DOCSLIB.ORG

CHAN 10379 Book.Indd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CHAN 10379 Book.Indd CHAN 10379 includes premiere recordings 25 CCHANHAN 1103790379 BBook.inddook.indd 224-254-25 330/7/060/7/06 113:06:013:06:01 Christian Cannabich (1731–1798) Symphony in G major 19:47 in G-Dur • en sol majeur 1 I Allegro 6:12 2 II Andantino 4:23 3 III Minuet and Trio 4:26 4 IV Presto assai 4:45 premiere recording Symphony in A major 11:57 Engraving after portrait, by Egid 1779, Verhelst © akg-images in A-Dur • en la majeur 5 I Allegro 3:17 6 II Andante 3:44 7 III Allegro ma non tanto 4:55 premiere recording Symphony in E fl at major, No. 57 13:55 in Es-Dur • en mi bémol majeur 8 I Allegro 5:02 9 II Andante 4:29 10 III Allegro 4:23 Christian Cannabich 3 CCHANHAN 1103790379 BBook.inddook.indd 22-3-3 330/7/060/7/06 113:05:533:05:53 Christian Cannabich (1731–1798) Symphony in G major 19:47 in G-Dur • en sol majeur 1 I Allegro 6:12 2 II Andantino 4:23 3 III Minuet and Trio 4:26 4 IV Presto assai 4:45 premiere recording Symphony in A major 11:57 Engraving after portrait, by Egid 1779, Verhelst © akg-images in A-Dur • en la majeur 5 I Allegro 3:17 6 II Andante 3:44 7 III Allegro ma non tanto 4:55 premiere recording Symphony in E fl at major, No. 57 13:55 in Es-Dur • en mi bémol majeur 8 I Allegro 5:02 9 II Andante 4:29 10 III Allegro 4:23 Christian Cannabich 3 CCHANHAN 1103790379 BBook.inddook.indd 22-3-3 330/7/060/7/06 113:05:533:05:53 Cannabich: Symphonies Christian Cannabich and Mannheim composers such as Niccolò Jommelli, whose In the middle of the eighteenth century, operas were performed at Mannheim and the musical establishment at Mannheim whom the Elector much admired. premiere recording was one of the most famous in Europe. The The reputation of the orchestra continued Symphony in C major, No. 22 10:01 town had been the capital of the Palatinate after Stamitz’s death under the tutelage in C-Dur • en ut majeur since the ruler Carl Philipp moved his court of his pupil, Christian Cannabich. When 11 I Allegro moderato 3:32 from Heidelberg in 1720. It was his nephew Burney visited Mannheim in 1772 his 12 II Andante con brio 2:34 Carl Theodor, succeeding him as Elector judgment was that ‘there are more solo 13 III Un poco presto 3:52 Palatine on New Year’s Eve, 1742, who built players, and good composers in this, than up the orchestra, having the good fortune to perhaps in any other orchestra in Europe; it Symphony in D major 11:09 inherit also the composer Johann Stamitz. is an army of generals, equally fi t to plan a in D-Dur • en ré majeur Stamitz led the orchestra from 1745 until his battle, as to fi ght it’. The only imperfection 14 I Allegro con spirito 3:26 death twelve years later and trained it to an was that the woodwind played out of tune, 15 II Andante grazioso 4:22 exceptionally high standard: the historian as they did everywhere else; a surprising 16 III Presto assai 3:19 Charles Burney wrote that ‘the band… was comment on a band that included Friedrich regarded as the most complete and best Ramm, the virtuoso for whom Mozart later TT 66:49 disciplined in Europe’. wrote his oboe quartet. Stamitz and his fellow composers at Burney referred to Cannabich, along with London Mozart Players the court, including the Kapellmeister Holzbauer and the violinist Carl Toeschi, as Matthias Bamert Ignaz Holzbauer and the cellist Anton ‘three masters [who] are authors of several Filtz, cultivated what much later became excellent symphonies, some of which have known as the ‘Mannheim style’: effects been printed in England’. Cannabich was such as crescendos over a pedal point (the born in 1731 in Mannheim, where his father ‘Mannheim steamroller’) and vigorous was a fl autist in the court orchestra. The rising phrases (the ‘Mannheim rocket’) that boy’s musical talent was recognised early on were derived from the overtures of Italian by the Elector, who sent him to study with 4 5 CCHANHAN 1103790379 BBook.inddook.indd 44-5-5 330/7/060/7/06 113:05:553:05:55 Cannabich: Symphonies Christian Cannabich and Mannheim composers such as Niccolò Jommelli, whose In the middle of the eighteenth century, operas were performed at Mannheim and the musical establishment at Mannheim whom the Elector much admired. premiere recording was one of the most famous in Europe. The The reputation of the orchestra continued Symphony in C major, No. 22 10:01 town had been the capital of the Palatinate after Stamitz’s death under the tutelage in C-Dur • en ut majeur since the ruler Carl Philipp moved his court of his pupil, Christian Cannabich. When 11 I Allegro moderato 3:32 from Heidelberg in 1720. It