Roche Commissions 2012
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Virtual Edition in Honor of the 74Th Festival
ARA GUZELIMIAN artistic director 0611-142020* Save-the-Dates 75th Festival June 10-13, 2021 JOHN ADAMS music director “Ojai, 76th Festival June 9-12, 2022 a Musical AMOC music director Virtual Edition th Utopia. – New York Times *in honor of the 74 Festival OjaiFestival.org 805 646 2053 @ojaifestivals Welcome to the To mark the 74th Festival and honor its spirit, we bring to you this keepsake program book as our thanks for your steadfast support, a gift from the Ojai Music Festival Board of Directors. Contents Thursday, June 11 PAGE PAGE 2 Message from the Chairman 8 Concert 4 Virtual Festival Schedule 5 Matthias Pintscher, Music Director Bio Friday, June 12 Music Director Roster PAGE 12 Ojai Dawns 6 The Art of Transitions by Thomas May 16 Concert 47 Festival: Future Forward by Ara Guzelimian 20 Concert 48 2019-20 Annual Giving Contributors 51 BRAVO Education & Community Programs Saturday, June 13 52 Staff & Production PAGE 24 Ojai Dawns 28 Concert 32 Concert Sunday, June 14 PAGE 36 Concert 40 Concert 44 Concert for Ojai Cover art: Mimi Archie 74 TH OJAI MUSIC FESTIVAL | VIRTUAL EDITION PROGRAM 2020 | 1 A Message from the Chairman of the Board VISION STATEMENT Transcendent and immersive musical experiences that spark joy, challenge the mind, and ignite the spirit. Welcome to the 74th Ojai Music Festival, virtual edition. Never could we daily playlists that highlight the 2020 repertoire. Our hope is, in this very modest way, to honor the spirit of the 74th have predicted how altered this moment would be for each and every MISSION STATEMENT Ojai Music Festival, to pay tribute to those who imagined what might have been, and to thank you for being unwavering one of us. -
2020 Music Director Matthias Pintscher and Artistic Director Chad Smith Announce Programming for the 74Th Festival June 11 to 14, 2020
2020 Music Director Matthias Pintscher and Artistic Director Chad Smith announce programming for the 74th Festival June 11 to 14, 2020 The 2020 Festival celebrates Pintscher as composer, conductor, and collaborator; welcomes the residency of his Ensemble intercontemporain (EIC) in its first Ojai appearance; and anticipates the return of the Calder Quartet Building connections between today’s most progressive composers and those from the past six centuries, the Festival explores the sonic worlds of Matthias Pintscher, seven-time Ojai Music Director Pierre Boulez, and composer Olga Neuwirth with highlights: • The 2020 Festival is anchored by Boulez’s Memoriale and sur Incises; the US Premiere of Olga Neuwirth’s Eleanor Suite, as well as performances of her In the realms of the unreal and Aello; the West Coast Premiere of Pintscher’s Nur, plus Uriel, Bereshit, and Rittrato di Gesualdo featured for the first time in Ojai; and programmed alongside works by Bach, Unsuk 1 Chin, Gesualdo, Ligeti, Mahler, Mendelssohn, Mozart, Steve Reich, Schubert, Varèse, and Zappa • US Premiere of the Genesis Cycle, with World Premiere EIC/Ojai co- commission of the “eighth day” The Flood by Toshio Hosakawa. Curated by Pintscher for EIC’s 40th birthday in 2017, the Genesis Cycle explores the Creation story and features works by composers from different coun- tries, including Mark Andre, Franck Bedrossian, Chaya Czernowin, Joan Magrané Figuera, Stefano Gervasoni, Toshio Hosakawa, Marko Nikodijevic, and Anna Thorvaldsdottir • Festival concludes with a Free Concert -
Ensemble Intercontemporain Matthias Pintscher, Music Director
