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Auditorium du louvre Pompeo Girolamo Batoni, Apollon, la Musique et la Métrique UNE INVITATION À ÉCOUTER LE MUSÉE AUTREMENT : tel pourrait être l’esprit de votre nouvelle saison musicale. Les concerts qui vous sont proposés se déploient en quatre grands cycles pour illustrer les liens féconds que le musée du Louvre a toujours entretenus avec la musique. Un premier temps fort à l’automne redonnera ainsi vie aux musiques des XVIIe et XVIIIe siècles qui furent jouées dans l’enceinte ou aux alentours du Palais – comme la recréation d’un ballet de Delalande et Destouches dansé par le jeune Louis XV aux Tuileries en 1721. Une exposition dédiée aux chefs-d’œuvre des musées de Salzbourg sera ensuite l’occasion de révéler les relations tumultueuses de Mozart – l’enfant le plus illustre de Salzbourg – avec sa ville natale. Au début de l’année 2017, un cycle consacré aux œuvres de jeunesse des grands musiciens, de Bach à Rachmaninov, offrira de subtils prolongements aux collections du musée. Enfin, un ample programme imaginé autour de la question de l’atelier d’artiste vous fera pénétrer au cœur de la création, avec un volet musical qui donnera à entendre l’atelier de l’interprète et celui du compositeur. Au cours de ces différents cycles, vous retrouverez les rendez-vous auxquels vous êtes habitués : des concerts les mercredis et vendredis AUDITORIUM DU LOUVRE soir avec les plus grands artistes de la scène classique internationale, ainsi que des concerts d’une heure le jeudi à 12 h 30 pour découvrir les jeunes talents d’aujourd’hui. -
HANZHI WANG, Accordion
HANZHI WANG, accordion Photo: Matt Dine COMMUNITIES DIGITAL NEWS (Washington, DC): “Ms. Wang dazzled all at the full house at the Kennedy Center with her skills and musicianship. She offered a program of surprisingly daring and eclectic repertoire, including a wide range of classical repertoire explored so masterfully that it seems as if these works had actually been written for the accordion in the first place. It was a genuinely eye-opening evening. Hanzhi Wang is undoubtedly well on her way to a brilliant career that is certain to be much discussed.” OBERON’S GROVE (New York): “Hanzhi Wang gave a remarkable performance. She displayed staggering virtuosity and a gift for drawing colors and magical dynamics from her accordion. It was an inspiring mixture of passion and finesse. Putting a regal polish on every phrase, her sparkling technique held the audience in a state of breathlessness, as thrilling to watch as to hear.” NEW YORK MUSIC DAILY: “Hanzhi Wang isn’t the first accordionist to specialize in classical music, but she is the first one ever to earn inclusion on the Young Concert Artists roster. That’s a pretty big deal. Nothing beats the plaintive lusciousness of Wang’s instrument of choice. She has a magically dynamic new album, and her Carnegie Hall debut in Zankel Hall is one of THE big accordion events of the year in New York. ” Musical America Worldwide New Artist of the Month, July 2018 First Prize, 2017 Young Concert Artists International Auditions First Prize, 40th Castelfidardo International Accordion Competition (Italy) Peter P. Marino Debut Prize of YCA • Mortimer Levitt Career Development Award for Women Artists of YCA Ruth Laredo Award of YCA • Candlelight Concert Society Prize • Chamber Orchestra of the Triangle Prize Krannert Center for the Performing Arts Prize • Sinfonia Gulf Coast Prize •Tannery Pond Concerts Prize University of Florida Performing Arts Prize • Usedom Music Festival Prize Vancouver Recital Society Prize• Washington Performing Arts Prize YOUNG CONCERT ARTISTS, INC. -
10E Festival Des Pianissimes Saint-Germain-Au-Mont-D’Or Vendredi 26 Juin 2015 – 20H30