was his nephew Burney visited Mannheim in 1772 his 12 II Andante con brio 2:34 Carl Theodor, succeeding him as Elector judgment was that ‘there are more solo 13 III Un poco presto 3:52 Palatine on New Year’s Eve, 1742, who built players, and good composers in this, than up the orchestra, having the good fortune to perhaps in any other orchestra in Europe; it Symphony in D major 11:09 inherit also the composer Johann Stamitz. is an army of generals, equally fi t to plan a in D-Dur • en ré majeur Stamitz led the orchestra from 1745 until his battle, as to fi ght it’. The only imperfection 14 I Allegro con spirito 3:26 death twelve years later and trained it to an was that the woodwind played out of tune, 15 II Andante grazioso 4:22 exceptionally high standard: the historian as they did everywhere else; a surprising 16 III Presto assai 3:19 Charles Burney wrote that ‘the band… was comment on a band that included Friedrich regarded as the most complete and best Ramm, the virtuoso for whom Mozart later TT 66:49 disciplined in Europe’. wrote his oboe quartet. Stamitz and his fellow composers at Burney referred to Cannabich, along with London Mozart Players the court, including the Kapellmeister Holzbauer and the violinist Carl Toeschi, as Matthias Bamert Ignaz Holzbauer and the cellist Anton ‘three masters [who] are authors of several Filtz, cultivated what much later became excellent symphonies, some of which have known as the ‘Mannheim style’: effects been printed in England’. Cannabich was such as crescendos over a pedal point (the born in 1731 in Mannheim, where his father ‘Mannheim steamroller’) and vigorous was a fl autist in the court orchestra. The rising phrases (the ‘Mannheim rocket’) that boy’s musical talent was recognised early on were derived from the overtures of Italian by the Elector, who sent him to study with 4 5 CCHANHAN 1103790379 BBook.inddook.indd 44-5-5 330/7/060/7/06 113:05:553:05:55 Jommelli in Rome, where he remained from warning that the place was expensive and of an overture by Cannabich, ‘if you had fi nale. The central Andante, for strings 1750 to 1753. the ruler an ungenerous employer. (Burney, heard it, you would have been as much only, makes much play of a little motif By the time he was promoted to director on the other hand, mentions the ‘handsome’ pleased and excited as I was; and if you had exchanged between the fi rst and second of instrumental music at Mannheim pension arrangements.) not previously known it, you would never violins. in 1774, Cannabich, like many of his Wolfgang was unsuccessful and in March have believed that it was by Cannabich’3. He The Symphony in E fl at major, No. 57, colleagues, had made several visits to 1778 he and his mother moved on to Paris. worked closely with Cannabich, who was includes clarinets and bassoons as well as the Paris, where he had built up a reputation He had got on very well with Cannabich to conduct Idomeneo, and a few weeks later usual horns. The bassoons have independent as performer and composer. When Carl and his wife, but found them insuffi ciently he begged his father to write to him, adding parts but are not given any solos, whereas Theodor became the Elector of Bavaria grateful for the time he had devoted to ‘What does it matter… if he does not reply? great prominence is given to the clarinets. in 1778, most of his musicians, including giving piano lessons to their daughter Rosa. He does not mean to be what he appears to These relatively recent additions to the Cannabich, moved with the court to Leopold was not surprised that Cannabich be. He is the same with everyone – you must woodwind family were to be found in Munich. There the orchestra continued had failed to secure an appointment for just get to know him.’4 London, Paris and Mannheim – but not in to attract admiration. The composer and his son and described him as ‘a wretched The Symphony in G major, composed in Mozart’s home town of Salzburg, Wolfgang poet C.F.D. Schubart wrote that, under scribbler of symphonies’1. However, 1760, is scored for fl utes, horns and strings. writing wistfully to Leopold, ‘Ah, if only we Cannabich, ‘its forte is a thunderclap, Wolfgang thought that he had greatly The fi rst movement is in an embryonic had clarinets too! You cannot imagine the its crescendo a cataract, its diminuendo improved as a composer and, in the letter to sonata form, with an exposition that glorious effect of a symphony with fl utes, a crystal stream bubbling away into the Leopold that broke the news of his mother’s moves to the dominant, and an abridged oboes and clarinets.’5 distance, its piano a breath of spring’.
