Tulane • 91.5 FM • New Orleans AUGUST-SEPTEMBER 1991
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'Fnenlsg~CHAMBER. MUSIC
Long Theatre, U.O.P. Campus - Stockton, California - Sunday, February 12, 1984 - 3 p.m. 'Fnenlsg ~ CHAMBER. MUSIC in cooperation with San Joaquin Delta College and University of the Pacific present I SolisUDI Zagreb Violin: Tonko Ninic, Concertmaster and Artistic Director Vladimir First Augustine DetiE" Ivan Kuzmi~ Vl adimir Sverak Ivan Martinec Joze Haluza Viola: Ivan Mimohodek Marin DujmiE Cello: Ernest Zornjak Zlatko Rucner Double Bass: Mario Ivelja Harpsichord: Vi!nja Maruran PROGRAM Sarabande, Gigue and Badinerie Arcangelo Corelli (1653-1713) Concerto grosso in B minor, Op.6,No.12 G. F. Handel Laroe (l685-1759) Allegro Aria (Larghetto e piano) Variatio Largo Allegro Suite for String Orchestra Leot Janacek Moderato (l854-1928) Adagio Andante con moto Presto Adagio Andante Scherzo Fran Lhotka Intermission Introduction and Allegro rustico Boris Papandopulo for Double Bass and Strings Mario Ivelja, Soloist Simple Symphony, Op.4 Benjamin Britten Boisterous bourree (1913-1976) Playful Pizzicato Sentimental sarabande Frolicsome finale Scherzo for Strings, Op. 11 Dimitri Shostakovich (1906-1975) Columbia Artists Management, Inc., 165 West 47th Street, New York, N.Y. 10019 I SOLISTI 01 ZAGREB Beginning in 1953 a number of prominent musicians in Zagreb, Yugoslavia, led by Antonio Janigro agreed to establish a small group of virtuosi string players. Beginning with their premiere concert in January 1954, I Solisti di Zagreb dedicated themselves to thirty brilliant career years of continuous work in concertizing, recordings, and live broadcasts through out the world. During these 30 years they have crisscrossed the earth with a global itinerary spanning six continents in over two thousand concerts, playing in the world's greatest music halls, including Royal Albert Hall, Royal Festival Hall (London), Carnegie Hall (New York); Kennedy Center (Washington, D. -
Gidon Kremer Oleg Maisenberg
EDITION SCHWETZINGER FESTSPIELE Bereits erschienen | already available: SCHUMANN SCHUBERT BEETHOVEN PROKOFIEV Fritz Wunderlich Hubert Giesen BEETHOVEN � BRAHMS SCHUbeRT LIEDERABEND Claudio Arrau ���� KLAVIERAB END � PIANO R E C ITAL WebeRN FRITZ WUNDERLICH·HUbeRT GIESEN CLAUDIO ARRAU BeeTHOVEN Liederabend 1965 Piano Recital SCHUMANN · SCHUBERT · BeeTHOVEN BeeTHOVEn·BRAHMS 1 CD No.: 93.701 1 CD No.: 93.703 KREISLER Eine große Auswahl von über 800 Klassik-CDs und DVDs finden Sie bei hänsslerCLassIC unter www.haenssler-classic.de, auch mit Hörbeispielen, Download-Möglichkeiten und Gidon Kremer Künstlerinformationen. Gerne können Sie auch unseren Gesamtkatalog anfordern unter der Bestellnummer 955.410. E-Mail-Kontakt: [email protected] Oleg Maisenberg Enjoy a huge selection of more than 800 classical CDs and DVDs from hänsslerCLASSIC at www.haenssler-classic.com, including listening samples, download and artist related information. You may as well order our printed catalogue, order no.: 955.410. E-mail contact: [email protected] DUO RecITAL Die Musikwelt zu Gast 02 bei den Schwetzinger Festspielen Partnerschaft, vorhersehbare Emigration, musikalische Heimaten 03 SERGEI PROKOFIev (1891 – 1953) Als 1952 die ersten Schwetzinger Festspiele statt- Gidon Kremer und Oleg Maisenberg bei den des Brüsseler Concours Reine Elisabeth. Zwei Sonate für Violine und Klavier fanden, konnten sich selbst die Optimisten unter Schwetzinger Festspielen 1977 Jahre später gewann er in Genua den Paganini- Nr. 1 f-Moll op. 80 | Sonata for Violine den Gründern nicht vorstellen, dass damit die Wettbewerb. Dazu ist – was Kremers Repertoire- eutsch eutsch D and Piano No. 1 in 1 F Minor, Op.80 [28:18] Erfolgsgeschichte eines der bedeutendsten deut- Als der aus dem lettischen Riga stammende, Überlegungen, seine Repertoire-Überraschungen D schen Festivals der Nachkriegszeit begann. -