Friday, November 6, 2015, 8pm Hertz Hall Ensemble intercontemporain Matthias Pintscher, Music Director PROGRAM Marco Stroppa (b. 1959) gla-dya. Études sur les rayonnements jumeaux (2006–2007) 1. Languido, lascivo (langoureux, lascif) 2. Vispo (guilleret) 3. Come una tenzone (comme un combat) 4. Lunare, umido (lunaire, humide) 5. Scottante (brûlant) Jens McManama, horn Jean-Christophe Vervoitte, horn Frank Bedrossian (b. 1971) We met as Sparks (2015) United States première Emmanuelle Ophèle, bass flute Alain Billard, contrabass clarinet Odile Auboin, viola Éric-Maria Couturier, cello 19 PROGRAM Beat Furrer (b. 1954) linea dell’orizzonte (2012) INTERMISSION Kurt Hentschläger (b. 1960)* Cluster.X (2015) Edmund Campion (b. 1957) United States première Kurt Hentschläger, electronic surround soundtrack and video Edmund Campion, instrumental score and live processing Jeff Lubow, software (CNMAT) * Audiovisual artist Kurt Hentschläger in collaboration with composer Edmund Campion. Ensemble intercontemporain’s U.S. tour is sponsored by the City of Paris and the French Institute. Additional support is provided by the FACE Foundation Contemporary Music Fund. This performance is made possible, in part, by Patron Sponsor Ross Armstrong, in memory of Jonas (Jay) Stern. Hamburg Steinway piano provided by Steinway & Sons of San Francisco. Cal Performances’ – season is sponsored by Wells Fargo. PLAYBILL ORCHESTRA ROSTER ENSEMBLE INTERCONTEMPORAIN Emmanuelle Ophèle flute, bass flute Didier Pateau oboe Philippe Grauvogel oboe Jérôme Comte clarinet Alain -
LUCIA RONCHETTI Action Music Pieces
LUCIA RONCHETTI action music pieces Michele Marco Rossi Christian Dierstein Ensemble intercontemporain Matthias Pintscher Orchestra della Toscana Luca Pfaff LUCIA RONCHETTI (*1963) 1 Le Palais du silence (2013) Drammaturgia after Claude Debussy for ensemble 11:54 2 Helicopters and butterflies (2012) solo for an operatic percussionist based on “The Gambler” by Fyodor Dostoevsky 16:05 3 Forward and downward, turning neither to the left nor to the right, for solo cello (2017) Action concert piece after Plutarch and Kàroly Kerényi for solo cellist, New version arranged by Michele Marco Rossi 18:51 4 Lacus timoris (2015) Drammaturgia for solo timpani 10:06 5 Rumori da monumenti (2015) A study of Johannesburg for recorded voice and chamber orchestra (new version), text by Ivan Vladislavic (based on fragments from “Portrait with Keys”) 18:06 TT 75:03 Ensemble intercontemporain Matthias Pintscher conductor Christian Dierstein percussionist Michele Marco Rossi cellist Orchestra della Toscana Luca Pfaff conductor 1 Commissioned by Festival d’Automne à Paris and Ensemble intercontemporain 4 Commissioned by Nationaltheater Mannheim 5 Commissioned by Orchestra della Toscana 2 Ensemble intercontemporain Orchestra della Toscana Sophie Cherrier fl u t e Fabio Fabbrizzi fl u t e Emmanuelle Ophèle bassfl ute Alessio Galiazzo oboe Jérôme Comte clarinet Marco Ortolani, Alfredo Vena clarinet Alain Billard bass clarinet Umberto Codecà bassoon Jens McManama horn Paolo Faggi horn Jean-Christophe Vervoitte horn Donato De Sena, Guido Guidarelli trumpet Clément Saunier -
Matthias Pintscher Named 2020 Music Director
For Immediate Release: January 3, 2018 Contact: Ojai Music Festival: Gina Gutierrez, [email protected] (805) 646-2181 National/International: Nikki Scandalios, [email protected] (704) 340-4094 MATTHIAS PINTSCHER NAMED 2020 MUSIC DIRECTOR MUSIC DIRECTORS THROUGH 75TH ANNIVERSARY FESTIVAL INCLUDE Patricia Kopatchinskaja: 72nd Festival, June 7 to 10, 2018 Barbara Hannigan: 73rd Festival, June 6 to 9, 2019 Matthias Pintscher: 74th Festival, June 11 to 14, 2020 Mitsuko Uchida: 75th Festival, June 10 to 13, 2021 (OJAI CA) — Ojai Music Festival Artistic Director Thomas W. Morris announced updated Festival Music Director appointments today. Composer/conductor Matthias Pintscher will take the helm as 2020 Music Director for the 74th Festival (June 11 - 14, 2020). Mr. Pintscher is one of the most prominent composers of our time and has an extraordinarily active conducting career. He serves currently as Music Director of the Ensemble Intercontemporain in Paris and as Principal Conductor of the Lucerne Festival Academy. He is 1 | P a g e active as a teacher both at the Lucerne Festival Academy and at the Juilliard School