DOCSLIB.ORG

Musica Viva Annual Report 2010

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Musica Viva Annual Report 2010 3890 ft 1650 ft Musica Viva Annual Report 2010 MUSICA VIVA ANNUAL REPORT 2010 I B 18930 km 1300 km 4000 km C I MUSICA VIVA ANNUAL REPORT 2010 13800 km 25050 ft 50°S 2010 MUSICA VIVA ANNUAL REPORT 2010 I 1 4550 km Contents Company Overview 03 Chairman’s Report 04 Chief Executive Officer’s Report 05 Artistic Director’s Report 06 Program Overview 07 Programs: Concerts 08 International Concert Season 08 Coffee Concerts 11 Kenneth W Tribe AC Tribute Concert 11 Australian Composers 11 Huntington Estate Music Festival 11 Collaborations & Outreach 12 Artist Development 12 Café Carnivale 13 CountryWide 14 Export 15 Programs: Education 16 Musica Viva In Schools 16 Music For Life 18 Programs: Statistics 20 Partnerships 22 Supporters 24 Artists And Ensembles 28 8750 ft Artistic Review Panel 32 Financial Statements 33 Staff And Committees 51 Volunteers 52 02 I MUsica viva ANNUal report 2010 Company Overview Musica Viva: life-long engagement with music through concerts and education 9970 ft 3522 km Mission Musica Viva seeks to inspire through ensemble music of quality, diversity, challenge and joy. Vision We see a future for Australia in a world shaped by creativity and imagination, in which music plays an essential inspirational role. Musica Viva seeks to be the leading organisation in the world for connecting audiences and ensemble music, inspiring personal fulfilment and cultural vibrancy. Musica Viva presents the finest 1680 km performers in classical, jazz, world, folk and a capella music in order to bring the experience of live music to audiences of all ages. We believe that the performance, study, and enjoyment of ensemble music: – Enriches people’s lives in a unique “We are endlessly inspired by and powerful way your performers and we learn – Contributes to a vibrant cultural life in so much from watching them Australia play. Thank you so much for that opportunity.” – Creates positive perceptions of John, Willoughby NSW Australian culture both domestically and internationally, and – Contributes to understanding and co-operation across various cultures, communities and generations. Musica Viva specialises in concerts and educational / developmental activities, delivered live and via various media platforms, for the general public, for school-based audiences and for musicians and composers. MUSICA VIVA ANNUAL REPORT 2010 I 03 Chairman’s Report Michael Katz With the passing The Board structure of Musica Viva in 2010 of Kenneth was also of Ken’s devising, offering Wilberforce Tribe guidance and support to the AC, Australia lost company from a mixture of elected one of the true and co-opted directors drawn from Titans of its across the country. This group of musical life, and it dedicated volunteers continues to is fitting to reflect here on Ken’s work hard in the best interests of extraordinary legacy to Musica Viva. Musica Viva, and for this I am extremely grateful. His spirit is infused in the very fabric of the company. The unique way in 2010 saw the retirement from Board which he combined adoration of Chairmanship of Russell Bate. Russ chamber music with solid often liked to remark that he administrative skill and simple horse represented the audience Musica sense provided a philosophical and Viva needed to cultivate – someone commercial foundation that continues who knew much more about rugby to serve us well. Throughout the six than he did about chamber music, decades of his influence on the but with the wide-ranging curiosity company, the intelligence of this and intelligence that are his approach guided successive trademarks, he grew to be one of generations of staff, many of whom Musica Viva’s most passionate now occupy key artistic advocates. Russ also ensured that administration posts around the my succession to Chairman in May world. 2010 was smooth and well planned. One of the many important aspects The Board of Directors is very mindful of his legacy is the governance of maintaining the legacy created by structure under which Musica Viva Ken Tribe, Richard Goldner, Charles now operates. So many arts Berg and countless supporters over organisations in Australia are not for the decades. I think 2010 was a profit companies, limited by year that would have made all those guarantee – a uniquely “Ken” solution gone before us feel truly proud, for to the difficulties of being both a its success on every level: artistic, business, focused on returning financial, and altruistic. maximum return for investment, and a charity, dedicated to many altruistic causes such as the advancement of a civil society through providing music of quality and diversity to all citizens regardless of individual socio/ Michael Katz economic/geographic circumstances. Chairman 4250 ft 04 I MUsica viva ANNUal report 2010 Chief Executive Officer’s Report Mary Jo Capps “Combining peak performance with the constant quest for greater knowledge is the