Digibooklet Antonio Janigro
ANTONIO JANIGRO & ZAGREG SOLOISTS Berlin, 1957-1966 ARCANGELO CORELLI (1653-1713) Concerto grosso in D major, Op. 6/4 I. Adagio – Allegro 2:32 II. Adagio 2:03 SOLOISTS III. Vivace 1:09 IV. Allegro – 1:58 V. Allegro 0:41 Gunhild Stappenbeck, Cembalo Continuo recording: 14-01-1957 GIOACHINO ROSSINI (1792-1868) Sonata for Strings No. 6 in D major I. Allegro spiritoso 6:32 II. Andante assai 2:39 ZAGREG III. Tempesta. Allegro 5:12 recording: 19-04-1964 & PAUL HINDEMITH (1895-1963) Trauermusik (Funeral Music) for Solo Viola and Strings I. Langsam 4:28 II. Ruhig bewegt 1:25 III. Lebhaft 1:32 IV. Choral „Für deinen Thron“ 2:24 Stefano Passaggio, solo viola recording: 12-03-1958 JANIGRO DMITRI SHOSTAKOVICH (1906-1975) Octet for Strings, Op. 11 II. Scherzo recording: 17-04-1964 SAMUEL BARBER (1910-1981) Adagio for Strings recording: 19-04-1964 ANTONIO ANTONIO MILKO KELEMEN (*1924) Concertante Improvisations for Strings I. Allegretto 2:20 II. Andante sostenuto – Allegro giusto 2:05 SOLOISTS III. Allegro scherzando 1:15 IV. Molto vivace quasi presto 2:05 recording: 12-03-1958 MAX REGER (1873-1916) Lyric Andante for String Orchestra5:18 recording: 16-03-1966 WOLFGANG AMADEUS MOZART (1756-1791) Divertimento in B-flat major, K. 137 ZAGREG I. Andante 4:10 II. Allegro di molto 2:44 & III. Allegro assai 2:17 recording: 19-03-1961 ROMAN HOFFSTETTER (1742-1815), former attrib. to JOSEPH HAYDN (1732-1809) Serenade in C major (from Op. 3/5) recording: 11-11-1958 ANTONIO VIVALDI (1678-1741) Concerto in D major, RV 230 (Cello Version) JANIGRO I. -
Debussy's Pelléas Et Mélisande
Debussy’s Pelléas et Mélisande - A discographical survey by Ralph Moore Pelléas et Mélisande is a strange, haunting work, typical of the Symbolist movement in that it hints at truths, desires and aspirations just out of reach, yet allied to a longing for transcendence is a tragic, self-destructive element whereby everybody suffers and comes to grief or, as in the case of the lovers, even dies - yet frequent references to fate and Arkel’s ascribing that doleful outcome to ineluctable destiny, rather than human weakness or failing, suggest that they are drawn, powerless, to destruction like moths to the flame. The central enigma of Mélisande’s origin and identity is never revealed; that riddle is reflected in the wispy, amorphous property of the music itself, just as the text, adapted from Maeterlinck’s play, is vague and allusive, rarely open or direct in its expression of the characters’ velleities. The opera was highly innovative and controversial, a gateway to a new style of modern music which discarded and re-invented operatic conventions in a manner which is still arresting and, for some, still unapproachable. It is a work full of light and shade, sunlit clearings in gloomy forest, foetid dungeons and sea-breezes skimming the battlements, sparkling fountains, sunsets and brooding storms - all vividly depicted in the score. Any francophone Francophile will delight in the nuances of the parlando text. There is no ensemble or choral element beyond the brief sailors’ “Hoé! Hisse hoé!” offstage and only once do voices briefly intertwine, at the climax of the lovers' final duet. -
Solzh 19-20 Short