10e Festival des Pianissimes Saint-Germain-au-Mont-d’Or Vendredi 26 juin 2015 – 20h30 Trio Dali Jack Liebeck, violon Christian-Pierre La Marca, violoncelle Amandine Savary, piano Johann Sebastian BACH (1685 – 1750) Prélude & Choral BWV 639 Robert SCHUMANN (1810 – 1856) Trio n°1 op.63 en ré mineur Avec énergie et passion Vivant, pas trop rapide Lentement, avec recueillement Avec feu Johann Sebastian BACH (1685 – 1750) Prélude & Choral BWV 659 Félix MENDELSSOHN (1809 – 1847) Trio n°1 op.49 en ré mineur Molto allegro ed agitato Andante con moto tranquillo Scherzo: Leggiero e vivace Finale: Allegro assai appassionato Trio Dali Le patronyme du trio fait référence aux précieux marbres asiatiques de Dali, ce matériau que l’on taille progressivement et minutieusement de façon à confectionner des œuvres d’art. Ce travail, cette construction réfléchie et créative, symboles des marbres de Dali, reflètent les valeurs musicales essentielles du trio. Né d’une amitié doublée d’une passion pour le répertoire de musique de chambre, le Trio Dali est révélé à l’attention internationale en remportant successivement de grands Prix aux Concours Internationaux d’Osaka au Japon (1er Prix), de Francfort en Allemagne (1er Prix), de New-York aux Etats-Unis (2nd Prix) et de Vienne (3e Prix, Prix du Public et Prix Spécial). Dans le même temps, il reçoit le prestigieux Chamber Music Award par le Philharmonia Orchestra à Londres. Le Trio Dali est depuis lors devenu l’un des jeunes trios les plus demandés, adoubé par la presse et comparé aux légendes que sont le Beaux Arts Trio ou le Trio Stern/Istomin/Rose. -
September 2016 – July 2017
SEPTEMBER 2016 –JULY 2017 Director’s Introduction Frances Marshall Photography One of Britain’s foremost singers, Sarah Connolly, opens the Hall’s new season with regular duo partner Malcolm Martineau, leading listeners through a programme rich in emotional contrasts, poetic reflections and glorious melodies. The recital includes Mahler’s sublime Rückert Lieder, the impassioned lyricism of Berlioz’s Les nuits d’été, the exotic subtle narrative impressions of Debussy’s three Chansons de Bilitis, and a selection of Schumann songs. Mark Padmore’s vocal artistry and ability to extract every drop of emotion from poetic texts have secured his place among today’s finest recitalists. Morgan Szymanski, described by Classical Guitar magazine as ‘a player destined for future glories’ joins him on 12 September. Critical acclaim for Angela Hewitt’s Bach interpretations bears witness to the pianist’s extraordinary ability to connect physically and emotionally as well as intellectually with the dance rhythms and expressive gestures of the composer’s keyboard works. The Bach Odyssey will highlight all of this over the next four years. Canadian soprano Barbara Hannigan performs like a force of nature, captivating audiences with her artistry’s presence and expressive vitality. She joins the Calder Quartet, winner of the 2014 Avery Fisher Career Grant, for the world première of The sirens cycle by Peter Eötvös. Beethoven’s piano sonatas occupied forty years of his life. They offer insights into his development as artist and individual, and stand among the greatest of all his works. Igor Levit, now in his late 20s, drew critical superlatives to his debut recording of Beethoven’s late sonatas and has since established his reputation as a visionary interpreter of the composer’s music. -
090404955327.Pdf
POUL RUDERS (b. 1949) SOUND AND SIMPLICITY (Seven Pillars of Music for Accordion and Symphony Orchestra) (2018) (29:22) 1) I. Rain (3:39) 2) II. Trance (3:58) 3) III. Haiku (:22) 4) IV. Smoke (6:55) 5) V. Song Link (6:06) 6) VI. Twilight (4:06) 7) VII. Wolf Moon (4:16) Bjarke Mogensen, accordion Odense Symfoniorkester Sebastian Lang-Lessing, conductor 2 8) DREAM CATCHER (2004) (arr. Bjarke Mogensen) (4:30) Bjarke Mogensen, accordion SYMPHONY NO. 3 “Dream Catcher” (2005-2006, rev. 2009) (26:31) 9) I. Alla breve con brio - Adagio sognante (15:32) 10) II. Scherzo prestissimo (10:59) Odense Symfoniorkester Scott Yoo, conductor p c and 2021, Bridge Records, Inc. • All Rights Reserved • Total Time: 60:43 3 SOUND AND SIMPLICITY (SEVEN PILLARS OF MUSIC FOR ACCORDION AND SYMPHONY ORCHESTRA) (2018) Note by the composer All music is sound, but not all music is simple. Simplicity is a virtue, espe- cially in the arts, a fact which becomes increasingly and inescapably obvi- ous to me the older I get. In Sound and Simplicity four out of the seven movements are very simple (as in the absence of any structural and metric complexity). Indeed, the second movement, Trance, a sustained chord, em- ploys only four notes, but they are gradually presented over three octaves. Two of the seven titles are related to literary texts. Rain is a musical re- flection on a couple of lines by Danish writer Arthur Krasilnikoff, from his novel The Eye of the Whale (the chapter entitled Rain) – here in my translation from the Danish: “But best of all were the sounds from the drops. -
