2020 Music Director Matthias Pintscher and Artistic Director Chad Smith Announce Programming for the 74Th Festival June 11 to 14, 2020
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Media Release Wolfgang Rihm Is the LUCERNE
Media Release Wolfgang Rihm Is the LUCERNE FESTIVAL ACADEMY’s New Artistic Director Matthias Pintscher Named Principal Conductor Lucerne, 04 September 2015 . Starting in the summer of 2016, the German composer Wolfgang Rihm will assume overall artistic directorship of the LUCERNE FESTIVAL ACADEMY. The conductor and composer Matthias Pintscher will support him as Principal Conductor and will be responsible each summer for a central Academy program; he will additionally focus on developing the Academy Orchestra. Both contracts are for a period of five years. The founder of the LUCERNE FESTIVAL ACADEMY, Pierre Boulez, will continue to remain in close dialogue with Wolfgang Rihm, Matthias Pintscher, and the Festival team as Honorary President of the Academy. For twelve years the LUCERNE FESTIVAL ACADEMY has been regarded as a unique international educational campus in the field of contemporary classical music of the 20th and 21st centuries. It offers continuing training not only for some 120 instrumentalists between 18 and 32 years of age but also for young directors and composers. “I am extremely delighted that in the person of Wolfgang Rihm a leading figure of contemporary music will be taking over artistic leadership of the LUCERNE FESTIVAL ACADEMY,” remarks Michael Haefliger, LUCERNE FESTIVAL’s Executive and Artistic Director. “On the strength of his experience and his knowledge in connection with the Academy, Wolfgang Rihm will be in a position to establish new directions for linking creativity with effective ways of working together for young instrumentalists, conductors, and composers. This summer Matthias Pintscher has returned for a third time as a teacher and conductor to help shape the Academy’s work in marvelous ways, as seen for example in the recent “Day for Pierre Boulez”. -
Ojai Accolades
ARTISTIC LEGACY AND INNOVATION Known as a creative musical laboratory that pushes the boundaries of concert experience the Festival has welcomed such visionaries as Aaron Copland, Igor Stravinsky, Pierre Boulez, Olivier Messiaen, Michael Tilson Thomas, John Adams, Dawn Upshaw, Esa-Pekka Salonen, Steve Reich, Jeremy Denk, Peter Sellars, and countless others. This legacy is built on creative, collaborative partnerships. Artistic Director Thomas W. Morris selects a different artist to serve as the Music Director every year. From its beginnings in 1947, the Ojai Music Festival has remained unmatched in the international musical landscape. A summer home to generations of leading composers, conductors and musicians, the Festival is a convergence of exceptional artists, stimulating and diverse repertoire, one of the most remarkable audiences for music anywhere, and the idyllic setting of Ojai in a unique four-day immersive experience. “THE OJAI MUSIC FESTIVAL PLACES MUSIC OF OUR TIME AT THE CENTER OF WHAT IT DOES, BUT UNLIKE A CONTEMPORARY MUSIC FESTIVAL THAT CONCENTRATES ON JUST WHAT’S NEW, OJAI BUILDS A CASE FOR HOW THE MUSIC OF TODAY FITS INTO THE CONTEXT OF THE LONGER, HISTORICAL CONVERSATION – IT EXPLORES WHY MUSIC MATTERS TODAY.” THOMAS W. MORRIS, ARTISTIC DIRECTOR “THERE IS NOTHING QUITE LIKE OJAI, WHERE THIS LEVEL OF CREATIVITY IS INSERTED IN THE BEAUTY OF THE OJAI VALLEY, WHERE THE MOUNTAINS AND THE MUSIC ARE IN HARMONY. THE MOST TALENTED ARTISTS COME TOGETHER HERE TO EXPRESS THEIR POTENTIAL AND GIVE US THAT GIFT. I HAVE TRAVELED AND VISITED MANY FESTIVALS ON OTHER CONTINENTS… NONE COMPARE TO THE EXPERIENCE OF THE OJAI MUSIC FESTIVAL.” DAVID NYGREN, BOARD CHAIR Ojai Festivals, Ltd | P.O. -
Ojai North Music Festival
CAL PERFORMANCES PRESENTS Thursday–Saturday, June 19–21, 2014 Hertz Hall Ojai North Music Festival Jeremy Denk Music Director, 2014 Ojai Music Festival Thomas W. Morris Artistic Director, Ojai Music Festival Matías Tarnopolsky Executive and Artistic Director, Cal Performances Robert Spano, conductor Storm Large, vocalist Timo Andres, piano Aubrey Allicock, bass-baritone Kim Josephson, baritone Dominic Armstrong, tenor Ashraf Sewailam, bass-baritone Rachel Calloway, mezzo-soprano Peabody Southwell, mezzo-soprano Keith Jameson, tenor Jennifer Zetlan, soprano The Knights Eric Jacobsen, conductor Brooklyn Rider Uri Caine Ensemble Hudson Shad Ojai Festival Singers Kevin Fox, conductor Ojai North is a co-production of the Ojai