IGNAT SOLZHENITSYN 2019-20 SHORT BIO {206 WORDS} IGNAT SOLZHENITSYN Recognized as one of today's most gifted artists, and enjoying an active career as both conductor and pianist, Ignat Solzhenitsyn's lyrical and poignant interpretations have won him critical acclaim throughout the world. Principal Guest Conductor of the Moscow Symphony Orchestra and Conductor Laureate of the Chamber Orchestra of Philadelphia, Ignat Solzhenitsyn has recently led the symphonies of Baltimore, Cincinnati, Dallas, Indianapolis, Milwaukee, Seattle, and Toronto, the Nordwestdeutsche Philharmonie, the Czech National Symphony, as well as the Mariinsky Orchestra and the St. Petersburg Philharmonic. He has partnered with such world-renowned soloists as Richard Goode, Gary Graffman, Gidon Kremer, Anne-Sophie Mutter, Garrick Ohlsson, Mstislav Rostropovich, and Mitsuko Uchida. His extensive touring schedule in the United States and Europe has included concerto performances with numerous major orchestras, including those of Boston, Chicago, Philadelphia, Los Angeles, Seattle, Baltimore, Montreal, Toronto, London, Paris, Israel, and Sydney, and collaborations with such distinguished conductors as Herbert Blomstedt, James Conlon, Charles Dutoit, Valery Gergiev, André Previn, Gerard Schwarz, Wolfgang Sawallisch, Yuri Temirkanov and David Zinman. A winner of the Avery Fisher Career Grant, Ignat Solzhenitsyn serves on the faculty of the Curtis Institute of Music. He has been featured on many radio and television specials, including CBS Sunday Morning and ABC’s Nightline. CURRENT AS OF: 18 NOVEMBER 2019 PLEASE DESTROY ANY PREVIOUS BIOGRAPHICAL MATERIALS. PLEASE MAKE NO CHANGES, EDITS, OR CUTS OF ANY KIND WITHOUT SPECIFIC PERMISSION.. -
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas GEORGES BIZET EMI 63633 Carmen Maria Stuarda Paris Opera National Theatre Orchestra; René Bologna Community Theater Orchestra and Duclos Chorus; Jean Pesneaud Childrens Chorus Chorus Georges Prêtre, conductor Richard Bonynge, conductor Maria Callas as Carmen (soprano) Joan Sutherland as Maria Stuarda (soprano) Nicolai Gedda as Don José (tenor) Luciano Pavarotti as Roberto the Earl of Andréa Guiot as Micaëla (soprano) Leicester (tenor) Robert Massard as Escamillo (baritone) Roger Soyer as Giorgio Tolbot (bass) James Morris as Guglielmo Cecil (baritone) EMI 54368 Margreta Elkins as Anna Kennedy (mezzo- GAETANO DONIZETTI soprano) Huguette Tourangeau as Queen Elizabeth Anna Bolena (soprano) London Symphony Orchestra; John Alldis Choir Julius Rudel, conductor DECCA 425 410 Beverly Sills as Anne Boleyn (soprano) Roberto Devereux Paul Plishka as Henry VIII (bass) Royal Philharmonic Orchestra and Ambrosian Shirley Verrett as Jane Seymour (mezzo- Opera Chorus soprano) Charles Mackerras, conductor Robert Lloyd as Lord Rochefort (bass) Beverly Sills as Queen Elizabeth (soprano) Stuart Burrows as Lord Percy (tenor) Robert Ilosfalvy as roberto Devereux, the Earl of Patricia Kern as Smeaton (contralto) Essex (tenor) Robert Tear as Harvey (tenor) Peter Glossop as the Duke of Nottingham BRILLIANT 93924 (baritone) Beverly Wolff as Sara, the Duchess of Lucia di Lammermoor Nottingham (mezzo-soprano) RIAS Symphony Orchestra and Chorus of La Scala Theater Milan DEUTSCHE GRAMMOPHON 465 964 Herbert von -
Academic Ballet: a National and Transnational Perspective
