separated, then added 60 or so new bars of music affirmative chords that bring the work to Peel back the dense, multilayered at the very end of the concerto, again its conclusion. The opening movement string textures of Estonian composer quoting and meditating on the same unfolds the latent energy of the theme, Arvo Pärt’s Cantus in memoriam song. It is a poignant and elegiac coda gradually working towards a radiant Benjamin Britten and there is a simple to the finale, which begins in a jubilant reprise on full brass, even more noble yet radical idea. In one of his earliest and robust mood with music that can be than the opening. Before it ends, the pieces after casting aside the complex traced back to a cello sonata that Dvorˇák tempo appears to quicken and, in one modernism of the 1960s and early 1970s, had sketched earlier in his time in the of the masterstrokes of the work, the Pärt explores the potential of a single states. Of the tender, reflective closing, musical argument evolves into a dance. descending minor scale, with the highest Dvorˇák wrote: “The concerto closes with In the period between the first (four- violins to the lowest basses playing a gradual diminuendo, like a sigh, with movement) and final (three-movement) simultaneously but at different tempos. reminiscences of the first and second versions of the work, Sibelius wove his A solitary funeral bell punctuates the movements. The solo dies down to opening movement and scherzo into a static serenity of the string sonorities, pianissimo, then swells again, and the last single, organic whole. Its new direction rich with overtones, constantly shifting. bars are taken up by the orchestra, which now seems inevitable as we listen, as Pärt’s music is the farthest music provides a stormy conclusion. That is does the fugal treatment of the motifs imaginable from the goal-oriented my idea and I cannot depart from it.” and thrilling, blazing conclusion. The music of a Beethoven. It is concerned excitement of the opening movement is with being and existing, not becoming. stabilized with the theme and variations Along the way it pays tribute to the JEAN SIBELIUS (1865–1957) that follow. It’s a fascinating, almost then-recently-deceased English composer, SYMPHONY NO. 5 IN E-FLAT hypnotic unfolding of a curious five-note whom he never met but in whose music MAJOR, OP. 82 (1914–1919) theme. Beneath an outer appearance he discovered “unusual purity.” of calm and order, the music has an On the evening of his 50th birthday, inner feeling of restlessness and unease. December 8, 1915, Sibelius conducted A slowly swaying bass line twice gives ANTONÍN DVOŘÁK (1841–1904) the Helsinki Municipal Orchestra in us a glimpse of a theme to come. The CELLO CONCERTO IN B MINOR, the premiere of his Fifth Symphony. It strings buzz excitedly. Then we hear OP. 104, B. 191 (1894–1895) was a heroic, uplifting score; the music the theme in its full glory in the finale, was powerful and festive. The day had tolling in bell-like leaping thirds on Written over a New York winter and been declared a national holiday for two pairs of horns. This glorious theme inspired by the playing of Victor Herbert, the Finns, marking a milestone in the has been likened to Thor swinging principal cellist at the Met, Dvorˇák’s life of Sibelius, their national hero. But his hammer. Certainly, by the end, Cello Concerto opens with two of the the Fifth Symphony itself was far from the noble theme has been solidly most beautiful themes he ever wrote. the masterpiece we know today. Ahead hammered in metal in as affirmative Virtuosity is called for from the soloist lay two major rewrites—“practically an ending as that of any symphony. in the opening movement, but there is composed anew,” Sibelius said, by the no cadenza. The cello plays a heroic time the final version was complete, —Keith Horner, 2013 but not domineering role throughout shortly after the end of the First World and is frequently heard in imaginative, War, five years after he first began chamber music–like combinations of work on the symphony. The work ESTONIAN NATIONAL instruments. The slow movement strikes grows organically from the noble horn SYMPHONY ORCHESTRA a deeply personal note. Like Mozart, motif with which the first movement The Estonian