Music Festival and Cal Performances. Ojai North is made possible, in part, by Patron Sponsors Liz and Greg Lutz. Cal Performances’ – season is sponsored by Wells Fargo. CAL PERFORMANCES 13 FESTIVAL SCHEDULE Thursday–Saturday, June 19–21, 2014 Hertz Hall Ojai North Music Festival FESTIVAL SCHEDULE Thursday, June <D, =;<?, Cpm Welcome : Cal Performances Executive and Artistic Director Matías Tarnopolsky Concert: Bay Area première of The Classical Style: An Opera (of Sorts) plus Brooklyn Rider plays Haydn Brooklyn Rider Johnny Gandelsman, violin Colin Jacobsen, violin Nicholas Cords, viola Eric Jacobsen, cello The Knights Aubrey Allicock, bass-baritone Dominic Armstrong, tenor Rachel Calloway, mezzo-soprano Keith Jameson, tenor Kim Josephson, baritone Ashraf Sewailam, bass-baritone Peabody Southwell, mezzo-soprano Jennifer Zetlan, soprano Mary Birnbaum, director Robert Spano, conductor Friday, June =;, =;<?, A:>;pm Talk: The creative team of The Classical Style: An Opera (of Sorts) —Jeremy Denk, Steven Stucky, and Mary Birnbaum—in a conversation moderated by Matías Tarnopolsky PLAYBILL FESTIVAL SCHEDULE Cpm Concert: Second Bay Area performance of The Classical Style: An Opera (of Sorts) plus Brooklyn Rider plays Haydn Same performers as on Thursday evening. -
Han Chen / Piano
HAN CHEN / PIANO Hailed by the New York Times as a pianist with "a graceful touch... rhythmic precision... hypnotic charm” and "sure, subtle touch," Han Chen is a distinctive artist whose credentials at a young age already include important prizes in competitions of traditional music as well as increasing respect in the avant- garde. Mr. Chen’s debut CD with Naxos Records, which consists of all-Liszt operatic transcriptions, was released in January 2016 as the first prize winner of the 6th China International Piano Competition. Gramophone complimented Mr. Chen’s “brilliant performance” in the CD as “impressively commanding and authoritative.” The website Classics Today also praised for his “assured, elegant and totally effortless technique” by scoring 10 out of 10 in both artistic quality and sound quality. International Piano magazine (UK) described Mr. Chen’s performance in the competition as “[Chen] displayed extraordinary strength, talent and flair.” His performances in the 15th Van Cliburn International Piano Competition, the 15th Arthur Rubinstein Piano Competition and the 2018 Honens International Piano Competition were also highly acclaimed. As a soloist, Mr. Chen has appeared with many orchestras, including the Hong Kong Philharmonic Orchestra (under Maestro Vladimir Ashkenazy), Calgary Philharmonic Orchestra, Fort Worth Symphony Orchestra, China Symphony Orchestra, Macao Orchestra, Juilliard Orchestra, National Taiwan Symphony Orchestra, Xiamen National Orchestra, Lexington Philharmonic Orchestra, Sendai Philharmonic Orchestra, Aspen Music Festival Brass Ensemble and Shanghai Conservatory Middle School Orchestra. Being an advocate for modern music, Mr. Chen actively performs music from the 20th and the 21st century. As a member of the New York-based contemporary music group Ensemble Échappé, he worked with composers such as Tonia Ko, Kevin Puts, Sean Shepherd and Nina Young. -
Virtual Edition in Honor of the 74Th Festival
ARA GUZELIMIAN artistic director 0611-142020* Save-the-Dates 75th Festival June 10-13, 2021 JOHN ADAMS music director “Ojai, 76th Festival June 9-12, 2022 a Musical AMOC music director Virtual Edition th Utopia. – New York Times *in honor of the 74 Festival OjaiFestival.org 805 646 2053 @ojaifestivals Welcome to the To mark the 74th Festival and honor its spirit, we bring to you this keepsake program book as our thanks for your steadfast support, a gift from the Ojai Music Festival Board of Directors. Contents Thursday, June 11 PAGE PAGE 2 Message from the Chairman 8 Concert 4 Virtual Festival Schedule 5 Matthias Pintscher, Music Director Bio Friday, June 12 Music Director Roster PAGE 12 Ojai Dawns 6 The Art of Transitions by Thomas May 16 Concert 47 Festival: Future Forward by Ara Guzelimian 20 Concert 48 2019-20 Annual Giving Contributors 51 BRAVO Education & Community Programs Saturday, June 13 52 Staff & Production PAGE 24 Ojai Dawns 28 Concert 32 Concert Sunday, June 14 PAGE 36 Concert 40 Concert 44 Concert for Ojai Cover art: Mimi Archie 74 TH OJAI MUSIC FESTIVAL | VIRTUAL EDITION PROGRAM 2020 | 1 A Message from the Chairman of the Board VISION STATEMENT Transcendent and immersive musical experiences that spark joy, challenge the mind, and ignite the spirit. Welcome to the 74th Ojai Music Festival, virtual edition. Never could we daily playlists that highlight the 2020 repertoire. Our hope is, in this very modest way, to honor the spirit of the 74th have predicted how altered this moment would be for each and every MISSION STATEMENT Ojai Music Festival, to pay tribute to those who imagined what might have been, and to thank you for being unwavering one of us. -
