Israel Philharmonic Orchestra Program
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Mozart Magic Philharmoniker
THE T A R S Mass, in C minor, K 427 (Grosse Messe) Barbara Hendricks, Janet Perry, sopranos; Peter Schreier, tenor; Benjamin Luxon, bass; David Bell, organ; Wiener Singverein; Herbert von Karajan, conductor; Berliner Mozart magic Philharmoniker. Mass, in C major, K 317 (Kronungsmesse) (Coronation) Edith Mathis, soprano; Norma Procter, contralto...[et al.]; Rafael Kubelik, Bernhard Klee, conductors; Symphonie-Orchester des on CD Bayerischen Rundfunks. Vocal: Opera Così fan tutte. Complete Montserrat Caballé, Ileana Cotrubas, so- DALENA LE ROUX pranos; Janet Baker, mezzo-soprano; Nicolai Librarian, Central Reference Vocal: Vespers Vesparae solennes de confessore, K 339 Gedda, tenor; Wladimiro Ganzarolli, baritone; Kiri te Kanawa, soprano; Elizabeth Bainbridge, Richard van Allan, bass; Sir Colin Davis, con- or a composer whose life was as contralto; Ryland Davies, tenor; Gwynne ductor; Chorus and Orchestra of the Royal pathetically brief as Mozart’s, it is Howell, bass; Sir Colin Davis, conductor; Opera House, Covent Garden. astonishing what a colossal legacy F London Symphony Orchestra and Chorus. Idomeneo, K 366. Complete of musical art he has produced in a fever Anthony Rolfe Johnson, tenor; Anne of unremitting work. So much music was Sofie von Otter, contralto; Sylvia McNair, crowded into his young life that, dead at just Vocal: Masses/requiem Requiem mass, K 626 soprano...[et al.]; Monteverdi Choir; John less than thirty-six, he has bequeathed an Barbara Bonney, soprano; Anne Sofie von Eliot Gardiner, conductor; English Baroque eternal legacy, the full wealth of which the Otter, contralto; Hans Peter Blochwitz, tenor; soloists. world has yet to assess. Willard White, bass; Monteverdi Choir; John Le nozze di Figaro (The marriage of Figaro). -
Me Israel Aestra JULU 3-QUGUSU 8 1979 Me Israel Assam Founoed Bu A.Z
me Israel Aestra JULU 3-QUGUSU 8 1979 me Israel Assam FOunoeD bu a.z. ppopes JULU 3-aUGUSB 8 1979 Member of the European Association of Music Festivals Executive Committee: Asher Ben-Natan, Chairman Honorary Presidium: ZEVULUN HAMMER - Minister of Education and Culture Menahem Avidom GIDEON PATT - Minister of Industry, Trade and Tourism Gary Bertini TEDDY KOLLEK - Mayor of Jerusalem Jacob Bistritzky Gideon Paz SHLOMO LAHAT - Mayor of Tel Aviv-Yafo Leah Porath Ya'acov Mishori Jacob Steinberger J. Bistritzky Director, the Israel Festival. Director, The Arthur Rubinstein International Piano Master Competition. Thirty years of professional activity in Artistic Advisor — Prof. Gary Bertini the field of culture and arts, as Director of the Department of International The Public Committee and Council: Cultural Relations in the Ministry of Gershon Achituv Culture and Arts, Warsaw; Director of the Menahem Avidom Polish Cultural Institute, Budapest: Yitzhak Avni Director of the Frédéric Chopin Institute, Warsaw. Mr. Bistritzky's work has Mordechai Bar On encompassed all aspects of the Asher Ben-Natan Finance Committee: development of culture, the arts and mass Gary Bertini Menahem Avidom, Chairman media: promotion, organization and Jacob Bistritzky Yigal Shaham management of international festivals and Abe Cohen Micha Tal competitions. Organizer of Chopin Sacha Daphna competitions in Warsaw and International Meir de-Shalit Chopin year 1960 under auspices of Walter Eytan Festival Staff: U.N.E.S.C.O. Shmuel Federmann Assistant Director: Ilana Parnes Yehuda Fickler Director of Finance: Isaac Levinbuk Daniel Gelmond Secretariat: Rivka Bar-Nahor, Paula Gluck Dr. Reuven Hecht Public Relations: Irit Mitelpunkt Dr. Paul J. -
Josef Tal on the Cusp of Israeli Statehood, Or, the Simultaneity of Adjacency and Oppositionality
