DOCSLIB.ORG

Chicago Symphony Orchestra Riccardo Muti Zell Music Director

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Chicago Symphony Orchestra Riccardo Muti Zell Music Director PROGRAM ONE HUNDRED TWENTY-FIFTH SEASON Chicago Symphony Orchestra Riccardo Muti Zell Music Director Pierre Boulez Helen Regenstein Conductor Emeritus Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, October 8, 2015, at 8:00 Friday, October 9, 2015, at 1:30 Tuesday, October 13, 2015, at 7:30 Semyon Bychkov Conductor Renaud Capuçon Violin Glanert Brahms-Fantasie United States premiere Brahms Violin Concerto in D Major, Op. 77 Allegro non troppo Adagio Allegro giocoso, ma non troppo vivace RENAUD CAPUÇON INTERMISSION Brahms Symphony No. 1 in C Minor, Op. 68 Un poco sostenuto—Allegro Andante sostenuto Un poco allegretto e grazioso Adagio—Allegro non troppo, ma con brio CSO Tuesday series concerts are sponsored by United Airlines. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. COMMENTS by Phillip Huscher Detlev Glanert Born September 6, 1960, Hamburg, Germany. Brahms-Fantasie, Heliogravure for Orchestra For Detlev Glanert, the Glanert has visited the world of Brahms’s great Germanic musical music before, with his 2004 orchestration of the tradition is not a burden Four Serious Songs, where he not only enhanced but an invitation to new Brahms’s songs with full orchestral colors realms of understanding. (without changing a note of Brahms’s scores) but Glanert, who began to added his own preludes between them—a perfect study composition at the demonstration of the balanced concern for both age of twelve in his native tradition and innovation that characterizes the Hamburg, moved to newer Brahms-Fantasie. “We hear Brahms, yet Cologne in the mid-1980s don’t hear him,” Glanert says of the piece. “We to work with Hans Werner Henze, the often hear my music, yet it isn’t entirely my music.” highly political German opera composer, who In that sense, this is one of his most advanced has remained a guiding spirit throughout his efforts yet in his quest to inhabit the musical career. Like Henze’s output, many of Glanert’s worlds of the past and the present at the same works are commentaries on the music of the past. time. Glanert subtitles the piece “Heliogravure His Symphony no. 1—one of his earliest compo- for Orchestra,” referring to the two-part photo- sitions, written in 1985—is an exploration of graphic process in which the original image is Mahler’s vast symphonic landscape and even painted over and transformed by the artist. The quotes from Das Lied von der Erde. “A symphony result is a kind of musical palimpsest, in which of today can only be a discussion of the sympho- strands of Brahms—the powerful opening of the nies of yesterday,” he once said. Mahler/Skizze, First Symphony, snatches of Hungarian waltzes, composed four years later, was inspired by a visit rigorous counterpoint, the composer’s signature to Mahler’s grave. three-against-two rhythmic patterns—weave The Brahms-Fantasie performed this week in and out of Glanert’s score. Glanert calls it “a offers another way of viewing the past in light picture puzzle, music about music, a mind game, of the present day. Although Glanert’s purely and a fantasy along alien, yet familiar paths.” orchestral works often are satellite scores related to his large music theater pieces— his Brahms-Fantasie reflects the compos- Theatrum bestiarum, given its U.S. premiere er’s career-long belief that all music has by the Chicago Symphony in May 2010, is “to be connected to the life of people.” intimately tied to his opera Caligula—his TheT fantasy is meant for listeners who have heard Brahms-Fantasie is an independent score. It is music that Brahms did not—the daring and one of four works commissioned by the BBC adventurous explorations of the twentieth cen- Scottish Symphony to serve as short companion tury that Arnold Schoenberg provocatively said pieces for Brahms’s four symphonies. Glanert’s were already latent in the seemingly traditional offering—the last of the four to be composed— music of Brahms himself. For Glanert, all music, was designed to be performed on the same including the revered classics, “must tell you program as Brahms’s First Symphony, as it is something about your life and something about this week in Chicago. what you are. If it does not, it will die.” COMPOSED These are the United States four horns, two trumpets, three 2012 premiere performances. trombones, timpani, strings FIRST PERFORMANCE INSTRUMENTATION APPROXIMATE March 22, 2012; Glasgow, Scotland two flutes, two oboes, two clarinets, PERFORMANCE TIME two bassoons and contrabassoon, 12 minutes 2 Johannes Brahms Born May 7, 1833, Hamburg, Germany. Died April 3, 1897, Vienna, Austria. Violin Concerto in D Major, Op. 77 Joseph Joachim and The violin concerto was sketched during a sum- Johannes Brahms became mer holiday at Pörtschach in 1878, just across the instant friends when they lake from the country house where Alban Berg met in May 1853. Both would write his violin concerto nearly sixty years men were in their early later. Brahms picked the key of D major (the twenties, and although tonality of the Second Symphony he had recently Brahms was an unknown, finished) and planned the concerto in four with all his greatest music movements, an unprecedented scheme. While still to come, Joachim was composing, Brahms often turned to Joachim for already a celebrity—the technical advice about the solo part—Joachim most brilliant and promising violinist around. not only knew the instrument’s capabilities better Joachim described Brahms as “pure as a dia- than anyone, but also was a gifted composer mond, soft as snow,” reminding us that the himself. (When they met in 