New Honors for Alan Gilbert on Heels of Triumphant LSO Debut
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Doctor Atomic
John Adams Doctor Atomic CONDUCTOR Opera in two acts Alan Gilbert Libretto by Peter Sellars, PRODUCTION adapted from original sources Penny Woolcock Saturday, November 8, 2008, 1:00–4:25pm SET DESIGNER Julian Crouch COSTUME DESIGNER New Production Catherine Zuber LIGHTING DESIGNER Brian MacDevitt CHOREOGRAPHER The production of Doctor Atomic was made Andrew Dawson possible by a generous gift from Agnes Varis VIDEO DESIGN and Karl Leichtman. Leo Warner & Mark Grimmer for Fifty Nine Productions Ltd. SOUND DESIGNER Mark Grey GENERAL MANAGER The commission of Doctor Atomic and the original San Peter Gelb Francisco Opera production were made possible by a generous gift from Roberta Bialek. MUSIC DIRECTOR James Levine Doctor Atomic is a co-production with English National Opera. 2008–09 Season The 8th Metropolitan Opera performance of John Adams’s Doctor Atomic Conductor Alan Gilbert in o r d e r o f v o c a l a p p e a r a n c e Edward Teller Richard Paul Fink J. Robert Oppenheimer Gerald Finley Robert Wilson Thomas Glenn Kitty Oppenheimer Sasha Cooke General Leslie Groves Eric Owens Frank Hubbard Earle Patriarco Captain James Nolan Roger Honeywell Pasqualita Meredith Arwady Saturday, November 8, 2008, 1:00–4:25pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from the Neubauer Family Foundation. Additional support for this Live in HD transmission and subsequent broadcast on PBS is provided by the Alfred P. Sloan Foundation. Ken Howard/Metropolitan Opera Gerald Finley Chorus Master Donald Palumbo (foreground) as Musical Preparation Linda Hall, Howard Watkins, Caren Levine, J. -
Kurt Masur My Relationship to Beethoven
Kurt Masur My Relationship to Beethoven Schriftenreihe Bulletin of the German Historical Institute Washington, D.C., Band 39 (Fall 2006) Herausgegeben vom Deutschen Historischen Institut Washington, D.C. Copyright Das Digitalisat wird Ihnen von perspectivia.net, der Online-Publikationsplattform der Max Weber Stiftung – Deutsche Geisteswissenschaftliche Institute im Ausland, zur Verfügung gestellt. Bitte beachten Sie, dass das Digitalisat urheberrechtlich geschützt ist. Erlaubt ist aber das Lesen, das Ausdrucken des Textes, das Herunterladen, das Speichern der Daten auf einem eigenen Datenträger soweit die vorgenannten Handlungen ausschließlich zu privaten und nicht-kommerziellen Zwecken erfolgen. Eine darüber hinausgehende unerlaubte Verwendung, Reproduktion oder Weitergabe einzelner Inhalte oder Bilder können sowohl zivil- als auch strafrechtlich verfolgt werden. FEATURES MY RELATIONSHIP TO BEETHOVEN Seventh Gerd Bucerius Lecture, Washington DC, May 31, 2006 Kurt Masur Music Director, Orchestre National de France Principal Conductor, London Philharmonic The Bucerius Lecture Series, endowed in memory of the publisher Gerd Bucerius, honors individuals who have made important contributions to the development of civil society. This year’s lecture honored the conductor Kurt Masur, Gewand- hauskapellmeister of the renowned Gewandhaus Orchestra in Leipzig from 1970 to 1996, who played an important role in the peaceful revolution of 1989 in East Germany. Kurt Masur spoke about his long engagement with the composer Ludwig van Beethoven, offering many spontaneous asides and anecdotes, and even occasionally breaking into song. He then answered audience questionsat length. Since no printed text can capture this remarkable performance, we only print selected excerpts here. A video recording of the lecture will be available on DVD. If you would like a free copy of this DVD, please send an email to [email protected] by January 31, 2007. -
Pizzazz on the Podium