National Symphony Dvorˇák married a woman whose sister opens. It is a questioning theme that Orchestra (ENSO, known in Estonian he once loved. Dvorˇák heard that his ends inconclusively, in midsentence. as Eesti Riiklik Sümfooniaorkester – sister-in-law was ill while he was still in But within its uneven contours lies ERSO) started out as a small radio New York and quoted one of her favorite an argument that occupies the entire orchestra in 1926. Over the years, it songs—his own song Leave Me Alone, symphony and haunts every measure. has become Estonia’s representative 16 STANFORD LIVE MAGAZINE NOVEMBER/DeCEMBER 2013 Cantor Arts Center - TheatreWorks: 10/9 & Stanford Live: Nov/Dec 2013 Program Due: 9/6/13 CANTOR ARTS CENTER AT STANFORD UNIVERSITY Carrie Mae Weems, Carrie Mae Weems, orchestra and has powerfully increased Sky—Ancient Rome A Broad and Expansive its international scope, particularly in recent decades. Since 2010 it has been ARRIE AE led by Principal Conductor and Artistic C M Director Neeme Järvi, while Paavo Järvi has been its artistic advisor since WEEMS from 2002 and Olari Elts, its principal guest Roaming, THREE DECADES conductor since 2007. The orchestra’s OF PHOTOGRAPHY previous principal conductors were © Carrie Mae Weems Oregon. Portland; Private collection. 73 x 61 inches. Digital chromogenic print. 2006. AND VIDEO Olav Roots (1939–1944), Paul Karp (1944–1950), Roman Matsov (1950– THROUGH 1963), Neeme Järvi (1963–1979), Peeter JANUARY 5 Lilje (1980–1990), Leo Krämer (1991– 1993), Arvo Volmer (1993–2001), and Nikolai Alexeev (2001–2010). Experience more than 100 works by this internationally recognized artist, whose powerful work explores issues of race, gender, class, and how history defines us. Renowned guest conductors of ENSO throughout the years have included Hermann Abendroth, Karel Ancˇerl, 328 Lomita Drive at Museum Way, Stanford • Free admission • museum.stanford.edu CAC 082813 weems 1_3sq.pdf Paavo Berglund, Leo Blech, Albert The exhibition has been organized by Kathryn Delmez, curator, Frist Center for the Visual Arts, Nashville, Tennessee. This exhibition is supported in part by grants from The Andy Warhol Foundation for the Visual Arts and the National Endowment for the Arts, and gifts from the HCA Foundation on behalf of HCA and the TriStar Coates, Valery Gergiev, Mariss Family of Hospitals, and Robert and Richard Menschel. Jansons, Aram Khachaturian, Kirill The exhibition's presentation at Stanford is made possible by the Clumeck Fund and Cantor Arts Center Members. Kondrashin, Dmitri Kitaenko, Nicolai Malko, Sir Neville Marriner, Kurt Masur, Gennady Rozhdestvensky, Kurt Sanderling, Leif Segerstam, Maxim QUATTRO Shostakovich, Leonard Slatkin, Igor Untitled-1 1 8/28/13 1:16 PM Stravinsky, Evgeny Svetlanov, Yuri THE SPA Temirkanov, and Osmo Vänskä. HOTEL The high quality of ENSO’s recordings has been recognized by several music magazines, and it has won many awards, including a Grammy Award for its recording of Sibelius’s cantatas (Virgin Classics). In addition to close cooperation between ENSO and Virgin Classics, the orchestra has also recorded for Alba Records, BIS, Antes Edition, Ondine, Finlandia Records, Melodiya, and other companies. The orchestra has toured widely throughout the world and has taken part in numerous music festivals at home and abroad. ENSO went on its first international concert tour to Romania and Bulgaria in 1972, with 650.566.1200 | www.fourseasons.com/siliconvalley Neeme Järvi and Roman Matsov 2050 UNIVERSITY AVE, EAST PALO ALTO conducting. In the 1970s and 1980s, encoreartsprograms.com 17 SLA_FSH 092613 hotel 1_3s.pdf ad proofs.indd 1 9/26/13 11:09 AM PROGRAM: ESTONIAN NATIONAL SYMPHONY OrchESTRA ENSO toured the Soviet Union actively Over his long and highly successful BIS, and EMI, among others. Future (including the Far East and cities in career, he has held positions with releases on Chandos include complete Siberia and Transcaucasia) and was a orchestras across the world. Last season ballets by Tchaikovsky, symphonies regular performer in the renowned concert he took up his tenure as artistic and and orchestral music by Swiss composer halls of St. Petersburg (then Leningrad) music director of the Orchestre de la Joachim Raff, and also music by and Moscow.
