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2018-2019 Season Brochure
POWERFUL PERFORMANCES SEASON 2018-19 SEASON Dear Friends, ZORÁ STRING QUARTET Sunday September 23 2018 ........................................................... 9 It’s with a great deal of joy and excitement that we unveil our 39th Season of performances. Can you JULIA BULLOCK SOPRANO believe we’re almost at the big four-oh mark? It’s such Sunday October 21 2018 ............................................................. 9 a privilege to be here, thriving, and to be able to IGOR LEVIT PIANO present you with great artists such as those listed on Sunday November 4 2018 ..........................................................15 the following pages. Each season is special; each brings its own unique musical revelations. ANDREA LUCCHESINI PIANO Sunday November 18 2018 ........................................................ The 2018-19 Season sees the return (after an absence 16 of 18 years) of Evgeny Kissin, one of the great pianists SIMON KEENLYSIDE BARITONE of our time. I can’t tell you how fortunate we are that he has included Vancouver on Sunday November 25 2018 .........................................................21 one of his very rare visits to the west coast. Another wonderful pianist from our ZOLTÁN FEJÉRVÁRI PIANO distant past, Italian Andrea Lucchesini, will be heard on the Classic Afternoons at the Sunday January 27 2019 ........................................................... Chan Centre Series. His last visit to Vancouver was in 1988 when he performed at the 10 Vancouver Playhouse. He is the first musician I ever re-booked before the actual concert, BEHZOD ABDURAIMOV PIANO and, as a result, he came to us three seasons in a row. Speaking of three… the other Sunday February 10 2019 .......................................................... 16 remarkable pianists on our Classic Afternoons series include Yevgeny Sudbin, Behzod FILIPPO GORINI PIANO Abduraimov, and Igor Levit. -
RYAN Mcadams ______Direttore D’Orchestra
LORENZO BALDRIGHI Artists Management SRL Unipersonale Piazza Gnecchi 2 23879 Verderio (LC) Tel.039.9281416 Fax.039.9281424 e-mail: [email protected] RYAN McADAMS ___________________________________________ direttore d’orchestra A suo agio equamente nel mondo dell’opera, nel repertorio sinfonico e nella musica contemporanea, il direttore d’orchestra Ryan McAdams, di origine americane,ha affermato la sua presenza sia in Europa sia in America. Nella stagione 2020/21 Ryan McAdams dirigerà la Filarmonica del Teatro Comunale di Bologna e l’Orchestra Sinfonica Siciliana a Palermo con la Sinfonia n.5 di Mahler; debutterà inoltre ai Pomeriggi Musicali di Milano prima di aggiudicarsi il podio con l’Orchestra Sinfonica Nazionale della RAI, con la quale è stato recentemente in tournée al sud Italia con un programma interamente dedicato a Beethoven. In primavera è previsto anche il suo debutto con la Belgian National Orchestra. Nella primavera 2020 i suoi debutti all’Opera di Zurigo (un revival del Faust con un cast fenomenale) e all’Opera Nazionale di Korea sono purtroppo stati cancellati per via dell’emergenza Covid-19. Grande sostenitore della musica contemporanea, Ryan McAdams è stato scelto come direttore d'orchestra per il 103°anniversario della nascita di Elliott Carter al 92Y- un concerto che è stato menzionato come uno dei migliori eventi di musica classica del 2011 dal New York Times; ha inoltre diretto in Irlanda la première dell’opera Il Secondo Violinista di Donnacha Dennehy, prima di portare la produzione al Barbican di Londra, e sarebbe ritornato alla Park Avenue Armory a New York nell’autunno 2020 se le circostanze lo avessero permesso. -
Hele Årboken (2.501Mb)