hallmark of Musica Viva. I feel incredibly lucky to be part of this amazing company.” Mary Jo Capps, CEO Having reached 65 As mentioned elsewhere in this report, years of age, Ken Tribe’s death marked the ending of Musica Viva an era for Musica Viva. Ken cared showed no signs of deeply about the music and musicians. transitioning to He was also keenly attuned to the retirement in 2010 needs of audiences around the – indeed, results country. Ultimately, he was committed would indicate a future of even greater to a sustainable Musica Viva, one that strength and vibrancy. could continue to do the most good for the most people by responsibly On a purely practical note, it was a managing its resources. Even during year of financial transition. After two his final illness, he was still anxious to years of operational deficits, we are know how the latest tour had gone for pleased to report an operational the company and through his oxygen surplus of $372,721, due largely to mask, grinned at the news of above- enthusiastic audience take-up of the budget sales. superb concerts devised by Artistic Director, Carl Vine. This result also Ken was the last living link to the key reflects the efforts of many people people who got Musica Viva off the behind the scenes: those who ground originally and his quiet wisdom controlled costs; others who helped has been an inspiration for all of us. increase revenue, both staff and He certainly proved that age 65 is just volunteers; governments, businesses when life starts to really take off. and philanthropists who enabled Musica Viva’s results for 2010 indicate wide-spread access to Musica Viva’s this just might be so. programs in 2010; and individuals who, by their bequests, are ensuring the future of fine music in Australia. To one and all, thank you. It was a busy year, with a 5% increase Mary Jo Capps in activities, most of that increase Chief Executive Officer occurring in Musica Viva In Schools. In all, 2335 events were presented across the country, generating $10,538,879 revenue. The split of revenue sources remained consistent with past years at 50% from direct sales, 30% from government grants and 20% from private sector support. 385,000 people 7550 km experienced Musica Viva activities in person, of whom 300,000 were school children, while hundreds of thousands more enjoyed the many radio broadcasts of concerts. MUsica viva ANNUal report 2010 I 05 Artistic Director’s Report Carl Vine 9250 km 625 km Many years ago, Our hallmark International Concert “Musica Viva’s core principles Ken Tribe set out Season achieved an unprecedented remain as vital as ever: quality a simple model for audience response in 2010, indicating endures, and inspiration is artistic guidance: not that we can sit on our laurels, but irreplaceable.” “Lead, and rather that continuing to explore every Carl Vine, Artistic Director follow”. Seek out imaginable variant of high quality the best, the chamber music still has the power to challenging and enrich and enthral. the unexpected, but also listen Paul Stanhope’s contribution as carefully to your supporters and Featured Composer for the 2010 respond intelligently to their opinions. I Season set a new benchmark, with can’t think of a better model. every one of his works Ken loved making enduring ties with standing proudly alongside the finest the world’s finest musicians, and was chamber music presented by thrilled when they brought their our touring artists. His music left a brilliance to Australia. He was also a powerful and enduring passionate advocate for local talent, impression upon the year’s concerts, and kept finding new ways to help drawing liberal praise from an train, assist, promote and celebrate unprecedented number of our patrons. Australian musicians. Musica Viva’s motto is “music to Many of Ken’s passions are enshrined inspire”. We can now prove that, even in ongoing Musica Viva activities. The in a world dominated by pre- CountryWide and Export programs processed, freeze-dried, vacuum- provide a clear and consistent platform sealed forms of entertainment, live for Australia’s finest musicians to find performances of high quality “art” performance opportunities in regional music can still occupy a steadfast areas and throughout the world. Café position of social necessity. Carnivale provides a welcoming environment to share music from many different cultures. Our Education programs continue to engage droves of children across the continent in detailed musical activity, helping both Carl Vine teachers and students maintain a vital Artistic Director connection with live performance. 06 I MUSICA VIVA ANNUAL REPORT 2010 Program Overview Musica Viva began in 1945 as a chamber music organisation focused on one ensemble. Over the years, the organisation has evolved to embrace hundreds of different musicians and ensembles annually, bringing the finest groups from overseas to perform and teach across Australia, and promoting Australian ensembles to audiences nationally and internationally.