Load more

Recommended publications
  • Erkki-Sven Tüür
    © Kaupo Kikkas Erkki-Sven Tüür Contemporary BIOGRAPHIE Erkki-Sven Tüür Mit einem breit gefächerten musikalischen Hintergrund und einer Vielzahl von Interessen und Einflüssen ist Erkki- Sven Tüür einer der einzigartigsten Komponisten der Zeitgenössischen Musik. Tüür hat 1979 die Rockgruppe In Spe gegründet und bis 1983 für die Gruppe als Komponist, Flötist, Keyboarder und Sänger gearbeitet. Als Teil der lebhaften Szene der Zeitgenössischen Musik Estlands unternahm er instrumentale Studien an der Tallinn Music School, studierte Komposition mit Jaan Rääts an der Estonian Academy of Music und erhielt Unterricht bei Lepo Sumera. Intensive energiereiche Transformationen bilden den Hauptcharakter von Tüürs Werken, wobei instrumentale Musik im Vordergrund seiner Arbeit steht. Bis heute hat er neun Sinfonien, Stücke für Sinfonie- und Streichorchester, neun Instrumentalkonzerte, ein breites Spektrum an Kammermusikwerken und eine Oper komponiert. Tüür möchte mit seiner Musik existenzielle Fragen aufwerfen, vor allem die Frage: „Was ist unsere Aufgabe?“ beschäftigt ihn. Er stellte fest, dass dies eine wiederkehrende Frage von Denkern und Philosophen verschiedener Länder ist. Eins seiner Ziele ist es, die kreative Energie des Hörers zu erreichen. Tüür meint, die Musik als eine abstrakte Form von Kunst ist dazu fähig, verschiedene Visionen für jeden von uns und jedes individuelle Wesen zu erzeugen, denn wir sind alle einzigartig. Sein Kompositionsansatz ähnelt der Art und Weise, mit der ein Architekt ein mächtiges Gebäude wie eine Kathedrale, ein Theater oder einen anderen öffentlichen Ort entwirft. Er meint dennoch, dass die Verantwortung eines Komponisten über die eines Architekten hinausgeht, weil er Drama innerhalb des Raums mit verschiedenen Charakteren und Kräften konstruiert und dabei eine bestimmte, lebende Form von Energie kreiert.
