2017-18 Season Brochure with Links
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Concert Guide
Concert Guide Summer 2018 An Education with Music at its Heart THE PURCELL SCHOOL EVENTS FOR CHOGM 2018 The Purcell School based in Bushey, Hertfordshire, eminent international musicians who comprise This year the Commonwealth Heads of Government meeting will take place in London. The Purcell is Britain’s oldest specialist school for talented the instrumental teaching faculty. The School has School is marking this with a week of fantastic musical events in association with The Commonwealth young musicians. It is a co-educational boarding world-class facilities; state-of-the-art classrooms, Resounds!, Rotary London, The Royal Overseas League, and the Royal Society of St. George. Profits and day school for ages 10-18, and celebrated a professional recording studio, superb practice from both of the concerts below will be used to help support hurricane victims in Antigua and Barbuda, its 50th anniversary in 2012. The School holds rooms and a recital hall with exceptional acoustics. and Dominica to rebuild their homes and lives aer the devastation that was caused by Hurricane Irma the UNESCO Mozart Gold Medal in recognition Pupils are given outstanding opportunities for last year. The Commonwealth Resounds! is enormously grateful to The Royal Society of St. George and of its unique contribution to music, education performances. We hold lunchtime concerts Rotary London for supporting these concerts. and international culture. The School’s Patron, every weekday, and all pupils perform at these. HRH The Prince of Wales, accepted the award at Chamber music and orchestral concerts take THURSDAY 19 APRIL, 7:30pm FRIDAY 20 APRIL, 7:30pm a special ceremony at the UNESCO headquarters place regularly, and every year performances COMMONWEALTH YOUNG SOUND, IMAGE, MOVEMENT in Paris. -
Symphonieorchester Des Bayerischen Rundfunks 16 17
16 17 SYMPHONIEORCHESTER DES BAYERISCHEN RUNDFUNKS Donnerstag 23.3.2017 Freitag 24.3.2017 Sonderkonzert Herkulessaal 20.00 – ca. 21.50 Uhr 16 / 17 HERBERT BLOMSTEDT Leitung MARK PADMORE – Tenor (Evangelist) (»Artist in Residence«) PETER HARVEY – Bariton (Christus) Solisten der Arien ANNA PROHASKA Sopran ELISABETH KULMAN Mezzosopran ANDREW STAPLES Tenor KREŠIMIR STRAŽANAC Bassbariton CHOR DES BAYERISCHEN RUNDFUNKS Einstudierung: Michael Gläser Soliloquenten Priska Eser – Sopran (Magd) Q-Won Han – Tenor (Diener) Andreas Burkhart – Bass (Pilatus) Christof Hartkopf – Bass (Petrus) SYMPHONIEORCHESTER DES BAYERISCHEN RUNDFUNKS Vittorio Ghielmi -– Viola da gamba Basso continuo Hanno Simons – Violoncello Evangelina Mascardi – Laute Lukas Maria Kuen – Orgel PROGRAMM Johann Sebastian Bach »Passio secundum Joannem« (»Johannes-Passion«) für Soli, Chor und Orchester in zwei Teilen BWV 245 Die Passion wird ohne Pause aufgeführt. KONZERTEINFÜHRUNG 18.45 Uhr Donnerstag, 23.3.2017: Moderation: Markus Thiel Gast: Dr. Norbert Roth, Pfarrer von St. Matthäus München Freitag, 24.3.2017: Moderation: Amélie Pauli LIVE-ÜBERTRAGUNG IN SURROUND im Radioprogramm BR-KLASSIK Freitag, 17.3.2017 ON DEMAND Das Konzert ist in Kürze auf br-klassik.de als Audio abrufbar. »Eine schreckliche Kraft« Von der Kirche in den Konzertsaal: Bachs Johannes-Passion Wolfgang Stähr Entstehungszeit 1724 mit Revisionen bei späteren Aufführungen Uraufführung 7. April 1724, Karfreitag, im Vespergottesdienst der Leipziger Nicolaikirche unter der Leitung des Komponisten Lebensdaten des Komponisten 21. März 1685 in Eisenach – 28. Juli 1750 in Leipzig Ist es eine Laune des Zufalls oder der Wille Gottes? Diese Frage gehört normalerweise nicht zur Kernkompetenz der Musikhistoriker, aber mitunter kommen sie doch ins Grübeln. Man stelle sich einmal vor, Mozart wäre so alt geworden wie Bach: Dann hätte er 1793 die angestrebte Position des Domkapellmeisters an der Wiener Stephanskirche antreten können. -