Load more

Recommended publications
  • London Mozart Players Wind Trio When He Left to Focus on His Freelance Career
    Timothy Lines (Clarinet) Timothy studied at the Royal College of Music with Michael Collins and now enjoys a wide- ranging career as a clarinettist. He has played with all the major symphony orchestras in London as well as with chamber groups including London Sinfonietta and the Nash Ensemble. From 1999 to 2003 he was Principal Clarinet of the London Symphony Orchestra and was also chairman of the orchestra during his last year there. From September 2004 to January 2006 he was section leader clarinet of the City of Birmingham Symphony Orchestra, London Mozart Players Wind Trio when he left to focus on his freelance career. He plays on original instruments with the English Baroque Soloists, the Orchestre Revolutionnaire et Romantique and the Orchestra of Thursday 12th March 2020 at 7.30 pm the Age of Enlightenment and is also frequently engaged to record film music and pop music Cavendish Hall, Edensor tracks. Timothy is Professor of Clarinet at both the Royal College of Music and the Royal Academy of Music, and is the clarinet coach for the National Youth Orchestra of Great Britain. In March 2016 he was awarded a Fellowship of the Royal College of Music and was later that year invited to become Principal Clarinet of the London Mozart Players. Concert Champêtre H. TOMASI Gareth Hulse (Oboe) (1901-1971) After reading music at Cambridge, Gareth Hulse studied with Janet Craxton at the Royal Divertimento K439b W.A. MOZART Academy of Music, and with Heinz Holliger at the Freiburg Hochschule fur Musik. On his (1756-1791) return to England he was appointed Principal Oboe with the Northern Sinfonia, a position he has since held with English National Opera and the London Philharmonic.
    [Show full text]
  • ECONOMIC EAR Symphonic Tigers and Chamber Kittens
    ANALYSIS ECONOMIC EAR Symphonic tigers and chamber kittens In the fifth of our series of articles on the business of classical music, Antony Feeny reflects on the extent to which the UK music industry may be dominated by a few large organisations ans Sachs was a remarkably like to ensure free competition and level example, and the top four supermarkets and productive artist if the com- playing fields, those pesky markets persist in top four banks have over 70% of the British mon sources are to be believed. becoming more concentrated and awkward grocery store and retail banking markets, HIn addition to keeping the inhabitants of ruts will keep appearing in those playing while the top six energy suppliers account Nürnberg well-heeled, he apparently cob- fields. And so it seems with classical music. for 90% of the UK market. But these are bled together 4,000 Meisterlieder between Was Le Quattro Staggioni – well-known (relatively) free markets where commercial 1514 and his death in 1576. That’s about to every denizen of coffee shops and call cen- companies compete, so what’s the situa- one every five-and-a-half days every year tres – really so much ‘better’ than works by tion for classical music – a market which is for 62 years including Sundays, in addition the Allegris, the Caccinis, Cavalli, Fresco- subsidised and where its leading organisa- to his other 2,000 poetic works – not to baldi, the Gabrielis, Landi, Rossi, Schütz, or tions are best semi-commercial, or at least mention shoes for the 80,000 feet of those the hundreds of other 17th-century compos- non-profit-making? Nurembergers, or at least the wealthy ones.