    [Show full text]
  • Broschuere-Walter-Braunfels-Ger3.Pdf
    WALTER BRAUNFELS WALTER WALTER BRAUNFELS WALTER BRAUNFELS (1882–1954) Eine Ausstellung der Walter–Braunfels–Gesellschaft in Zusammenarbeit mit der Deutschen Oper Berlin aus Anlass der szenischen Uraufführung der Oper „Jeanne d‘Arc – Szenen aus dem Leben der Heiligen Johanna“ Inhaltsverzeichnis Vorwort 5 Walter Braunfels, gefeierter Opernkomponist der 20iger Jahre 6 Das symphonische und vokalsymphonische Werk und seine Interpreten 24 Letzte große Erfolge als Opernkomponist – die produktiven Jahre der erzwungenen Isolation – weltweite Wiederentdeckung des Komponisten Walter Braunfels 42 Zeittafel 64 Literaturverzeichnis 68 Bildnachweis 70 Danksagung 71 Impressum 72 Vorwort Walter Braunfels entstammte einer alten jüdischen Familie aus Frankfurt a. M. Er zog nach München und wurde unter dem Eindruck von Felix Mottl Musiker. Bruno Walter machte die Uraufführung der Oper „Die Vögel“ zu einer der erfolgreichsten im ganzen 20. Jahrhundert am Münchner Natio- naltheater. Es folgten die Uraufführungen des „Te Deum“ und der „Großen Messe“ in Köln sowie der Oper „Don Gil von den grünen Hosen“ unter Hans Knappertsbusch in München: Walter Braunfels war plötzlich – neben Strauss und Schreker – einer der meistaufgeführten deutschen Kompo- nisten der zwanziger Jahre. Adolf Hitler forderte meinen Großvater 1923 in München auf, die Hymne für die nationalsozialistische Bewegung zu komponieren, was dieser jedoch empört ablehnte. Wenige Jahre danach übernahmen die Nationalsozialisten die Macht in Deutschland, und Walter Braunfels wurde 1933 aus dem Amt als Gründungsdirektor
    [Show full text]
  • NEWS INBRIEF US House Panel Tells
    JULY 30, 2011 MirTHE rARoMENr IAN -Spe ctator Volume LXXXII, NO. 3, Issue 4197 $ 2.00 NEWS IN BRIEF The First English Language Armenian Weekly in the United States Wikileaks Releases Turkish Cable on Armenian Genocide BEIRUT (Tert.am) — Wikileaks has released a cable from the US Consulate in Istanbul dated July 12, 2004, containing Turkish and foreign historians comments on the Turkish govern - ment’s policy of denying the Armenian Genocide, the Lebanon-based Al Joumhouria newspaper Armenia Wins World Chess Team Championship in China reports. According to the cable, the admission of the Armenian Genocide by Turkey is a major obsta - By Hovannes Shoghikian cle to Armenian-Turkish reconciliation. Armenian and other researchers have reason - able doubts over the preservation of archives. NINGBO, China (RFE/RL) — Armenia Prof. Halil Berktay reported at least two won the 2011 World Chess Team attempts to clear the archives of the documents Championship in China on Tuesday, July on crimes against Armenians. 26, solidifying its internationally-recog - In 1991, several high-ranking Turkish military nized status as a chess powerhouse. officials reported an attempted stealing of a The championship, held in the Chinese number of documents from 1918. city of Ningbo, was contested by the Berktay believes that the second attempt was national teams of the world’s 10 leading made when Turgut Ozal, then president of chess nations, including Russia, Ukraine, Turkey, announced his intention to open the India and Azerbaijan. archives. The Armenian team led by Levon Some historians believe that the archive is Aronian, the world’s third-highest-ranked being constantly cleared of documents on the chess player, dominated throughout the Armenian Issue, the cable says.
    [Show full text]
  • Here Has Been a Steady Production of Operas Since the Season 1918/19
    ESTONIAN NATIONAL OPERA Article provided by the Estonian National Opera At a glance The roots of the Estonian National Opera go back to 1865, when the song and drama society “Estonia” was founded. In 1906, the society became the basis for a professional theatre. The ballet troupe began regular work in 1926, but the first full-length ballet, Delibes’s “Coppélia” was performed in 1922 already. Since 1998, the theatre is officially named the Estonian National Opera. Estonian National Ballet that operates under Estonian National Opera was founded in 2010. The Artistic Director and Chief Conductor is Vello Pähn, the Artistic Director of the Estonian National Ballet is Thomas Edur and the General Manager is Aivar Mäe. The theatre’s repertoire includes classical and contemporary operas, ballets, operettas and musicals. In addition, different concerts and children’s performances are delivered and compositions of Estonian origin staged. Estonian National Opera is a repertory theatre, giving 350 performances and concerts a year, being famous for its tradition of annual concert performances of rarely staged operas, such as Alfredo Catalani’s “La Wally”, Verdi’s “Simon Boccanegra”, Rossini’s “Guillaume Tell”, Bizet’s “Les pêcheurs de perles”, Bellini’s “I Capuleti e i Montecchi”, “I puritani” and “Norma”, Rimsky-Korsakov’s “The Tsar’s Bride” and “Snegurochka”, Strauss’ “Der Rosenkavalier”, etc. History of the Estonian National Opera In 1865, the song and drama society “Estonia” was founded in Tallinn. Acting was taken up in 1871. From 1895 onwards the society began to stage plays regularly, which usually included singing and dancing. In 1906, the society became the basis for a professional theatre called “Estonia Theatre” founded by the directors and actors Paul Pinna and Theodor Altermann.
