DOCSLIB.ORG

Pierre Boulez Saal Opening Concert Karim Said Michael Barenboim Yulia Deyneka Kian Soltani Jörg Widmann Anna Prohaska Boulez Ensemble Daniel Barenboim

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Pierre Boulez Saal Opening Concert Karim Said Michael Barenboim Yulia Deyneka Kian Soltani Jörg Widmann Anna Prohaska Boulez Ensemble Daniel Barenboim PIERRE BOULEZ SAAL OPENING CONCERT KARIM SAID MICHAEL BARENBOIM YULIA DEYNEKA KIAN SOLTANI JÖRG WIDMANN ANNA PROHASKA BOULEZ ENSEMBLE DANIEL BARENBOIM WORKS BY BOULEZ, SCHUBERT, MOZART, BERG & WIDMAN “The architecture is sensational, the sound is overwhelming!” Süddeutsche Zeitung “The Pierre Boulez Saal is what the world needs.” The L.A. Times PIERRE BOULEZ SAAL OPENING CONCERT PIERRE BOULEZ Initiale FRANZ SCHUBERT Der Hirt auf dem Felsen D 965 for Soprano, Clarinet and Piano WOLFGANG AMADEUS MOZART In the Opening Concert of the Pierre Boulez Saal, Daniel Barenboim, the Piano Quartet in E-flat major K. 493 Boulez Ensemble and renowned soloists are celebrating the idea of what this new concert hall of the Barenboim Said-Academy in Berlin stands for: ALBAN BERG to create a space where beloved classics, modern masterworks of the early Chamber Concerto for Piano and Violin 20th century, and music of our time can be heard side by side and inspire with 13 Wind Instruments audiences and performers alike. JÖRG WIDMANN The Boulez Ensemble, which has been founded especially for the new Fantasie for Clarinet solo concert hall, consists of musicians drawn from the ranks of the Staatskapelle Berlin and the West-Eastern Divan Orchestra and of professors from the PIERRE BOULEZ Barenboim-Said Akademie. For its concerts, it will regularly be joined by sur Incises guest artists (both singers and instrumentalists) in order to cover a wide array of musical styles and to combine flexibility with a fine sense of each Conductor Daniel Barenboim separate musical voice. Orchestra Boulez Ensemble Together with conductor Daniel Barenboim the Boulez Ensemble takes its audience on a musical journey from the 18th century to our days. Soprano Piano Daniel Barenboim Anna Prohaska and clarinettist Jörg Widmann present Schubert’s lyrical Karim Said scene Der Hirt auf dem Felsen, while the latter also partners with the Violin Michael Barenboim Ensemble’s strings in Mozart’s Piano Quartet. Karim Said and Michael Barenboim take on Berg’s Chamber Concerto, and Widmann performs his Viola Yulia Deyneka own Fantasy for Solo Clarinet. In honour of the recently deceased French Violoncello Kian Soltani composer and conductor Pierre Boulez, to which the concert hall has been Clarinet Jörg Widmann dedicated, the programme is opened by his fanfare-like Initiale and closed Soprano Anna Prohaska with sur Incises, for three pianos, three harps, and three percussionists. The Pierre Boulez Saal has been designed pro bono by star architect Frank Produced by Salve TV Gehry and acclaimed acoustician Yasuhisa Toyota according to Daniel Video Director Henning Kasten Barenboim’s very personal aim to create a place where musicians and audiences come together to create an environment of communication, Length: approx. 150' listening and understanding. The elliptical hall is a unique modular Shot in HDTV 1080/50i construction which offers the possibility to see the stage from all directions Cat. no. A 055 50612 0000 and which, by reconfiguring its tiers, can create a diversity of spatial correlations. During the Opening Concert, the musicians demonstrate A co-production of the various possibilities of positioning themselves – not only on the central UNITEL and RBB in cooperation with stage but also on the ranks above it – and provide a new sound experience ARTE and Boulez Saal with each work they perform. World Sales: All rights reserved · credits not contractual · Different territories · Photos: © Peter Adamik · Flyer: luebbeke.com Tel. +49.30.30306464 [email protected] Unitel GmbH & Co. KG, Germany · Tel. +49.89.673469-630 · [email protected] www.unitel.de.