    [Show full text]
  • Download the Concert Programme (PDF)
    London Symphony Orchestra Living Music Thursday 18 May 2017 7.30pm Barbican Hall Vaughan Williams Five Variants of Dives and Lazarus Brahms Double Concerto INTERVAL Holst The Planets – Suite Sir Mark Elder conductor Roman Simovic violin Tim Hugh cello Ladies of the London Symphony Chorus London’s Symphony Orchestra Simon Halsey chorus director Concert finishes approx 9.45pm Supported by Baker McKenzie 2 Welcome 18 May 2017 Welcome Living Music Kathryn McDowell In Brief Welcome to tonight’s LSO concert at the Barbican. BMW LSO OPEN AIR CLASSICS 2017 This evening we are joined by Sir Mark Elder for the second of two concerts this season, as he conducts The London Symphony Orchestra, in partnership with a programme of Vaughan Williams, Brahms and Holst. BMW and conducted by Valery Gergiev, performs an all-Rachmaninov programme in London’s Trafalgar It is always a great pleasure to see the musicians Square this Sunday 21 May, the sixth concert in of the LSO appear as soloists with the Orchestra. the Orchestra’s annual BMW LSO Open Air Classics Tonight, after Vaughan Williams’ Five Variants of series, free and open to all. Dives and Lazarus, the LSO’s Leader Roman Simovic and Principal Cello Tim Hugh take centre stage for lso.co.uk/openair Brahms’ Double Concerto. We conclude the concert with Holst’s much-loved LSO WIND ENSEMBLE ON LSO LIVE The Planets, for which we welcome the London Symphony Chorus and Choral Director Simon Halsey. The new recording of Mozart’s Serenade No 10 The LSO premiered the complete suite of The Planets for Wind Instruments (‘Gran Partita’) by the LSO Wind in 1920, and we are thrilled that the 2002 recording Ensemble is now available on LSO Live.
    [Show full text]
  • St John's Smith Square Our History
    St John’s Smith Square © Matthew Andrews Square Smith John’s St THANK YOU! ST JOHN’S SMITH SQUARE St John’s Smith Square is very grateful to all the Friends, —— Companies and Trusts and Foundations who have generously supported our work during the 2015/16 Season. “Just to come across it in —— that quiet square is an event. J Allen W Halon P Privitera C J Apperley Angela and David Harvey Kenneth Robbie To enter it, to enjoy its spaces, Michael Archer Hay Kenelm Robert Alain Aubry A Herrero-Ducloux The RVW Trust to listen to fine music within its Anonymous Dr S Hill Chris Saunders Dr J Baker Prof Sean Hilton Donna Schofield walls is an experience not to be Dennis Baldry The Hinrischen Foundation Philip Searl Hannah Baldwin A L Hoile Baroness Sharples matched in conventional concert David Ballance Colin Howard E Siebert Mr and Mrs Dickie S Hughes B W Silverman halls and is a lasting tribute to Bannenberg Ingenious Lynne Simmons M Barrell J A James B Singleton the man who designed it.” Dr Desmond Bermingham G Jenkins Judy Skelton B Bezant Glenn Jessee L A Skilton Sir Hugh Casson Michel-Yves Bolloré M Joekes Sarah-Jane Sklaroff Antoine Bommelaer Christopher Jones Dr Martin Smith Michael Bowen Jacqueline Kilgour Philip and Wendy Spink P Bowman Jocelyn Knight Steinway & Sons Sir Alan and Lady Bowness R Lab Daniel Stephens Clare Bowring Andrew Langley Samuel D P Stewart Joanna Brendon Jane Law Marilyn Stock Ian Brown In memory of J.P Legrand Ilona Storey C Brunell Alan Leibowitz D Sugden Burberry Adrian Lewis John Taylor Inside cover & page 1
    [Show full text]
  • Download Booklet
    a song more silent new works for remembrance Sally Beamish | Cecilia McDowall Tarik O’Regan | Lynne Plowman Portsmouth Grammar School Chamber Choir London Mozart Players Nicolae Moldoveanu It was J. B. Priestley who first drew attention Hundreds of young people are given the to the apparent contradiction on British war opportunity to participate as writers, readers, memorials: the stony assertion that ‘Their Name singers and instrumentalists, working in Liveth for Evermore’ qualified by the caution collaboration with some of our leading ‘Lest We Forget’. composers to create works that are both thoughtful and challenging in response to ideas It is a tension which reminds us of the need for of peace and war. each generation to remember the past and to express its own commitment to a vision of peace. E. E. Cummings’ poem these children singing in stone, set so evocatively by Lynne Plowman, The pupils of Portsmouth Grammar School are offers a vision of “children forever singing” as uniquely placed to experience this. The school images of stone and blossom intertwine. These is located in 19th-century barracks at the heart new works for Remembrance are an expression of a Garrison City, once the location of Richard of hope from a younger generation moved and the Lionheart’s palace. Soldiers have been sent inspired by “a song more silent”. around the world from this site for centuries. It has been suggested that more pupils lost their James Priory Headmaster 2008 lives in the two World Wars than at any other school of comparable size. Today, as an inscription on the school archway celebrates, it is a place where girls and boys come to learn and play.