    [Show full text]
  • Come and Explore Unknown Music with Us by Joining the Toccata Discovery Club
    Recorded in the Estonia Concert Hall, Tallinn, on 11–12 January 2012 (Symphony No. 3) and 29 February 2012 (Lamento) and in The Fraternity Hall, The House of Blackheads, Tallinn, on 2 March 2012 (Sextet). Producer-engineer: Tanel Klesment Thanks to the Estonian National Symphony Orchestra and Tallinn Chamber Orchestra for their participation in this recording Cover photograph of Mihkel Kerem by Pål Solbakk Booklet text by Mihkel Kerem Session photographs by Mait Jüriado Design and lay-out: Paul Brooks, Design & Print, Oxford Executive producer: Martin Anderson TOCC 0173 © 2013, Toccata Classics, London P 2013, Toccata Classics, London Come and explore unknown music with us by joining the Toccata Discovery Club. Membership brings you two free CDs, big discounts on all Toccata Classics recordings and Toccata Press books, early ordering on all Toccata releases and a host of other benefits for a modest annual fee of £20. You start saving as soon as you join. You can sign up online at the Toccata Classics website at www.toccataclassics.com. Toccata Classics CDs are also available in the shops and can be ordered from our distributors around the world, a list of whom can be found at www.toccataclassics.com. If we have no representation in your country, please contact: Toccata Classics, 16 Dalkeith Court, Vincent Street, London SW1P 4HH, UK Tel: +44/0 207 821 5020 Fax: +44/0 207 834 5020 E-mail: [email protected] 2010. Since 2002 Paavo Järvi has been Artistic Adviser of the orchestra. The Orchestra regularly records music for Estonian Radio and has co-operated with such companies as BIS, Antes Edition, Globe, Signum, Ondine, Finlandia Records, Consonant Works and Melodiya.
    [Show full text]
  • Historie Der Rheinischen Musikschule Teil 1 Mit Einem Beitrag Von Professor Heinrich Lindlahr
    Historie der Rheinischen Musikschule Teil 1 Mit einem Beitrag von Professor Heinrich Lindlahr Zur Geschichte des Musikschulwesens in Köln 1815 - 1925 Zu Beginn des musikfreundlichen 19. Jahrhunderts blieb es in Köln bei hochfliegenden Plänen und deren erfolgreicher Verhinderung. 1815, Köln zählte etwa fünfundzwanzigtausend Seelen, die soeben, wie die Bewohner der Rheinprovinz insgesamt, beim Wiener Kongreß an das Königreich Preußen gefallen waren, 1815 also hatte von Köln aus ein ungenannter Musikenthusiast für die Rheinmetropole eine Ausbildungsstätte nach dem Vorbild des Conservatoire de Paris gefordert. Sein Vorschlag erschien in der von Friedrich Rochlitz herausgegebenen führenden Allgemeinen musikalischen Zeitung zu Leipzig. Doch Aufrufe solcher Art verloren sich hierorts, obschon Ansätze zu einem brauchbaren Musikschulgebilde in Köln bereits bestanden hatten: einmal in Gestalt eines Konservatorienplanes, wie ihn der neue Maire der vormaligen Reichstadt, Herr von VVittgenstein, aus eingezogenen kirchlichen Stiftungen in Vorschlag gebracht hatte, vorwiegend aus Restklassen von Sing- und Kapellschulen an St. Gereon, an St. Aposteln, bei den Ursulinen und anderswo mehr, zum anderen in Gestalt von Heimkursen und Familienkonzerten, wie sie der seit dem Einzug der Franzosen, 1794, stellenlos gewordene Salzmüdder und Domkapellmeister Dr. jur. Bernhard Joseph Mäurer führte. Unklar blieb indessen, ob sich der Zusammenschluss zu einem Gesamtprojekt nach den Vorstellungen Dr. Mäurers oder des Herrn von Wittgenstein oder auch jenes Anonymus deshalb zerschlug, weil die Durchführung von Domkonzerten an Sonn- und Feiertagen kirchenfremden und besatzungsfreundlichen Lehrkräften hätte zufallen sollen, oder mehr noch deshalb, weil es nach wie vor ein nicht überschaubares Hindernisrennen rivalisierender Musikparteien gab, deren manche nach Privatabsichten berechnet werden müssten, wie es die Leipziger Allgemeine musikalische Zeitung von 1815 lakonisch zu kommentieren wusste.