in New York. His teachers and mentors include two Ojai alumni, Peter Eötvös and Pierre Boulez. As Music Director of the Ojai Music Festival, Mr. Pintscher will follow violinist Patricia Kopatchinskaja (2018) and soprano/conductor Barbara Hannigan (2019), and precedes pianist Mitsuko Uchida (2021). “I have known Matthias since the 1990s both as a composer and conductor, and have always been impressed with his amazing creativity, unbounded energy and endless curiosity”, said Thomas W. Morris. “He is in high demand as a composer with recent works being commissioned by the Lucerne Festival, Chicago Symphony, London Symphony and Cleveland Orchestra, and his conducting career is exploding with regular guest engagements with the world’s greatest orchestras, including this week's debut with the Los Angeles Philharmonic. -
School of Music 2013–2014
BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Music 2013–2014 School of Music 2013–2014 BULLETIN OF YALE UNIVERSITY Series 109 Number 8 July 25, 2013 BULLETIN OF YALE UNIVERSITY Series 109 Number 8 July 25, 2013 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Avenue, New Haven CT 0651o. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, or PO Box 208227, New Haven CT 06520-8227 national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Managing Editor: Kimberly M. Goff-Crews University policy is committed to a∞rmative action under law in employment of Editor: Lesley K. Baier women, minority group members, individuals with disabilities, and covered veterans. PO Box 208230, New Haven CT 06520-8230 Inquiries concerning these policies may be referred to the Director of the O∞ce for Equal Opportunity Programs, 221 Whitney Avenue, 203.432.0849. -
School of Music 2014–2015
BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Music 2014–2015 School of Music 2014–2015 BULLETIN OF YALE UNIVERSITY Series 110 Number 8 July 30, 2014 BULLETIN OF YALE UNIVERSITY Series 110 Number 8 July 30, 2014 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Avenue, New Haven CT 0651o. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, PO Box 208227, New Haven CT 06520-8227 status as a protected veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Managing Editor: Kimberly M. Goff-Crews University policy is committed to a∞rmative action under law in employment of Editor: Lesley K. Baier women, minority group members, individuals with disabilities, and protected veterans. PO Box 208230, New Haven CT 06520-8230 Inquiries concerning these policies may be referred to Valarie Stanley, Director of the O∞ce for Equal Opportunity Programs, 221 Whitney Avenue, 3rd Floor, 203.432.0849. -
Juilliard Orchestra Commencement Concert Matthias Pintscher, Conductor Hang Zhong, Piano
Thursday Evening, May 23, 2019, at 6:00 The Juilliard School presents Juilliard Orchestra Commencement Concert Matthias Pintscher, Conductor Hang Zhong, Piano MAURICE RAVEL (1875–1937) La Valse RAVEL Piano Concerto in G major Allegramente Adagio assai Presto HANG ZHONG, Piano RAVEL Daphnis et Chloé, Suite No. 2 Lever de jour Pantomime Baptismus Danse générale Performance time: approximately one hour, with no intermission The Juilliard School thanks Musical America for donating its “International Directory of the Performing Arts” to our students. The taking of photographs and the use of recording equipment are not permitted in this auditorium. Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving). Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. new freedom of musical expression but his Notes on the Program own music remained grounded in tradition- by David Crean al (if heavily embellished) harmonic ideals. This radical openness also extended to his MAURICE RAVEL well-known reluctance to accept students, Born March 7, 1875, Ciboure, France as he disliked the idea of imposing his own Died December 28, 1937, Paris, France views on others. In a famous (but possi- bly specious) anecdote, he is supposed to From an early age, Maurice Ravel seemed have refused to teach George Gershwin on immune to criticism. This characteristic, ap- the grounds that Gershwin would end up parently genuine and not assumed, served writing “bad Ravel and lose his great gift of him very well in a time when intense trib- melody and spontaneity.” In the absence alism and competing musical ideologies of an easy stylistic label, critics have often left little room for his highly individual and focused on craftsmanship as the defining idiosyncratic approach to composing. -