Premiere / First Ever Performances in Germany LOST HIGHWAY Music
Premiere / First ever performances in Germany LOST HIGHWAY Music Theatre by Olga Neuwirth (*1968) Libretto by Elfriede Jelinek and Olga Neuwirth based on the script for the film by the same name (1997) by David Lynch and Barry Gifford Performed in English with German surtitles Conductor: Karsten Januschke Director: Yuval Sharon Set, Video and Lighting Designer: Jason H. Thompson, Kaitlyn Pietras Live Electronics: Markus Noisternig, Gilbert Nouno Sound Organiser: Norbert Ommer Costume Designer: Doey Lüthi Dramaturge: Stephanie Schulze Pete: John Brancy Fred: Jeff Burrell Renee / Alice: Elizabeth Reiter Mr. Eddy / Dick Laurent: David Moss Mystery Man: Rupert Enticknap Andy / Guard / Arnie: Samuel Levine Pete's Mother: Juanita Lascarro Pete's Father: Jörg Schäfer Ed / Detective Hank: Nicholas Bruder Al / Detective Lou / Prison Director: Jim Phetterplace jr. Doctor / The Man: Jeff Hallman Ensemble Modern With generous support from the Aventis Foundation, Kulturfond Frankfurt RheinMain and Frankfurt Patronatsverein – Sektion Oper David Lynch's film Lost Highway (1997) is a fascinating combination of psycho-thriller, horror and film noir. The Austrian composer Olga Neuwirth (*1968) and Literary Nobel Prize winner Elfriede Jelinek based their libretto on David Lynch and Barry Gifford's script. The World Premiere took place at the Steirische Herbst in Graz in 2003. Neuwirth developed a very ambitious way of telling the story about the „study of a person, who cannot come to terms with his fate“ (Gifford), combined with feverish changes in scene. Her score is extremely complex, combining intermedial threads with grand scale live electronics and video, which makes the fictionalised reality become almost virtual. „Dick Laurent is dead.“ The Jazz musician Fred hears this sentence over his intercom, and a door opens to a parallel universe. -
Circle Map Program of Contemporary Classical Works by Kaija Saariaho to Feature New York Premieres Performed by the New York Philharmonic
Circle Map Program of Contemporary Classical Works by Kaija Saariaho to Feature New York Premieres Performed by the New York Philharmonic Site-Specific Realization by Armory Artistic Director Pierre Audi Conducted by Esa-Pekka Salonen Two Performances Only - October 13 and 14, 2016 New York, NY — August 16, 2016 — Park Avenue Armory will present Circle Map, two evenings of immersive spatial works by internationally acclaimed Finnish composer Kaija Saariaho performed by the New York Philharmonic under the baton of its Marie-Josée Kravis Composer-in-Residence Esa-Pekka Salonen on October 13 and 14, 2016. Conceived by Pierre Audi to take full advantage of the Wade Thompson Drill Hall, the engagement marks the orchestra’s first performance at the Armory since 2012’s Philharmonic 360, the acclaimed spatial music program co-produced by the Armory and Philharmonic. A program of four ambitious works that require a massive, open space for their full realization, Circle Map will utilize the vast drill hall in an immersive presentation that continually shifts the relationship between performers and audience. The staging will place the orchestra at the center of the hall, with audience members in a half-round seating arrangement and performances taking place throughout. Longtime Saariaho collaborator Jean-Baptiste Barrière will translate the composer’s soundscapes into projections that include interpretations of literary and visual artworks from which inspiration for specific compositions are drawn. “Our drill hall is an ideal setting and partner for realizing spatial compositions, providing tremendous freedom for composers and performers,” said Rebecca Robertson, President and Executive Producer of Park Avenue Armory. -
Digital Concert Hall