Guildhall School Gold Medal 2020 Programme
Saturday 26 September 7pm Gold Medal 2020 Finalists Soohong Park Ben Tarlton Ke Ma Guildhall Symphony Orchestra Richard Farnes conductor Guildhall School of Music & Drama Founded in 1880 by the City of London Corporation Chairman of the Board of Governors Vivienne Littlechild Principal Lynne Williams am Vice Principal & Director of Music Jonathan Vaughan Please visit our website at gsmd.ac.uk Guildhall School is part of Culture Mile: culturemile.london Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation Gold Medal 2020 Saturday 26 September, 7pm The Gold Medal, Guildhall School’s most prestigious award for musicians, was founded and endowed in 1915 by Sir H. Dixon Kimber Bt MA Guildhall Symphony Orchestra Finalists Richard Farnes conductor Soohong Park piano During adjudication, Junior Guildhall Rachmaninov Piano Concerto No 2 in violinist Leia Zhu performs Ravel’s C minor Op 18 Tzigane with pianist Kaoru Wada. Leia’s Ben Tarlton cello performance was recorded in January 2020. Elgar Cello Concerto in E minor Op 85 The presentation of the Gold Medal will Ke Ma piano take place after Leia’s performance. Tchaikovsky Piano Concerto No 1 in B-flat minor Op 23 The Jury Jonathan Vaughan Vice-Principal & Director of Music Richard Farnes Conductor Emma Bloxham Editor, BBC Radio 3 Nicholas Mathias Director, IMG Artists Performed live on Friday 25 September and recorded and produced live by Guildhall School’s Recording and Audio Visual department. Gold Medal winners -
DOWNLOAD NZSO ANNUAL REPORT 2013 Annual Report
Annual Report 2013 FOR THE YEAR ENDED 31 DECEMBER 2013 Presented to Hon. Christopher Finlayson Minister for Arts, Culture and Heritage 1 To our NZSO Supporters: Thank You. Maestro Circle ($10,000+) Fehl Charitable Trust Mark Barrow Museum Art Hotel Denis & Verna Adam Ian Fraser & Suzanne Snively Michael & Judith Bassett Lorriane Nicholls & Donald & Susan Best Dr John Grigor Philippa Bates Geoff Taylor Sir Roderick & Robin Henderson Patricia Bollard Philip & Viola Palmer Gillian, Lady Deane James & Karen Henry Hugh & Jill Brewerton Barbara Peddie Peter & Carolyn Diessl Les & the late Patricia Jenny Brown Alan & Luba Perry Emma & Jack Griffin Holborow Mary Brown Lady Glennis Pettigrew Charitable Trust Tomas & Jan Huppert Kate M Burtt Tony Reeve The FAME Trust Morgan Patricia Jones Adrienne Bushell John & Helen Rimmer JBWere Annette & Ralph Lendrum Malcolm & Margaret Carr Nigel & Heather Roberts Mary Fitzwilliam Award David Lord & Tracy Grant Lord Noel Carroll Miles Rogers Michael Mongahan Young Ian Macalister Angela Caughey Judith Ross Musicians Foundation Athol & Ngaire Mann Joan Caulfield & Graham Hill Marcus & Eve Rudkin Reeves Harris Orchestra Fund Christopher & Jilly Marshall Dion Church Warwick Slinn Take Note Trust Piera McArthur Lady Patricia Clark Robyn Smith Anonymous (1) Michael McCarthy Jeremy Commons Trevor Smith Campbell McLachlan & Rhona Prue Cotter Martin & Catherine Spencer Virtuoso Circle ($5,000+) Fraser Michael & Marie Crooke Peter & Kay Squires Julian & Selma Arnhold Patricia Morrison QSM Richard & Valerie Crooks Vanessa -