TMS 4-4Westcover.Qxp 09/06/06 00:25 Page 1
TMS_4-4WestCover.qxp 09/06/06 00:25 Page 1 CLASSICAL › JAZZ › CONCERTS › CDs, DVDs SCENA.ORG Summer 2006 • Vol. 4.4 $4.95 GryphonTrio ISSUE 13 JAZZ FESTIVAL PICKS summer PHILIPPE JAROUSSKY 2qqFESTIVALS ACROSS CANADA 0 4 0 0 6 5 3 8 5 0 4 6 4 4 9 tms_4-4_ads 6/8/06 9:41 PM Page 2 Q UEEN ELISABETH COMPETITION 9 00 2 > 6 BRUSSELES / BELGIUM 00 2 COMPOSITION 2006 Works for Piano and Orchestra Symphonic or Ensemble Age Limit: 40 years Deadline: November 10 2006 First prize: 10.000 euros PIANO 2007 Age Limit: 27 years Royal Conservatory 06 > 19 / 05: First Round & Semi-Final 22 > 25 / 05: Master Classes Palais des Beaux-Arts 28 / 05 > 02 / 06: Final SINGING 2008 Age Limit: 30 years Royal Conservatory 08 > 14 / 05: First Round & Semi-Final 16 > 18 / 05: Master Classes Palais des Beaux-Arts 21 > 24 / 05: Final COMPOSITION 2008 Works for Piano and Orchestra Symphonic or Ensemble Age Limit: 40 years Deadline: November 10 2008 First prize: 10.000 euros VIOLIN 2009 Age Limit: 27 years Royal Conservatory 03 > 16 / 05: First Round & Semi-Final Palais des Beaux-Arts 25 > 30 / 05: Final WWW.CMIREB.BE QUEEN ELIZABETH INTERNATIONAL MUSIC COMPETITION OF BELGIUM INFO : RUE AUX LAINES 20, B-1000 BRUSSELS (BELGIUM) TEL : +32 2 213 40 50 - FAX : +32 2 514 32 97 - [email protected] tms_4-4_ads 2006-06-08 12:29 Page 3 A multi instrumentalist, composer and professional musician since 25 years, Robert Len has played with numerous local and international well known artists like Oliver Jones and Colin James. -
Mise En Page 1
MENDELSSOHN TRIOS TRIO DALI ZIG-ZAG TERRITOIRES - ZZT364 TERRITOIRES ZIG-ZAG MENDELSSOHN PIANO TRIO NOS. 1 & 2 ZZT BACH CHORALE PRELUDES BWV 659 & BWV 639 364 TRIO DALI JACK LIEBECK, VIOLIN CHRISTIAN-PIERRE LA MARCA, CELLO AMANDINE SAVARY, PIANO Pour cette troisième parution (la première était consacrée à Ravel, la deuxième à Schu- bert), le trio Dali a choisi d’enregistrer les deux trios de Mendelssohn. Réjouissants d’in- ventivité mélodique et de virtuosité, ces trios sont parmi les plus belles pages écrites pour cette formation. En contrepoint à ces deux trios, les Dali ont souhaité ajouter des chorals de Bach, manière de témoigner de la fascination que Mendelssohn éprouvait pour l’un de ses prédécesseurs à Leipzig. For its third release (the first was devoted to Ravel, the second to Schubert), Trio Dali has recorded the two piano trios of Mendelssohn. With their delightful melodic invention and dazzling virtuosity, they are among the finest ever written for this combination. To counterpoint the two main works, Trio Dali has chosen to include transcriptions of two Bach chorales, reflecting Mendelssohn’s fascination with one of his illustrious pred- ecessors in Leipzig. Nach einer ersten CD mit Werken Ravels sowie einem Album mit Musik von Schubert legt das Dali-Trio nun eine Einspielung mit den beiden Klaviertrios von Mendelssohn vor. Diese Klaviertrios erfreuen durch ihren melodischen Einfallsreichtum und ihre Virtuosität und gehören zu den schönsten Kompositionen ihrer Art überhaupt. ZZT Das Dali-Trio ergänzt das Programm noch mit Bearbeitungen von Bach-Chorälen, in An- erkennung der hohen Wertschätzung, die Mendelssohn seinem großen Leipziger Amtsvorgänger entgegenbrachte. -
573904 Itunes Andersen