Load more

Recommended publications
  • ARSC Journal, Spring 1992 69 Sound Recording Reviews
    SOUND RECORDING REVIEWS Chicago Symphony Orchestra: The First Hundred Years CS090/12 (12 CDs: monaural, stereo; ADD)1 Available only from the Chicago Symphony Orchestra, 220 S. Michigan Ave, Chicago, IL, for $175 plus $5 shipping and handling. The Centennial Collection-Chicago Symphony Orchestra RCA-Victor Gold Seal, GD 600206 (3 CDs; monaural, stereo, ADD and DDD). (total time 3:36:3l2). A "musical trivia" question: "Which American symphony orchestra was the first to record under its own name and conductor?" You will find the answer at the beginning of the 12-CD collection, The Chicago Symphony Orchestra: The First 100 Years, issued by the Chicago Symphony Orchestra (CSO). The date was May 1, 1916, and the conductor was Frederick Stock. 3 This is part of the orchestra's celebration of the hundredth anniversary of its founding by Theodore Thomas in 1891. Thomas is represented here, not as a conductor (he died in 1904) but as the arranger of Wagner's Triiume. But all of the other conductors and music directors are represented, as well as many guests. With one exception, the 3-CD set, The Centennial Collection: Chicago Symphony Orchestra, from RCA-Victor is drawn from the recordings that the Chicago Symphony made for that company. All were released previously, in various formats-mono and stereo, 78 rpm, 45 rpm, LPs, tapes, and CDs-as the technologies evolved. Although the present digital processing varies according to source, the sound is generally clear; the Reiner material is comparable to RCA-Victor's on-going reissues on CD of the legendary recordings produced by Richard Mohr.
    [Show full text]
  • Mark Seto New Director of Orchestra at Brown University
    Brown University Department of Music Box 1924, Providence, RI 02912 Press Contact Drew Moser / 401-863-3236 Academic Program & Outreach Coordinator May 10, 2018 / For Immediate Release Mark Seto Hired as the New Director of the Brown University Orchestra Providence, RI—The Department of Music is proud to announce conductor, musicologist, and violinist Mark Seto as Director of the Brown University Orchestra effective July 1, 2018. In addition to bringing his vast experience as an educator and orchestra director to the classroom and stage, Seto will assist in the development of Brown’s new Performing Arts Center. Seto comes directly from Connecticut College where he was Associate Professor of Music and director of the Connecticut College Orchestra. He also holds the position of Artistic Director and Conductor of The Chelsea Symphony in New York City. Seto earned a BA in Music from Yale University and an MA, MPhil, and PhD in Historical Musicology from Columbia University. About Mark Seto Mark Seto leads a wide-ranging musical life as a conductor, musicologist, teacher, and violinist. In addition to his new appointment at Brown University, he continues as Artistic Director and Conductor of The Chelsea Symphony in New York City. At Connecticut College, Seto directed the faculty ensemble and the Connecticut College Orchestra, and taught music history, theory, conducting, and orchestration. During Seto’s tenure at Connecticut, he helped double student enrollment in the orchestra. Furthermore, the ensemble assumed a greater role in the College’s cultural and intellectual life. Seto aimed to connect the learning he and his ensembles undertook in rehearsal to themes that resonate with them as engaged global and local citizens.