Josef Tal on the Cusp of Israeli Statehood, or, The Simultaneity of Adjacency and Oppositionality Assaf Shelleg Acta Musicologica, Volume 91, Number 2, 2019, pp. 146-167 (Article) Published by International Musicological Society For additional information about this article https://muse.jhu.edu/article/741611 Access provided at 28 Nov 2019 16:05 GMT from Tel Aviv University i i i i Josef Tal on the Cusp of Israeli Statehood, or, The Simultaneity of Adjacency and Oppositionality Assaf Shelleg Jerusalem To the amateur composer who comes to this country with an inheritance of Russian of Balkan folk tunes, the absorption of the Oriental Jewish and Arabian music is a gain. The traditionalism of his original country receives a new accent. To the professional composer whose material is the European art-music, the Jewish and Arab-Palestinian folklore opens up a fertile and rejuvenating world. A few will attach certain ourishes, some popular syl- lables to the iron structure of modern art-language; in other words they write a kind of “quotation-music” with wrong notes.1 [Sharett’s music] demonstrates neither melodic templates in their conven- tional form nor harmonies using parallel fourths and fths mixed with seconds—a falsied acoustic substitute; nor is there any articial immer- sion in the past in the form of shallow mimicry of biblical chants. We must not follow the easy path of success, but rather aspire to achieve in our spiritual creation what we had accomplished politically.2 The statements “‘quotation music’ with wrong notes,” “fal- sied acoustics,” and “shallow mimicry of biblical chants” could have equally come from either of the composers, Stefan Wolpe or Josef Tal. -
Benjamin Grosvenor, Piano
BENJAMIN GROSVENOR, PIANO a formidable technician and a thoughtful, coolly assured interpreter - Allan Kozinn, New York Times, ...a skill and talent not heard since Kissins teenage Russian debut - Bryce Morrison, Gramophone Magazine British pianist Benjamin Grosvenor is internationally recognized for his electrifying performances and penetrating interpretations. An exquisite technique and ingenious flair for tonal colour are the hallmarks which make Benjamin Grosvenor one of the most sought-after young pianists in the world. His virtuosic command over the most strenuous technical complexities never compromises the formidable depth and intelligence of his interpretations. Described by some as a Golden Age pianist (American Record Guide) and one almost from another age (The Times), Benjamin is renowned for his distinctive sound, described as poetic and gently ironic, brilliant yet clear-minded, intelligent but not without humour, all translated through a beautifully clear and singing touch (The Independent). Benjamin first came to prominence as the outstanding winner of the Keyboard Final of the 2004 BBC Young Musician Competition at the age of eleven. Since then, he has become an internationally regarded pianist performing with orchestras including the London Philharmonic, RAI Torino, New York Philharmonic, Philharmonia, Tokyo Symphony, and in venues such as the Royal Festival Hall, Barbican Centre, Singapores Victoria Hall, The Frick Collection and Carnegie Hall (at the age of thirteen). Benjamin has worked with numerous esteemed conductors including Vladimir Ashkenazy, Jií Blohlávek, Semyon Bychkov and Vladimir Jurowski. At just nineteen, Benjamin performed with the BBC Symphony Orchestra on the First Night of the 2011 BBC Proms to a sold-out Royal Albert Hall. -
What's on in Tel Aviv / January
