In with the Newdownload

Total Page:16

File Type:pdf, Size:1020Kb

In with the Newdownload Tuesday April 23, 2013 The Buffalo News.com (/) Gusto Laura Aikin performs a new song cycle by David Felder on Tuesday. In with the new Updated: April 18, 2013, 02:43 AM Published: April 18, 2013, 02:42 AM Clarence-born soprano Laura Aikin has starred in “Der Rosenkavalier” at the Metropolitan Opera. She recently sang the part of Lulu in Alban Berg’s “Lulu” at La Scala in Milan. On Tuesday, she is going to tackle what promises to be one of her greatest challenges: a new song cycle by the University at Buffalo’s David Felder. Felder’s song cycle is titled “Les quatre temps cardinaux,” after a poem by the tragically short-lived French poet Rene Daumal. Woven into the piece is other poetry, by such poets as Dana Gioia and Pablo Neruda. Poignantly, Felder has included “Spring Light” and “Buffalo Evening” by the late Buffalo poet Robert Creeley, his friend and colleague. Aikin is joined in the cycle by the noted bass Ethan Herschenfeld. Accompanying them will be Ensemble Signal and UB’s Slee Sinfonietta. Felder is a painter in pure sound. His creations are always unpredictable: a rumble could come from the back of the hall, words and syllables can be stretched or distorted, the lights could go out, nobody knows. He has designed this song cycle, a commission from the Koussevitzky Foundation, to take the audience through a single day and stretch our concept of time. The program opens with “Tweener,” a 2010 Felder composition for solo percussion, electronics and large chamber ensemble. – Mary Kunz Goldman ••• “Les quatre temps cardinaux” by David Felder – When: 7 p.m. Tuesday. Where: Lippes Concert Hall in Slee Hall, UB North Campus, Amherst. Tickets: $12 advance, 15 at the door, with discounts for seniors and UB alumni and staff. Info: 645-2921. Copyright 1999 - 2013 - The Buffalo News copyright-protected material..
Recommended publications
  • Rcam-Centre Pompidou Avec Le Soutien De L’Institut Finlandais À Paris, Création Mondiale
    Kimmo Hakola, Le Sacrifice commande de l’Ircam-Centre Pompidou avec le soutien de l’Institut finlandais à Paris, création mondiale Entracte Andrei Tarkovski, Le Sacrifice Ircam - Centreprojection intégrale duPompidou film emplin 2 Tr Laura Aikin, soprano Ashot Sarkissjan, violon Ensemble Intercontemporain Direction Jonathan Nott Mercredi 11 décembre 2002 Serge Lemouton, assistant musical Technique Ircam 20 h CoproductionIrcam Ensemble Intercontemporain, -Ircam-Centre Centre Pompidou et Forum des PompidouForum des images images Auditorium Ircam - Centre Pompidou Kimmo Hakola Le Sacrifice (2002) (Oratorio d’après Andrei Tarkovski) 1. La promenade enregistrements des chanteurs de la Maîtrise de Radio 2. La guerre France ont été analysés dans le but de créer un son synthé- 3. Dans les demeures de la souffrance tique dérivé du timbre des voix d'enfants. Ces chanteurs 4. Le violon compresseur et la sorcière sont Douglas Duteil, Patrick Wibart, Raphael Bleibtre, diri- 5. Le prophète gés par le chef de chœur, Catherine Nicole. Il s’agit de la 6. Le feu création mondiale. 7. Les arches de Saint-André « Quand j’ai vu Le Sacrifice de Tarkovski en 1986, j’ai immé- Ircam - CentreEffe ctif Pompidoudiatement su que je ferai, un jour, une œuvre ayant un rap- soprano solo, violon solo, flûte, port avec ce réalisateur. Ce qui m’intéresse dans son travail flûte/flûte piccolo, hautbois, de cinéaste, c’est sa capacité à traiter le temps et la drama- hautbois/cor anglais, clarinette, turgie. Et, sur un plan plus général, c’est Tarkovski en tant clarinette basse, basson, basson/contrebasson, qu’artiste, qui m’a intrigué. » 2 cors, 2 trompettes, 2 trombones ténor-basse, tuba, 3 percussions, piano, clavier Kimmo Hakola précise pourtant qu’il n’essaie ni d’illustrer numérique/célesta, harpe, les images ni d’écrire une musique de film.