    [Show full text]
  • Sir John Eliot Gardiner Conductor Stravinsky Symphony in Three Movements = 160 Andante—Interlude:Q L’Istesso Tempo— Con Moto Elgar in the South (Alassio), Op
    Program OnE HundrEd TwEnTIETH SEASOn Chicago Symphony orchestra riccardo muti Music director Pierre Boulez Helen regenstein Conductor Emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, January 20, 2011, at 8:00 Saturday, January 22, 2011, at 8:00 Sir John Eliot gardiner Conductor Stravinsky Symphony in Three Movements = 160 Andante—Interlude:q L’istesso tempo— Con moto Elgar In the South (Alassio), Op. 50 IntErmISSIon Bartók Concerto for Orchestra Introduzione: Andante non troppo—Allegro vivace Giuoco delle coppie: Allegro scherzando Elegia: Andante non troppo Intermezzo interrotto: Allegretto Finale: Presto Steinway is the official piano of the Chicago Symphony Orchestra. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. CommEntS by PHILLIP HuSCHEr Igor Stravinsky Born June 18, 1882, Oranienbaum, Russia. Died April 6, 1971, New York City. Symphony in three movements o composer has given us more Stravinsky is again playing word Nperspectives on a “symphony” games. (And, perhaps, as has than Stravinsky. He wrote a sym- been suggested, he used the term phony at the very beginning of his partly to placate his publisher, who career (it’s his op. 1), but Stravinsky reminded him, after the score was quickly became famous as the finished, that he had been com- composer of three ballet scores missioned to write a symphony.) (Petrushka, The Firebird, and The Rite Then, at last, a true symphony: in of Spring), and he spent the next few 1938, Mrs. Robert Woods Bliss, years composing for the theater and together with Mrs.
    [Show full text]
  • Jean-Guihen Queyras Violoncello
    JEAN-GUIHEN QUEYRAS VIOLONCELLO Biography Curiosity, diversity and a firm focus on the music itself characterize the artistic work of Jean- Guihen Queyras. Whether on stage or on record, one experiences an artist dedicated completely and passionately to the music, whose humble and quite unpretentious treatment of the score reflects its clear, undistorted essence. The inner motivations of composer, performer and audience must all be in tune with one another in order to bring about an outstanding concert experience: Jean-Guihen Queyras learnt this interpretative approach from Pierre Boulez, with whom he established a long artistic partnership. This philosophy, alongside a flawless technique and a clear, engaging tone, also shapes Jean-Guihen Queyras’ approach to every performance and his absolute commitment to the music itself. His approaches to early music – as in his collaborations with the Freiburg Baroque Orchestra and the Akademie für Alte Musik Berlin – and to contemporary music are equally thorough. He has given world premieres of works by, among others, Ivan Fedele, Gilbert Amy, Bruno Mantovani, Michael Jarrell, Johannes-Maria Staud, Thomas Larcher and Tristan Murail. Conducted by the composer, he recorded Peter Eötvös’ Cello Concerto to mark his 70th birthday in November 2014. Jean-Guihen Queyras was a founding member of the Arcanto Quartet and forms a celebrated trio with Isabelle Faust and Alexander Melnikov; the latter is, alongside Alexandre Tharaud, a regular accompanist. He has also collaborated with zarb specialists Bijan and Keyvan Chemirani on a Mediterranean programme. The versatility in his music-making has led to many concert halls, festivals and orchestras inviting Jean-Guihen to be Artist in Residence, including the Concertgebouw Amsterdam and the Festival d’Aix-en-Provence, Vredenburg Utrecht, De Bijloke Ghent and the Orchestre Philharmonique de Strasbourg.
    [Show full text]
  • Stravinsky, Tempo, and Le Sacre Erica Heisler Buxbaum
    Performance Practice Review Volume 1 Article 6 Number 1 Spring/Fall Stravinsky, Tempo, and Le Sacre Erica Heisler Buxbaum Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Musicology Commons, Music Performance Commons, and the Music Practice Commons Buxbaum, Erica Heisler (1988) "Stravinsky, Tempo, and Le Sacre," Performance Practice Review: Vol. 1: No. 1, Article 6. DOI: 10.5642/ perfpr.198801.01.6 Available at: http://scholarship.claremont.edu/ppr/vol1/iss1/6 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Stravinsky, Tempo, and Le sacre Erica Heisler Buxbaum Performing the works of Igor Stravinsky precisely as he intended would appear to be an uncomplicated matter: Stravinsky notated his scores in great detail, conducted recorded performances of many of his works, and wrote commentaries that contain a great deal of specific performance information. Stravinsky's recordings and published statements, however, raise as many questions as they answer about the determination of tempo and the documentary value of recordings. Like Wagner, Stravinsky believed that the establishment of the proper tempo for a work was crucial and declared that "a piece of mine can survive almost anything but wrong or uncertain tempo." Stravinsky notated his tempi precisely with both Italian words and metronome markings and asserted on many occasions that the primary value of his recordings was that they demonstrated the proper tempi for his works.