Redaktører: Eva Georgii-Hemming Sven-Erik Holgersen Øivind Varkøy Lauri Väkevä Nordisk musikkpedagogisk forskning Årbok 16 Nordic Research in Music Education Yearbook Vol. 16 NMH-publikasjoner 2015:8 Nordisk musikkpedagogisk forskning Årbok 16 Nordic Research in Music Education Yearbook Vol. 16 Redaksjon: Eva Georgii-Hemming Sven-Erik Holgersen Øivind Varkøy Lauri Väkevä NMH-publikasjoner 2015:8 Nordisk musikkpedagogisk forskning. Årbok 16 Nordic Research in Music Education. Yearbook Vol. 16 Redaktører: Eva Georgii-Hemming, Sven-Erik Holgersen, Øivind Varkøy og Lauri Väkevä Norges musikkhøgskole NMH-publikasjoner 2015:8 © Norges musikkhøgskole og forfatterne ISSN 1504-5021 ISBN 978-82-7853-208-9 Norges musikkhøgskole Postboks 5190 Majorstua 0302 OSLO Tel.: +47 23 36 70 00 E-post: [email protected] nmh.no Sats og trykk: 07 Media, Oslo, 2015 Contents Introduction 5 Musical Knowledge and Musical Bildung – 9 Jürgen Vogt Some Reflections on a Difficult Relation 23 the unheard On Heidegger’s relevance for a phenomenologically oriented music Didaktik: Frederik Pio Challenges to music education research. 53 Cecilia K. Hultberg Reflections from a Swedish perspective Gender Performativity through Musicking: 69 Examples from a Norwegian Classroom Study Silje Valde Onsrud Keeping it real: addressing authenticity in classroom popular music pedagogy 87 Aleksi Ojala & Lauri Väkevä “You MAY take the note home an’… well practise just that” – 101 Children’s interaction in contextualizing music teaching Tina Kullenberg & Monica Lindgren Young Instrumentalists’ -
Mark Padmore
` BRITTEN Death in Venice, Royal Opera House, Covent Garden At the centre, there’s a tour de force performance by tenor Mark Padmore as the blocked writer Aschenbach, his voice apparently as fresh at the end of this long evening as at the beginning Erica Jeal, The Guardian, November 2019 Tenor Mark Padmore, exquisite of voice, presents Aschenbach’s physical and spiritual breakdown with extraordinary detail and insight Warwick Thompson, Metro, November 2019 Mark Padmore deals in a masterly fashion with the English words, so poetically charged by librettist Myfanwy Piper, and was in his best voice, teasing out beauty with every lyrical solo. Richard Fairman, The Financial Times, November 2019 Mark Padmore is on similarly excellent form as Aschenbach. Padmore doesn’t do much opera, but this role is perfect for him………Padmore is able to bring acute emotion to these scenes, without extravagance or lyricism, drawing the scale of the drama back down to the personal level. Mark Padmore Gavin Dixon, The Arts Desk, November 2019 Tenor ..It’s the performances of Mark Padmore and Gerald Finley that make the show unmissable. …Padmore……conveys so believably the tragic arc of Aschenbach’s disintegration, from pompous self-regard through confusion and brief ecstatic abandon to physical and moral collapse. And the diction of both singers is so clear that surtitles are superfluous. You will not encounter a finer performance of this autumnal masterpiece. Richard Morrison, The Times, November 2019 BACH St John Passion¸ Orchestra of the Age of Enlightenment, Simon Rattle. Royal Festival Hall, London Mark Padmore has given us many excellent evangelists, yet this heartfelt, aggrieved, intimate take on St John’s gospel narrative, sometimes spiked with penetrating pauses, still seemed exceptional. -
Garrick Ohlsson
bernard haitink conductor emeritus seiji ozawa music director laureate 2013–2014 Season | Week 14 andris nelsons music director designate season sponsors Table of Contents | Week 14 7 bso news 15 on display in symphony hall 16 the boston symphony orchestra 19 old strains reawakened: the boston symphony’s historical instrument collection by douglas yeo 27 this week’s program Notes on the Program 28 The Program in Brief… 29 Richard Wagner 35 Witold Lutos´lawski 43 Dmitri Shostakovich 51 To Read and Hear More… Guest Artists 57 Andris Poga 59 Garrick Ohlsson 62 sponsors and donors 72 future programs 74 symphony hall exit plan 75 symphony hall information the friday preview talk on january 24 is given by harlow robinson of northeastern university. program copyright ©2014 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photo of BSO principal bassoon Richard Svoboda by Stu Rosner BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617)266-1492 bso.org andris nelsons, ray and maria stata music director designate bernard haitink, lacroix family fund conductor emeritus, endowed in perpetuity seiji ozawa, music director laureate 133rd season, 2013–2014 trustees of the boston symphony orchestra, inc. Edmund Kelly, Chair • William F. Achtmeyer, Vice-Chair • Carmine A. Martignetti, Vice-Chair • Stephen R. Weber, Vice-Chair • Theresa M. Stone, Treasurer David Altshuler • George D. Behrakis • Jan Brett • Paul Buttenwieser • Ronald G. Casty • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Diddy Cullinane • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Michael Gordon • Brent L. -
Rückkopplungen Aus Dem Zodiak Free Arts Lab
BILDET NISCHEN! Rückkopplungen aus dem Zodiak Free Arts Lab HAU 21.–26.9.2021 Bildet Nischen! Rückkopplungen aus dem Zodiak Free Arts Lab 21.–26.9.2021 / HAU1 Im Winter des Jahres 1967 begann der Musiker und Künstler Conrad Schnitzler, auf Einladung des Wirtes Paul Glaser in zwei Räumen unter der damaligen Schaubühne am Halleschen Ufer, dem heutigen HAU2, das Programm zu gestalten. Mit Mit strei - ter:innen betrieb er das Zodiak Free Arts Lab über ein Jahr lang als hierarchiefreien Raum für musikalische Experimente und interdisziplinären Austausch. Bis 1969 diente das Zodiak als künstlerischer wie sozialer Treffpunkt. Trotz des kurzen Be- stehens kann es als initiierender Ort für zahlreiche musikalische Entwicklungen ver- standen werden – vor allem für die kurze Zeit später entstehende “Berliner Schule”, deren Sound oft unter dem Begriff “Krautrock” zusammengefasst wird und der bis heute in diversen musikalischen Strömungen nachhallt. “Bildet Nischen! Rückkopplungen aus dem Zodiak Free Arts Lab” begibt sich auf Spurensuche und beleuchtet die Verbindungen aus politischen, sozialen und kultu- rellen Verhältnissen, die auf die Szene um das Zodiak einwirkten. Welche Gemenge - lagen setzen auch heute noch Energien frei, die sich in (pop-)kulturellen Entwick- lungen manifestieren? Wie findet sich Gegenkultur und welcher Räume bedarf es dafür? Lassen sich Spuren und Bezüge des Zodiak in der kulturellen Praxis späterer subkultureller Entwicklungen im Berliner Underground aufzeigen? Fragestellungen wie diese bleiben bis in die aktuelle Gegenwart für die Entwicklung künstlerischer Positionen relevant. In einem Programm aus Konzerten, Kollaborationen, Installa- tionen, Gesprächen und einer Lecture Performance geht das HAU ihnen nach. Ein Festival des HAU Hebbel am Ufer. -
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. -
Nightlight: Tradition and Change in a Local Music Scene
NIGHTLIGHT: TRADITION AND CHANGE IN A LOCAL MUSIC SCENE Aaron Smithers A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Curriculum of Folklore. Chapel Hill 2018 Approved by: Glenn Hinson Patricia Sawin Michael Palm ©2018 Aaron Smithers ALL RIGHTS RESERVED ii ABSTRACT Aaron Smithers: Nightlight: Tradition and Change in a Local Music Scene (Under the direction of Glenn Hinson) This thesis considers how tradition—as a dynamic process—is crucial to the development, maintenance, and dissolution of the complex networks of relations that make up local music communities. Using the concept of “scene” as a frame, this ethnographic project engages with participants in a contemporary music scene shaped by a tradition of experimentation that embraces discontinuity and celebrates change. This tradition is learned and communicated through performance and social interaction between participants connected through the Nightlight—a music venue in Chapel Hill, North Carolina. iii ACKNOWLEDGEMENTS Any merit of this ethnography reflects the commitment of a broad community of dedicated individuals who willingly contributed their time, thoughts, voices, and support to make this project complete. I am most grateful to my collaborators and consultants, Michele Arazano, Robert Biggers, Dave Cantwell, Grayson Currin, Lauren Ford, Anne Gomez, David Harper, Chuck Johnson, Kelly Kress, Ryan Martin, Alexis Mastromichalis, Heather McEntire, Mike Nutt, Katie O’Neil, “Crowmeat” Bob Pence, Charlie St. Clair, and Isaac Trogden, as well as all the other musicians, employees, artists, and compatriots of Nightlight whose combined efforts create the unique community that define a scene. -