Of the International Tours and Projects Lucerne
Lucerne Festival goes international 2005 | Start of the international tours and projects Lucerne Festival Orchestra | Rome Residence 6 and 7 October | Italy, Roma, Parco della Musica | Lucerne Festival Orchestra | Claudio Abbado Conductor | Martha Argerich Piano | works by Beethoven, Bruckner 8 October | Italy, Rome, Parco della Musica | Soloists of the Lucerne Festival Orchestra: Domenico Pierini Violin | Etienne Abelin Violin | Diemut Poppen Viola | Massimo Piva Viola | Thomas Ruge Cello | Enrico Bronzi Cello | Trio di Parma | works by Schubert, Beethoven, Schönberg 8 October | Italy, Rome, Sala Petrassi | Soloists of the Lucerne Festival Orchestra: Jacques Zoon Flute | Gerhard Schulz Violin | Iseut Chuat Cello | Lilia Schulz-Bayrova Cello | Noam Greenberg Piano | works by Carter, Mendelssohn, Debussy, Smetana 9 October | Italy, Rome, Parco della Musica | Soloists of the Lucerne Festival Orchestra: Bläserensemble Sabine Meyer | Reinhold Friedrich Trumpet | works by Schubert, Stravinsky, Haydn 9 October | Italy, Rome, Parco della Musica | Soloists of the Lucerne Festival Orchestra: Sabine Meyer Clarinet | Kolja Blacher Violin | Gerhard Schulz Violin | Wolfram Christ Viola | Natalia Gutman Cello | Elisso Wirssaladze Piano | works by Ravel, Brahms, Dvořák 11 October | Italy, Rome, Parco della Musica | Lucerne Festival Orchestra | Claudio Abbado Conductor | Maurizio Pollini Piano | works by Schumann, Mahler 12 October | Italy, Rome, Parco della Musica | Lucerne Festival Orchestra | Claudio Abbado Conductor | Martha Argerich Piano | Rachel -
© a N D Re a M E D
© Andrea Medici MATTHIAS PINTSCHER (*1971) 1 - 3 sonic eclipse (2009-2010) for solo trumpet, solo horn and ensemble 1. celestial object I for solo trumpet and ensemble (2009) 12:53 2. celestial object II for solo horn and ensemble (2009) 11:39 3. occultation for solo trumpet, solo horn and ensemble (2010) 9:52 4 a twilight’s song (1997) 9:14 für Sopran und sieben Instrumente nach einem Gedicht von E.E.Cummings 5 she-cholat ahavah ani (shir ha-shirim V) (2008) 17:25 for mixed chorus a cappella (32 voices) Text aus dem Hohelied Salomos, Fünfter Gesang [„so krank bin ich vor Liebe”] TT: 61:10 1-3 Gareth Flowers trumpet • David Byrd-Marrow horn 1-4 International Contemporary Ensemble (ICE) • Matthias Pintscher conductor 4 Marisol Montalvo soprano 5 SWR Vokalensemble Stuttgart • Marcus Creed conductor Recording venues and dates: 1 - 3 Miller Theater, New York, NY, October 21-22, 2010 4 Oktaven Audio, Yonkers, NY, November 9, 2010 5 Muziekgebouw aan’t IJ, Amsterdam, November 21, 2009 Recording producers: 1 - 3 Claire Chase, 4 Jacob Greenberg Sound editor: 5 Thomas Angelkorte Recording engineers: 5 Bob Heerschop, Thomas Angelkorte Recording engineer, mastering and mixing: 1 - 3 Ryan Streber - Oktaven Audio (www.oktavenaudio.com) Album mastering: Christoph Amann (Amann Studios Wien) Thanks are extended to Hester Diamond and Ralph Kaminsky for their support of this project. C & P 2011 KAIROS Production www.kairos-music.com 2 International Contemporary Ensemble (ICE) Gareth Flowers trumpet 1-3 David Byrd-Marrow horn 1-3 Eric Lamb flute 1-3, 4 James Austin Smith oboe 1-3 Joshua Rubin clarinet 1-3, 4 Benjamin Fingland clarinet 1-3 Rebekah Heller bassoon 1-3 Michael Lormand trombone 1-3 Bridget Kibbey harp 1-3, 4 Jacob Greenberg piano 1-3 Cory Smythe piano 4 Nathan Davis percussion 1-3, 4 Ian Antonio percussion 1-3 Erik Carlson violin 1-3 Jennifer Curtis violin 1-3 Wendy Richman viola 1-3, 4 Katinka Kleijn cello 1-3 Michael Nicolas cello 4 Thomas Van Dyck bass 1-3 Claire Chase executive director 3 4 1 (colla parte) 5 (multiphonic) 6 14 ord. -