Dr. Svebor Sečak Assistant Professor, AMEU ACADEMIC BALLET: A NATIONAL AND TRANSNATIONAL PERSPECTIVE ABSTRACT Drawing on historical perspectives, the paper follows the main diachronic line of world ballet history, and from a broad perspective focuses on Slovenia and the concept of national ensembles that were dominant in 20th-century Europe. A real challenge for national companies emerges at the turn of the century, when national companies increasingly become transnational. The repertoire becomes eclectic, and the new readings of canonical works are susceptible to the concept of intertextuality, hybridisation of genres and co-mixing of cultural influences. The academic, scientific approach has a significant role in following this vivid and vibrant process in ballet art. It studies dance art from numerous analytical perspectives that sur- pass the acquiring of technical dancing skills and the factual history of dance but rather involve semiotics, anthropological, philosophical, psychoanalytical, socio-political and feminist and gender perspectives, as well as kinesiology, anatomy and physiology in the context of safe practice. In the previous academic year, Slovenia acquired its dance academy which offers studying and teaching of ballet on an entirely new lev- el. It produces not only future professionals, but indirectly facilitates the education of a wider population relating to the significance of dance for the culture of the 21st century. It will potentially secure a double result: the preservation of the autochthonic culture and tradition and the opening up to new tendencies and philosophies as an integrative factor within Europe and worldwide. Key words: ballet, dance academy, dance education, transnationality INTRODUCTION This text recognises the dichotomy between the concept of the so-called national ballet styles, scho- ols and companies and their international character that traverses into a fully transnational mode. -
Pablo Ferrandez-Castro, Cello
Pablo Ferrández-Castro, Cello Awarded the coveted ICMA 2016 “Young Artist of the Year”, and prizewinner at the XV International Tchaikovsky Competition, Pablo Ferrández is praised by his authenticity and hailed by the critics as “one of the top cellists” (Rémy Louis, Diapason Magazine). He has appeared as a soloist with the Mariinsky Orchestra, Vienna Symphony Orchestra, St. Petersburg Philharmonic, Stuttgart Philharmonic, Kremerata Baltica, Helsinki Philharmonic, Tapiola Sinfonietta, Spanish National Orchestra, RTVE Orchestra, Maggio Musicale Fiorentino, and collaborated with such artists as Zubin Mehta, Valery Gergiev, Yuri Temirkanov, Adam Fischer, Heinrich Schiff, Dennis Russell Davies, John Storgårds, Gidon Kremer, Ivry Gitlis and Anne-Sophie Mutter. Highlights of the 2016/17 season include his debut with BBC Philharmonic under Juanjo Mena, his debut at the Berliner Philharmonie with the Deutsches Symphonie-Orchester Berlin, his collaboration with Christoph Eschenbach playing Schumann’s cello concerto with the HR- Sinfonieorchester and with the Spanish National Symphony, the return to Maggio Musicale Fiorentino under Zubin Mehta, recitals at the Mariinsky Theater and Schloss-Elmau, a European tour with Kremerata Baltica, appearances at the Verbier Festival, Jerusalem International Chamber Music Festival, Intonations Festival and Trans-Siberian Arts Festival, his debuts with Orchestra Sinfonica Nazionale RAI, Barcelona Symphony Orchestra, Munich Symphony, Estonian National Symphony, Taipei Symphony Orchestra, Queensland Symphony Orchestra, and the performance of Brahms' double concerto with Anne-Sophie Mutter and the London Philharmonic Orchestra. Mr. Ferrández plays the Stradivarius “Lord Aylesford” (1696) thanks to the Nippon Music Foundation. . -
Opce Strane.Vp