    [Show full text]
  • Dear Music Lover, Welcome to the 23Rd Year of Music at the National
    Dear Music Lover, Welcome to the 23rd year of music at the National Museum of Women in the Arts. We are delighted to have been able to reschedule two of the concerts cancelled last season due to COVID-19 and to have added a third. This season, concerts will begin in the spring of 2021. Our concern for audience and artist safety led us to delay the season with the hope that it will be safer to congregate in person at that time. However we anticipate at this time that the concerts will be virtual. If things do change, we will certainly notify you. Our season kicks off on March 31 with the acclaimed McDermott Trio, featuring Anne-Marie, Kerry, and Maureen McDermott, with master violist Paul Neubauer. The McDermott Trio has been recognized as one of the most exciting trios of their generation and Neubauer has been called "a master musician" by the New York Times due to his exceptional musicality and effortless playing. On May 12, we welcome the talented Stefania Dovhan, who has performed at many opera houses including the Royal Opera House, the New York City Opera, and the Baltimore Lyric Opera. We will close out the season on June 2 with the amazing violinist Jennifer Koh, who is known for her intense, commanding performances delivered with dazzling virtuosity and technical assurance. Since 1998, we have presented more than sixty-nine free concerts featuring emerging and established women musicians who have brought to life the halls of this great museum with their artistry and talent. Thank you for your continued support of the Shenson Chamber Music Concert Series.
    [Show full text]
  • '{6$+• O°&Ó° Þè* V
    557615bk Bach US 3/5/06 6:10 pm Page 5 Marianne Beate Kielland Cologne Chamber Orchestra Conductor: Helmut Müller-Brühl The Norwegian mezzo-soprano Marianne Beate Kielland studied at the Norwegian State Academy of Music in Oslo, graduating in the spring of 2000. She has quickly The Cologne Chamber Orchestra was founded in 1923 by Hermann Abendroth and gave established herself as one of Scandinavia’s foremost singers and regularly appears its first concerts in the Rhine Chamber Music Festival under the direction of Hermann with orchestras and in festivals throughout Europe, working with conductors of Abendroth and Otto Klemperer in the concert-hall of Brühl Castle. Three years later the international distinction. For the season 2001/02 she was a member of the ensemble ensemble was taken over by Erich Kraack, a pupil of Abendroth, and moved to at the Staatsoper in Hanover. Marianne Beate Kielland is especially sought after as a Leverkusen. In 1964 he handed over the direction of the Cologne Chamber Orchestra to J. S. BACH concert singer, with a wide repertoire ranging from the baroque to Berlioz, Bruckner, Helmut Müller-Brühl, who, through the study of philosophy and Catholic theology, as and Mahler. Her career has brought not only performances in Europe, but further well as art and musicology, had acquired a comprehensive theoretical foundation for the engagements as far afield as Japan. Her recordings include Bach’s St Mark and St interpretation of Baroque and Classical music, complemented through the early study of Matthew Passions, Mass in B minor, and the complete solo cantatas for alto, as well conducting and of the violin under his mentor Wolfgang Schneiderhahn.
