Jörg Widmann Is One of the Most Versatile and Intriguing Artists of His Generation
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
2019 Preview Notes • Week Two • Persons Auditorium
2019 Preview Notes • Week Two • Persons Auditorium Saturday, July 20 at 8:00pm Flute Quartet in D Major, K. 285 (1777-78) Wolfgang Amadeus Mozart Born January 27, 1756 • Died December 5, 1791 Duration: approx. 15 minutes Last Marlboro performance: 2011 When Mozart was just a few years younger than the junior participants in this group, he travelled throughout Europe with his mother in search of employment. While in Mannheim on his way to Paris, he met a Dutch merchant named Willem van Britten Dejong who happened to be an amateur flute player. Dejong, who had made his fortune in India, was happy to commission three concertos and three quartets for his instrument. Mozart, who needed the funds, was happy to accept. However, he only completed the quartets and two concertos (one a transcription of a previously-composed oboe concerto) by the time he left Mannheim. What he did write, though, charmingly showcases the flute. In this quartet, that instrument takes the lead throughout a buoyant Allegro beginning, a delicate Adagio accompanied by sparkling plucking from the strings, and a boisterous but well-balanced Rondo conclusion. Participants: Giorgio Consolati, flute; Hiroko Yajima, violin; Jordan Bak, viola; Alexander Hersh, cello Octet (2004) Jörg Widmann Born June 19, 1973 • In residence 2008, 2019 Duration: approx. 30 minutes Marlboro Premiere Though Widmann’s Octet features frequent microtones, he admits that the piece is “almost throughout, a tonal piece,” which was “risky to write in 2004.” The instrumentation suggests a clear connection to Schubert’s genre-making octet, and the piece’s central third movement, which is titled Lied ohne Worte, is a plangent nod to the composer who wrote so many Lieder over the course of his short life. -
Daniel Sepec Viool Tabea Zimmermann Altviool Jean-Guihen Queyras Cello
Daniel Sepec viool Tabea Zimmermann altviool Jean-Guihen Queyras cello vr 6 mrt 2020 / Grote podia / Blauwe zaal 20 uur / pauze ca. 20.45 uur / einde ca. 21.55 uur inleiding Klaas Coulembier / 19.15 uur / Blauwe foyer 2019-2020 Beethoven integrale Isabelle Faust viool Alexander Melnikov piano do 28 nov 2019 Isabelle Faust viool Jean-Guihen Queyras cello Alexander Melnikov piano do 9 jan 2020 Novus String Quartet vr 24 jan 2020 Daniel Sepec viool Tabea Zimmermann altviool Jean-Guihen Queyras cello vr 6 mrt 2020 Alexander Melnikov piano Teunis van der Zwart hoorn Marcel Ponseele hobo Lorenzo Coppola klarinet Javier Zafra fagot za 7 mrt 2020 Quatuor Van Kuijk do 19 mrt 2020 Calidore String Quartet wo 27 mei 2020 teksten programmaboekje Klaas coördinatie programmaboekje deSingel Daniel Sepec viool Coulembier D/2020/5.497/027 Tabea Zimmermann altviool Jean-Guihen Queyras cello Ludwig van Beethoven (1770-1827) Strijktrio in Es, opus 3 42’ Allegro con brio Andante Menuetto: Allegretto Adagio Menuetto: Moderato Finale: Allegro pauze Strijktrio in D, opus 9 nr 2 25’ Allegretto Andante quasi Allegretto Menuetto: Allegro Rondo: Allegro Strijktrio in c, opus 9 nr 3 25’ Allegro con spirito Adagio con espressione Scherzo: Allegro molto e vivace Finale: Presto Gelieve uw GSM uit te schakelen Concertvleugels Met bijzondere dank aan Ortwin Moreau voor het stemmen en het onderhoud van de De inleidingen kan u achteraf beluisteren via concertvleugels van deSingel desingel.be Moreau Pianoservice / Kapucinessenstraat 32 / 2000 Selecteer hiervoor voorstelling / concert / Antwerpen / +32 (0)486 83 63 98 tentoonstelling van uw keuze. moreau-pianoservice.be Muziek voor drie solisten Ludwig van Beethoven drukte zijn stempel op vele muzika- le genres. -
MUSICWEB INTERNATIONAL Recordings of the Year 2018 This