    [Show full text]
  • Dossier De Presse Luigi Nono
    FESTIVAL D’AUTOMNE À PARIS 4 septembre – 31 décembre | 43 e édition DOSSIER DE PRESSE LUIGI NONO Service de presse : Christine Delterme, Carole Willemot Assistant : Maxime Cheung Tél : 01 53 45 17 13 | Fax : 01 53 45 17 01 [email protected] [email protected] [email protected] Festival d’Automne à Paris | 156, rue de Rivoli – 75001 Paris Renseignements et réservations : 01 53 45 17 17 | www.festival-automne.com DOSSIER DE PRESSE MUSIQUE – FESTIVAL D’AUTOMNE À PARIS 2014 – PAGE 2 EDITORIAL Un “portrait” consacré au compositeur vénitien Luigi Nono (1924-1990) Il est temps de revenir sur la musique de Luigi Nono. Depuis plus de dix ans, ses grandes œuvres n’ont pas été jouées à Paris. Développé au cours des automnes 2014 et 2015, ce “portrait” de Luigi Nono permettra d’écouter des œuvres d’orchestre et de musique de chambre (avec l’ajout de live-electronics pour celles de la dernière période), rares au concert, et dont certaines en création française. L’attention portée à la voix, en soliste ou en chœur, et la manifes - tation de son engagement politique dans ses œuvres constituent les deux axes sur lesquels se déploie ce cycle. Dans les années 1960 et 1970, Luigi Nono, membre du Parti communiste italien, organise en effet des concerts dans les usines et rencontre, au cours de nombreux voyages, les militants des mouvements révolutionnaires apparaissant en Algérie, à Cuba, au Pérou, au Chili, au Vietnam et ailleurs. Ces rencontres fournissent la matière aux deux opéras de cette période, Intolleranza 1960 et Al gran carico d’amore – ce dernier, créé avec le metteur en scène Youri Liou - bimov.
    [Show full text]
  • 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.
    [Show full text]
  • 2016-17 Winter Program Book 138Th
    2016-17 WINTER PROGRAM BOOK138TH SEASON // UNIVERSITY OF MICHIGAN | ANN ARBOR You have a part to play. Uncommon Your gift will help in the following areas: and engaging ACCESS AND INCLUSIVENESS experiences. Helping make tickets more affordable. Helping create free educational events and A sense of community-building activities. Providing connection opportunities for all to experience the transformative power of the arts. between audience and artist. ENGAGED LEARNING THROUGH THE ARTS Integrating performing arts into the Moments of clarity, student experience. Creating meaningful connections between the arts and life. inspiration, and Encouraging creative thinking, collaboration, reflection. The and experimentation. performing arts BOLD ARTISTIC LEADERSHIP provide us with Commissioning work that reflects our commitment to tradition and innovation. these elemental Solidifying and elevating our position as experiences, a recognized national and international artistic leader. Unique and bold offering a shortcut programming. to our creative As a Leader and Best among arts presenters, selves. UMS wants anyone and everyone, students and community alike, to experience the transformative power of the performing arts. We seek generous partners who want to help us achieve our goal. UMS.ORG/SUPPORT Visit us online or call the UMS Development 734.764.8489 Office to make your gift today. BE PRESENT Be Present UMS unleashes the power of the WINTER 2017 performing arts in order to engage, educate, transform, and connect individuals with uncommon experiences. The Winter 2017 season is full of exceptional, world-class, and truly inspiring performances. Welcome to the UMS experience. We’re glad you’re present. Enjoy the performance. 1 When you attend a UMS performance, you’re part of a larger equation: nonprofit ARTS +CULTURE = ECONOMIC PROSPERITYin the greater Ann Arbor Area $100 million annually Together, we invest in our local community’s vibrancy.