Color profile: Generic CMYK printer profile Composite Default screen Alcoholism 2013;49(1):45–53 Pathography Croatian composers’ diseases – biopathographies Darko Breitenfeld1, Stanislav Tuksar2, Danijel Buljan3, Lana [krgati}1, Marina Vuksanovi}1, Marija @ivkovi}1 1 Croatian Physicians’ Music Society – Croatian Medical Association, Zagreb, Croatia 2 Croatian Academy of Science and Art, Zagreb, Croatia 3 Department of Psychiatry, University Hospital Center »Sestre Milosrdnice«, Zagreb, Croatia Summary – Presentation of the diseases Elaborating the pathographic data, we among 25 significant croatian composers shall dedicate somewhat greater atten- reveals some infectious diseases (tubercu- tion to only a handful of our narrowly se- losis, etc.) among the composers who had died young and some chronic non-infec- lected, internationally recognized com- 1,8,9,12–16 tious diseases (mostly malignant, inflam- posers . matory and cardiocerebral origin) among We have some reliable data from the composers who died in old age. It is a part XVIIth century about Ivan Luka~i},who of the pathographic review of over 300 composers from the book »Diseases and lived in the city of [ibenik (1587–1648). destinies of famous composers«. More intensively studying his life, we learn more about the production of wine Key words: Croatia, composers, diseases and olive oil than about other data (he was the prior of a Franciscan monas- Croatians belong among »small« na- tery). Judging by the year of death, we tions, but, according to our experience can not trule out that he died because of with the lexicon structure of some world- plague, i.e. either of the epidemics of -known dictionaries of musicology, about pestilence or because of tumults, wars, a dozen Croatian composers have been famine, migration and other things.1 more widely reported of in such lexi- cons.1 Correnspodence to: Darko Breietenfeld, M.D., Ph.D., Deren~inova 25, 10000 Zagreb, Croatia. -
Milko Kelemen: Life and Selected Works for Violoncello
MILKO KELEMEN: LIFE AND SELECTED WORKS FOR VIOLONCELLO by JOSIP PETRAČ (Under the Direction of David Starkweather) ABSTRACT Milko Kelemen (b. 1924) is one of the most extraordinary Croatian composers of the post-World War II era. He has received numerous prestigious awards for his work, while his compositions are published by major companies, including Schott, Universal, Peters, and Hans Sikorski editions. His music is little studied or known internationally. This paper examines this innovative, avant-garde musician and sheds light both on Kelemen’s life and his compositional technique. The latter is examined in four compositions featuring cello as the main subject: Changeant (1968), Drammatico (1983), Requiem for Sarajevo (1994), and Musica Amorosa (2004). The examination of these compositions is placed in a biographical context which reveals how Kelemen’s keen political and cultural interests influenced his development as a composer. In particular, this document looks at Kelemen’s role as one of the founders, and the first president, of the Zagreb Music Biennale Festival, an event known for its ground-breaking work in bringing together artists and composers from the eastern and western blocs during the Cold War, as well as revitalising Croatia’s old-fashioned and provincial cultural scene. This festival of avant-garde music has been running since 1961. INDEX WORDS: Milko Kelemen, Zagreb Biennale, cello, avant-garde music, Changeant, Drammatico, Requiem for Sarajevo, Musica Amorosa MILKO KELEMEN:LIFE AND SELECTED WORKS FOR CELLO by JOSIP -
Composition Catalog