Montage Art, books, diverse creations 14 Open Book 15 Bishop Redux 16 Kosher Delights 17 And the War Came 18 Off the Shelf 19 Chapter and Verse 20 Volleys in F# Major places this orchestra square- ly at the center of cultural and intellectual discourse.” The Philharmonic sounds better than it has in decades, too, because Gilbert has im- proved morale, changed the seating plan, and worked on details of tone and balance— even the much-reviled acoustics of Avery Fisher Hall at Lincoln Center sound Alan Gilbert less jagged now. The conducting conductor is also pre- CHRIS LEE the New York Pizzazz on the Podium Philharmonic pared to be surprised: at Avery Fisher to him, his job is both Alan Gilbert’s music that should be heard Hall in Lincoln to lead and take in Center what the musicians by richard dyer are offering. The unexpected hit of his first season ike his celebrated predecessor as diverse as György Ligeti and Wynton was Ligeti’s avant-garde opera, Le Grand Leonard Bernstein ’39, D.Mus. Marsalis, named a composer-in-residence Macabre, in a staging by visual artist Doug ’67, Alan Gilbert ’89 seems to en- (Magnus Lindberg), and started speaking Fitch ’81, a friend who had tutored art in joy whipping up a whirlwind and informally to the audience, as Bernstein Adams House when Gilbert was in col- then taking it for an exhilarating sometimes did. His programs are full of lege. To publicize the opera, Gilbert ap- L ride. Though only in his second year on interconnections and his seasons add peared in three homespun videos that the the job, the second Harvard-educated mu- up; Gilbert has said that every piece tells Philharmonic posted on YouTube; Death, sic director of the New York Philharmonic a story, and every program should, too. -
ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS from the LEADERSHIP
ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS FROM THE LEADERSHIP The New York Philharmonic’s 2019–20 season certainly saw it all. We recall the remarkable performances ranging from Berlioz to Beethoven, with special pride in the launch of Project 19 — the single largest commissioning program ever created for women composers — honoring the ratification of the 19th Amendment. Together with Lincoln Center we unveiled specific plans for the renovation and re-opening of David Geffen Hall, which will have both great acoustics and also public spaces that can welcome the community. In March came the shock of a worldwide pandemic hurtling down the tracks at us, and on the 10th we played what was to be our final concert of the season. Like all New Yorkers, we tried to come to grips with the life-changing ramifications The Philharmonic responded quickly and in one week created NY Phil Plays On, a portal to hundreds of hours of past performances, to offer joy, pleasure, solace, and comfort in the only way we could. In August we launched NY Phil Bandwagon, bringing live music back to New York. Bandwagon presented 81 concerts from Chris Lee midtown to the far reaches of every one of the five boroughs. In the wake of the Erin Baiano horrific deaths of Black men and women, and the realization that we must all participate to change society, we began the hard work of self-evaluation to create a Philharmonic that is truly equitable, diverse, and inclusive. The severe financial challenge caused by cancelling fully a third of our 2019–20 concerts resulting in the loss of $10 million is obvious. -
2020-21 Season Brochure
2020 SEA- This year. This season. This orchestra. This music director. Our This performance. This artist. World This moment. This breath. This breath. 2021 SON This breath. Don’t blink. ThePhiladelphiaOrchestra MUSIC DIRECTOR YANNICK NÉZET-SÉGUIN our world Ours is a world divided. And yet, night after night, live music brings audiences together, gifting them with a shared experience. This season, Music Director Yannick Nézet-Séguin and The Philadelphia Orchestra invite you to experience the transformative power of fellowship through a bold exploration of sound. 