WHAT'S ON IN TEL AVIV / JANUARY MUSIC EVENTS ECHOES PINK FLOYD MAD PROFESSOR SATYRICON 04 LIVE TRIBUTE SHOW 12 AND GAUDI 24 Barby Club Reading 3 Barby Club LED ZEPPELIN 2 – MAURICE EL MEDIONI MANOLIA 07 THE LIVE EXPERIENCE 12 AND NETA ELKAYAM 24 GREEK HITS 08 Bronfman Auditorium Einav Culture Center Suzanne Dellal Center SWING AND RAY GELATO CHRONOS PROJECT THE KOOKS 11 JAZZ CONCERT 15 BY DIMITRA GALANI 27 Barby Club 12 Tel Aviv Museum of Art Tel Aviv Museum of Art 28 MAIN CLASSICAL DANCE 1-4 THE RACE TO THE VIENNA BALL 5-6 THE YOUNG ENSEMBLE, BATSHEVA Strauss, Brahms, Smetana and Dvorak DANCE COMPANY - KAMUYOT Tel Aviv Performing Arts Center Suzanne Dellal Center 5-6 INBAL PINTO AND AVSHALOM POLLAK - OYSTER Suzanne Dellal Center THINGS TO DO FOR FREE ANTIQUE & SECOND HAND ITEMS FAIR Every Tuesday at 10 AM-6 PM and every Friday at 7 AM-4 PM 9 CHRIS ROCK STAND UP SHOW Givon Square Menora Mivtachim Arena TEL AVIV PORT TOUR 19-20 VERTIGO DANCE COMPANY AND Every Thursday at 11 AM REVOLUTION ORCHESTRA - WHITE NOISE Meeting point: Aroma Cafe, 1 Yordei HaSira Tel Aviv Performing Arts Center St. Hangar 9, Tel Aviv Port 4-17 A MIDSUMMER NIGHT'S DREAM DESIGNERS & FOOD MARKET Opera Every Thursday and Friday, Tel Aviv Performing Arts Center FOR KIDS Dizengoff Center 5 CHRISTMAS VIENNESE BALL 6 BUTTERFLIES IN THE STOMACH TETRIS GAME ON THE St. Nicolas Monastery, Old Jaffa Mediatek, Holon• CITY HALL BUILDING 6 UPSTAIRS DOWNSTAIRS 13 ALICE IN WONDERLAND Every Thursday evening - Rabin Square* DANGEROUS LIAISONS IN MOZART’S OPERAS Circus Y, Circus Tent, Ramat Gan Stadium• SARONA TOUR Tel Aviv Performing Arts Center 13,27 GULLIVER (PLAY) Every Friday at 11 AM 16 BACH – BERNSTEIN Gesher Theatre Meeting point: Sarona Visitor’s Center, 11 Avraham Albert Mendler St. -
Monday, June 30Th at 7:30 P.M. Blue Lake Fine Arts Camp Free Admission
JUNE 2008 Listener BLUE LAKE PUBLIC RADIO PROGRAM GUIDE Monday, June 30th at 7:30 p.m. TheBlue Grand Lake Rapids Fine ArtsSymphony’s Camp DavidFree LockingtonAdmission WBLV-FM 90.3 - MUSKEGON & THE LAKESHORE WBLU-FM 88.9 - GRAND RAPIDS A Service of Blue Lake Fine Arts Camp 231-894-5656 http://www.bluelake.org J U N E 2 0 0 8 H i g h l i g h t s “Listener” Volume XXVI, No.6 “Listener” is published monthly by Blue Lake Public Radio, Route Two, Twin Lake, MI 49457. (231)894-5656. Summer at Blue Lake WBLV, FM-90.3, and WBLU, FM-88.9, are owned and Summer is here and with it a terrific live from operated by Blue Lake Fine Arts Camp Blue Lake and broadcast from the Rosenberg- season of performances at Blue Lake Fine Clark Broadcast Center on Blue Lake’s Arts Camp. Highlighting this summer’s Muskegon County Campus. WBLV and WBLU are public, non-commercial concerts is a presentation of Beethoven’s stations. Symphony No. 9, the Choral Symphony, Blue Lake Fine Arts Camp with the Blue Lake Festival Orchestra, admits students of any race, color, Festival Choir, Domkantorei St. Martin from national or ethnic origin and does not discriminate in the administration of its Mainz, Germany, and soloists, conducted programs. by Professor Mathias Breitschaft. The U.S. BLUE LAKE FINE ARTS CAMP Army Field Band and Soldier’s Chorus BOARD OF TRUSTEES will present a free concert on June 30th, and Jefferson Baum, Grand Haven A series of five live jazz performances John Cooper, E. -
IIJ and the NHK Symphony Orchestra to Stream Hi-Res Audio Performances
For Immediate Release IIJ and the NHK Symphony Orchestra to Stream Hi-Res Audio Performances --This technological partnership is the first hi-res streaming of NHKSO concerts, confirming the feasibility of regular streaming services-- TOKYO—April 28, 2017—Internet Initiative Japan Inc. (IIJ, NASDAQ: IIJI, TSE1: 3774), one of Japan's leading Internet access and comprehensive network solutions providers, and the NHK Symphony Orchestra, Tokyo, (NHKSO) today announced that they are making hi-res recordings of the public performances of “The Meidensha 120th Anniversary | NHKSO Afternoon Classic Series” that are being held in April, May, and June 2017. They will then make these recordings available for on-demand streaming starting on May 19, 2017. This is the first time that performances of the NHKSO—a prominent orchestra in Japan—will be streamed in hi-res audio. IIJ will record three matinee performances at the Muza Kawasaki Symphony Hall in hi-res audio, using DSD 5.6 MHz (*1) and PCM 96 kHz / 24 bit (*2) formats. These recordings will be available for free and on demand as programs on IIJ's hi-res streaming service, PrimeSeat (*3). At the same time, IIJ will stream on-demand videos of the concerts for multiple devices, including PCs and smartphones. High-resolution audio formats—including the popular DSD and PCM systems—faithfully reproduce analog sound without compression, allowing listeners to enjoy the immersive, high-quality acoustic experience of a concert hall right in their homes. After evaluating this project's technological partnership for hi-res audio streaming, IIJ and the NHKSO will consider expanding the number of concerts they stream, to deliver even more NHKSO performances in high-quality audio to customers living room. -
Vladimir Ashkenazy Conductor/Piano
Vladimir Ashkenazy Conductor/Piano One of the few artists to combine a successful career as a pianist and conductor, Russian-born Vladimir Ashkenazy inherited his musical gift from both sides of his family; his father David Ashkenazy was a professional light music pianist and his mother Evstolia (née Plotnova) was daughter of a chorus master in the Russian Orthodox church. Ashkenazy first came to prominence on the world stage in the 1955 Chopin Competition in Warsaw and as first prize-winner of the Queen Elisabeth Competition in Brussels in 1956. Since then he has built an extraordinary career, not only as one of the most outstanding pianists of the 20th century, but as an artist whose creative life encompasses a vast range of activities and continues to offer inspiration to music-lovers across the world. Conducting has formed the larger part of Ashkenazy’s activities for more than 35 years. He continues his longstanding relationship with the Philharmonia Orchestra, who appointed him Conductor Laureate in 2000. In addition to his performances with the orchestra in London and around the UK each season, Vladimir Ashkenazy joins the Philharmonia Orchestra on countless tours worldwide. In the past, Ashkenazy and the Philharmonia have developed landmark projects such as Voices of Revolution: Russia 1917, Prokofiev and Shostakovich Under Stalin (a project which he also took to Cologne, New York, Vienna and Moscow) and Rachmaninoff Revisited (which was also presented in Paris). This summer, Vladimir Ashkenazy was named as the very first Conductor Laureate of Sydney Symphony Orchestra. This appointment has been made in recognition of his 50 year association with the Orchestra which began in 1969 and is an honour never before bestowed on any previous Sydney Symphony conductor. -
A Culture of Recording: Christopher Raeburn and the Decca Record Company
A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon. -
A Librettist's Reflections on Opera in Our Times
Israel Eliraz A LIBRETTIST'S REFLECTIONS ON OPERA IN OUR TIMES [1] Pierre Boulez may have mourned the death of the opera and suggested setting fire to opera houses (he has repented since and has even written in this rnusical form himsel~, but the Old Lady is still going strong. She is no Ionger as regal and as much admired as in the 18th century, nor is she as popular and vital as she was in mid-I9th century for bold young rivals have entered the arena: film, radio, musicals and television. But reviewing the new operas written in this century, from MOSES UND ARON by Schoenberg and WOZZECK by Berg, to works by Luigi Dallapiccola, lldebrando Pizzetti, Werner Egk, Marcel Delannoy and others, one is taken by surprise by the abundance, versatility and ingenuity in musical, theatrical and ideological terms, of modern opera. What the rnusical avant -garde considered a defunct creature, a 'dinosaur' of sorts (this strange animal is over 370 years old), became, to