International Competition for Young Violinists
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The Seventh Season Being Mendelssohn CHAMBER MUSIC FESTIVAL and INSTITUTE July 17–August 8, 2009 David Finckel and Wu Han, Artistic Directors
The Seventh Season Being Mendelssohn CHAMBER MUSIC FESTIVAL AND INSTITUTE July 17–August 8, 2009 David Finckel and Wu Han, Artistic Directors Music@Menlo Being Mendelssohn the seventh season july 17–august 8, 2009 david finckel and wu han, artistic directors Contents 3 A Message from the Artistic Directors 5 Welcome from the Executive Director 7 Being Mendelssohn: Program Information 8 Essay: “Mendelssohn and Us” by R. Larry Todd 10 Encounters I–IV 12 Concert Programs I–V 29 Mendelssohn String Quartet Cycle I–III 35 Carte Blanche Concerts I–III 46 Chamber Music Institute 48 Prelude Performances 54 Koret Young Performers Concerts 57 Open House 58 Café Conversations 59 Master Classes 60 Visual Arts and the Festival 61 Artist and Faculty Biographies 74 Glossary 76 Join Music@Menlo 80 Acknowledgments 81 Ticket and Performance Information 83 Music@Menlo LIVE 84 Festival Calendar Cover artwork: untitled, 2009, oil on card stock, 40 x 40 cm by Theo Noll. Inside (p. 60): paintings by Theo Noll. Images on pp. 1, 7, 9 (Mendelssohn portrait), 10 (Mendelssohn portrait), 12, 16, 19, 23, and 26 courtesy of Bildarchiv Preussischer Kulturbesitz/Art Resource, NY. Images on pp. 10–11 (landscape) courtesy of Lebrecht Music and Arts; (insects, Mendelssohn on deathbed) courtesy of the Bridgeman Art Library. Photographs on pp. 30–31, Pacifica Quartet, courtesy of the Chamber Music Society of Lincoln Center. Theo Noll (p. 60): Simone Geissler. Bruce Adolphe (p. 61), Orli Shaham (p. 66), Da-Hong Seetoo (p. 83): Christian Steiner. William Bennett (p. 62): Ralph Granich. Hasse Borup (p. 62): Mary Noble Ours. -
GIOVANNI GUZZO, Violin
GIOVANNI GUZZO, violin “Guzzo’s technique was immaculate, and his Szymanowski was also stylish and driven. He ripped through the cadenza with terrific verve and left me wanting to hear much more from him”. Andrew Morris, Classicalsource 30 year old violinist Giovanni Guzzo is rapidly rising as one of the most versatile performers of his generation. Born in Venezuela to parents of Italian and Venezuelan heritage, he has captivated audiences around the world with his unique and passionate approach to his performances. Following his sensational solo debut with the Royal Philharmonic Orchestra in London, critics described him as a “wonderfully magnetic” and “commanding” performer. Giovanni started his musical studies with the piano at the age of five and violin at the age of six. At the age of 12 he became the youngest violinist to win the National Violin Competition “Juan Bautista Plaza” in Venezuela. A protégé of the renowned French virtuoso violinist Maurice Hasson, Giovanni was granted a scholarship to study at the Royal Academy of Music in London, from where he graduated with the highest honours. He previously studied with Zakhar Bron at the “Escuela Superior de Musica Reina Sofia” in Madrid. A keen recitalist and chamber musician, Giovanni has worked closely with some of today’s leading musicians, including Martha Argerich, Joshua Bell, Martin Fröst, Daniel Hope, Stephen Hough, Kristóf Baráti, Mats Lidstrom, Gábor Takács-Nagy, István Várdai, the Takacs Quartet and Maxim Vengerov, to name but a few. His talent has been recognised with numerous awards including Her Majesty the Queen’s commendation for Excellence, Gold medal at Marlow Music Festival, PROMIS award given by the London Symphony Orchestra, and the Manoug Parikian and Myra Hess award. -
Programa2017.Pdf
l mes de julio trae cada año a Cantabria un nuevo Encuentro de Música y Academia. Son ya 17 las ediciones que cumple una iniciativa que ha convertido la excelencia en su sello Ede garantía al servicio de la formación y la difusión musical. Del 1 al 27 de julio, las aulas del Conservatorio Jesús de Monasterio volverán a acoger a los grandes maestros del panorama internacional para ofrecer un intercambio único a los jóvenes talentos de las doce escuelas europeas más prestigiosas. Un encuentro entre la experiencia de grandísimos artistas consagrados y el entusiasmo y el potencial de las nuevas figuras llamadas a triunfar en los escenarios del futuro. Y junto a la academia, la difusión musical más allá de las aulas para acercar a los cántabros momentos inolvidables en medio centenar de conciertos que llegarán al Palacio de Festivales de Cantabria, al Palacio de La Magdalena y la iglesia de Santa Lucía, en Santander, pero también a otra veintena de localidades cántabras, como Torrelavega, Comillas, Santillana del Mar o Laredo. Tenemos por delante un mes para disfrutar de la Música con mayúsculas, desde el concierto inaugural a cargo de la Orquesta Sinfónica Freixenet, dirigida por el maestro Csaba, a los homenajes al pianista Bashkirov y al maestro Rostropovich, pasando por el concierto extraordinario para familias, que acercará la música de Stravinsky al público de todas las edades. Sobran razones y argumentos para sumarse un año más al Encuentro y estoy seguro de que los cántabros y los muchos visitantes que se encuentran entre nosotros en estas fechas estivales sabrán disfrutarlo y valorarlo como merece. -
Daishin Kashimoto Winter Recital
Daishin Kashimoto Winter Recital Wednesday, 16 February 2005 Kioi Hall 主催 Presented by 助成 Supported by 財団法人 日本音楽財団 会長 小 林 實 本日は「樫本大進ウインター・リサイタル」へご来場いただき、 誠にありがとうございます。 昨年、当財団は設立30周年を迎え、事業の大きな柱のひと つである楽器貸与事業も開始から10年が経過致しました。財 団は現在ストラディヴァリウス18挺、デル・ジェス2挺を保有し ており、それら世界的文化遺産である弦楽器名器を、次世代 へと継承すべく保全管理しながら、国の内外を問わず若手有 望演奏家に無償で貸与しております。 1998年 よりストラディヴァリウス1722年 製 ヴァイオリン“ ジュピ ター ”を貸与している樫本大進氏は、ドイツを拠点に世界中で 活躍され、日本でも多くのファンを持つ若手ヴァイオリニスト で す。ソロ活動はもとより、気さくで温かな人柄から演奏家仲間の 信頼も厚く、四重奏などの室内楽にも積極的に取り組んでお られます。この度は東京オペラシティコンサートホール、横浜 みなとみらいホールでのリサイタル活動のため来日されたのを 機に、当財団の演奏会にご出演いただくことになりました。 ピアニストのイタマール・ゴラン氏は、1999年に発売された 樫本氏のデビューアルバムを含む2枚のCDやリサイタル等で たびたび共演を重ねておられ、樫本氏が最も信頼を置く演奏 パートナーです。 本日のコンサートは、日本財団の多大なるご支援により実現 できました。この場を借りて関係者の皆様に厚く御礼申し上げ ます。 2 Thank you very much for attending “Daishin Kashimoto Winter Recital” this evening. Nippon Music Foundation celebrated its 30th Anniversary last year, and 10 years have passed since we started the “Acquisition and Loan of Stringed Instruments” program, one of the Foundation’s main pillars of activities. The Foundation has now come to own 18 Stradivarius and 2 Guarneri del Gesu, and as a custodian of the world cultural assets, maintains these precious instruments for future generations and loans them gratis to young promising musicians regardless of their nationalities. Stradivarius 1722 violin “Jupiter” has been on loan to Mr. Daishin Kashimoto since 1998. Based in Freiburg, Germany, Mr. Kashimoto is among the top young violinists of the world, and one of the most popular musicians in Japan. Besides his soloist activities, Mr. Kashimoto’s warm personalities have also encouraged other musicians to invite him as a member of many chamber music performances worldwide. Mr. Kashimoto is now in Japan for his recitals at Tokyo Opera City Concert Hall and Yokohama Minato Mirai Hall, and kindly agreed to perform for us tonight. The pianist Mr. Itamar Golan performs frequently with Mr. -
Concerts and Master Classes
SUMMER SEASON Concerts and Master Classes From 3rd to 17th August 2013 www. cmclassics.ch In Crans-Montana music is in harmony with the beauty and the silence of the Valais’ mountains. « Silence is the most beautiful, the mightiest and the most rewarding music. The greatest music comes out of silence. » Philippe Jordan 2 3 Music has been the language of life par excellence In a world of turbulence and conflict it is more than throughout the ages, unfettered by time and space. ever the responsibility of each and every one of us For its 2013 summer edition, Crans-Montana Classics to promote culture and the arts, which are forces for is proposing a series of remarkable and original musi- harmony and peace. cal encounters, connecting classical and world music In the life of a musician, serving the great composers and bringing together experienced artists and young is an immense privilege and sharing musical emotions talents for a unique musical event. Setting the tone with the audience is an immense joy. But I also feel with the opening concert on 3 August, the artistic that passing on the love of music to future generations director Maestro Shlomo Mintz will combine his mu- Professor Jean Bonvin Maestro Shlomo Mintz is a noble mission, a natural commitment and an im- sical expertise with the talents of young violinists, all President Artistic Director portant duty. This is why I place so much importance prizewinners of major international competitions, in on the influence of the Crans-Montana Master Classes, an exciting and eclectic programme. -