Digital Concert Hall Streaming Partner of the Digital Concert Hall 21/22 season Where we play just for you Welcome to the Digital Concert Hall The Berliner Philharmoniker and chief The coming season also promises reward- conductor Kirill Petrenko welcome you to ing discoveries, including music by unjustly the 2021/22 season! Full of anticipation at forgotten composers from the first third the prospect of intensive musical encoun- of the 20th century. Rued Langgaard and ters with esteemed guests and fascinat- Leone Sinigaglia belong to the “Lost ing discoveries – but especially with you. Generation” that forms a connecting link Austro-German music from the Classi- between late Romanticism and the music cal period to late Romanticism is one facet that followed the Second World War. of Kirill Petrenko’s artistic collaboration In addition to rediscoveries, the with the orchestra. He continues this pro- season offers encounters with the latest grammatic course with works by Mozart, contemporary music. World premieres by Beethoven, Schubert, Mendelssohn, Olga Neuwirth and Erkki-Sven Tüür reflect Brahms and Strauss. Long-time compan- our diverse musical environment. Artist ions like Herbert Blomstedt, Sir John Eliot in Residence Patricia Kopatchinskaja is Gardiner, Janine Jansen and Sir András also one of the most exciting artists of our Schiff also devote themselves to this core time. The violinist has the ability to capti- repertoire. Semyon Bychkov, Zubin Mehta vate her audiences, even in challenging and Gustavo Dudamel will each conduct works, with enthusiastic playing, technical a Mahler symphony, and Philippe Jordan brilliance and insatiable curiosity. returns to the Berliner Philharmoniker Numerous debuts will arouse your after a long absence. -
The Second Annual New Music Festival
The University of Minnesota – Duluth Department of Music Presents The Second Annual New Music Festival April 25 and 26, 2001 artistic director: Justin Henry Rubin with guest artists: ensemble Green Artist Series concerts are partially funded by the John and Mary Gonska Cultural Fund. The University of Minnesota is an equal opportunity educator and employer. The programs ensemble GREEN piano Bridget Convey flute Julie Renee Long clarinet Elana Weber violin Thomas McEvilly cello Lynn Angebranndt Wednesday, April 25, 7:30 PM –Tweed Museum Improvisation, Politics, Sonic Extensions, and Theatre Tentacles version for five instruments (arr. Green) Bob Fernandez (1985) Vertical Thoughts 2 Morton Feldman (1963) for Violin and Piano Living Room Music: The Story John Cage (1940) Four Systems Earle Brown (1954) Experimental Etudes: Knight Moves Arthur Jarvinen Vox Balaenae for three masked players George Crumb (1971) for electric flute, electric cello, electric piano Vocalise (…for the beginning of time) Variations on Sea-Time Sea Time Archeozoic (Var.I) Proterozoic Archeozoic (Var. II) Paleozoic Archeozoic (Var. III) Mesozoic Archeozoic (Var. IV) Cenozoic Archeozoic (Var. V) Sea Nocturne (…for the end of time) Thursday, April 26, 12:00 PM - Recital Hour Concert Going it alone - some new solo repertory Three Pieces for Clarinet Alone Igor Stravinsky (1919) Guero Helmut Lachenmann (1970) for Solo Piano Sonata Op. 6 Finn Mortensen (1953) for Solo Flute I. Introduzione adagio-allegro vivace II. Allegro giocoso Blue-Grey Joseph Brennan (2000) for Clarinet -
Soundzz.Z.Zzz...Z – Call for Artists Competition for an Artwork at the Intersection of Music and the Visual Arts
Soundzz.z.zzz...z – Call for Artists Competition for an Artwork at the Intersection of Music and the Visual Arts 1. Competition For years LUCERNE FESTIVAL and Kunstmuseum Luzern have pursued various formats of partnering to- gether. Both institutions are interested in the connections and varied relationships that exist between the visual arts and music, between visual expression and sound. In 2015, LUCERNE FESTIVAL and Kunstmuse- um Luzern will inaugurate for the third time a project promoting the intersection and interface between both cultural areas, specifically by means of a competition. During the Summer Festival the potential of interdisciplinary projects will be displayed at Kunstmuseum Luzern to musical and visual arts audiences alike. Both institutions are very eager to explore new, unconventional projects that are full of promise and that are equally at home in the domain of the visual arts and of music and that moreover stand out in terms of quality. The competition is directed to young emerging artists (single artists, teams of two or three artists) to develop a project exploring the theme of «Humor» at the intersection of music and the visual arts. The project in question should be ephemeral, performative, actionistic. The project that is selected by a jury will be executed during the course of LUCERNE FESTIVAL in Summer (14 August – 13 September 2015) on the premises of Kunstmuseum Luzern. The project we are looking for should be neither an exhibition nor a concert. The form this project will take is open-ended: it can involve an intervention, an action, a perfor- mance, an event or happening in the sense of a performance, a concept to be developed during the course of the Festival, a series of performances, or another type of event. -