January – February 2018 Concert Diary
JAN/ FEB 2017/18 SEASON www.wigmore-hall.org.uk How to Book Wigmore Hall Box Office TICKETS 36 Wigmore Street, London W1U 2BP Unless otherwise stated, tickets are divided into five prices ranges: In Person Stalls C – M Highest price 7 days a week: 10am – 8.30pm. Stalls A – B, N – P 2nd highest price Days without an evening concert 10am – 5pm. Balcony A – D 2nd highest price No advance booking in the half hour prior to Stalls BB, CC, Q – S 3rd highest price a concert. Stalls AA, T – V 4th highest price Stalls W – X Lowest price By Telephone: 020 7935 2141 7 days a week: 10.00am–7.00pm. AA AA Days without an evening concert: AA STAGE AA AA AA 10.00am–5.00pm. BB BB There is a non-refundable £3.00 administration CC CC A A charge for each transaction. B B C C D D Online: www.wigmore-hall.org.uk E E F FRONT FRONT F STALLS STALLS 7 days a week; 24 hours a day. G G There is a non-refundable £2.00 administration H H I I charge. J J K K L L Standby Tickets M M N N Standby tickets for students, senior citizens and O O P P the unemployed are available from one hour Q Q before the performance (subject to availability) R R S S with best available seats sold at the lowest price. REAR REAR T STALLS STALLS T U U NB standby tickets are not available for V V Lunchtime and Coffee Concerts. -
Boston Symphony Orchestra Concert Programs, Summer, 1991, Tanglewood
/JQL-EWOOD . , . ., An Enduring Tradition ofExcellence In science as in the lively arts, fine performance is crafted with aptitude attitude and application Qualities that remain timeless . As a worldwide technology leader, GE Plastics remains committed to better the best in engineering polymers silicones, superabrasives and circuit board substrates It's a quality commitment our people share Everyone. Every day. Everywhere, GE Plastics .-: : ;: ; \V:. :\-/V.' .;p:i-f bhubuhh Seiji Ozawa, Music Director Grant Llewellyn and Robert Spano, Assistant Conductors One Hundred and Tenth Season, 1990-91 Trustees of the Boston Symphony Orchestra, Inc. Nelson J. Darling, Jr., Chairman Emeritus J. P. Barger, Chairman George H. Kidder, President T Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, V ice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer David B. Arnold, Jr. Avram J. Goldberg Mrs. August R. Meyer Peter A. Brooke Mrs. R. Douglas Hall III Mrs. Robert B. Newman James F. Cleary Francis W. Hatch Peter C. Read John F. Cogan, Jr. Julian T. Houston Richard A. Smith Julian Cohen Mrs. BelaT. Kalman Ray Stata William M. Crozier, Jr. Mrs. George I. Kaplan William F. Thompson Mrs. Michael H. Davis Harvey Chet Krentzman Nicholas T. Zervas Mrs. Eugene B. Doggett R. Willis Leith, Jr. Trustees Emeriti Vernon R. Alden Mrs. Harris Fahnestock Mrs. George R. Rowland Philip K. Allen Mrs. John L. Grandin Mrs. George Lee Sargent Allen G. Barry E. Morton Jennings, Jr. Sidney Stoneman Leo L. Beranek Albert L. Nickerson John Hoyt Stookey Mrs. John M. Bradley Thomas D. Perry, Jr. -
Dossier De Presse 39E Rencontres Culturelles De Fénétrange