    [Show full text]
  • Música Y Cine Fabio Luisi Till Fellner Myung-Whun Chung Michel Camilo
    REVISTA DE MÚSICA Año XXII - Nº 218 - Abril 2007 - 6,30 € DOSIER Música y cine i m B o ENCUENTROS n Fabio Luisi e n a r e B v ACTUALIDAD D a n i e l h o e t Till Fellner B e e Myung-Whun Chung p r m Año XXII - Nº 218 Abril 2007 6,30 € DISCOS i e S Referencias: Una vida de héroe JAZZ Michel Camilo AÑO XXII - Nº 218 - Abril 2007 - 6,50 € 2 OPINIÓN Funciones musicales en el lenguaje cinematográfico CON NOMBRE Ana Vega Toscano 114 PROPIO Música en la frontera 6 Till Fellner Blas Matamoro 118 Rafael Banús Irusta John Williams y Jerry 8 Myung-Whun Chung Goldsmith: vidas paralelas Bruno Serrou Guzmán Urrero Peña 122 La música de cine en España 10 AGENDA David Rodríguez Cerdán 126 27, son 27 18 ACTUALIDAD José Luis Pérez de Arteaga 130 NACIONAL ENCUENTROS 46 ACTUALIDAD Fabio Luisi INTERNACIONAL Franco Soda 136 58 ENTREVISTA EDUCACIÓN Daniel Barenboim Pedro Sarmiento 140 Juan Antonio Llorente JAZZ Pablo Sanz 142 64 Discos del mes SCHERZO DISCOS LIBROS 144 65 Sumario LA GUÍA 138 DOSIER CONTRAPUNTO 113 Música y cine Norman Lebrecht 144 Colaboran en este número: Javier Alfaya, Julio Andrade Malde, Rafael Banús Irusta, Emili Blasco, Alfredo Brotons Muñoz, José Antonio Cantón, Jacobo Cortines, Rafael Díaz Gómez, Pierre Elie Mamou, José Luis Fernández, Fernando Fraga, José Antonio García y García, Juan García-Rico, Mario Gerteis, Juan Antonio Gordón, José Guerrero Martín, Fernando Herrero, Bernd Hoppe, Alfonsina Janés, Norman Lebrecht, Juan Antonio Llorente, Fiona Maddocks, Santiago Martín Bermúdez, Leticia Martín Ruiz, Joaquín Martín de Sagarmínaga,
    [Show full text]
  • Deutsche Nationalbibliografie
    Deutsche Nationalbibliografie Reihe T Musiktonträgerverzeichnis Monatliches Verzeichnis Jahrgang: 2019 T 06 Stand: 05. Juni 2019 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main) 2019 ISSN 1613-8945 urn:nbn:de:101-201811221866 2 Hinweise Die Deutsche Nationalbibliografie erfasst eingesandte Pflichtexemplare in Deutschland veröffentlichter Medienwerke, aber auch im Ausland veröffentlichte deutschsprachige Medienwerke, Übersetzungen deutschsprachiger Medienwerke in andere Sprachen und fremdsprachige Medienwerke über Deutschland im Original. Grundlage für die Anzeige ist das Gesetz über die Deutsche Nationalbibliothek (DNBG) vom 22. Juni 2006 (BGBl. I, S. 1338). Monografien und Periodika (Zeitschriften, zeitschriftenartige Reihen und Loseblattausgaben) werden in ihren unterschiedlichen Erscheinungsformen (z.B. Papierausgabe, Mikroform, Diaserie, AV-Medium, elektronische Offline-Publikationen, Arbeitstransparentsammlung oder Tonträger) angezeigt. Alle verzeichneten Titel enthalten einen Link zur Anzeige im Portalkatalog der Deutschen Nationalbibliothek und alle vorhandenen URLs z.B. von Inhaltsverzeichnissen sind als Link hinterlegt. Die Titelanzeigen der Musiktonträger in Reihe T sind, wie sche Katalogisierung von Ausgaben musikalischer Wer- auf der Sachgruppenübersicht angegeben, entsprechend ke (RAK-Musik)“ unter Einbeziehung der „International der Dewey-Dezimalklassifikation (DDC) gegliedert, wo- Standard Bibliographic Description for Printed Music – bei tiefere Ebenen mit bis zu sechs Stellen berücksichtigt ISBD (PM)“ zugrunde.