    [Show full text]
  • Pandora's Last Gift Was Born
    Pandora’s Last Gift - chamber music by Christopher Wright 1 Wind Quintet 11.37 8 The Long Wait (Elegy) 9.35 Nichola Hunter (flute), Lisa Osborne (oboe), Elizabeth Jordan (clarinet), Lesley-Jane Rogers (soprano), John Turner (recorder), Naomi Atherton (horn), Sarah Nixon (bassoon) Jonathan Fisher (piano) 2 Spring’s Garden 4.15 In Celebration 7.03 Richard Williamson (viola), Jonathan Fisher (piano) 9 I Allegro vivace 1.26 10 II Misterioso 3.30 3 Orfordness 9.29 11 III Presto con forza 2.07 Nichola Hunter (flute). Nicholas Ward (violin), Tim Smedley (cello), John Turner (recorder), Nicholas Ward & Catherine Muncey (violins), Jonathan Fisher (piano) Michael Dale (viola), Tim Smedley (cello) 4 Capriccio 9.08 12 Helter-Skelter 3.21 Elizabeth Jordan (clarinet), Jonathan Fisher (piano) Tim Smedley (cello), Jonathan Fisher (piano) Spirit of the Dance 9.35 Concertino 12.56 5 I Rejouissance 2.36 13 I Allegro ritmico 4.04 6 II Air 4.18 14 II Tranquillo 5.39 7 III Tarantella 2.40 15 III Allegro vivace 3.12 John Turner (recorder), Richard Howarth (violin), Tim Smedley (cello), Nicholas Ward & Catherine Muncey (violins), Harvey Davies (harpsichord) Richard Williamson (viola), Jonathan Fisher (piano) Total CD duration including pauses: 77.50 A personal note by the composer The music on this CD was composed over the last thirty years and represents a diverse output in both musical style and emotional content. It is, in a sense, a narrative of my own life rather than a chronological order of compositions. To try and impose a collective meaning to all this, I turned to the well worn myth of Pandora but with a change of emphasis – so the title Pandora's Last Gift was born.
    [Show full text]
  • A1 KROMMER Symphonies: No. 1 in F, Op. 12
    A1 KROMMER Symphonies: No. 1 in F, op. 12; No. 2 in D, op. 40; No. 3 in D, op. 62 • Howard Griffiths, cond; O della Svizzera Italiana • CPO 555 099-2 (77:26) The Czech-born František Vincenc Kramář (1759–1831), who became Franz Krommer when he moved to Vienna in 1785, is a case study in how our evaluation of a composer can be compromised by the company he keeps. Krommer, in my opinion, has long been slotted into the wrong pigeonhole as a result of a series of Chandos recordings titled Contemporaries of Mozart, made back in the 1990s. Those CDs—five in all—lumped Krommer in with Leopold Kozeluch, Ignace Pleyel, Carl Stamitz, and Pavel Vranicky. While it’s true, chronologically, that all of these composers were more or less contemporaneous with Mozart and Haydn, they were a bit behind the curve in terms of form and content when it came to writing symphonies. Krommer, on the other hand, outlived not only Mozart and Haydn; he outlived Beethoven by four years and was thus aware of how the meaning of the term “symphony” had been transformed. The three symphonies on this disc—Krommer composed 10 symphonies in all, one of them unnumbered—date from between the late 1790s to around 1810, with a specific date of 1803 given for the Symphony No. 2. These are big, substantive works in a late-Haydn/early-Beethoven mold—i.e., four movements, with a Menuetto in third place, an Adagio introduction to a fully worked out sonata- allegro first movement, and running to the better part of 30 minutes apiece.