Aleksey Semenenko
Ukrajinski violinist Aleksej Semenenko hvaljen je za strastvene nastupe prepune "zapanjujuće tehnike i intonacije, hrabrosti, duhovitosti, nježnosti i prekrasnog izraza" (The Boston Musical Intelligencer), kao i za dosljedno demonstriranje "neusporedive razine rafiniranog glazbenog i scenskog prisustva" (Strad). To je potvrđeno njegovim trijumfom na natjecanju kraljice Elizabete 2015. u Belgiji, gdje je osvojio drugu nagradu i nastavio izvoditi laureatske koncerte širom Belgije s Kraljevskim filharmonijom i Bruxelleskom filharmonijom. U Europi se pojavljuje u Finskoj na Korsholmskom glazbenom festivalu, u Hrvatskoj na Dubrovačkim ljetnim igrama, u Luksemburgu, gdje komornu glazbu izvodi s violončelistom Garyjem Hoffmanom i pijanisticom Sabine Weyer, u Francuskoj na festivalu Artepiano i MUSICAcité, u Njemačkoj na Schlossu Elmau, i kao solist s Narodnim orkestrom Ukrajine i Plevenskom filharmonijom. Aleksej Semenenko nastupio je na recitalima u Musée du Louvre u Parizu i kao solist s inozemnim orkestrima, uključujući moskovske virtuoze, Kijevski nacionalni orkestar, Kraljevski koncertni orkestar pod vodstvom Manfreda Honecka i Bruxelleski nacionalni orkestar s Hansom Graffom, kao i Orkestar svetog Luke u dvorani Alice Tully. O svom nastupu s Orkestrom Sv. Luke, New York Times je napisao: "Svirao je s neumoljivom čistoćom tona, ali i s divnom spontanošću i humorom." (Na festivalu Musik: Landschaft Westfalen 2011. godine izveo je Paganinijev koncert br. 1 s Nacionalnom filharmonijom Rusije pod vodstvom Vladimira Spivakova. Njegov njemački debi bio je 2007. kad je izveo solo violinu iz "Schindlerovog popisa" Johna Williamsa s Odejskim filharmonijskim orkestrom u Areni Color Line u Hamburgu.) Semenenkova ostala priznanja uključuju prvu nagradu na međunarodnom violinističkom natjecanju Boris Goldstein 2015., glazbeni američki novi umjetnik mjeseca Musical America (ožujak 2015.), nagradu publike na međunarodnom festivalu Musical Olympus 2015. -
Boston Symphony Orchestra Concert Programs, Season 119, 1999-2000
» S E I J I O Z A W A MUSIC Dl RECTOR * QSJ Q N ';~l_*'~-v~* -»~~' SYMPHONY " H E S T R A M. mMMMm : —= ->=JS3Ki u « — ft &£ £»•*= *iA mJL Hffl 1QQQ-2000 Bring your Steinway: KiSJI e¥c / ;>5*V'^ Knl '^WJ.. f3ff Mf/i floor plans from acre gated community atop &Jb RifAs^ 2,100 to 5,000 square feet, prestigious Fisher Hill Kt-^l you can bring your Concert Jointly marketed by Sotheby's WQ s¥ »if fin to Longyear. International Realty HKT tPnwBvw] Grand and £gR. \^ :|:'^'" fifry" You'll be enjoying full-service, Hammond Residential Real Estate. S^Bi single-floor condominium living at Priced from $1400,000. SP bH 1 its absolute finest, all harmoniously Call Hammond Real Estate at <9Ki ^H located on an extraordinary eight- (617) 731-4644, ext 410. Wp* 99H %is HI LONGYEAR, 8& rjtiVlPxa, a/ Jisner Jl/JJ BROOKLINE *.'?$& >X£zWBM« hH ra^EK aaSR ' X-\X~^- ^Sf&JS -C ."\X!*»-^ fcj' kff& *fl .' fc^^-— g^SjWUKl)i|| rjcJoT Wi -^ fig Fl-5====^OL_l ffi%*^S^ " ~3 ^B ^r^==^^g - , J ^ j^^Efft Irlufii ™H |$SHe!PsJI?^ 4^3- | fficiajl fly£>xL *^^U55cW^&'^?**^OBr IHHh bb _Jnlf- |rM 'HM - il a3 Wk '^^^lPJ|iJ| Hlj H| all II fflrff <^*' "^ SraWBFlk mi , <p CORTLAND Hammond SOTHEBYS PROPERTIES INC. R f S I O I N T I International Realty K f \ I. F S T A I Seiji Ozawa, Music Director Ray and Maria Stata Music Directorship EST Bernard Haitink, Principal Guest Conductor One Hundred and Nineteenth Season, 1999-2000 Trustees of the Boston Symphony Orchestra, Inc. -
Cello Concerto (1990)