    [Show full text]
  • MUSIC of VIENNA with Unmodified Acoustic Instruments
    Surround Sound MUSIC FOR ORCHESTRA AND ELECTRONIC SOUNDS SUNDAY OCTOBER 12, 2014 3:00 Surround Sound MUSIC FOR ORCHESTRA AND ELECTRONIC SOUNDS SUNDAY OCTOBER 12, 2014 3:00 JORDAN HALL AT NEW ENGLAND CONSERVATORY Pre-concert talk with the composers, hosted by Robert Kirzinger at 2:15 RONALD BRUCE SMITH Constellation (2000) ANTHONY PAUL DE RITIS Riflessioni (2014) world premiere Patrick de Ritis, bassoon INTERMISSION DAVID FELDER Les Quatre Temps Cardinaux (2013) I. Prelude/Stanza 1a [Daumal] II. Stanza 1b [Daumal] III. Spring Light [Creeley] electronic interlude IV. Stanza 2a [Daumal] V. Fragments (from Neruda) VI. Stanza 2b [Daumal] VII. Stanza 3a [Daumal] VIII. Stanza 3b [Daumal] electronic interlude IX. Buffalo Evening [Creeley] electronic interlude X. Stanza 4a [Daumal] XI. Insomnia [Gioia] XII. Stanza 4b [Daumal] Postlude Laura Aikin, soprano Ethan Herschenfeld, bass GIL ROSE, Conductor Les Quatre Temps Cardinaux was commissioned by the Serge and Natalie Koussevitzky Foundation with Ensemble Signal, BMOP, and Slee Sinfonietta as the three co‑commissioning organizations. Additional support comes from the Birge‑Cary Chair in Music, University at Buffalo for realization of the electronic portion of the work. PROGRAM NOTES 5 by Robert Kirzinger Supplementing or melding the orchestra with electrical media goes back about a hundred years. The 1913 “Art of Noises” manifesto by the Futurist Luigi Russolo JULIUS AHN JULIUS is a handy marker for the aesthetic argument for new sound sources based in technology. In practice, of course, musicians themselves were more likely than theorists to effect such changes organically. Among the most famous early examples from the mainstream was Respighi’s use of a gramophone record for a proto-sample of birdsong in Pines of Rome THIS AFTERNOON’S PERFORMERS back in 1924—a synthetic solution toward achieving verisimilitude.
    [Show full text]
  • Bookletdownload Pdf(536
    MUSIC21C.BUFFALO.EDU JUNE in BUFFALO JUNE 1-7/2015 th th 40 30Anniversary of Anniversary of David Felder as the founding of Artistic Director June in Buffalo of June in Buffalo JUNE in BUFFALO JUNE 1-7/2015 JUNE IN BUFFALO June 1 – June 7, 2015 David Felder, Artistic Director J.T. Rinker, Managing Director SENIOR FACULTY COMPOSERS: Martin Bresnick David Felder Brian Ferneyhough Bernard Rands Augusta Read Thomas Roger Reynolds Harvey Sollberger Steven Stucky Charles Wuorinen RESIDENT ENSEMBLES: Bu!alo Philharmonic Orchestra Ensemble Signal Meridian Arts Ensemble New York New Music Ensemble Slee Sinfonietta Talujon Percussion Ensemble SPECIAL GUESTS: Irvine Arditti Heather Buck Ethan Herschenfeld Brad Lubman 2 Performance Institute at June in Buffalo May 29-June 7 Eric Heubner, Director PERFORMANCE INSTITUTE FACULTY: Jonathan Golove, Eric Huebner, Tom KolorJean Kopperud, Jon Nelson, Yuki Numata Resnick This year the festival celebrates two landmark anniversaries: the 40th Anniversary of the festival originally founded by Morton Feldman in 1975 and the 30th Anniversary of David Felder as Artistic Director of June in Bu!alo. Presented by the Department of Music and The Robert and Carol Morris Center for 21st Century Music, June in Bu!alo is a festival and conference dedicated to composers of the present day. The festival will take place on the campus of the University at Bu!alo from June 1-7, 2015. The week will be filled with an intensive schedule of seminars, lectures, workshops, professional presentations, participant forums, and open rehearsals. Concerts in the afternoons and evenings are open to the general public and critics.