    [Show full text]
  • The Mariinsky Ballet & Orchestra
    Thursday, October 1, 2015, 8pm Friday, October 2, 2015, 8pm Saturday, October 3, 2015, 2pm & 8pm Sunday, October 4, 2015, 3pm Zellerbach Hall The Mariinsky Ballet & Orchestra Gavriel Heine, Conductor The Company Diana Vishneva, Nadezhda Batoeva, Anastasia Matvienko, Sofia Gumerova, Ekaterina Chebykina, Kristina Shapran, Elena Bazhenova Vladimir Shklyarov, Konstantin Zverev, Yury Smekalov, Filipp Stepin, Islom Baimuradov, Andrey Yakovlev, Soslan Kulaev, Dmitry Pukhachov Alexandra Somova, Ekaterina Ivannikova, Tamara Gimadieva, Sofia Ivanova-Soblikova, Irina Prokofieva, Anastasia Zaklinskaya, Yuliana Chereshkevich, Lubov Kozharskaya, Yulia Kobzar, Viktoria Brileva, Alisa Krasovskaya, Marina Teterina, Darina Zarubskaya, Olga Gromova, Margarita Frolova, Anna Tolmacheva, Anastasiya Sogrina, Yana Yaschenko, Maria Lebedeva, Alisa Petrenko, Elizaveta Antonova, Alisa Boyarko, Daria Ustyuzhanina, Alexandra Dementieva, Olga Belik, Anastasia Petushkova, Anastasia Mikheikina, Olga Minina, Ksenia Tagunova, Yana Tikhonova, Elena Androsova, Svetlana Ivanova, Ksenia Dubrovina, Ksenia Ostreikovskaya, Diana Smirnova, Renata Shakirova, Alisa Rusina, Ekaterina Krasyuk, Svetlana Russkikh, Irina Tolchilschikova Alexey Popov, Maxim Petrov, Roman Belyakov, Vasily Tkachenko, Andrey Soloviev, Konstantin Ivkin, Alexander Beloborodov, Viktor Litvinenko, Andrey Arseniev, Alexey Atamanov, Nail Enikeev, Vitaly Amelishko, Nikita Lyaschenko, Daniil Lopatin, Yaroslav Baibordin, Evgeny Konovalov, Dmitry Sharapov, Vadim Belyaev, Oleg Demchenko, Alexey Kuzmin, Anatoly Marchenko,
    [Show full text]
  • City Research Online
    City Research Online City, University of London Institutional Repository Citation: Pace, I. (2012). Instrumental performance in the nineteenth century. In: Lawson, C. and Stowell, R. (Eds.), The Cambridge History of Musical Performance. (pp. 643-695). Cambridge University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/6305/ Link to published version: http://dx.doi.org/10.1017/CHOL9780521896115.027 Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] C:/ITOOLS/WMS/CUP-NEW/2654833/WORKINGFOLDER/LASL/9780521896115C26.3D 643 [643–695] 5.9.2011 7:13PM . 26 . Instrumental performance in the nineteenth century IAN PACE 1815–1848 Beethoven, Schubert and musical performance in Vienna from the Congress until 1830 As a major centre with a long tradition of performance, Vienna richly reflects
    [Show full text]
  • Chicago Presents Symphony Muti Symphony Center
    CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI zell music director SYMPHONY CENTER PRESENTS 17 cso.org1 312-294-30008 1 STIRRING welcome I have always believed that the arts embody our civilization’s highest ideals and have the power to change society. The Chicago Symphony Orchestra is a leading example of this, for while it is made of the world’s most talented and experienced musicians— PERFORMANCES. each individually skilled in his or her instrument—we achieve the greatest impact working together as one: as an orchestra or, in other words, as a community. Our purpose is to create the utmost form of artistic expression and in so doing, to serve as an example of what we can achieve as a collective when guided by our principles. Your presence is vital to supporting that process as well as building a vibrant future for this great cultural institution. With that in mind, I invite you to deepen your relationship with THE music and with the CSO during the 2017/18 season. SOUL-RENEWING Riccardo Muti POWER table of contents 4 season highlight 36 Symphony Center Presents Series Riccardo Muti & the Chicago Symphony Orchestra OF MUSIC. 