Load more

Recommended publications
  • 5 Music Cruises 2019 E.Pub
    “The music is not in the notes, but in the silence between.” Wolfgang Amadeus Mozart RHINE 2019 DUDOK QUARTET Aer compleng their studies with disncon at the Dutch String Quartet Academy in 20 3, the Quartet started to have success at internaonal compeons and to be recognized as one of the most promising young European string quartets of the year. In 20 4, they were awarded the Kersjes ,rize for their e-ceponal talent in the Dutch chamber music scene. .he Quartet was also laureate and winner of two special prizes during the 7th Internaonal String Quartet 0ompeon 20 3 1 2ordeau- and won st place at both the st Internaonal String Quartet 0ompeon 20 in 3adom 4,oland5 and the 27th 0harles 6ennen Internaonal 0hamber Music 0ompe7 on 20 2. In 20 2, they received 2nd place at the 8th 9oseph 9oachim Internaonal 0hamber Music 0ompeon in Weimar 4:ermany5. .he members of the quartet ;rst met in the Dutch street sym7 phony orchestra “3iccio=”. From 2009 unl 20 , they stu7 died with the Alban 2erg Quartet at the School of Music in 0ologne, then to study with Marc Danel at the Dutch String Quartet Academy. During the same period, the quartet was coached intensively by Eberhard Feltz, ,eter 0ropper 4Aindsay Quartet5, Auc7Marie Aguera 4Quatuor BsaCe5 and Stefan Metz. Many well7Dnown contemporary classical composers such as Kaija Saariaho, MarD7Anthony .urnage, 0alliope .sou7 paDi and Ma- Knigge also worDed with the quartet. In 20 4, the Quartet signed on for several recordings with 3esonus 0lassics, the worldEs ;rst solely digital classical music label.
    [Show full text]
  • The Chamber Music Society of Lincoln Center
    Concerts from the Library of Congress 2013-2014 THE DINA KOSTON AND ROGER SHAPIRO fUND fOR nEW mUSIC THE CHAMBER MUSIC SOCIETY oF LINCOLN CENTER Thursday, April 10, 2014 ~ 8 pm Coolidge Auditorium Library of Congress, Thomas Jefferson Building THE DINA KOSTON AND ROGER SHAPIRO FUND FOR NEW MUSIC Endowed by the late composer and pianist Dina Koston (1929-2009) and her husband, prominent Washington psychiatrist Roger L. Shapiro (1927-2002), the DINA KOSTON AND ROGER SHAPIRO FUND FOR NEW MUSIC supports commissions and performances of contemporary music. Please request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 or [email protected]. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the concerts. Other events are open to all ages. Presented in association with: The Chamber Music Society’s touring program is made possible in part by the Lila Acheson and DeWitt Wallace Endowment Fund. Please take note: Unauthorized use of photographic and sound recording equipment is strictly prohibited. Patrons are requested to turn off their cellular phones, alarm watches, and any other noise-making devices that would disrupt the performance. Reserved tickets not claimed by five minutes before the beginning of the event will be distributed to stand-by patrons. Please recycle your programs at the conclusion of the concert. The Library of Congress Coolidge Auditorium Thursday, April 10, 2014 — 8 pm THE DINA KOSTON AND ROGER SHAPIRO fUND fOR nEW mUSIC THE CHAMBER MUSIC SOCIETY oF LINCOLN CENTER • Gilles Vonsattel, piano Nicolas Dautricourt, violin Nicolas Altstaedt, cello Amphion String Quartet Katie Hyun, violin David Southorn, violin Wei-Yang Andy Lin, viola Mihai Marica, cello Tara Helen O'Connor, flute Romie de Guise-Langlois, clarinet Jörg Widmann, clarinet Ian David Rosenbaum, percussion 1 Program PIERRE JALBERT (B.