    [Show full text]
  • 7'50 € Año XXXI
    REVISTA DE MÚSICA Año XXXI - Nº 321 Septiembre 2016 - 7’50 € Año XXXI - Nº 321 Septiembre 2016 JUVENTUDES MUSICALES CONCIERTOS Y SOLISTAS EXTRAORDINARIOS DE MADRID TEMPORADA 2016/2017 MAGGIO MUSICALE FIORENTINO 1 DIRECTOR: ZUBIN MEHTA JUEVES SOLISTA: JAVIER PERIANES (piano) 15 DE SEPTIEMBRE MOZART Concierto para piano y orquesta nº 23 Kv 488 DE 2016 - 19,30 h. BRUCKNER Sinfonía nº 9 en re menor MOSCOW VIRTUOSI CHAMBER ORCHESTRA 2 DIRECTOR: WLADIMIR SPIVAKOV MARTES SOLISTAS: WLADIMIR SPIVAKOV (violín) 18 DE OCTUBRE SOLISTAS: MARIA DUEÑAS (violín) DE 2016 - 19,30 h. BACH Doble concierto para violín en re menor BWV 1043 SHOSTAKOVICH Sinfonía de Cámara Op. 110B CHAIKOVSKI Serenade para cuerdas en do mayor Op. 48 ORFEÓN DONOSTIARRA 3 ORQUESTA DE CÁMARA “ANDRÉS SEGOVIA” MIÉRCOLES DIRECTOR: JOSE ANTONIO SAINZ-ALFARO 23 DE NOVIEMBRE JON IMANOL ETXABE (bajo) DE 2016 - 19,30 h. CARL OFF CARMINA BURANA G. GIMÉNEZ “La boda de Luis Alonso” - R. RODGERS “Edelweiss” G. OLAIZOLA “Autxoa Seaskan” - P. MONTES “Negra sombra” P. MASCAGNI Intermezzo-Cavalleria Rusticana - MIKEL LABOA “Baga Biga” PROYECTO PARTITURA 4 MARIA JOÃO PIRES (piano) JUEVES IGNASI CAMBRA (piano) - JULIEN BROCAL (piano) 12 DE ENERO ORQUESTA DE CÁMARA “ANDRÉS SEGOVIA” DE 2017 - 19,30 h. CONCERTINO/DIRECTOR: VICTOR AMBROA MOZART Concierto para piano nº 20 en re menor k. 466 (Ignasi Cambra) MOZART Concierto para piano nº 9 en mi bemol mayor Kv 271 (Julien Brocal) MOZART Concierto para piano nº 21 en do mayor K 467 (Maria João Pires) TATARSTAN NATIONAL SYMPHONY ORCHESTRA 5 DIRECTOR: ALEXANDER SLADKOVSKY MARTES SOLISTA: DENIS MATSUEV (piano) 7 DE FEBRERO RACHMANINOV Concierto para piano nº 3 en re menor Op.
    [Show full text]
  • Private Musiksammlung Archiv CD/DVD
    Private Musiksammlung Aktualisierung am: 04.09.15 Archiv CD/DVD - Oper Sortierung nach: in CD - mp3 / DVD - MEGP- Formaten 1. Komponisten 2. Werk-Nummer (op.Zahl etc) TA und TR: Daten sind bei „alne“ vorhanden 3. Aufnahmejahr Auskünfte über Mail [email protected] Diese Datei erreichen Sie unter: T und TR: Daten sind bei „EO“ vorhanden http://www.euro-opera.de/T-TA-TR.pdf Auskünfte über Mail in Kürze auch unter: [email protected] http://www.cloud-de.de/~Alne_Musik/ Vaccai Vaccai La sposa di Messina - 2009 Bad Wildbad Jessica Pratt - Filippo Adami - Antonino Fogliani O - 18.07.2009 DLR Kultur Armando Ariostini - Wakako Ono - 1410,01 Nicola Vaccaj (1790 - - Maurizio Lo Piccolo - - - - 1848) - Die Braut von Messina Virtuosi Brunensis 18.07.2009 - konzertant - W 902 - cda907 T- Al Dok 4 2 CD 039 Vaccaj GIULIETTA e - 1977 München - - - - - - - - - n O - Nicola Vaccaj (1790 - ROMEO - 1848) - Chor des Bayerischen 01.01.1900 - rundfunks. Oper 1 - cda1411 TA-an Eva Mei, Vesselina Casarova,Umberto Ciummo, Ramin Vargas, Simone Alberghini Robert Abbado A alne 3 CD ( combi Box) Vaccaj GIULIETTA e - 1996 Jesi, Teatro Prgol - - - - - - - - - n O - 06.10.1996 Nicola Vaccaj (1790 - ROMEO - 1848) - 01.01.1900 - Oper 1 - cda1411 TA-an Paula Almerares, Maria-José Trullu, Dano Raffanti, Elena Marinangeli, Armando Titiano Severini A Ariostini, Enrico Turco. BG 2 CD Vaccaj LA SPOSA di - 2009 Bad Widbad - - - - - - - - - n O - 18.07.2009 Nicola Vaccaj (1790 - MESSINA - 1848) - 01.01.1900 - W 902 - cda1411 TA-an Jessica Pratt, Armando pristini, Maurizio
    [Show full text]
  • Muzică Din Bucureşti Au Avut Ca Menire Comunicarea Şi O Viziune Subiectivă Schimbul De Idei Între Creatorii Moderni Prezenţi În Număr Mare La Festival