ON THE PATH TO H.C. ANDERSEN Contemporary Danish Works for Accordion Martin Lohse • Jesper Koch • Bent Lorentzen • Svend Aaquist Hanzhi Wang, Accordion On the Path to H.C. Andersen Contemporary Danish Works for Accordion Although it might still occupy a niche position within the simple pattern of chords, which slowly modulate through short-lived when the music returns to its earlier swell then fade in an evocative manner. At length, the context of contemporary music, the accordion has gained all the keys in a never-ending sequence and creating a sombreness on route to the questioning close. Lohse music suddenly erupts into darting gestures and deft a sizeable repertoire particularly in the Nordic countries music with no or very few dissonances.’ Each makes conveys in five minutes what other composers have passagework which open out its expressive range and not least in Denmark, where numerous composers recourse to post-minimalist elements along with those of sought to do in full-length operas. accordingly, as it moves towards a glowering culmination have followed the example of Per Nørgård in creating the new simplicity crucial to an earlier generation of Born on 5 September 1967 and another graduate from which any hint of sentimentality, as might be evoked some of their most personal expression for this Danish composers. from the Royal Danish Academy of Music, Jesper Koch by the title, has been completely banished. The final bars instrument. The sound of the accordion suggests music of Although composed and premiered separately, these -
Forskning På Klippegrund Forskning På Klippegrund
Forskning på klippegrund CRT 1994 - 2004 Center for Regional- og Turismeforskning Oktober 2004 Forord Den 24. oktober 1994 blev Bornholms Forskningscenter i Nexø officielt indviet. Som en del af Bornholmerpakken var det tanken, at centret - sammen med Glas- og Ke- ramikskolen - skulle sætte Bornholm på det danske uddannelses- og forskningsland- kort og bidrage til en positiv økonomisk udvikling af Bornholm. Ti år er nu gået og med dette jubilæumsskrift vil Center for Regional- og Turismeforskning, CRT, (som Bornholms Forskningscenter skiftede navn til i 2002) give et overordnet billede af centrets begivenhedsrige udvikling og mangfoldige virksomhed. Overskriften Forskning på klippegrund antyder, for det første, at grundlaget for CRT’s eksistens hele tiden har været at drive en forskningsbaseret virksomhed med høje kvalitetsstandarder. Selvom CRT’s arbejdsområde blev udvidet i 2002, til nu endnu kraftigere end tidligere at udføre udviklingsopgaver og engagere sig i uddannelsesini- tiativer på Bornholm, så hviler CRT’s eksistensberettigelse fortsat på, at centret står på fast forskningsgrund. For det andet hentyder overskriften Forskning på klippegrund til de udfordringer, som ligger i at forsøge at etablere en forskningsinstitution i et miljø uden større erfa- ring og traditioner for videregående uddannelse og forskning. Dette var særlig tyde- ligt under CRT’s første fem år, da relationer til, samt samarbejde med offentlige og private aktører på Bornholm var relativt begrænsede, og omvendt, at forståelsen af relevansen af et forskningscenter på klippeøen ikke var specielt stor. Med den omfattende forandringsproces, som begyndte i 2002, forsøger CRT at mål- rette, udvikle og drive en virksomhed, der både står på et stabilt forskningsgrundlag, og som i det væsentlige udøves i et interaktivt samarbejde med lokale og regionale aktører. -
1-27 Julio 2019 Péter Csaba Director Artístico
PROGRAMA GENERAL 1-27 julio 2019 Péter Csaba Director artístico www.encuentrodesantander.es ÍNDICE CONTENTS Bienvenida 5 Welcome La Academia 9 The Academy Profesores y participantes 14 Teachers and participants El Escenario 17 The Stage Calendario general 19 General Programme Programas de conciertos 21 Concerts’ Programmes Compositores y obras 87 Composers and Works Biografías 97 Biographies Información práctica 127 Practical Information Agradecimientos 128 Acknowledgements Equipo de gestión 129 Management Team 5 El patrimonio The Cantabrian heritage embraces all senses. It de Cantabria goes beyond the material realm and raises to the abarca todos spiritual level when from its mountain landscapes los sentidos. and valleys the primary sound of nature arises Trasciende a lo and is read poetically with music. Academy The material y tam- bién se eleva al Cantabria is proud of its musical tradition but this orden espiritual vocation