    [Show full text]
  • In Concert AUGUST–SEPTEMBER 2012
    ABOUT THE MUSIC GRIEG CONCERTO /IN CONCERT AUGUST–SEPTEMBER 2012 GRIEG CONCERTO 30 AUGUST–1 SEPTEMBER STEPHEN HOUGH PLAYS TCHAIKOVSKY 14, 15 AND 17 SEPTEMBER TCHAIKOVSKY’S PATHÉTIQUE 20–22 SEPTEMBER ENIGMA VARIATIONS 28 SEPTEMBER MEET YOUR MSO MUSICIANS: SYLVIA HOSKING AND MICHAEL PISANI PIERS LANE VISITS GRIEG’S BIRTHPLACE STEPHEN HOUGH ON TCHAIKOVSKY’S PIANO CONCERTO NO.2 SIR ANDREW DAVIS HAILS THE NEW HAMER HALL twitter.com/melbsymphony facebook.com/melbournesymphony IMAGE: SIR ANDREW Davis CONDUCTING THE MELBOURNE SYMPHONY ORCHESTRA Download our free app 1 from the MSO website. www.mso.com.au/msolearn THE SPONSORS PRINCIPAL PARTNER MSO AMBASSADOR Geoffrey Rush GOVERNMENT PARTNERS MAESTRO PARTNER CONCERTMASTER PARTNERS MSO POPS SERIES REGIONAL TOURING PRESENTING PARTNER PARTNER ASSOCIATE PARTNERS SUPPORTING PARTNERS MONASH SERIES PARTNER SUPPLIERS Kent Moving and Storage Quince’s Scenicruisers Melbourne Brass and Woodwind Nose to Tail WELCOME Ashton Raggatt McDougall, has (I urge you to read his reflections been reported all over the world. on Grieg’s Concerto on page 16) and Stephen Hough, and The program of music by Grieg conductors Andrew Litton and and his friend and champion HY Christopher Seaman, the last of Percy Grainger that I have the whom will be joined by two of the privilege to conduct from August finest brass soloists in the world, otograp 29 to September 1 will be a H P Radovan Vlatkovic (horn) and wonderful opportunity for you to ta S Øystein Baadsvik (tuba), for our O experience all the richness our C special Town Hall concert at the A “new” hall has to offer.
    [Show full text]
  • Borodin Quartet
    Borodin Quartet Quartet is universally recognised for its genuine Highlights in 2018/19 include widely anticipated interpretation of Russian music, generating full tours of Australia for Musica Viva and New critical acclaim all over the world; the Zealand for Chamber Music New Zealand; Frankfurter Allgemeine Zeitung writes about performances at the Chamber Music Society of them “here we have not four individual players, Lincoln Center New York, Library of Congress in but a single sixteen-stringed instrument of great Washington DC, Friends of Chamber Music virtuosity”. Miami, Victoria Concert Hall Singapore, Wigmore Hall London, Royal Concertgebouw Amsterdam, The Quartet's connection with Shostakovich's Società dei Concerti di Milano, as well as a special chamber music is intensely personal, since it residency at the Kanazawa Spring Green Festival was stimulated by a close relationship with the in Japan; further performances include Taipei, composer, who personally supervised its study Hong Kong and Moscow, with tours of South of each of his quartets. Widely regarded as Korea, China, Belgium and Canada; playing the definitive interpretations, the Quartet’s cycles of quartets of Shostakovich, Haydn, Tchaikovsky, “ […] their almost preternatural the complete Shostakovich's quartets have been Wolf, Beethoven, Mozart, Prokofiev, and ability to synchronise as though performed all over the world, including Vienna, Stravinsky. Zurich, Frankfurt, Madrid, Lisbon, Seville, they were one single instrument.” London, Paris and New York. The idea of Chamber music partners in 2018/19 include The Independent performing a complete cycle of Shostakovich's Alexei Volodin, Michael Collins, Sergei quartets originated with the Borodin Quartet. In Nakariakov and Barry Douglas.