36 Chamber Music 8 season highlight 37 Visiting Orchestras Dazzling Stars 38 Piano 44 Jazz 10 season highlight Symphonic Masterworks 40 MusicNOW 20th anniversary season 12 Chicago Symphony Orchestra Series 41 season highlight 34 CSO at Wheaton College John Williams Returns 41 CSO at the Movies Holiday Concerts 42 CSO Family Matinees/Once Upon a Symphony® 43 Special Concerts 13 season highlight 44 Muti Conducts Rossini Stabat mater 47 CSO Media and Sponsors 17 season highlight Bernstein at 100 24 How to Renew Guide center insert 19 season highlight 24 Season Grid & Calendar center fold-out A Tchaikovsky Celebration 23 season highlight Mahler 5 & 9 24 season highlight Symphony Ball NIGHT 27 season highlight Riccardo Muti & Yo-Yo Ma 29 season highlight AFTER The CSO’s Own 35 season highlight NIGHT.
    [Show full text]
  • Estonian National Symphony Orchestra
    Estonian National Symphony Orchestra Neeme Järvi Artistic Director and Principal Conductor Garrick Ohlsson / Piano Saturday Evening, February 3, 2018 at 8:00 Hill Auditorium Ann Arbor 57th Performance of the 139th Annual Season 139th Annual Choral Union Series This evening’s performance is supported by Bank of Ann Arbor, Anne and Paul Glendon, and Dody Viola. Media partnership provided by WGTE 91.3 FM, WRCJ 90.9 FM, and Ann Arbor’s 107one. The Steinway piano used in this evening’s concert is made possible by William and Mary Palmer. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this evening’s performance. Mr. Ohlsson and the Estonian National Symphony Orchestra appear by arrangement with Opus 3 Artists. The Estonian National Symphony Orchestra’s 2018 US tour is made possible through the support of Estonia’s centenary celebrations. In consideration of the artists and the audience, please refrain from the use of electronic devices during the performance. The photography, sound recording, or videotaping of this performance is prohibited. PROGRAM Heino Eller Five Pieces for String Orchestra (excerpt) Homeland Tune Johannes Brahms Piano Concerto No. 1 in d minor, Op. 15 Maestoso Adagio Rondo: Allegro non troppo Mr. Ohlsson Intermission Eduard Tubin Symphony No. 5 in b minor Allegro energico Andante Allegro assai 3 FIVE PIECES FOR STRING ORCHESTRA (EXCERPT) (1953) Heino Eller Born March 7, 1887 in Tartu, Estonia Died June 16, 1970 in Tallinn, Estonia UMS premiere: This piece has never been performed on a UMS concert. Snapshots of History…In 1953: • U-M alumnus Arthur Miller’s The Crucible opens on Broadway • The first Chevrolet Corvette is built in Flint, Michigan • The Korean War ends Heino Eller “was able to establish totally new standards in small Estonia, thereby laying the cornerstone of professionalism in music.” It was Eller’s most famous former pupil, Arvo Pärt, who praised his teacher (himself a student of Rimsky-Korsakov) in these words.
    [Show full text]