MUSICWEB INTERNATIONAL Recordings Of The Year 2018 This is the fifteenth year that MusicWeb International has asked its reviewing team to nominate their recordings of the year. Reviewers are not restricted to discs they had reviewed, but the choices must have been reviewed on MWI in the last 12 months (December 2017-November 2018). The 130 selections have come from 25 members of the team and 70 different labels, the choices reflecting as usual, the great diversity of music and sources - I say that every year, but still the spread of choices surprises and pleases me. Of the selections, 8 have received two nominations: Mahler and Strauss with Sergiu Celibidache on the Munich Phil choral music by Pavel Chesnokov on Reference Recordings Shostakovich symphonies with Andris Nelsons on DG The Gluepot Connection from the Londinium Choir on Somm The John Adams Edition on the Berlin Phil’s own label Historic recordings of Carlo Zecchi on APR Pärt symphonies on ECM works for two pianos by Stravinsky on Hyperion Chandos was this year’s leading label with 11 nominations, significantly more than any other label. MUSICWEB INTERNATIONAL RECORDING OF THE YEAR In this twelve month period, we published more than 2400 reviews. There is no easy or entirely satisfactory way of choosing one above all others as our Recording of the Year, but this year the choice was a little easier than usual. Pavel CHESNOKOV Teach Me Thy Statutes - PaTRAM Institute Male Choir/Vladimir Gorbik rec. 2016 REFERENCE RECORDINGS FR-727 SACD The most significant anniversary of 2018 was that of the centenary of the death of Claude Debussy, and while there were fine recordings of his music, none stood as deserving of this accolade as much as the choral works of Pavel Chesnokov. -
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. -
Download the Concert Programme (PDF)
London Symphony Orchestra Living Music Sunday 5 February 2017 7pm Barbican Hall LSO ARTIST PORTRAIT: JANINE JANSEN Sibelius The Oceanides Bernstein Serenade INTERVAL Nielsen Symphony No 4 London’s Symphony Orchestra (‘The Inextinguishable’) Sir Antonio Pappano conductor Janine Jansen violin Concert finishes approx 8.55pm Filmed and broadcast live by Mezzo 2 Welcome 5 February 2017 Welcome Living Music Kathryn McDowell In Brief Welcome to tonight’s LSO concert at the Barbican, LSO 2017/18 SEASON NOW ON SALE which marks the start of this season’s Artist Portrait series, focusing on violin soloist Janine Jansen. The LSO’s inaugural season with Sir Simon Rattle as Music Director is now on sale. Beginning with a ten- The LSO has performed with Janine Jansen regularly day celebration to welcome him in September, the for many years all over the world, and she is a season features concerts to mark 100 years since favourite with our audiences and with the musicians the birth of Bernstein and 100 years since the death of the Orchestra. Across three concerts we will of Debussy, world premieres from British composers, hear her perform a wide range of repertoire, from the beginning of a Shostakovich symphonies cycle, Bernstein’s Serenade tonight to Brahms’ Violin and a performance of Stockhausen’s Gruppen in the Concerto in March, and finally the Berg Violin Concerto Turbine Hall at Tate Modern. in April, showing the many different sides of her celebrated artistry. alwaysmoving.lso.co.uk This evening’s programme is conducted by another good friend of the LSO, Sir Antonio Pappano. -
Compact Discs by 20Th Century Composers Recent Releases - Spring 2020