    [Show full text]
  • Simon O'neill ONZM
    Simon O’Neill ONZM Tenor “Simon O'Neill made a tremendous debut in the title-role, giving notice that he is the best heroic tenor to emerge over the last decade.” Rupert Christiansen, The Telegraph, UK. A native of New Zealand, Simon O’Neill is one of the finest helden-tenors on the international stage. He has frequently performed with the Metropolitan Opera, the Royal Opera House, Covent Garden, Berlin, Hamburg and Bayerische Staatsopern, Teatro alla Scala and the Bayreuth, Salzburg, Edinburgh and BBC Proms Festivals, appearing with a number of illustrious conductors including Daniel Barenboim, Sir Simon Rattle, James Levine, Riccardo Muti, Valery Gergiev, Sir Antonio Pappano, Pietari Inkinen, Pierre Boulez, Sir Mark Elder, Sir Colin Davis, Simone Young, Edo de Waart, Fabio Luisi, Donald Runnicles, Sir Simon Rattle, Jaap Van Zweden and Christian Thielemann. Simon’s performances as Siegmund in Die Walküre at the Royal Opera House, Covent Garden with Pappano, Teatro alla Scala and Berlin Staatsoper with Barenboim, at the Metropolitan Opera with Runnicles in the celebrated Otto Schenk production returning with Luisi in the Lepage Ring Cycle and in the Götz Friedrich production at Deutsche Oper Berlin with Rattle were performed to wide critical acclaim. He was described in the international press as "an exemplary Siegmund, terrific of voice", "THE Wagnerian tenor of his generation" and "a turbo-charged tenor". During this season’s engagements Simon makes his debut at: Tanglewood with the Boston Symphony and Andris Nelsons and the Toronto Symphony with Sir Andrew Davis and Orquestra de la Comunitat Valenciana with Henrik Nánási as Siegmund in concert performances of Die Walküre.
    [Show full text]
  • The Universi ~
    The Universi ~ Presents THE CLEVELAND ORCHESTRA PIERRE BOULEZ, Conductor WEDNESDAY EVENING, DECEMBER 8, 1971 , AT 8:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM "J eux" (Games) DEBUSSY "The Miraculous Mandarin" (Complete Music of the Ballet-Pantomime) INTERMISSION Symphony No.3 in E-flat major, Op. 97 ("Rhenish") SCHUMANN Lebhaft Scherzo : seh r massig Nicht schnell Feierlich Lebhaft Columbia, Epic, and Angel R eco rds The Cleveland Orchestra has appeared here on twenty-three previous occasions since 1935 . Fourth Concert Ninety-third Annual Choral Union Series Complete Programs 3753 PROGRAM OTES "Jeux" (Games ) C LAUDE DEBUSSY Debussy composed felix in 1912, on an idea and scenario by the dancer Vaslav Nijinsky. It was produced on May 15, 1913, at the TIt/3d.tre des Champs Elysees, Paris, by the Ballets Russes of Sergei Diaghilev. The choreography was by Nijinsky, who also danced the role of the Young Man. f elix is Debussy's most "modern" composition, the most advanced in method and style , the most prophetic of such future d ~ vcJopm e nt s as the pointillism of Webern and the search for new sonorities by electronic means. The characteristic whole-tone scale of Debussy is here employed toward almost atonal ends. The gigantic orchestral apparatus is used with the utmost eco nomy as well as imagina­ tive subtlety. It is interesting to lea rn that the conductor of the present performances, Pierre Boulez, studied f eliX with special care when he was a student of Oliver Messiaen. For the sake of historical correctness, one must give the "argument" that was published at the time of the premiere, the synopsis of the action as conceived by Nijinsky and transformed into sound by Debussy.