    [Show full text]
  • Quatuor Ébène Pierre Colombet Violin • Gabriel Le Magadure Violin Marie Chilemme Viola • Raphaël Merlin Cello
    Wednesday 12 December 2018 7.30pm Quatuor Ébène Pierre Colombet violin • Gabriel Le Magadure violin Marie Chilemme viola • Raphaël Merlin cello Ludwig van Beethoven String Quartet in F Op. 18 No. 1 Johannes Brahms String Quartet in C minor Op. 51 No. 1 I n t e r v a l (20 minutes) Ludwig van Beethoven String Quartet in F Op. 135 This evening’s concert will be streamed live, and will be available to watch afterwards on the Wigmore Hall website. PROGRAMME: £3 CAVATINA Chamber Music Trust has donated free tickets for 8-25 year-olds for the concert on 12 December 2018. For details of future concerts please call the Box Office on 020 7935 2141. 2018 cover-autumn test print.indd 1 29/08/2018 10:28 Ludwig van Beethoven Beethoven arrived in Vienna in 1792, a year after Mozart’s tragic death. The young, (1770–1827) Bonn-born composer was effectively travelling to the Habsburg capital to take up where the late, lamented composer had String Quartet in F Op. 18 No. 1 left off. He even carried a letter to that end, (1798–1800) written by his friend Count von Waldstein: Allegro con brio ‘You are going to Vienna in fulfilment Adagio affettuoso ed appassionato of your long-frustrated wishes. The Scherzo. Allegro molto Genius of Mozart is still mourning and Allegro weeping the death of her pupil. She found a refuge but no occupation with the inexhaustible Haydn; through him Johannes Brahms she wishes once more to form a union (1833–1897) with another.
    [Show full text]
  • There's Even More to Explore!
    Background artwork: SPECIAL COLLECTIONS UCHICAGO LIBRARY Kaplan and Fridkin, Agit No. 2 MUSIC THEATER ART MUSIC THEATER LECTURE / CLASS MUSIC MUSIC MUSIC / FILM LECTURE / CLASS MUSIC University of Chicago Presents University Theater/Theater and Performance Studies The University of Chicago Library Symphony Center Presents Goodman Theatre University of Chicago Presents Roosevelt University Rockefeller Chapel University of Chicago Presents TOKYO STRING QUARTET THEATER 24 PLAY SERIES: GULAG ART Orchestra Series CHEKHOv’S THE SEAGULL LECTURE / DEmoNSTRATioN PAciFicA QUARTET: 19TH ANNUAL SILENT FiLM LECTURE / DEmoNSTRATioN BY MARiiNskY ORCHESTRA FRIDAY, OCTOBER 1, 2010 A CLOUD WITH TROUSERS THROUGH DECEMBER 2010 OCTOber 16 – NOVEMBER 14, 2010 BY PACIFICA QUARTET SHOSTAKOVICH CYCLE WITH ORGAN AccomPANimENT: MAsumi RosTAD, VioLA, AND (FORMERLY KIROV ORCHESTRA) Mandel Hall, 1131 East 57th Street SATURDAY, OCTOBER 2, 2010, 8 PM The Joseph Regenstein Library, 170 North Dearborn Street SATURDAY, OCTOBER 16, 2 PM SUNDAY OCTOBER 17, 2010, 2 AND 7 PM AELITA: QUEEN OF MARS AMY BRIGGS, PIANO th nd chicagopresents.uchicago.edu, 773.702.8068 First Floor Theater, Reynolds Club, 1100 East 57 Street, 2 Floor Reading Room Valery Gergiev, conductor Goodmantheatre.org, 312.443.3800 Fulton Recital Hall, 1010 East 59th Street SUNDAY OCTOBER 31, 2010, 2 AND 7 PM Jay Warren, organ SATURDAY, OCTOBER 30, 2 PM 5706 South University Avenue Lib.uchicago.edu Denis Matsuev, piano Chicagopresents.uchicago.edu, 773.702.8068 FRIDAY, OCTOBER 29, 2010, 8 PM Fulton Recital Hall, 1010 East 59th Street Mozart: Quartet in C Major, K. 575 As imperialist Russia was falling apart, playwright Anton SUNDAY JANUARY 30, 2011, 2 AND 7 PM ut.uchicago.edu TUESDAY, OCTOBER 12, 2010, 8 PM Rockefeller Chapel, 5850 South Woodlawn Avenue Chicagopresents.uchicago.edu, 773.702.8068 Lera Auerbach: Quartet No.