Compact Discs by 20th Century Composers Recent Releases - Spring 2020 Compact Discs Adams, John Luther, 1953- Become Desert. 1 CDs 1 DVDs $19.98 Brooklyn, NY: Cantaloupe ©2019 CA 21148 2 713746314828 Ludovic Morlot conducts the Seattle Symphony. Includes one CD, and one video disc with a 5.1 surround sound mix. http://www.tfront.com/p-476866-become-desert.aspx Canticles of The Holy Wind. $16.98 Brooklyn, NY: Cantaloupe ©2017 CA 21131 2 713746313128 http://www.tfront.com/p-472325-canticles-of-the-holy-wind.aspx Adams, John, 1947- John Adams Album / Kent Nagano. $13.98 New York: Decca Records ©2019 DCA B003108502 2 028948349388 Contents: Common Tones in Simple Time -- 1. First Movement -- 2. the Anfortas Wound -- 3. Meister Eckhardt and Quackie -- Short Ride in a Fast Machine. Nagano conducts the Orchestre Symphonique de Montreal. http://www.tfront.com/p-482024-john-adams-album-kent-nagano.aspx Ades, Thomas, 1971- Colette [Original Motion Picture Soundtrack]. $14.98 Lake Shore Records ©2019 LKSO 35352 2 780163535228 Music from the film starring Keira Knightley. http://www.tfront.com/p-476302-colette-[original-motion-picture-soundtrack].aspx Agnew, Roy, 1891-1944. Piano Music / Stephanie McCallum, Piano. $18.98 London: Toccata Classics ©2019 TOCC 0496 5060113444967 Piano music by the early 20th century Australian composer. http://www.tfront.com/p-481657-piano-music-stephanie-mccallum-piano.aspx Aharonian, Coriun, 1940-2017. Carta. $18.98 Wien: Wergo Records ©2019 WER 7374 2 4010228737424 The music of the late Uruguayan composer is performed by Ensemble Aventure and SWF-Sinfonieorchester Baden-Baden. http://www.tfront.com/p-483640-carta.aspx Ahmas, Harri, 1957- Organ Music / Jan Lehtola, Organ. -
Performances As Analyses of Cyclic Macroform in Arnold Schoenberg's
Shaping Form: Performances as Analyses of Cyclic Macroform in Arnold Schoenberg’s Sechs kleine Klavierstücke, op. 19 (1911), in the Recordings of Eduard Steuermann and Other Pianists * Christian U and Thomas Glaser NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.20.26.4/mto.20.26.4.u.php KEYWORDS: analysis and performance, Arnold Schoenberg, corpus study of musical recordings, Eduard Steuermann, history of musical performance, Sechs kleine Klavierstücke, Six Lile Piano Pieces, op. 19 ABSTRACT: Arnold Schoenberg’s Sechs kleine Klavierstücke (Six Lile Piano Pieces), op. 19 (1911), offer a fruitful case study to examine and categorize performers’ strategies in regard to their form- shaping characteristics. A thorough quantitative and qualitative analysis of 46 recordings from 41 pianists (recorded between 1925 to 2018), including six recordings from Eduard Steuermann, the leading pianist of the Second Viennese School, scrutinizes the interdependency between macro- and microformal pianistic approaches to this cycle. In thus tracing varying conceptions of a performance-shaped cyclic form and their historical contexts, the continuous unfurling of the potential of Schoenberg’s musical ideas in both “structuralist” and “rhetorical” performance styles is systematically explored, offering a fresh approach to the controversial discussion on how analysis and performance might relate to one another. DOI: 10.30535/mto.26.4.9 Received January 2020 Volume 26, Number 4, December 2020 Copyright © 2020 Society for Music Theory 1. The Mutual Productivity of Performance and Analysis [1.1] In his 2016 book Performative Analysis, Jeffrey Swinkin, makes the striking observation that it can hardly be the point of a musical performance to project or communicate analytical understanding. -
View List (.Pdf)