Performance, Subjectivity and Experimentation in Artistic Research an Interdisciplinary Seminar
Performance, Subjectivity and Experimentation in Artistic Research An Interdisciplinary Seminar ORCiM Seminar 2016 February 24-25, 2016 Orpheus Institute, Ghent (Belgium) Introduction The arts of the twentieth and twenty-first centuries have pushed us relentlessly to question inherited notions of the self, expression and communication: to ask ourselves, again and again, who we think we are and how we can speak meaningfully to one another. Increasing globalisation and the development of recording and photographic technologies, running alongside psychoanalytical critiques of selfhood and the impact of scientific principles of uncertainty, are often theorized as having prompted a crisis of identity, representation and authenticity. The discourse of post-humanism has demanded a reconsideration of the distinctions between human and non-human agency. At the same time, the throwaway playfulness of pop culture and digital manipulation offer endless possibilities for self- reinvention. In many fields of artistic practice and in related theoretical domains there persists an ongoing engagement with questions of subjectivity, but a subjectivity acknowledged as distributed, contingent, embodied and always in flux; often manifested as partial, unstable, provisional even, rather than identified as a singular self. Simultaneously, subjectivity, as an individuated ‘I’, continues to function, not least in musical practice and especially in performance training: here, notions of the authenticity and singularity of the performer’s ‘voice’ -- the uniqueness and distinctiveness of personal expression -- continue to be highly valued, despite the everyday experiencing of the fluidities, uncertainties, and fundamentally performative nature of selfhood. Within arts practice, a ‘performance turn’ has allowed for a stronger focus on the production and experiencing of subjectivity in the context of live events: as ephemeral, dynamic and contingent, resisting conceptualisation into a stabilised notion of an artwork. -
Roche Commissions 2012
ROCHE COMMISSIONS Matthias Pintscher OMMISSIONS C OCHE Matthias Pintscher R Roche Commissions A Novel Partnership in the international advancement of the arts Roche LUCERNE FESTIVAL Carnegie Hall, New York The Cleveland Orchestra conducted by Franz Welser-Möst Roche Commissions Impressum / Publisher’s Imprint Herausgeber / Published by Carnegie Hall, New York The Cleveland Orchestra LUCERNE Festival Roche projektleitung / project management Vivian Beetle, Roche Redaktion / Editorial Office Roche Commissions Basil Rogger, LUCERNE Festival Matthias Pintscher PHotograPHien / Photographs Emanuel Ammon, Luzern Roche MediaLibrary partitur / score © 2012 by Bärenreiter Verlag, www.baerenreiter.com Reproduced with kind permission of the publisher. Übersetzungen / translations Thomas May, Seattle Christa Zeller, Zürich Lektorat / copyEditing Thomas May, Seattle Basil Rogger Umschlaggestaltung / Cover design Maria Inés Klose, Basel Satz und Gestaltung / typesetting and Design Andrea Mettler, LUCERNE Festival Druck / Printing UD Print AG, Luzern Bindearbeiten / Bookbinding Buchbinderei Grollimund AG, Reinach BL © 2012 Roche Inhaltsverzeichnis Table of Contents 6 Vorwort 7 Foreword 10 photographische Impressionen 11 photographic Impressions Stefana Sabin Stefana Sabin 22 Die Klarheit der Klangfarben. Zur Einleitung 23 The Clarity of Sound Colors: An Introduction Markus Fein Markus Fein 34 Das Rauschen der Grenzen. 35 The Enigmatic Sound of Boundaries: Über das Verhältnis von Musik und Bildender Kunst im Werk On the Relationship Between Music and Visual Art von Matthias Pintscher in the Work of Matthias Pintscher Norbert Abels Norbert Abels 62 Ausformungen. Betrachtungen zu Sprachmusik und 63 Forming Linguistic Shapes: Reflections on Music as Musiksprache bei Matthias Pintscher Language and Musical Language in Matthias Pintscher Paul Griffiths Paul Griffiths 84 «O miroir!» 85 “O miroir!” Max Nyffeler Max Nyffeler 108 Ein Bild schöpferischer Zerstörung.