RUSSIAN, SOVIET & POST-SOVIET CONCERTOS A Discography of CDs and LPs Prepared by Michael Herman Edited by Stephen Ellis Composers A-G RUSTAM ABDULLAYEV (b. 1947, UZBEKISTAN) Born in Khorezm. He studied composition at the Tashkent Conservatory with Rumil Vildanov and Boris Zeidman. He later became a professor of composition and orchestration of the State Conservatory of Uzbekistan as well as chairman of the Composers' Union of Uzbekistan. He has composed prolifically in most genres including opera, orchestral, chamber and vocal works. He has completed 4 additional Concertos for Piano (1991, 1993, 1994, 1995) as well as a Violin Concerto (2009). Piano Concerto No. 1 (1972) Adiba Sharipova (piano)/Z. Khaknazirov/Uzbekistan State Symphony Orchestra ( + Zakirov: Piano Concerto and Yanov-Yanovsky: Piano Concertino) MELODIYA S10 20999 001 (LP) (1984) LEV ABELIOVICH (1912-1985, BELARUS) Born in Vilnius, Lithuania. He studied at the Warsaw Conservatory and then at the Minsk Conservatory where his composition teacher was Vasily Zolataryov. After graduation from the latter institution, he took further composition courses with Nikolai Miaskovsky at the Moscow Conservatory. He composed orchestral, vocal and chamber works. Piano Concerto in E minor (1976) Alexander Tutunov (piano)/ Marlan Carlson/Corvallis-Oregon State University Symphony Orchestra ( + Piano Trio, Aria for Viola and Piano and 10 Romances) ALTARUS 9058 (2003) Aria for Violin and Chamber Orchestra (1973) Mikhail Shtein (violin)/Alexander Polyanko/Minsk Chamber Orchestra ( + Vagner: Clarinet Concerto and Alkhimovich: Concerto Grosso No. 2) MELODIYA S10 27829 003 (LP) (1988) MusicWeb International Last updated: August 2020 Russian, Soviet & Post-Soviet Concertos A-G ISIDOR ACHRON (1891-1948) Piano Concerto No. -
Symphonic Concerts Featuring Solo Violinist 1 Alexandre Da Costa
MAEGi S ARTS Presents INTERNATIONALLY ACCLAIMED SOLO VIOLINIST ALEXANDRE DA COSTA A SONY CLASSICAL RECORDING ARTIST 170522 Alexandre Da Costa is currently one of the top and most sought after violinists and soloists in the world. “When I play, my instrument He’s appeared as guest soloist and conductor in becomes the more than 2000 concerts across four continents and extension of over 30 countries in the world’s most prestigious my soul” venues with the most renowned orchestras and conductors. 2 Contents Quotes ……………………………………. 4 Rare violins experience …………….…… 20 Biography ………………………………… 6 Concerts and tours …………………….… 22 Recordings …………………………….……… 8 Proposed concerts ………………………….. 24 Orchestral engagements …………….….. 12 Artistic direction ……………………………… 36 Chamber music engagements …………. 14 Masterclasses and workshops ………….… 38 Venues and broadcasters …………….…… 16 Maegis Arts …………………………….…...… 42 Playing Stradivarius violins …………….…… 18 Contact us ……………………….……….....… 44 3 Quotes “It is with lots of enthusiasm that I recommend a great artist that I appreciate and strongly support, violinist Alexandre Da Costa.” Rafael Frühbeck De Burgos Musical America Artist of the Year 2010 “I was delighted: what a violinist, beauty of sound, fastest fingers I have heard yet, the good taste to play different styles and great humor. Chapeau!” Leon Spierer Berlin Philharmonic Concertmaster 1963-1993 "He has a virtuoso technique and a huge sound, plus passion, commitment and musicality in equal measure. This is a major talent.” Hugh Wolff Music Director, -
The Goldstein-Manz Family Is Holding a Jubilee Concert to Celebrate the Legendary Violinist Boris Goldstein (1922-1987)
The Goldstein-Manz family is holding a jubilee concert to celebrate the legendary violinist Boris Goldstein (1922-1987) To mark the 90th birthday of the celebrated and warmly remembered Jewish-Russian violinist, an anniversary concert will be held in his memory at 6.00 pm on Friday December 28th, 2012, in the Chamber-Music Hall of the Hochschule für Musik in Würzburg (Hofstrasse). Boris Goldstein held a position as violin professor at the university of music for many years after his emigration from Russia. His daughter, the pianist Julia Goldstein-Manz, her children Sebastian Manz (clarinet), Larissa Manz (violin), Dominik Manz (cello) and also his other grandson Emmanuel Goldstein (violin) will be performing the concert programme together with former students of the university, to which comrades, colleagues, students of successive generations and friends of Boris Goldstein are cordially invited. Notification of firm acceptance is requested by December 10th at info@julia- goldstein.com or by fax at 09187 808183. Boris Goldstein , born in Odessa in 1922, was an outstanding violinist at an early age. When he was only ten years old, he played the Mendelssohn Violin Concerto with the Moscow Radio Orchestra in a broadcast performance, laying the foundation stone of an exceptional career. His teachers were Pyotr Stolyarsky, Abram Yampolsky, Lev Zeitlin and Konstantin Mostras. The young violinist was soon winning prizes at the renowned competitions in Moscow, Warsaw and Brussels, and those successes were followed by acclaimed concerts in many European capitals. Famous musicians such as Fritz Kreisler, Sergey Prokofiev, Jascha Heifetz and Yehudi Menuhin commented admiringly on Goldstein's playing. -