FESTIVAL de FENETRANGE Dossier de presse 39e Rencontres Culturelles de Fénétrange du 13 août au 15 octobre 2017 Renseignements au bureau du festival au 03 87 07 54 48 ou sur www.festival-fenetrange.org (Possibilité de télécharger le dossier de presse sur le site). PRESENTATION DU FESTIVAL Exigence artistique et sens de la découverte : les atouts majeurs du festival. Nées en 1978, les « Rencontres culturelles de Fénétrange » se sont très vite imposées parmi les événements musicaux d'envergure de l'Est de la France. Un des tout premiers en son temps, ce Festival s'est montré dès le départ à l'avant-garde, tant par les œuvres programmées que par le choix de jeunes artistes. Ici les lieux sont concentrés : château, collégiale, vieilles demeures historiques, île sur la Sarre permettent un véritable forum de rencontres entre public, artistes et opérateurs culturels. Organisée autour d'une thématique précise et renouvelée, la programmation procède d'un dialogue avec les artistes invités, évitant les concerts en tournée. Cette originalité donne au festival un caractère exclusif et inédit, avec des instants privilégiés qu'artistes et festivaliers ont plaisir à partager. Recherche d'excellence musicale qui a permis à Fénétrange, cité médiévale de 720 habitants, d'accueillir de grands artistes tels que Barbara Hendricks, Hildegard Behrens, Aldo Ciccolini… Aujourd’hui, dans une logique de développement territorial, la manifestation se développe vers les voisins de la Petite Pierre, Dieuze, Sarralbe, Parc de Sainte-Croix. L’alliance de la musique et de la gastronomie. Depuis 2002, le Festival de Fénétrange développe une recette originale : l'accord entre musique et gastronomie. -
Euromac 9 Extended Abstract Template
9th EUROPEAN MUSIC ANALYSIS CONFERENC E — E U R O M A C 9 Hei Yeung Lai The Chinese University of Hong Kong, Hong Kong [email protected] Goehr’s Piano Sonata through a Transformational Lens the introductory theme also acts as a germ that ‘contains a latent set of ABSTRACT relationships that the themes unfold’, which is depicted by some isographic transformational networks. Background On the other hand, the endings of each section of the Sonata feature different tetrachordal presentations. Specifically, the (013) trichord is Alexander Goehr’s interest in serialism has its root in the embedded in all of these structural tetrachords, which further asserts twelve-note compositional trend in the post-war environment and his the importance of this abstract intervallic motive at the structural level. particular family and cultural background. His Piano Sonata is his first The application of the Klumpenhouwer networks relates these composition to have secured a performance in an international context, structural harmonies by means of isographic networks, which binds the one that de facto launched his professional career. Apart from being chronological structural closures into a complex of relationships and inspired by the rhythmic characteristics of Bartók and Messiaen, Goehr hence reveals the ‘deep structure’ of the Sonata. points out that Liszt’s Piano Sonata and Schoenberg’s Chamber Symphony also informed his Sonata, ‘which contained [his] first Implications experiment in the combination of twelve-note row and modal harmony’ The application of transformational analysis, along with that of (Goehr and Wintle 1992, 168-169). The subtitle ‘in memory of Serge Klumpenhouwer net, on Goehr’s Sonata, a novel approach conducted Prokofiev’ in the published scores and the melodic reference to here for the first time, reveals an intricate array of functional Prokofiev’s Seventh Piano Sonata also confirm Goehr’s reference to the relationships among different themes and structural entities, which Russian composer (Rupprecht 2015, 124). -
November 2016