    [Show full text]
  • A Listening Guide for the Indispensable Composers by Anthony Tommasini
    A Listening Guide for The Indispensable Composers by Anthony Tommasini 1 The Indispensable Composers: A Personal Guide Anthony Tommasini A listening guide INTRODUCTION: The Greatness Complex Bach, Mass in B Minor I: Kyrie I begin the book with my recollection of being about thirteen and putting on a recording of Bach’s Mass in B Minor for the first time. I remember being immediately struck by the austere intensity of the opening choral singing of the word “Kyrie.” But I also remember feeling surprised by a melodic/harmonic shift in the opening moments that didn’t do what I thought it would. I guess I was already a musician wanting to know more, to know why the music was the way it was. Here’s the grave, stirring performance of the Kyrie from the 1952 recording I listened to, with Herbert von Karajan conducting the Vienna Philharmonic. Though, as I grew to realize, it’s a very old-school approach to Bach. Herbert von Karajan, conductor; Vienna Philharmonic (12:17) Today I much prefer more vibrant and transparent accounts, like this great performance from Philippe Herreweghe’s 1996 recording with the chorus and orchestra of the Collegium Vocale, which is almost three minutes shorter. Philippe Herreweghe, conductor; Collegium Vocale Gent (9:29) Grieg, “Shepherd Boy” Arthur Rubinstein, piano Album: “Rubinstein Plays Grieg” (3:26) As a child I loved “Rubinstein Plays Grieg,” an album featuring the great pianist Arthur Rubinstein playing piano works by Grieg, including several selections from the composer’s volumes of short, imaginative “Lyrical Pieces.” My favorite was “The Shepherd Boy,” a wistful piece with an intense middle section.
    [Show full text]
  • Pierre Boulez Rituel
    PROGRAM NOTES by Phillip Huscher Pierre Boulez Born March 26, 1925, Montbrison, France. Currently resides in Paris, France. Rituel (In memoriam Bruno Maderna) Boulez composed this work in 1974 and 1975, and conducted the first performance on April 2, 1975, in London. The score calls for three flutes and two alto flutes, three oboes and english horn, three clarinets, E- flat clarinet and bass clarinet, alto saxophone, four bassoons, six horns, four trumpets, four trombones, six violins, two violas, two cellos, and a percussion battery consisting of tablas, japanese bells, woodblocks, japanese woodblock, maracas, tambourine, sizzle cymbal, turkish cymbal, chinese cymbal, cow bells, snare drums (with and without snares), guiros, bongo, claves, maracas-tubes, triangles, hand drums, castanets, temple blocks, tom-toms, log drum, conga, gongs, and tam-tams. Performance time is approximately twenty- five minutes. Bruno Maderna died on November 13, 1973. For many years he had been a close friend of Pierre Boulez (and a true friend of all those involved in new music activities) and a treasured colleague; like Boulez, he had made his mark both as a composer and as a conductor. “In fact, to get any real idea of what he was like as a person,” Boulez wrote at the time of his death, “the conductor and the composer must be taken together; for Maderna was a practical person, equally close to music whether he was performing or composing.” In 1974 Boulez began Rituel as a memorial piece in honor of Maderna. (In the catalog of his works, Rituel follows . explosante-fixe . ., composed in 1971 as a homage to Stravinsky.) The score was completed and performed in 1975.
    [Show full text]
  • 825646078684.Pdf
    JOHANNES BRAHMS 1833–1897 Concerto for violin and cello in A minor, Op.102* 1 I Allegro 16.10 2 II Andante 7.39 3 III Vivace non troppo 8.10 FELIX MENDELSSOHN 1809–1847 Violin Concerto in E minor, Op.64 4 I Allegro molto appassionato 12.28 5 II Andante 7.42 6 III Allegretto non troppo — Allegro molto vivace 6.38 58.47 ITZHAK PERLMAN violin YO-YO MA cello* Chicago Symphony Orchestra/Daniel Barenboim IGOR STRAVINSKY 1882–1971 Violin Concerto in D 7 I Toccata 5.40 8 II Aria I 4.04 9 III Aria II 5.00 10 IV Capriccio 5.52 SERGEI PROKOFIEV 1891–1953 Violin Concerto No.2 in G minor, Op.63 11 I Allegro moderato 10.06 12 II Andante assai 9.15 13 III Allegro, ben marcato 6.13 46.10 ITZHAK PERLMAN violin Chicago Symphony Orchestra/Daniel Barenboim 2 Original album cover 3 he erato & Teldec Recordings Mendelssohn · Prokofiev · Brahms · Stravinsky On these two albums — the Mendelssohn and Prokofiev concertos originally released on Erato, the two others on Teldec — Itzhak Perlman was revisiting repertoire he had first recorded earlier on in his career. He had recorded Prokofiev’s Second Violin Concerto for RCA (with the Boston Symphony Orchestra under Erich Leinsdorf) as early as 1966, and Mendelssohn’s Concerto (with the London Symphony Orchestra and André Previn; see volume 5) six years later. He had also gone on to commit a further interpretation of each work to disc: the Prokofiev with the BBC Symphony Orchestra and Gennady Rozhdestvensky in 1980 (see volume 29), the Mendelssohn with the Amsterdam Concertgebouw and Bernard Haitink in 1983 (volume 33).