Symphony Society of New York Stadium Concert United States Premieres New York Philharmonic Commission as of November 30, 2020 NY PHIL Biennial Members of / musicians from the New York Philharmonic Click to jump to decade 1842-49 | 1850-59 | 1860-69 | 1870-79 | 1880-89 | 1890-99 | 1900-09 | 1910-19 | 1920-29 | 1930-39 1940-49 | 1950-59 | 1960-69 | 1970-79 | 1980-89 | 1990-99 | 2000-09 | 2010-19 | 2020 Composer Work Date Conductor 1842 – 1849 Beethoven Symphony No. 3, Sinfonia Eroica 18-Feb 1843 Hill Beethoven Symphony No. 7 18-Nov 1843 Hill Vieuxtemps Fantasia pour le Violon sur la quatrième corde 18-May 1844 Alpers Lindpaintner War Jubilee Overture 16-Nov 1844 Loder Mendelssohn The Hebrides Overture (Fingal's Cave) 16-Nov 1844 Loder Beethoven Symphony No. 8 16-Nov 1844 Loder Bennett Die Najaden (The Naiades) 1-Mar 1845 Wiegers Mendelssohn Symphony No. 3, Scottish 22-Nov 1845 Loder Mendelssohn Piano Concerto No. 1 17-Jan 1846 Hill Kalliwoda Symphony No. 1 7-Mar 1846 Boucher Furstenau Flute Concerto No. 5 7-Mar 1846 Boucher Donizetti "Tutto or Morte" from Faliero 20-May 1846 Hill Beethoven Symphony No. 9, Choral 20-May 1846 Loder Gade Grand Symphony 2-Dec 1848 Loder Mendelssohn Violin Concerto in E minor 24-Nov 1849 Eisfeld Beethoven Symphony No. 4 24-Nov 1849 Eisfeld 1850 – 1859 Schubert Symphony in C major, Great 11-Jan 1851 Eisfeld R. Schumann Introduction and Allegro appassionato for Piano and 25-Apr 1857 Eisfeld Orchestra Litolff Chant des belges 25-Apr 1857 Eisfeld R. Schumann Overture to the Incidental Music to Byron's Dramatic 21-Nov 1857 Eisfeld Poem, Manfred 1860 - 1869 Brahms Serenade No. -
2017–18 Season Week 21 Mozart Widmann Strauss
2017–18 season andris nelsons music director week 21 mozart widmann strauss Season Sponsors seiji ozawa music director laureate bernard haitink conductor emeritus supporting sponsorlead sponsor supporting sponsorlead thomas adès artistic partner Better Health, Brighter Future There is more that we can do to help improve people’s lives. Driven by passion to realize this goal, Takeda has been providing society with innovative medicines since our foundation in 1781. Today, we tackle diverse healthcare issues around the world, from prevention to care and cure, but our ambition remains the same: to find new solutions that make a positive difference, and deliver better medicines that help as many people as we can, as soon as we can. With our breadth of expertise and our collective wisdom and experience, Takeda will always be committed to improving the Takeda Pharmaceutical Company Limited future of healthcare. www.takeda.com Takeda is proud to support the Boston Symphony Orchestra Table of Contents | Week 21 7 bso news 1 5 on display in symphony hall 16 bso music director andris nelsons 18 the boston symphony orchestra 22 this week’s program Notes on the Program 24 The Program in Brief… 25 Wolfgang Amadè Mozart 31 Jörg Widmann 39 Richard Strauss 53 To Read and Hear More… Guest Artists 59 Yo-Yo Ma 61 Steven Ansell 64 sponsors and donors 88 future programs 90 symphony hall exit plan 9 1 symphony hall information the friday preview on march 30 is given by bso associate director of program publications robert kirzinger. program copyright ©2018 Boston Symphony Orchestra, Inc. -
The Blake Collection in Memory of Nancy M
The Blake Collection In Memory of Nancy M. Blake BELLINI’S NORMA featuring CECILIA BARTOLI This tragic opera is set in Roman-occupied, first-century Gaul, features a title character, who although a Druid priestess, is in many ways a modern woman. Norma has secretly taken the Roman proconsul Pollione as her lover and had two children with him. Political and personal crises arise when the locals turn against the occupiers and Pollione turns to a new paramour. Norma “is a role with emotions ranging from haughty and demanding, to desperately passionate, to vengeful and defiant. And the singer must convey all of this while confronting some of the most vocally challenging music ever composed. And if that weren't intimidating enough for any singer, Norma and its composer have become almost synonymous with the specific and notoriously torturous style of opera known as bel canto — literally, ‘beautiful singing’” (“Love Among the Druids: Bellini's Norma,” NPR World of Opera, May 16, 2008). And Bartoli, one of the greatest living opera divas, is up to the challenges the role brings. (New York Public Radio’s WQXR’s “OperaVore” declared that “Bartoli is Fierce and Mercurial in Bellini's Norma,” Marion Lignana Rosenberg, June 09, 2013.) If you’re already a fan of this opera, you’ve no doubt heard a recording spotlighting the great soprano Maria Callas (and we have such a recording, too), but as the notes with the Bartoli recording point out, “The role of Norma was written for Giuditta Pasta, who sang what today’s listeners would consider to be mezzo-soprano roles,” making Bartoli more appropriate than Callas as Norma. -