    [Show full text]
  • Biographies Craig Ogden, Guitar David Juritz, Violin
    Biographies Craig Ogden, guitar Described by BBC Music Magazine as ‘A worthy successor to Julian Bream’, the Australian- born guitarist Craig Ogden is one of the most exciting artists of his generation. He studied guitar from the age of seven and percussion from the age of thirteen. In 2004, he became the youngest instrumentalist to receive a Fellowship Award from the Royal Northern College of Music in Manchester. One of the UK’s most recorded guitarists, his recordings for Virgin/EMI, Chandos, Nimbus, Hyperion, Sony and Classic FM have received wide acclaim. Craig Ogden has performed concertos with many of the world’s leading orchestras including the Hallé, BBC Concert Orchestra, Orquesta Sinfónica de Navarra, RTÉ Concert Orchestra, London Philharmonic Orchestra, Ulster Orchestra, Spanish Symphony Orchestra, Orchestra of Opera North, Royal Northern Sinfonia and the Royal Liverpool Philharmonic. In 2015, Craig was asked to step in at short notice for the indisposed Miloš Karadaglić and performed a series of concerts on tour with the Royal Northern Sinfonia at major UK concert halls and again in 2016 with the Royal Northern Sinfonia and the English Chamber Orchestra, both tours receiving critical acclaim. In 2019, Craig presented his own programme of “The Celebration of the Guitar” with Manchester Camerata which showcased the guitar in various styles. Numerous composers have written works for him and in 2017 Craig gave the world premiere of Andy Scott’s guitar concerto with the Northern Chamber Orchestra followed by the Australian premiere in Perth. He gave the world premiere of ‘Il Filo’, a double concerto for guitar and accordion by David Gordon with Miloš Milivojević in Summer 2019 and will be giving the world premiere of a concerto written for him by David Knotts with the BBC Concert Orchestra in March 2022 at the Queen Elizabeth Hall, recorded by BBC Radio 3.
    [Show full text]
  • Michael Collins Clarinet / Conductor
    Michael Collins Clarinet / Conductor Ikon Arts Management Ltd 2-6 Baches Street +44 (0)20 7354 9199 “Brilliant playing in every sense.” Classic FM [email protected] www.ikonarts.com Contact Costa Peristianis Email [email protected] Michael Collins is one of the most complete musicians of his generation. With a continuing, distinguished career as a soloist, he has in recent years also become highly regarded as a conductor. Recent guest conducting and play-directing highlights have included engagements with the Melbourne Symphony Orchestra, BBC Symphony Orchestra and the Zurich Chamber Orchestra. From 2010 – 2018 he was the Principal Conductor of the City of London Sinfonia. Recent highlights include a return to the Philharmonia Orchestra as conductor; performances worldwide with orchestras including Minnesota Orchestra, Swedish Chamber Orchestra, the Rheinische Philharmonie, Kyoto Symphony Orchestra, BBC Concert Orchestra and Kuopio Symphony Orchestra, and tours in South Africa, Australia (with the Melbourne Symphony Orchestra), Japan and Mexico (with the Orquesta Sinfónica Nacional). This year Michael will make his conducting debut with the English Chamber Orchestra and perform with the London Mozart Players. In July 2018 he performed at the BBC Young Musician 40th Anniversary BBC Prom. He also recently hosted a series of ‘Michael Collins and Friends’ concerts at LSO St Luke’s, recorded for broadcast on BBC Radio 3, featuring the Heath Quartet, Leonard Elschenbroich, Lawrence Power and Michael McHale. Michael Collins has been committed to expanding the repertoire of the clarinet for many years. He has given premières of works such as John Adams’ Gnarly Buttons, Elliott Carter’s Clarinet Concerto - for which he won a Gramophone award for his recording on Deutsche Grammophon - and Brett Dean’s Ariel’s Music and Turnage’s Riffs and Refrains, which was commissioned by the Hallé Orchestra.