    [Show full text]
  • AE News May, 2020
    AE News May, 2020 What’s Online Music to our Ears! Meet Dimity and Julian! We’ve dug through the internet archives and found some wonderful www.music.unsw.edu.au/ past performances of our musicians fi lmed around the world. We hope meet-dimity-and-julian you enjoy and that these video clips go some way towards fulfi lling that essential classical music fi x we all need while out of the concert hall. Message of thanks! Click on the links below to take you through to these videos online. www.music.unsw.edu.au/ thank-you Meet guest artist Huw Jones! www.music.unsw.edu.au/ meet-huw Meet Stage Manager Vennisa! www.music.unsw.edu.au/ This recent ABC Classics clip features violinist Dene Olding performing meet-vennisa Sarasate’s melancholy Playera with pianist Tamara-Anna Cislowska. www.youtube.com/watch?v=eYsX4RwQKPg April Composer in Conversation featuring Hear Dimity Hall perform Vaughan Williams’ Lark Ascending with Ross Edwards speaking Sinfonia Australis under the baton of Antony Walker. about his work Incantations www.youtube.com/watch?v=HhjGIcDAv84 for Wind Quintet hosted by Paul Stanhope Clarinetist David Griffi ths performs Messiaen’s Abyss of the Birds. www.music.unsw.edu.au/ www.youtube.com/watch?v=jsArPZ9eoFs composer-conversation- Hear Julian Smiles perform After Nina by Andrew Schultz’s with the ross-edwards-paul- Australia Ensemble UNSW www.youtube.com/watch?v=m3ZvRbgbn-g stanhope-artistic-chair- featuring Ian Munro, piano and Catherine McCorkill, clarinet. australia-ensemble-unsw Check out a younger Ian Munro performing Prokofi ev’s Piano Concerto Unfortunately the August No.3 with Sir Simon Rattle at the 1987 Leeds International Piano 15 concert has been Competition with City of Birmingham Symphony Orchestra.
    [Show full text]
  • Joyce Yang Piano Blessed With
    Joyce Yang Piano Blessed with “poetic and sensitive pianism” (Washington Post) and a “wondrous sense of color” (San Francisco Classical Voice), pianist Joyce Yang captivates audiences with her virtuosity, lyricism, and interpretive sensitivity. As a Van Cliburn International Piano Competition silver medalist and Avery Fisher Career Grant recipient, Yang showcases her colorful musical personality in solo recitals and collaborations with the world’s top orchestras and chamber musicians. Yang came to international attention in 2005 when she won the silver medal at the 12th Van Cliburn International Piano Competition. The youngest contestant at 19 years old, she took home two additional awards: the Steven De Groote Memorial Award for Best Performance of Chamber Music (with the Takàcs Quartet) and the Beverley Taylor Smith Award for Best Performance of a New Work. Since her spectacular debut, she has blossomed into an “astonishing artist” (Neue Zürcher Zeitung). She has performed as soloist with the New York Philharmonic, Chicago Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, the Baltimore, Detroit, Houston, Milwaukee, San Francisco, Sydney, and Toronto symphony orchestras, Deutsches Symphonie-Orchester Berlin, and the BBC Philharmonic (among many others), working with such distinguished conductors as Edo de Waart, Lorin Maazel, James Conlon, Leonard Slatkin, David Robertson, Bramwell Tovey, Peter Oundjian, and Jaap van Zweden. In recital, Yang has taken the stage at New York’s Lincoln Center and Metropolitan Museum; the Kennedy Center in Washington, DC; Chicago’s Symphony Hall; and Zurich’s Tonhalle. Yang kicks off the 2015/16 season with a tour of eight summer festivals (Aspen, Bridgehampton, Grand Tetons, La Jolla, Ravinia, Seattle, Southeastern Piano Festival, and Bravo! Vail) before commencing a steady stream of debuts, return engagements, and notable chamber music concerts.