2 2020–21 Season 3 “For me, music is more than an art form. It’s an artistic force connecting us to each other and to the world around us. I love that our concerts create a space for people to gather as a community—to explore and experience an incredible spectrum of music. Sometimes, we spend an evening in the concert hall together, and it’s simply some hours of joy and beauty. Other times there may be an additional purpose, music in dialogue with an issue or an idea, maybe historic or current, or even a thought that is still not fully formed in our minds and hearts. What’s wonderful is that music gives voice to ideas and feelings that words alone do not; it touches all aspects of our being. Music inspires us to reflect deeply, and music brings us great joy, and so much more. In the end, music connects us more deeply to Our World NOW.” —Yannick Nézet-Séguin 4 2020–21 Season 5 philorch.org / 215.893.1955 6A Thursday Yannick Leads Return to Brahms and Ravel Favorites the Academy Garrick Ohlsson Thursday, October 1 / 7:30 PM Thursday, January 21 / 7:30 PM Thursday, March 25 / 7:30 PM Academy of Music, Philadelphia Yannick Nézet-Séguin Conductor Michael Tilson Thomas Conductor Lisa Batiashvili Violin Yannick Nézet-Séguin Conductor Garrick Ohlsson Piano Hai-Ye Ni Cello Westminster Symphonic Choir Ravel Le Tombeau de Couperin Joe Miller Director Szymanowski Violin Concerto No. -
Navigating, Coping & Cashing In
The RECORDING Navigating, Coping & Cashing In Maze November 2013 Introduction Trying to get a handle on where the recording business is headed is a little like trying to nail Jell-O to the wall. No matter what side of the business you may be on— producing, selling, distributing, even buying recordings— there is no longer a “standard operating procedure.” Hence the title of this Special Report, designed as a guide to the abundance of recording and distribution options that seem to be cropping up almost daily thanks to technology’s relentless march forward. And as each new delivery CONTENTS option takes hold—CD, download, streaming, app, flash drive, you name it—it exponentionally accelerates the next. 2 Introduction At the other end of the spectrum sits the artist, overwhelmed with choices: 4 The Distribution Maze: anybody can (and does) make a recording these days, but if an artist is not signed Bring a Compass: Part I with a record label, or doesn’t have the resources to make a vanity recording, is there still a way? As Phil Sommerich points out in his excellent overview of “The 8 The Distribution Maze: Distribution Maze,” Part I and Part II, yes, there is a way, or rather, ways. But which Bring a Compass: Part II one is the right one? Sommerich lets us in on a few of the major players, explains 11 Five Minutes, Five Questions how they each work, and the advantages and disadvantages of each. with Three Top Label Execs In “The Musical America Recording Surveys,” we confirmed that our readers are both consumers and makers of recordings. -
Día De Los Muertos Program
New Orchestra NOW of Washington Alejandro Hernandez-Valdez, Artistic Director DÍA DE LOS MUERTOS Featuring Brahms’s Requiem Saturday, October 31, 2020 | 7:30PM Online Presentation e welcome you to this very special e are thrilled to be collaborating W program of Día de los Muertos. W with the New Orchestra of Normally, we would be presenting this Washington for this unique performance program live at the beautiful Mexican of the Brahms Requiem on the Day of Cultural Institute in Washington, D.C., the Dead. but this year instead, we have put You will note that the movements differ together a moving program that reflects in their presentation style. This is by our current reality. design, meant to reflect the fractured Día de los muertos has a very special sense of time and reality that we have meaning to me, personally. I have fond all experienced since the pandemic memories of it from my childhood and struck. In movements two, five, and six, I am thrilled and honored to be able to we remember the ease with which we share a piece of Mexico, my country of performed side by side in close quarters origin, with you. We are eternally grateful not so long ago. Movements one and to the wonderful Choral Arts Society of four reflect our life squeezed into a new Washington for all they have done to online reality, and movements three make this performance possible. and seven show us performing socially We are dedicating this program to the distanced, and the way in which that millions that have perished worldwide makes us feel isolated from one another. -
JANUARY 5, 7 & 10, 2012 Thursday, January 5, 2012, 7