November 2016 Igor Levit INSIDE: Borodin Quartet Le Concert d’Astrée & Emmanuelle Haïm Imogen Cooper Iestyn Davies & Thomas Dunford Emerson String Quartet Ensemble Modern Brigitte Fassbaender Masterclasses Kalichstein/Laredo/ Robinson Trio Dorothea Röschmann Sir András Schiff and many more Box Office 020 7935 2141 Online Booking www.wigmore-hall.org.uk How to Book Wigmore Hall Box Office 36 Wigmore Street, London W1U 2BP In Person 7 days a week: 10 am – 8.30 pm. Days without an evening concert 10 am – 5 pm. No advance booking in the half hour prior to a concert. By Telephone: 020 7935 2141 7 days a week: 10 am – 7 pm. Days without an evening concert 10 am – 5 pm. There is a non-refundable £3.00 administration fee for each transaction, which includes the return of your tickets by post if time permits. Online: www.wigmore-hall.org.uk 7 days a week; 24 hours a day. There is a non-refundable £2.00 administration charge. Standby Tickets Standby tickets for students, senior citizens and the unemployed are available from one hour before the performance (subject to availability) with best available seats sold at the lowest price. NB standby tickets are not available for Lunchtime and Coffee Concerts. Group Discounts Discounts of 10% are available for groups of 12 or more, subject to availability. Latecomers Latecomers will only be admitted during a suitable pause in the performance. Facilities for Disabled People full details available from 020 7935 2141 or [email protected] Wigmore Hall has been awarded the Bronze Charter Mark from Attitude is Everything TICKETS Unless otherwise stated, tickets are A–D divided into five prices ranges: BALCONY Stalls C – M W–X Highest price T–V Stalls A – B, N – P Q–S 2nd highest price Balcony A – D N–P 2nd highest price STALLS Stalls BB, CC, Q – S C–M 3rd highest price A–B Stalls AA, T – V CC CC 4th highest price BB BB PLATFORM Stalls W – X AAAA AAAA Lowest price This brochure is available in alternative formats. -
Ubert Er Nézet- Séguin Sch Web Pro Haska Ner Ruck B
15 / 16 NÉZET- SÉGUIN SCH UBERT PRO HASKA WEB ER B RUCK NER SYMPHONIEORCHESTER DES BAYERISCHEN RUNDFUNKS Donnerstag 7.7.2016 Freitag 8.7.2016 4. Abo C Herkulessaal 20.00 – ca. 22.15 Uhr SÉGUIN UBERT HASKA ER NER 15 / 16 YANNICK NÉZET-SÉGUIN Leitung ANNA PROHASKA Sopran SYMPHONIEORCHESTER DES BAYERISCHEN RUNDFUNKS KONZERTEINFÜHRUNG 18.45 Uhr Moderation: Johann Jahn LIVE-ÜBERTRAGUNG in Surround auf BR-KLASSIK Freitag, 8.7.2016 PausenZeichen: Julia Schölzel im Gespräch mit Yannick Nézet-Séguin Konzert zum Nachhören (on demand): Eine Woche abrufbar auf www.br-klassik.de 4 Programm Carl Maria von Weber »So bin ich nun verlassen« – »Hier dicht am Quell, wo Weiden stehn« Szene und Kavatine der Euryanthe aus dem 3. Akt der Oper »Euryanthe« Franz Schubert »Ich schleiche bang und still herum« Romanze der Helene aus dem einaktigen Singspiel »Die Verschworenen«, D 787 Franz Schubert »Welche Nacht hab ich erlebt!« Arie der Anna aus dem 2. Akt des Opernfragments »Die Bürgschaft«, D 435 Carl Maria von Weber »Einst träumte meiner sel’gen Base« – »Trübe Augen, Liebchen, taugen einem holden Bräutchen nicht.« Romanze und Arie des Ännchen aus dem 3. Akt der Oper »Der Freischütz« Pause Anton Bruckner Symphonie Nr. 7 E-Dur • Allegro moderato • Adagio. Sehr feierlich und sehr langsam • Scherzo. Sehr schnell – Trio. Etwas langsamer • Finale. Bewegt, doch nicht schnell 5 Programm Widrige Verhältnisse Schubert, Weber und die Wiener Oper um 1820 Angelika Rahm Franz Schubert (1797–1828) setzte sich Zeit seines Lebens mit dem Musiktheater auseinander – als Schüler des Opernkomponisten und Hofmusikdirektors Antonio Salieri ebenso wie als begeisterter, gut informierter Opernbesucher mit breiten Repertoirekenntnissen und einer Vorliebe für Gluck und Mozart, und schließlich in seinem eigenen Schaffen. -