    [Show full text]
  • Tezfiatipnal "
    tezfiatipnal" THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN Borodin Quartet MIKHAIL KOPELMAN, Violinist DMITRI SHEBALIN, Violist ANDREI ABRAMENKOV, Violinist VALENTIN BERLINSKY, Cellist SUNDAY AFTERNOON, FEBRUARY 25, 1990, AT 4:00 RACKHAM AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Quartet No. 2 in F major, Op. 92 .............................. PROKOFIEV Allegro sostenuto Adagio, poco piu animate, tempo 1 Allegro, andante molto, tempo 1 Quartet No. 3 (1984) .......................................... SCHNITTKE Andante Agitato Pesante INTERMISSION Quartet in B-flat major, Op. 130, with Grosse Fuge, Op. 133 ...... BEETHOVEN Adagio, ma non troppo; allegro Presto Andante con moto, ma non troppo Alia danza tedesca: allegro assai Cavatina: adagio molto espressivo Finale: Grosse Fuge The Borodin Quartet is represented exclusively in North America by Mariedi Anders Artists Management, Inc., San Francisco. Cameras and recording devices are not allowed in the auditorium. Halls Cough Tablets, courtesy of Warner Lambert Company, are available in the lobby. Twenty-eighth Concert of the lllth Season Twenty-seventh Annual Chamber Arts Series PROGRAM NOTES Quartet No. 2 in F major, Op. 92 ........................ SERGEI PROKOFIEV (1891-1953) Sergei Prokofiev, born in Sontsovka, in the Ekaterinoslav district of the Ukraine, began piano lessons at age three with his mother, who also encouraged him to compose. It soon became clear that the child was musically precocious, writing his first piano piece at age five and playing the easier Beethoven sonatas at age nine. He continued training in Moscow, studying piano with Reinhold Gliere, and in 1904, entered the St. Petersburg Conservatory where he studied harmony and counterpoint with Anatoly Lyadov, orchestration with Rimsky- Korsakov, and conducting with Alexander Tcherepnin.
    [Show full text]
  • Violinist Karine Garibova Was Born and Raised in Moscow and Started Playing Violin at the Age Six Studying with Irina Svetlova, Yelena Mazor and Khalida Akhtyamova
    Violinist Karine Garibova was born and raised in Moscow and started playing violin at the age six studying with Irina Svetlova, Yelena Mazor and Khalida Akhtyamova. Ms. Garibova earned a DMA in String Quartet performance from the Gnesins’ Russian Academy of Music in Moscow, Russia. Ms. Garibova is a founding member of the Veronika String Quartet, which launched itself onto the international arena early, taking top prizes at the Melbourne International Chamber Music Competition, Shostakovich International String Quartet Competition, and Yellow Springs Chamber Music Competition. Since then, this foursome has appeared in important halls in Moscow, St. Petersburg, London, Madrid, Jerusalem, New York, Chicago, and in Germany, France, and the Netherlands, as well as throughout the United States. Noteworthy collaborations have included those with members of the Amadeus, American and Fine Arts quartets, and with guest artists Ruth Laredo, Richard Stolzman, and Lawrence Leighton Smith. The quartet counts Valentin Berlinsky, formerly of the Borodin Quartet, and Henry Meyer, formerly of the LaSalle Quartet, as its primary influences. The group was able to create a unique bridge between its rich Russian heritage and the western tradition through studies under Isaac Stern, Natalia Gutman, and members of the Guarneri, Ysaye, Cleveland, and Tokyo quartets. Performances of the complete canon of the quartet repertory, coupled with its devotion to the modernist idiom, have resulted in a discography of nine recordings on Carlton Classics and Vienna Modern Masters, featuring an impressive array of works ranging from W.A. Mozart to Augusta Read Thomas. The Veronika String Quartet has been recording and broadcasting for Colorado Public Radio and presenting thematically adventurous concert series in Colorado Springs and Pueblo.