their dismay, a phoenix redux. At tirnes it metarnorphosed into political drarna (Weiii-Brecht); at others it returned to the oratory form (Stravinsky, Honegger, Debussy), and on still other occasions it turns upon itself with laudable irony, as in Mauricio Kagel's STAATSTHEATER. Anylhing can happen in an opera, all is allowed and, if one rnay venture to express some optirnisrn - which is not easy in our province - it still has some surprises in store for us. [2] Music Iovers have been accustorned to think that it is in the nature of opera to address the 'larger issues'- biblical, rnylhological, historical, national. -
Edition 31 Berliner Festspiele 2021
Ed. 31 '21 Die Editionsreihe der Berliner Festspiele erscheint bis zu sechsmal jährlich und präsentiert Originaltexte und Kunstpositionen. Bislang erschienen: Edition 1 Hanns Zischler, Großer Bahnhof (2012) Christiane Baumgartner, Nachtfahrt (2009) Edition 2 Mark Z. Danielewski, Only Revolutions Journals (2002 – 2004) Jorinde Voigt, Symphonic Area (2009) Edition 3 Marcel van Eeden, The Photographer (1945 – 1947), (2011 – 2012) Edition 4 Mark Greif, Thoreau Trailer Park (2012) Christian Riis Ruggaber, Contemplatio I–VII: The Act of Noting and Recording (2009 – 2010) Edition 5 David Foster Wallace, Kirche, nicht von Menschenhand erbaut (1999) Brigitte Waldach, Flashfiction (2012) Edition 6 Peter Kurzeck, Angehalten die Zeit (2013) Hans Könings, Spaziergang im Wald (2012) Edition 7 Botho Strauß, Kleists Traum vom Prinzen Homburg (1972) Yehudit Sasportas, SHICHECHA (2012) Edition 8 Phil Collins, my heart’s in my hand, and my hand is pierced, and my hand’s in the bag, and the bag is shut, and my heart is caught (2013) Edition 9 Strawalde, Nebengekritzle (2013) Edition 10 David Lynch, The Factory Photographs (1986–2000) Georg Klein, Der Wanderer (2014) Edition 11 Mark Lammert, Dimiter Gotscheff – Fünf Sitzungen / Five Sessions (2013) Edition 12 Tobias Rüther, Bowierise (2014) Esther Friedman, No Idiot (1976–1979) Edition 13 Michelangelo Antonioni, Zwei Telegramme (1983) Vuk D. Karadžić, Persona (2013) Edition 14 Patrick Ness, Every Age I Ever Was (2014) Clemens Krauss, Metabolizing History (2011 – 2014) Edition 15 Herta Müller, Pepita (2015) Edition 16 Tacita Dean, Event for a Stage (2015) Edition 17 Angélica Liddell, Via Lucis (2015) Edition 18 Karl Ove Knausgård, Die Rückseite des Gesichts (2014) Thomas Wågström, Nackar / Necks (2014) Edition 31 Berliner Festspiele 2021 Angela Rosenberg Pragmatiker auf heißem Boden Gerhart von Westerman, Kunstmanager und erster Intendant der Berliner Festwochen. -
Hugh Le Caine: Pioneer of Electronic Music in Canada Gayle Young
Document généré le 25 sept. 2021 13:04 HSTC Bulletin Journal of the History of Canadian Science, Technology and Medecine Revue d’histoire des sciences, des techniques et de la médecine au Canada Hugh Le Caine: Pioneer of Electronic Music in Canada Gayle Young Volume 8, numéro 1 (26), juin–june 1984 URI : https://id.erudit.org/iderudit/800181ar DOI : https://doi.org/10.7202/800181ar Aller au sommaire du numéro Éditeur(s) HSTC Publications ISSN 0228-0086 (imprimé) 1918-7742 (numérique) Découvrir la revue Citer cet article Young, G. (1984). Hugh Le Caine: Pioneer of Electronic Music in Canada. HSTC Bulletin, 8(1), 20–31. https://doi.org/10.7202/800181ar Tout droit réservé © Canadian Science and Technology Historical Association / Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des Association pour l'histoire de la science et de la technologie au Canada, 1984 services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ 20 HUGH LE CAINE: PIONEER OF ELECTRONIC MUSIC IN CANADA Gayle Young* (Received 15 November 1983; Revised/Accepted 25 June 1984) Throughout history, technology and music have been closely re• lated. Technological developments of many kinds have been used to improve musical instruments.