it is also open to all cultural and artistic cuando des- sensitivities as rain which revitalizes the land. Be- de sus paisajes cause the music, although it expresses the perso- montañosos y nal features of each people, is above all a universal / La Academia valles surge el language which unifies women and men from the sonido primario five continents. Therefore, Cantabria has welco- de la naturaleza y se interpreta poético con la me with open arms those great events, that as música. the Santander Encounter of Music and Academy, make our region a reference in the international Cantabria se muestra orgullosa de su tradición music field. musical, pero esa vocación también se abre generosa a todas las sensibilidades culturales y I will never acknowledge enough the great work artísticas, como lluvia que revitaliza la tierra. -
Toelichting - Biografieën
zondag 23.08.20 – 20:00 Studio 4 Vineta Sareika, viool & Amandine Savary, piano Caroline Veyt, presentatrice Shirley Laub, gaste, violiste Programma Interview Wolfgang Amadeus Mozart (1756-1791) Vioolsonate nr. 27 in G, K. 379 (1781) I. Adagio – Allegro II. Andantino cantabile (thema gevolgd door vijf variaties) – Allegretto (Thema da capo – Coda) Vioolsonate nr. 24 in F, K. 376 (1781) I. Allegro II. Andante III. Rondo: Allegretto grazioso Interview Vioolsonate nr. 21 in e, K. 304 (1778) I. Allegro II. Tempo di minuetto Vioolsonate nr. 35 in A, K. 526 (1787) I. Molto allegro II. Andante III. Presto Interview Toelichting - Biografieën Toelichting Na hun cd gewijd aan de Vioolsonates van Edvard Grieg, geven violiste Vineta Sareika en pianiste Amandine Savary vanavond een preview van hun gloednieuwe cd met de vioolsonates van Wolfgang Amadeus Mozart (1756-1791). Als er één genre is dat een constante vormt doorheen het korte leven van Mozart dan is het wel de vioolsonate. Als wonderkind blinkt hij zowel uit in het spelen van viool als klavier en tijdens de concertreizen die hij samen met zijn vader Leopold maakt, wordt hij vaak vergezeld door zijn zus Nannerl. Al snel stimuleert Leopold zijn zoon om muziek te componeren voor viool en klavier die vervolgens door beide kinderen uitgevoerd wordt. Nannerl zet zich daarbij aan het klavier en Mozart bespeelt de viool. Het is de reden waarom Mozart vóór zijn tiende verjaardag niet minder dan zestien sonates componeert. De daaropvolgende jaren, van 1778 tot 1788, volgen nog een twintigtal sonates, die hij weliswaar niet allemaal voltooit. De eerste sonates van Mozart zijn aanvankelijk eerst klaviersonates waaraan hij nadien een vioolbegeleiding toevoegt. -
MARTIN LOHSE Collage De Temps
MARTIN LOHSE Collage de temps David Lau Magnussen Bjarke Mogensen · Claudio Jacomucci Christina Åstrand · Toke Møldrup Danish Chamber Players · Casper Schreiber MARTIN LOHSE Collage de temps David Lau Magnussen, piano Bjarke Mogensen & Claudio Jacomucci, accordions Christina Åstrand, violin · Toke Møldrup, cello Danish Chamber Players · Casper Schreiber, conductor * Collage de temps (2013) * 5 momenti mobile (2013) Concerto for piano and sinfonietta 22:45 for accordion duo and piano trio I Presto con sonore – Moderato e grazioso – Moderato maestoso – I Allegro con passione sostenuto – Allegro grazioso – Allegro meno mosso 3:56 Allegro con brio �������������������������������������������������������������������������������������������������������������������������������������������������������5:47 II Andante con dolore sostenuto �����������������������������������������������������������������������������������������������������������������5:26 II Andante poco dolente 2:50 III Moderato con brio – Moderato meno mosso – Moderato più allegro 3:55 III Andante cantabile – Moderato e grazioso – Moderato maestoso – IV Menuetto: Allegro grazioso con espressione – Allegro semplice poco rubato – Andante e grazioso �����������������������������������������������������������������������������������������������������������������������������������������������3:53 Allegro grazioso con espressione �����������������������������������������������������������������������������������������������������������������6:37