    [Show full text]
  • Borodin String Quartet
    UNIVERSITY MUSICAL SOCIETY BORODIN STRING QUARTET Mikhail Kopelman, Violinist Dmitri Shebalin, Violist Andrei Abramenkov, Violinist Valentin Berlinsky, Cellist Tuesday Evening, February 18, 1992, at 8:00 Rackham Auditorium, Ann Arbor, Michigan PROGRAM Quartet in C minor, Op. 51, No. 1 .......... Brahms Allegro Romanze: poco adagio Allegretto molto moderate e comodo, un poco piu animate Finale: allegro IN TERMISSION Quartet No. 15 in E-flat minor, Op. 144 Shostakovich Elegy: adagio Serenade: adagio Intermezzo: adagio Nocturne: adagio Funeral March: adagio molto Epilogue: adagio, adagio molto The Borodin Quartet is represented by Mariedi Anders Artists Management, San Francisco. The University Musical Society is a member of Chamber Music America. Activities of the UMS are supported by the Michigan Council for Arts and Cultural Affairs and the National Endowment for the Arts. Twenty-sixth Concert of the 113th Season Twenty-ninth Annual Chamber Arts Series Program Notes Quartet in C minor, as an uneasy, sinister, shadowy one. The contrasting central trio section, Un poco piu Op. 51, No. 1 animate, is a folklike tune accompanied by JOHANNES BRAHMS (1833-1897) unusual sounds from the open strings of the he musical manner that Brahms second violin and viola. In the Allegro finale, adopted as a young man and the Brahms refers again to the Scherzo, but the skill that he showed when he was musical materials are most closely related to only 20 years old, led Schumann those that open the Quartet, and the whole to proclaim him "a musician is presented with a concentrated force that chosenT to give ideal expression to his times." recalls and balances the entire opening move­ Even when he was young, Brahms had found ment.
    [Show full text]
  • 570259Bk USA 15/5/07 8:15 Pm Page 5
    570259bk USA 15/5/07 8:15 pm Page 5 Slovak Radio Symphony Orchestra The Slovak Radio Symphony Orchestra was founded in 1929 as the first professional musical ensemble fulfilling the needs of radio broadcasting in Slovakia. The first conductors already placed particular emphasis on contemporary Slovak music in their programmes, resulting in a close connection with leading Slovak composers, BLOCH including Alexander Moyzes, Eugen SuchoÀ, Ján Cikker and others. The original ensemble was gradually enlarged and from 1942, thanks to Alexander Moyzes, the then Director of Music in Slovak Radio, regular symphony concerts were given, broadcast live by Slovak Radio. From 1943 to 1946 the Yugoslavian Kre‰imír Baranoviã was Four Episodes • Two Poems the chief conductor of the orchestra, to which he made a vital contribution. His successors were ªudovít Rajter, Ladislav Slovák, Václav Jiráãek, Otakar Trhlík, Bystrík ReÏucha and Ondrej Lenárd, whose successful Concertino • Suite Modale performances and recordings from 1977 to 1990 helped the orchestra to establish itself as an internationally known concert ensemble. His successor Róbert Stankovsky continued this work, until his unexpected death at the age of Noam Buchman, Flute • Yuri Gandelsman, Viola 36. Charles Olivieri-Munroe held the position of chief conductor from 2001-2003, with the current principal guest conductor Kirk Trevor. Oliver von Dohnányi was appointed chief conductor of the orchestra in 2006, and regular Soloists of the Israel Philharmonic Orchestra live concerts have continued also under the new second conductor Mario Kosik. Through its broadcasts and many recordings the orchestra has also become a part of concert life abroad, with successful tours to Austria, Italy, Slovak Radio Symphony Germany, The Netherlands, France, Bulgaria, Spain, Japan, Great Britain and Malta.
    [Show full text]