1 LEONARD BERNSTEIN AT 100 New York Content & Review Boosey & Hawkes, Inc. Marie Carter Table of Contents 229 West 28th St, 11th Floor Trudy Chan New York, NY 10001 Patrick Gullo 2 A Welcoming USA Steven Lankenau +1 (212) 358-5300 4 Introduction (English) [email protected] Introduction 8 Introduction (Español) www.boosey.com Carol J. Oja 11 Introduction (Deutsch) The Leonard Bernstein Office, Inc. Translations 14 A Leonard Bernstein Timeline 121 West 27th St, Suite 1104 Straker Translations New York, NY 10001 Jens Luckwaldt 16 Orchestras Conducted by Bernstein USA Dr. Kerstin Schüssler-Bach 18 Abbreviations +1 (212) 315-0640 Sebastián Zubieta [email protected] 21 Works www.leonardbernstein.com Art Direction & Design 22 Stage Kristin Spix Design 36 Ballet London Iris A. Brown Design Boosey & Hawkes Music Publishers Limited 36 Full Orchestra Aldwych House Printing & Packaging 38 Solo Instrument(s) & Orchestra 71-91 Aldwych UNIMAC Graphics London, WC2B 4HN 40 Voice(s) & Orchestra UK Cover Photograph 42 Ensemble & Chamber without Voice(s) +44 (20) 7054 7200 Alfred Eisenstaedt [email protected] 43 Ensemble & Chamber with Voice(s) www.boosey.com Special thanks to The Leonard Bernstein 45 Chorus & Orchestra Office, The Craig Urquhart Office, and the Berlin Library of Congress 46 Piano(s) Boosey & Hawkes • Bote & Bock GmbH 46 Band Lützowufer 26 The “g-clef in letter B” logo is a trademark of 47 Songs in a Theatrical Style 10787 Berlin Amberson Holdings LLC. Deutschland 47 Songs Written for Shows +49 (30) 2500 13-0 2015 & © Boosey & Hawkes, Inc. 48 Vocal [email protected] www.boosey.de 48 Choral 49 Instrumental 50 Chronological List of Compositions 52 CD Track Listing LEONARD BERNSTEIN AT 100 2 3 LEONARD BERNSTEIN AT 100 A Welcoming Leonard Bernstein’s essential approach to music was one of celebration; it was about making the most of all that was beautiful in sound. -
TRIO GASPARD Jonian Ilias Kadesha Violin Vashti Hunter Cello Nicholas Rimmer Piano
TRIO GASPARD Jonian Ilias Kadesha Violin Vashti Hunter Cello Nicholas Rimmer Piano "A truly refreshing performance! Richly coloured, honest, full of joy and with good agogics! This trio belongs to another league!" Ensemble Magazine Founded in 2010, Trio Gaspard are one of the most sought- after piano trios of their generation, praised for their unique and fresh approach to the score. Trio Gaspard are regularly invited to perform at major international concert halls, such as Wigmore Hall, Berlin Philharmonie, Essen Philharmonie, Grafenegg Castle Austria, Salle Molière Lyon, NDR Rolf- Liebermann Hall, Hamburg and Shanghai Symphony Hall as well as making appearances at festivals such as Heidelberger Frühling, Mantua Chamber Music Festival, Boswiler Sommer and PODIUM Festival Esslingen. Important engagements over the past year include recitals in Belfast, Trieste, Naples, Bern, Heidelberg, Grafenegg Festspiele as well as at Berlin’s ‘Pierre Boulez’ Saal. A highlight of 2018 was performing Beethoven triple concerto twice in Switzerland under the baton of eminent musician and conductor, Gabor Takács-Nagy. Trio Gaspard are winners of three major international competitions since their inception. They won first prizes and special prizes at the International Joseph Joachim Chamber Music Competition in Weimar, the 5th International Haydn Chamber Music Competition in Vienna and the 17th International Chamber Music Competition in Illzach, France. In 2012 they were awarded the “Wiener Klassik” Preis der Stadt Baden in Austria. As well as exploring and championing the traditional piano trio repertoire, Trio Gaspard works regularly with contemporary composers and is keen to discover seldom-played masterpieces. In 2017, they performed a commission from Irish composer Gareth Williams at the Belfast Music Society, broadcasted live by the BBC.