LUCERNE FESTIVAL Im Sommer 14. August – 13
LUCERNE FESTIVAL im Sommer 14. August – 13. September 2015 Sinfoniekonzert 24 Samstag, 5. September 2015 | 11.00 Uhr | Konzertsaal LUCERNE FESTIVAL ACADEMY Orchestra | Matthias Pintscher 7 Programm und Konzerteinführung 23 English Program Notes 31 Interpreten | Artists 1 Organisation O Ehrenkomitee Intendanz Simonetta Sommaruga, Bundespräsidentin | Dr. Othmar Frei, Stiftspropst | Michael Haefliger*, Intendant, Gesamtleitung Reto Wyss, Regierungspräsident des Kantons Luzern | Alexandra Lankes, Assistenz des Intendanten Stefan Roth, Stadtpräsident von Luzern Valérie Grüter, Leitung Strategische Projekte Stiftungsrat LUCERNE FESTIVAL Künstlerisches Büro Dr. Hubert Achermann, Präsident* | Otto Wyss, Quästor* | Christiane Weber*, Leitung | Katharina Christen | Monika Widler Peter Eckert* | Markus Hongler* | Isabelle Welton* | Christian Casal | LUCERNE FESTIVAL ACADEMY: Dominik Deuber, Leitung | Lea Hinden Dr. Franz B. Humer | Alexandre F. Jetzer-Chung | Dr. Ursula Jones-Strebi | Moderne & Dramaturgie: Mark Sattler, Leitung Walter B. Kielholz | Prof. Dr. Alois Koch | Urs Rohner | Redaktion & Dramaturgie: Susanne Stähr, Leitung | Malte Lohmann Stefan Roth | Prof. Klaus Schwab | Martin Senn | Reto Wyss Young: Johannes Fuchs, Leitung | Marcella Tönz Ehrenpräsident Sponsorship Jürg R. Reinshagen Martina Lötscher, Leitung | Daniela Amrein | Cornelia Imfeld Freunde LUCERNE FESTIVAL Marketing & Kommunikation Stiftungsrat: Dr. Hubert Achermann, Präsident | Otto Wyss, Quästor | Helmut Bachmann*, Leitung Elisabeth Oltramare | Dr. Michel Stadlin | Corinna -
Das Magazin 09/10 2014
Lieblingsbeschäftigung Traumbesetzung Bereicherung Cecilia Bartoli bringt unbekannte Christian Thielemann und die Sächsische Matthias Pintscher zwischen musikalische Juwelen zum Funkeln Staatskapelle mit Bruckner Komposition und Dirigat NR. 4 AUG / SEP / OKT 2014 EDITORIAL Liebe Besucherinnen und Besucher, liebe Freundinnen und Freunde der Kölner Philharmonie, was wäre ein Klavierrecital ohne das richtige Inst- rument? Ein für den Konzertsaal der Kölner Philhar- monie geeignetes Prachtstück auszuwählen, ist eine besonders schöne und verantwortungsvolle Aufga- be. Die KölnMusik besitzt, ausgesucht von Igor Levit, dem Klavierstimmer Hans Giese und von mir, einen neuen D-Flügel von Steinway. Dem Rising Star Aaron Pilsan wird es eine Freude sein, ihn am 31. August in seinem Recital erstmals dem Publikum vorzustellen. Dem Klavier, Lieblingsinstrument vieler Konzertbesucher, erweist die KölnMusik im Programm der nächsten Monate mit Jungstars und Virtuosen ihre Reverenz. Stars der Szene wie Pierre-Laurent Aimard und Krystian Zimerman oder Neuentdeckungen wie Yuja Wang und Jan Lisiecki gestalten die mehr als zehn Konzerte. Ein Kernstück des Programms bildet das »Wohltemperierte Klavier« von Johann Sebastian Bach. Ein reizvoller Kontrast ist, dass sich auch Andreas Staier dieser für Kompo- nisten wie Pianisten gleichermaßen bedeutsamen Hinterlassenschaft des genialen Kontrapunktikers widmet, in diesem Fall am Hammerklavier. Manch einer kehrte in jungen Jahren dem erfolgreichen Pianistendasein den Rücken und griff zum Di- rigentenstab. Christoph Eschenbach ist einer von ihnen und auf dem Podium der Kölner Philharmonie bisher ausschließlich als Dirigent gefeiert worden. Erstmals ist er im Oktober am Klavier als Liedbe- gleiter des Baritons Matthias Goerne zu erleben. Anderthalb Monate vorher steht er am Pult des Gustav Mahler Jugendorchesters, Nachwuchsschmiede vieler bedeutender Orchester, und Tzimon Barto ist der Solist des im August in dieser Besetzung uraufgeführten Klavierkonzertes von Wolfgang Rihm.