Ryan Mcadams
Ryan McAdams Equally at home in the world of opera, symphonic repertoire and contemporary music, American conductor Ryan McAdams has established a presence on both sides of the Atlantic. In the 2019/20 season he returns to the Ravello Festival and takes to the podium once again with the Orchestra Sinfonica Nazionale della RAI, with whom he recently toured an all-Beethoven programme around Southern Italy. He joins the Phoenix and Omaha Symphony Orchestras in the Autumn, conducts a new production of Les pêcheurs de perles for Teatro Regio Torino, and will also lead the revival of Faust at the Zurich Opera with Saimir Pirgu, Ildebrando d'Arcangelo and Anita Hartig. A contemporary music advocate, Ryan was the conductor for Elliott Carter's 103rd Birthday Celebration at the 92Y - a concert that was named one of the Best Classical Music Events of the year by the New York Times. He also conducted the premiere of Donnacha Dennehy's opera The Second Violinist in Ireland before taking the production to the Barbican in London and will return to the work again in New York in Spring 2020. Recent highlights include a return to Maggio Musicale Fiorentino conducting Carmen, Madama Butterfly and Le Nozze di Figaro with Lyric Opera of Kansas City and a collaboration with Wynton Marsalis, as well as subscription concerts with the Borusan Istanbul Philharmonic Orchestra, Lirico Sinfonica Petruzzelli di Bari, Kansas City Symphony, Louisiana Philharmonic and a return to the Israel Philharmonic. He has appeared with the Vancouver Symphony, Santa Fe Symphony, Louisville Orchestra, Academy of St. Martin in the Fields, Los Angeles Philharmonic, Orchestre symphonique et lyrique de Nancy, Saint Paul Chamber Orchestra, L'Orchestra de Chambre de Geneve, New York City Opera, and the Moscow State Philharmonic. -
“Just a Dream”: Community, Identity, and the Blues of Big Bill Broonzy. (2011) Directed by Dr
GREENE, KEVIN D., Ph.D. “Just a Dream”: Community, Identity, and the Blues of Big Bill Broonzy. (2011) Directed by Dr. Benjamin Filene. 332 pgs This dissertation investigates the development of African American identity and blues culture in the United States and Europe from the 1920s to the 1950s through an examination of the life of one of the blues’ greatest artists. Across his career, Big Bill Broonzy negotiated identities and formed communities through exchanges with and among his African American, white American, and European audiences. Each respective group held its own ideas about what the blues, its performers, and the communities they built meant to American and European culture. This study argues that Broonzy negotiated a successful and lengthy career by navigating each groups’ cultural expectations through a process that continually transformed his musical and professional identity. Chapter 1 traces Broonzy’s negotiation of black Chicago. It explores how he created his new identity and contributed to the flowering of Chicago’s blues community by navigating the emerging racial, social, and economic terrain of the city. Chapter 2 considers Broonzy’s music career from the early twentieth century to the early 1950s and argues that his evolution as a musician—his lifelong transition from country fiddler to solo male blues artist to black pop artist to American folk revivalist and European jazz hero—provides a fascinating lens through which to view how twentieth century African American artists faced opportunities—and pressures—to reshape their identities. Chapter 3 extends this examination of Broonzy’s career from 1951 until his death in 1957, a period in which he achieved newfound fame among folklorists in the United States and jazz and blues aficionados in Europe. -