Soviet Music in the International Arena, 1932–41
02_EHQ 31/2 articles 26/2/01 12:57 pm Page 231 Caroline Brooke Soviet Music in the International Arena, 1932–41 Soviet musical life underwent radical transformation in the 1930s as the Communist Party of the Soviet Union began to play an active role in shaping artistic affairs. The year 1932 saw the dis- banding of militant factional organizations such as the RAPM (Russian Association of Proletarian Musicians) which had sprung up on the ‘musical front’ during the 1920s and had come to dominate Soviet musical life during the period of the first Five Year Plan (1928–32). 1932 was also the year that saw the con- solidation of all members of the musical profession into centralized Unions of Soviet Composers. Despite such compre- hensive administrative restructuring, however, it would be a mis- take to regard the 1930s as an era of steadily increasing political control over Soviet music. This was a period of considerable diversity in Soviet musical life, and insofar as a coherent Party line on music existed at all at this time, it lacked consistency on a great many issues. One of the principal reasons for the contra- dictory nature of Soviet music policy in the 1930s was the fact that the conflicting demands of ideological prejudice and politi- cal pragmatism frequently could not be reconciled. This can be illustrated particularly clearly through a consideration of the interactions between music and the realm of foreign affairs. Soviet foreign policy in the musical sphere tended to hover between two stools. Suspicion of the bourgeois capitalist West, together with the conviction that Western culture was going through the final stages of degeneration, fuelled the arguments of those who wanted to keep Soviet music and musical life pure and uncontaminated by such Western pollutants as atonalism, neo- classicism and the more innovative forms of jazz. -
The Franco-Belgian Violin School: Pedagogy, Principles, and Comparison with the German and Russian Violin Schools, from the Eighteenth Through Twentieth Centuries
The Franco-Belgian Violin School: Pedagogy, Principles, and Comparison with the German and Russian Violin Schools, from the Eighteenth through Twentieth Centuries A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music Violin 2019 by Gyu Hyun Han B.A., Korean National University of Arts, Korea, 2005 M.M., Korean National University of Arts, Korea, 2007 Committee Chair: Kurt Sassmannshaus, MM Abstract The Franco-Belgian violin school, famed for its elegance, detailed tone, polished sound, and variety of bow strokes, dominated violin performance at the turn of the twentieth century. Yet despite this popularity, and the continuing influence of the school as reflected in the standard violin repertoire, many violinists today do not know what constitutes the Franco-Belgian violin style. Partly, this is due to a lack of contextual information; while many scholars have written about the history of the violin and violin playing techniques, there is currently very little literature comparing the principles and performance characters of specific violin schools. This study therefore introduces the principles and techniques of the Franco-Belgian violin school, presented in comparison with those of the German and Russian violin schools; these features are catalogued and demonstrated both through examinations of each school’s treatises and analyses of video recordings by well-known violinists from each school. ii iii Table of Contents Abstract ii List of Tables vi List if Figures vi List of Musical Examples vii I.