01-05 Gilbert:Layout 1 12/28/11 11:09 AM Page 19 JANUARY 5, 7 & 10, 2012 Thursday , January 5 , 2012, 7:3 0 p.m. 15,2 93rd Concert Open rehearsal at 9:45 a.m. Saturday , January 7 , 2012, 8:00 p.m. 15,295 th Concert Tuesday, January 10 , 2012, 7:3 0 p.m. 15,296 th Concert Alan Gilbert , Conductor Global Sponsor Alan Gilbert, Music Director, holds The Yoko Nagae Ceschina Chair . This concert will last approximately two hours, which includes Major support provided by the Francis one intermission . Goelet Fund . Avery Fisher Hall at Lincoln Center Home of the New York Philharmonic Exclusive Timepiece of the New York Philharmonic January 2012 19 01-05 Gilbert:Layout 1 12/28/11 11:09 AM Page 20 New York Philharmonic Alan Gilbert, Conductor Thomas ADÈS Polaris: Voyage for Orchestra (2010–11; New York (b. 1971) Premiere, Co-Commissioned by the New York Philharmonic and Miami’s New World Symphony, Amsterdam’s Royal Concertgebouw Orchestra, Lisbon’s Calouste Gulbenkian Foundation, London’s Barbican Centre, the Los Angeles Philharmonic, and the San Francisco Symphony) Intermission MAHLER Symphony No. 9 (1908–10) (1860–1911) Andante comodo In the tempo of a comfortable ländler, somewhat clumsy and very coarse Allegro assai, very insolent Very slow and even holding back Classical 105.9 FM WQXR is the Radio The New York Philharmonic’s concert -recording Station of the New York Philharmonic. series, Alan Gilbert and the New York Phil - harmonic: 2011–12 Season, is now available for download at all major online music stores. -
BRETT MITCHELL Biography
BRETT MITCHELL Biography Hailed for presenting engaging, in-depth explorations of thoughtfully curated programs, Brett Mitchell began his tenure as Music Director of the Colorado Symphony in July 2017. Prior to this appointment, he served as the orchestra's Music Director Designate during the 2016-17 season. He leads the orchestra in ten classical subscription weeks per season as well as a wide variety special programs featuring such guest artists as Renée Fleming, Yo-Yo Ma, and Itzhak Perlman. Mr. Mitchell is also in consistent demand as a guest conductor. Highlights of his 2018-19 season include subscription debuts with the Minnesota Orchestra and Vancouver Symphony Orchestra, and return appearances with the orchestras of Cleveland, Dallas, and Indianapolis. Other upcoming and recent guest engagements include the Detroit, Houston, Milwaukee, National, Oregon, and San Antonio symphonies, the Grant Park Festival Orchestra, the Rochester Philharmonic, the Saint Paul Chamber Orchestra, and the New Zealand Symphony Orchestra. From 2013 to 2017, Mr. Mitchell served on the conducting staff of The Cleveland Orchestra. He joined the orchestra as Assistant Conductor in 2013, and was promoted to Associate Conductor in 2015, becoming the first person to hold that title in over three decades and only the fifth in the orchestra's hundred-year history. In these roles, he led the orchestra in several dozen concerts each season at Severance Hall, Blossom Music Center, and on tour. From 2007 to 2011, Mr. Mitchell led over one hundred performances as Assistant Conductor of the Houston Symphony. He also held Assistant Conductor posts with the Orchestre National de France, where he worked under Kurt Masur from 2006 to 2009, and the Castleton Festival, where he worked under Lorin Maazel in 2009 and 2010. -
7 October 2016 Page 1 of 11
Radio 3 Listings for 1 – 7 October 2016 Page 1 of 11 SATURDAY 01 OCTOBER 2016 5:37 AM SCHAEFFER: Cinq Études De Bruits Schumann, Robert (1810-1856) STOCKHAUSEN: Studies 1-2; Gesang Der Jünglinge SAT 01:00 Through the Night (b07wrpks) Märchenbilder (Op.113) XENAKIS: Diamorphoses; Concret PH Brahms Symphony Cycle: Symphony No 3 Pinchas Zukerman (viola), Marc Neikrug (piano) VARÈSE: Poème Électronique 5:53 AM HENRY: Voile D©Orphée Jonathan Swain presents a performance from Lugano in Faure, Gabriel [1845-1924] Musique Concrète recorded in the studios of West German Radio Switzerland of Brahms©s Third Symphony and his Double Reflets dans l©eau from Mirages (Op.113) in Cologne and French Radio in Paris Concerto with violinist Alexandra Soumm and cellist Jean- Ronan Collett (baritone), Nicholas Rimmer (piano) Él ACMEM159CD (CD) Guihen Queyras. 