    [Show full text]
  • International Conducting Studies Conference 2018 21St – 23Rd June St Anne’S College University of Oxford
    International Conducting Studies Conference 2018 21st – 23rd June St Anne’s College University of Oxford International Conducting 2018 Studies Conference 21-23 June, St Anne’s College WELCOME It is with great pleasure that we welcome you to St Anne’s College and the Oxford Conducting Institute International Conducting Studies Conference 2018. The conference brings together 40 speakers from around the globe, presenting on a wide range of topics that demonstrate the rich and multifaceted realm of conducting studies. The discipline of conducting is at the core of a multitude of global musical endeavours, continually shaping musical practices and experiences in substantial ways. Scholars and practitioners have explored, and continue to explore, historical, philosophical, social and psychological aspects of conducting across a wide range of practices; The OCIICSC 2018 aims to bring together these diverse perspectives in the pursuit of a shared and more cohesive knowledge. While professional organizations and educational institutions have worked to develop the field through conducting master-classes and conferences focused on professional development, and academic researchers have sought to explicate various aspects of conducting through focussed studies, researchers and practitioners are rarely in dialogue about these findings and experiences. The OCIICSC 2018 seeks to redress this by continuing the conversation fostered at the 2016 conference, again bringing together practitioners and researchers to participate in productive and scholarly dialogue. We hope that this conference will provide a fruitful exchange of ideas and again serve as a catalyst for the further development of the topic of Conducting Studies. The OCI International Conducting Studies Conference 2018 Committee Dr Cayenna Dr John Traill Prof.
    [Show full text]
  • Championing a Sound Investment
    A Sound Investment The mixed economy model of UK orchestras Foreword 1 2 The first part of this briefing looks at It has never been more important for If they don’t sustain the quality of their British orchestras are world-leaders. Attracting the best how the mixed economy model works orchestras to demonstrate that they output, then they won’t be invited in detail: really do deliver and add value for the on international tours, or be offered conductors and players, pioneering new music and new sums of money that are invested in them. lucrative recording deals. And it may be • How orchestras use the public Public finances are extremely tight, the more difficult for them to attract private investment they receive to lever approaches to the live experience, developing innovative amount of money available in the private donors. Many smaller orchestras have in significantly more resources from sector is limited, and consumers are exceptionally strong relationships with other sectors. For every one pound education programmes and reaching more people in more understandably choosy about where, their funders and supporters. It is very of taxpayers money invested in British when and how they spend on cultural important for the sector as a whole that orchestras, another £2 is generated areas than ever before, their impact continues to grow. and leisure activities. this philanthropic funding continues to from other sources. find its way through to the widest range The funding model that British orchestras Underpinning their success is a mixed economy model that • How orchestras work with private of orchestras and does not become have developed is flexible enough to givers – individuals, charitable trusts concentrated amongst the bigger players.
    [Show full text]
  • 'The Unmissable LMP'
    LMP at St John’s Smith Square St John’s LMP at ‘The Unmissable LMP’ GRAMOPHONE Contents London Mozart Players Inspiring a Culture of Creativity & Performance The Orchestra pages 3-4 Principal Conductor & LMP Leaders pages 5-7 The LMP is one of the world’s finest chamber orchestras. We are dedicated to harnessing the passion and talent of our musicians, so Associates of the LMP pages 8-11 that our audiences can experience and delight in the joy of world- Venues, Touring & International Presence page 12 class live performance. LMP Voyager - Education & Community pages 13-16 We use music to bring together communities and give meaning to the world around us. We build inspiring partnerships that allow our Working with Businesses page 17 music to live on with integrity through all walks of life. We create LMP Members & Administration Team page 18-19 experiences that leave a lasting and significant impression on our audiences, inspiring future generations with our commitment to Contact page 20 excellence, quality and creativity. ‘ A more dedicated group of musicians does not exist’ JOHN SUCHET, CLASSIC FM PAGE 3 The Orchestra Principal Conductor & Music, Form & Specialities LMP Leaders Formed in 1949 by Harry Blech to play music from the Classical The Principal Conductor of the LMP is Gérard Korsten, himself an period, particularly Haydn and Mozart, the LMP now has a broader accomplished violinist who understands the special character of focus while retaining its original speciality. the chamber orchestra. He is joined by three outstanding violinists who share the role of Leader (often directing the LMP and playing concertos as well): Marieke Blankestijn, Simon Blendis and Ruth Rogers.
    [Show full text]