    Serie nouă ACTUALITATEA OCTOMBRIE102019 (CCXIX) 48 pagini MUZICAL~ ISSN MUZICAL~ 1220-742X REVISTĂ LUNARĂ A UNIUNII COMPOZITORILOR ŞI MUZICOLOGILOR DIN ROMÂNIA D i n s u m a r: Festivalul Internaţional “George Enescu” (II) Seria Mari Orchestre ale lumii Mozartweek in Residence Portret Virgil Popescu Adio, Florin-Silviu Ursulescu! În imagine: Gramofon - un concert Andrei Tudor Sanda LADOŞI Editorial Ce (nu) avem Unii dintre noi, trăitori şi în vremurile de 30 de ani apuse, am fost obişnuiţi să ni se spună că “dispunem de tot ceea ce este necesar”. Adică: nu ne lipseşte nimic. Dar rostit într-o formă neangajantă, care la o adică să poată fi răsucită şi răstălmăcită, într-un comentariu de genul: am zis asta? aşa aţi înţeles voi… După Festivalul “Enescu” şi după o vizită de documentare pe Broadway, încerc să îmi pun întrebarea: avem săli de spectacole? Cum ar fi zis Ismail talente estem, regizori estem, anunţurile de spectacole noi şi atractive ne asaltează de pe Facebook, ba chiar şi bani estem – vezi Festivalul sau vezi spectacole de mare anvergură artistică finanţate pe linie privată, primite cu entuziasm de public care cumpără cu aviditate toate biletele disponibile. Dar unde se joacă ele? Nu are rost să mai reiau eternele plângeri ale dirijorilor şi soliştilor vizavi de Sala Palatului, formalizate inclusiv în petiţii sau în Scrisori deschise, la nivel internaţional… Pe hârtie avem sală, ba chiar una mai mare decât în alte capitale apusene. Deci?! Ce mai vrem?! Dacă nu se aude bine, să mai trecem pe la ORL, poate avem noi o problemă. Pentru onorabilii ministeriabili se aude, chiar foarte bine.
    [Show full text]
  • Ludwig Van Beethoven (1770-1827)
    RESOUNDSYMPHONY 9. BEETHOVEN VOL. 5 AIKIN I SELINGER I DAVISLIM I LÓPEZ CHORUS SINE NOMINE ORCHESTER WIENER AKADEMIE MARTIN HASELBÖCK MENU › TRACKLIST › DEUTSCHER TEXT › TEXTE FRANÇAIS › ENGLISH TEXT › DIE GESANGSTEXTE › TEXTES CHANTÉS › SUNG TEXTS RESOUND BEETHOVEN Mit RESOUND bringen wir Beethovens Orchesterwerke in die Säle und Theater ihrer Wiener Erstaufführungen und in die Konzerträume zurück, in denen sie zu seiner Zeit aufgeführt wurden. Vier der sechs Uraufführungsorte der neun Symphonien sind ebenso noch vorhanden wie die insgesamt acht Wiener Spielstätten, in denen Beethovens Werke zu seinen Lebzeiten gespielt wurden. Mit Ausnahme der spanischen Reitschule war der Große Redoutensaal der größte für Konzerte verfügbare Konzertraum Wiens. Spätestens seit dem Wiener Kongress war der große Saal auch ein für Beethoven wichtiger Konzertraum, wo einige seiner größten Akademien stattfanden. Auch wenn die eigentliche Uraufführung der Neunten Anfang Mai 1824 im nicht mehr existenten Kärntnertortheater stattfand, wurde sie kurz darauf wegen der großen Nachfrage mit geringfügig verändertem Programm im Redoutensaal wiederholt, wobei der Komponist als Mitveranstalter aufgrund des schlechten Besuches finanzielle Verluste hinnehmen musste. Das Publikum wohnte den großen symphonischen Konzerten zumeist stehend bei: Beethovens Biograph Anton Schindler spricht von 5000 Zuhörern beim Uraufführungskonzert der 8. Symphonie 1814 und im Zusammenhang mit einem Konzert wiederum im Großen Redoutensaal führt die Wiener Allgemeine musikalische Zeitung 1816 den „nicht sehr rauschenden Beyfall“ darauf zurück, „dass das grosse Gedränge der Zuhörer den freyen Gebrauch der Hände nicht gestattete.“ Im Instrumentarium, der Besetzungsgröße und der Aufstellung des Orchesters folgen wir weitgehend dem Vorbild der Erstaufführung. Bemerkenswert für unsere heutige Musizierpraxis, aber durchaus üblich zur Zeit Beethovens, war die Aufstellung des Chores VOR dem Orchester, eine Tradition die auch auf die simultane Direktion großer Aufführungen durch mehrere Dirigenten zurückgehen dürfte.
    [Show full text]