Programmheft Zweiseitig
NOW YOU CAN Entdecke jetzt die ID. Familie in der Gläsernen Manufaktur. Erlebnisfertigung | Probefahrten | Beratung. Täglich geöffnet. WANG – VOGLER – OTTENSAMER – PHILHARMONISCHES STAATSORCHESTER HAMBURG – NAGANO – HAMBURG STAATSORCHESTER PHILHARMONISCHES – OTTENSAMER – VOGLER – WANG SOMMER / HERBST / HERBST SOMMER 2021 DIALOGE ID.3: Stromverbrauch in kWh/100 km: 14,1-13,4 (Pro); 15,4-14,5 (Pro Performance); PROGRAMMHEFT CO2-Emissionen in g/km: 0; Effizienzklasse: A+ DIE DRESDNER MUSIKFESTSPIELE SIND EINE EINRICHTUNG DER LANDESHAUPTSTADT DRESDEN UND WERDEN MITFINANZIERT DURCH STEUERMITTEL AUF DER GRUNDLAGE DES VOM SÄCHSISCHEN LANDTAG BESCHLOSSENEN HAUSHALTES. PREMIUMPARTNER MAI 27 DONNERSTAG WANG – VOGLER – OTTENSAMER – PHILHARMONISCHES STAATS- KLASSIKPARTNER ORCHESTER HAMBURG – NAGANO Sternstunden.20 UHR Mira Wang, Violine Jan Vogler, Violoncello PROJEKTPARTNER Daniel Ottensamer, Klarinette Philharmonisches Staatsorchester Hamburg Wenn KulturförderungKent Nagano, Dirigent zum guten Ton gehört. Die Ostsächsische Sparkasse Dresden ist Premiumpartner der Dresdner Musikfestspiele. KOOPERATIONSPARTNER Die schönsten Momente werden noch schöner, wenn man sie gemeinsam erlebt. Weil‘s um mehr als Geld geht. DRESDEN KULTUR- UND MEDIENPARTNER WANG – VOGLER – OTTENSAMER – PHILHARMONISCHES STAATSORCHESTER HAMBURG – NAGANO – HAMBURG STAATSORCHESTER PHILHARMONISCHES – OTTENSAMER – VOGLER – WANG Das Konzert wurde am 24. und 30. April 2021 im Großen Saal der Elbphilharmonie Hamburg #dmf2021 #musicneversleepsDMF aufgezeichnet. Es wird am 27. Mai um 20.00 -
Download Augustin Dumay Biography
Augustin Dumay International critics have compared Augustin Dumay to the great violinists of the 20th century, describing him as a “great classical stylist”, a reputation underscored by his outstanding recordings for Deutsche Grammophon: Beethoven’s complete sonatas with Maria João Pires, a set that “surely ranks with Grumiaux/Haskil, Menuhin/Kempff, or Perlman/Ashkenazy” (International Piano), Brahms’ trios in which “the Milstein legacy in Dumay’s playing is wonderfully apparent” (Gramophone), and Mozart’s concertos with the Camerata Salzburg, “without exaggeration one of the finest Mozart violin concerto discs ever made” (Classic CD), in which he “confirms that he is an exceptional interpreter of Mozart as were Stern or Grumiaux before him” (Classica). Born into a family of musicians – his mother is a cellist and pianist, his father an amateur violinist – Augustin Dumay started violin lessons at the age of 5, after attending a concert by Nathan Milstein. Aged ten, he entered the Paris Conservatoire, winning the premier prix at the age of thirteen. His first concert at the Théâtre des Champs- Élysée followed a year later and he then appeared at the Montreux Festival, playing for Joseph Szigeti and Henryk Szeryng, who invited him to replace him on a tour of South America. On his return, Augustin Dumay worked in Paris with Nathan Milstein, who said of him: “I believe he will take his place amongt the great violinists of the year 2000”. He then went on to work in Brussels with Arthur Grumiaux for five years. He soon became familiar to concert audiences in France, but his international career took off thanks to his encounter with Herbert von Karajan.