    [Show full text]
  • Alessio Allegrini Horn
    Alessio Allegrini Horn Founder of the Musicians For Human Rights and music director of the Human Rights Orchestra, Alessio Allegrini has performed as solo or principal horn with virtually all of the world’s leading conductors, including Claudio Abbado, Carlo Maria Giulini, Daniel Barenboim, Wolfgang Sawallisch, Lorin Maazel, Myung-Whun Chung, Mariss Jansons, Jeffrey Tate, Valery Gergiev, Simon Rattle, Antonio Pappano, Riccardo Muti. Winner of prizes in both the Prague Spring International Competition and the Munich International Competition, he held the first chair in the Orchestra of La Scala for eight years, and subsequently served as guest principal horn of the Berlin Philharmonic for a year. For many years he was also principal horn of the Orchestra Mozart under Claudio Abbado, which culminated in the live recording of the complete Mozart’s Horn concertos, Sinfonia Concertante, and Bach’s second Brandenburg concerto for Deutsche Grammophon. As a soloist, he premiered Carter's Horn Concerto in Europe and performed Britten Concerto with Ian Bostridge at the Orchestra of the Academy of Santa Cecilia. Other concerto engagements include Orchestra da Camera di Mantova, Philhamonie Baden-Baden, Orchestra Teatro Petruzzelli Bari, Hamburger Symphoniker, La Scala Theater Orchestra, Filarmonica Teatro La Fenice, Orchestra of Teatro Lirico in Cagliari, etc. He made his debut as a conductor at the Teatro Lirico in Cagliari with a symphonic concert with Wagner and Brahms compositions, which was highly acclaimed. Last season he played and conducted the Orchestra Filarmonica Marchigiana and I Solisti Aquilani. In the season 2018, he will appear as a conductor with the Hamburger Symphoniker to replace Maestro Jeffrey Tate (Elger, Haydn and Beethoven), and will play and lead the Lausanne Chamber Orchestra (Haydn and Beethoven) and Tokyo City Philharmonic (All Mozart Concertos).
    [Show full text]
  • The Ultimate On-Demand Music Library
    2020 CATALOGUE Classical music Opera The ultimate Dance Jazz on-demand music library The ultimate on-demand music video library for classical music, jazz and dance As of 2020, Mezzo and medici.tv are part of Les Echos - Le Parisien media group and join their forces to bring the best of classical music, jazz and dance to a growing audience. Thanks to their complementary catalogues, Mezzo and medici.tv offer today an on-demand catalogue of 1000 titles, about 1500 hours of programmes, constantly renewed thanks to an ambitious content acquisition strategy, with more than 300 performances filmed each year, including live events. A catalogue with no equal, featuring carefully curated programmes, and a wide selection of musical styles and artists: • The hits everyone wants to watch but also hidden gems... • New prodigies, the stars of today, the legends of the past... • Recitals, opera, symphonic or sacred music... • Baroque to today’s classics, jazz, world music, classical or contemporary dance... • The greatest concert halls, opera houses, festivals in the world... Mezzo and medici.tv have them all, for you to discover and explore! A unique offering, a must for the most demanding music lovers, and a perfect introduction for the newcomers. Mezzo and medici.tv can deliver a large selection of programmes to set up the perfect video library for classical music, jazz and dance, with accurate metadata and appealing images - then refresh each month with new titles. 300 filmed performances each year 1000 titles available about 1500 hours already available in 190 countries 2 Table of contents Highlights P.
    [Show full text]