Stéphane Denève Commits to Serve As Music Director of the St
FOR IMMEDIATE RELEASE [March , ] Contacts: St. Louis Symphony Orchestra: Eric Dundon [email protected], (,D-+FG-D,(D National/International: NiKKi Scandalios [email protected], L)D-(D)-D)MD STÉPHANE DENÈVE COMMITS TO SERVE AS MUSIC DIRECTOR OF THE ST. LOUIS SYMPHONY ORCHESTRA THROUGH THE 2025/2026 SEASON Extension highlights mission-driven collaboration and continued artistic and institutional stability for the nation’s second-oldest orchestra (March , WUWX, St. Louis, MO) – Today, the St. Louis Symphony Orchestra announced a four-year extension of Stéphane Denève’s contract as Music Director. The extended contract runs through the end of the SLSO’s +)+V/+)+G season, which will be Denève’s seventh as Music Director. Denève’s initial three-year contract began With the / season following one season as Music Director Designate. His long partnership With the SLSO began in , When he led the SLSO for the first of many engagements as a guest conductor prior to his appointment as Music Director. The announcement comes as Denève leads the SLSO in the return of live concerts With audiences at PoWell Hall, the first since early November +)+. Steven Finerty, Chair of the SLSO Board of Trustees, said, “Stéphane is the ideal partner for the SLSO. He brings a profound musicianship and a deep understanding to his role, Which he infuses With great creativity, good humor, humility, and humanity. Along With President and CEO Marie-Hélène Bernard—with whom he has developed a remarKable partnership—Stéphane has helped hone the SLSO as an artistically excellent, community-minded, and financially responsible organization for years to come.” Marie-Hélène Bernard, SLSO President and CEO, said, “In the time Stéphane has been Music Director, he has continued to build on the celebrated artistic legacy of the SLSO While advancing the next era of the orchestra. -
Auditorium Rai “A. Toscanini”, Torino
© Lisa Mazzucco © Shobha 3 Mercoledì 23 giugno 2021 Auditorium Rai 23/06 20.00 “A. Toscanini”, RYAN MCADAMS Torino direttore GIOVANNI SOLLIMA violoncello Nirvana Henry Purcell Giovanni Sollima Alberto Ginastera raicultura.it osn.rai.it OSNRai OrchestraRai orchestrasinfonicarai Nella foto: Il compositore inglese Henry Purcell (1685 ca.) MERCOLEDÌ 23 GIUGNO 2021 ore 20.00 Ryan McAdams direttore 3° Giovanni Sollima violoncello Nirvana (periodo di attività 1987 - 1994) (1988, album 1991) concerto senza intervallo Polly dall’album Nevermind Durata: 3’ ca. Prima esecuzione Rai a Torino Nirvana Dumb dall’album In Utero (1990, album 1993) Durata: 2’ ca. Prima esecuzione Rai a Torino Henry Purcell (1659 - 1695) Strike the Viol dalla ode Come ye Sons of Art dell’Orpheus Britannicus (1694) Durata: 4’ ca. Prima esecuzione Rai a Torino Nirvana Smells Like Teen Spirit dall’album Nevermind (1991) Durata: 4’ ca. Prima esecuzione Rai a Torino Giovanni Sollima (1962) Terra con variazioni (2015) Durata: 20’ ca. Prima esecuzione Rai a Torino Alberto Ginastera (1916 - 1983) Variazioni concertanti per orchestra, op. 23 (1953) I. Tema per violoncello e arpa. Adagio molto espressivo II. Interludio per corde. L’istesso tempo III. Variazione giocosa per flauto. Tempo giusto IV. Variazione in modo di Scherzo per clarinetto. Vivace V. Variazione drammatica per viola. Largo VI. Variazione canonica per oboe e fagotto. Adagio tranquillo VII. Variazione ritmica per trombe e trombone. Allegro VIII. Variazione in modo di Moto perpetuo per violino. L’istesso tempo IX. Variazione pastorale per corno. Largamente espressivo Il concerto X. Interludio per fiati. Moderato è trasmesso XI. Ripresa dal Tema per contrabbasso.