5:58 AM 1:01 AM Dohnányi, Ernõ (1877-1960) BRITTEN: War Requiem Op. 66 Brahms, Johannes (1833-1897) Variations on a Nursery Song (Op.25) Galina Vishnevskaya (soprano), Peter Pears (tenor), Dietrich Double Concerto in A minor, Op.102 Arthur Ozolins (piano), Toronto Symphony, Mario Bernardi Fischer-Dieskau (baritone), Simon Preston (organ), London Alexandra Soumm (violin), Jean-Guihen Queyras (cello), (conductor) Symphony Orchestra, Melos Ensemble, London Symphony Orchestra della Svizzera Italiana, Markus Poschner (conductor) 6:23 AM Orchestra Chorus, Highgate School Choir, The Bach Choir, 1:36 AM Bach, Johann Sebastian (1685-1750), orch. Webern, Anton Benjamin Britten (conductor) Brahms, Johannes (1833-1897) -
Composers in Residence Motivate Curtis's Student Performers And
Inspiration, BY DAVID LUDWIG In Person Composers in residence motivate Curtis’s student performers and creators in new and exciting directions. 22 OVERTONES SPRING 2017 Every now and then in a rehearsal for one of my pieces, a performer or It is hard to conductor will remark to me how nice it is to have the composer present — argue against the something along the lines of, “if only we could ask Beethoven these same questions, too!” For many musicians, the opportunity to tap directly into the creative source of a work tremendous value they are playing is an unusual and special experience. This was less true for performers in Beethoven’s time, when musicians played music by living composers as a matter of of working with a course to a much larger extent than their counterparts today. living composer , Granted, centuries ago there was far less repertoire by composers of the past to begin with (much less even a concept of a “canon”). Regardless of the reason, it is hard to argue a process that allows that there hasn’t been a major shift over time in our larger performance culture in terms of playing contemporary music. But it is also hard to argue against the tremendous value the performer to of working with a living composer, a process that allows the performer to play a unique play a unique and and active role in a piece’s evolution. Whether it’s historical fact or simply widespread anecdote, I’ve heard from many active role in a composers of prior generations—and many have written about this—that when they were students, they felt constrained in their work by Modernist orthodoxy. -
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Dresdner Philharmonie The Dresden Philharmonic can look back on 150 years of history as the orchestra of Saxony’s capital Dresden. When the so-called “Gewerbehaussaal” opened on 29 November 1870, the citizens of the city were given the opportunity to organise major orchestra concerts. Philharmonic concerts were held regularly starting in 1885; the orchestra adopted its present name in 1923. In its first decades, composers such as Brahms, Tchaikovsky, Dvořák and Strauss conducted the Dresdner Philharmonie with their own works. The first desks were presided over by outstanding concertmasters such as Stefan Frenkel, Simon Goldberg and the cellists Stefan Auber and Enrico Mainardi. From 1934, Carl Schuricht and Paul van Kempen led the orchestra; van Kempen in particular guided the Dresden Philharmonic to top achievements. All of Bruckner’s symphonies were first performed in their original versions, which earned the orchestra the reputation of a “Bruckner orchestra” and brought renowned guest conductors such as Hermann Abendroth, Eduard van Beinum, Fritz Busch, Eugen Jochum, Joseph Keilbert, Erich Kleiber, Hans Knappertsbusch and Franz Konwitschny to the rostrum. After 1945 and into the 1990s, Heinz Bongartz, Horst Förster, Kurt Masur (from 1994 also honorary conductor), Günther Herbig, Herbert Kegel, Jörg-Peter Weigle and Michel Plasson were the principal conductors. In recent years, conductors such as Marek Janowski, Rafael Frühbeck de Burgos and Michael Sanderling have shaped the orchestra. As of season 2019/2020, Marek Janowski has returned to the Dresden Philharmonic as principal conductor and artistic director. Its home is the highly modern concert hall inaugurated in April 2017 in the Kulturpalast building in the heart of the historic old town.