The Digital Concert Hall
Welcome to the Digital Concert Hall he time has finally come! Four years have Emmanuelle Haïm, the singers Marlis Petersen passed since the Berliner Philharmoniker – the orchestra’s Artist in Residence – Diana T elected Kirill Petrenko as their future chief Damrau, Elīna Garanča, Anja Kampe and Julia conductor. Since then, the orchestra and con- Lezhneva, plus the instrumentalists Isabelle ductor have given many exciting concerts, fuel- Faust, Janine Jansen, Alice Sara Ott and Anna ling anticipation of a new beginning. “Strauss Vinnitskaya. Yet another focus should be like this you encounter once in a decade – if mentioned: the extraordinary opportunities to you’re lucky,” as the London Times wrote about hear members of the Berliner Philharmoniker their Don Juan together. as protagonists in solo concertos. With the 2019/2020 season, the partnership We invite you to accompany the Berliner officially starts. It is a spectacular opening with Philharmoniker as they enter the Petrenko era. Beethoven’s Ninth Symphony, whose over- Look forward to getting to know the orchestra whelmingly joyful finale is perfect for the festive again, with fresh inspiration and new per- occasion. Just one day later, the work can be spectives, and in concerts full of energy and heard once again at an open-air concert in vibrancy. front of the Brandenburg Gate, to welcome the people of Berlin. Further highlights with Kirill Petrenko follow: the New Year’s Eve concert, www.digital-concert-hall.com featuring works by Gershwin and Bernstein, a concert together with Daniel Barenboim as the soloist, Mahler’s Sixth Symphony, Beethoven’s Fidelio at the Baden-Baden Easter Festival and in Berlin, and – for the European concert – the first appearance by the Berliner Philharmoniker in Israel for 26 years. -
Chopin ETUDES Amir Katz
Frédéric Chopin ETUDES Amir Katz FRÉDÉRIC CHOPIN (1810–1849) 12 Études op. 10 1 No. 1 C-Dur. Allegro 1’53 2 No. 2 a-Moll. Allegro 1’25 3 No. 3 E-Dur. Lento ma non troppo 4’08 4 No. 4 cis-Moll. Presto, con fuoco 1’55 5 No. 5 Ges-Dur. Vivace 1’42 6 No. 6 es-Moll. Andante 4’01 7 No. 7 C-Dur. Vivace 1’33 8 No. 8 F-Dur. Allegro 2’15 9 No. 9 f-Moll. Allegro molto agitato 2’02 10 No. 10 As-Dur. Vivace assai 2’11 11 No. 11 Es-Dur. Allegretto 3’16 12 No. 12 c-Moll. Allegro con fuoco 3’02 12 Études op. 25 13 No. 1 As-Dur. Allegro sostenuto 2’39 14 No. 2 f-Moll. Presto 1’34 15 No. 3 F-Dur. Allegro 1’51 16 No. 4 a-Moll. Agitato 1’38 17 No. 5 e-Moll. Vivace – Più lento – Tempo primo 3’28 18 No. 6 gis-Moll. Allegro 2’15 19 No. 7 cis-Moll. Lento 5’17 20 No. 8 Des-Dur. Vivace 1’13 21 No. 9 Ges-Dur. Allegro assai 1’07 22 No.10 h-Moll. Allegro con fuoco 3’27 23 No.11 a-Moll. Lento – Allegro con brio 3’49 24 No.12 c-Moll. Allegro molto con fuoco 2’59 AMIR KATZ Die überwältigende Wirkung, die die ners Wagner), bestehend anfäng- Chopin-Etüden bei der ersten Be- lich aus den ersten Obertönen eines gegnung auf den Hörer insgesamt Grundtones – ein würdiges, fanfaren- ausüben, hat sehr viel mit der spek- haftes Präludium, gewagt, neuartig, takulären Wirkung des unmittelbaren vieles zugleich.