1853, Joachim was composer’s familiar portly figure and bushy beard the more accomplished composer; Brahms used were later acquisitions. With music as their bond, to let him see everything he wrote, seeking both they became close—confiding secrets, enjoying criticism and encouragement.) It was Brahms’s each other’s company, and sharing the things own decision to abandon the four-movement they loved. It was Joachim who insisted that design and to replace the two inner movements Brahms meet the Schumanns, a visit that with a single adagio. (The leftover scherzo may changed the young composer’s life—Robert have been salvaged for the four-movement B-flat wrote his last critic’s column to introduce Brahms piano concerto Brahms put aside in order to work to the public, and Clara became a confidante and on this concerto.) He was still making further a valued colleague, if not more. adjustments after the first performance, in It was simply a matter of time before Brahms Leipzig, on New Year’s Day, 1879. would offer to write a concerto for his best friend. The work was not a success. (At the premiere, (Brahms had overcome his fear of tackling the the applause was lukewarm, though many in the forms in which Beethoven triumphed and had audience were distracted by Brahms’s failure to completed two symphonies and a piano concerto.) hook up his suspenders properly.) When Clara COMPOSED MOST RECENT CADENZA 1878 CSO PERFORMANCES Joseph Joachim March 7, 8 & 10, 2012, Orchestra Hall. FIRST PERFORMANCE Pinchas Zukerman as soloist, Riccardo APPROXIMATE January 1, 1879; Leipzig, Germany. Muti conducting PERFORMANCE TIME Joseph Joachim as soloist, the 40 minutes March 9, 2012, Hill Auditorium, composer conducting University of Michigan. Pinchas CSO RECORDINGS Zukerman as soloist, Riccardo FIRST CSO PERFORMANCES 1955. Jascha Heifetz as soloist, Fritz Muti conducting January 19 & 20, 1894, Auditorium Reiner conducting. RCA Theatre. Henri Marteau as soloist, August 10, 2014, Ravinia Festival. 1976. Itzhak Perlman as soloist, Carlo Theodore Thomas conducting Miriam Fried as soloist, Bramwell Maria Giulini conducting. Angel Tovey conducting July 30, 1938, Ravinia Festival. 1997. Maxim Vengerov as soloist, Jascha Heifetz as soloist, Eugene INSTRUMENTATION Daniel Barenboim conducting. Teldec Ormandy conducting solo violin, two flutes, two oboes, two 2002. Rachel Barton as soloist, Carlos clarinets, two bassoons, four horns, Kalmar conducting. Cedille two trumpets, timpani, strings 3 Schumann heard it earlier, in a private perfor- Brahms opens the slow movement with one of mance, she commented that the orchestra and his finest melodies, given to the oboe against a soloist were “thoroughly blended,” but others saw woodwind accompaniment. The Spanish virtuoso that distinction differently. Hans von Bülow, a Pablo de Sarasate allegedly refused to play this man seldom without opinions, said that Brahms concerto because he didn’t care “to stand on the had written a concerto against the violin; the platform, violin in hand, to listen to the oboe violinist Bronislaw Huberman elaborated: “It is a playing the only real tune in the whole work.” concerto for violin against the orchestra—and the Sarasate would more easily earn our sympathy violin wins.” if Brahms didn’t Eventually, Brahms’s work was widely per- quickly turn formed and greatly admired; it was even deemed from the oboe worthy of standing beside Beethoven’s single vio- to the violin, lin concerto. Brahms had invited the comparison having saved for himself by picking the same key and by writing it an unbroken for the violinist who had recently put Beethoven’s outpouring of concerto back in circulation. song that car- ries us through rahms honors the classical model; in to the end of the first movement, he writes a double the movement. exposition—one for the orchestra alone, We don’t Bthe second led by the violin. This would be immediately unremarkable, except that most concertos written associate Brahms in the seventy-odd years since Beethoven’s with merriment, had struggled to find novel ways to proceed.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Multivalent Form in Gustav Mahlerʼs Lied Von Der Erde from the Perspective of Its Performance History
    Multivalent Form in Gustav Mahlerʼs Lied von der Erde from the Perspective of Its Performance History Christian Utz All content is licensed under a Creative Commons Attribution 4.0 International License. Received: 09/10/2017 Accepted: 19/11/2017 Published: 27/02/2018 Last updated: 27/02/2018 How to cite: Christian Utz, “Multivalent Form in Gustav Mahlerʼs Lied von der Erde from the Perspective of Its Performance History,” Musicologica Austriaca: Journal for Austrian Music Studies (February 27, 2018) Tags: 20th century; Analysis; Bernstein, Leonard; Das Lied von der Erde; Klemperer, Otto; Mahler, Gustav; Performance; Performance history; Rotational form; Sonata form; Strophic form; Walter, Bruno This essay is an expanded version of a paper presented at the symposiumGustav Mahler im Dialog, held at the Gustav Mahler Musikwochen in Toblach/Dobbiaco on July 18, 2017. The research was developed as part of the research project Performing, Experiencing and Theorizing Augmented Listening [PETAL]. Interpretation and Analysis of Macroform in Cyclic Musical Works (Austrian Science Fund (FWF): P 30058-G26; 2017–2020). I am grateful for advice received from Federico Celestini, Peter Revers, Thomas Glaser, and Laurence Willis. Files for download: Tables and Diagrams, Video examples 1-2, Video examples 3-4, Video examples 5-8, Video examples 9-10 Best Paper Award 2017 Abstract The challenge of reconstructing Gustav Mahlerʼs aesthetics and style of performance, which incorporated expressive and structuralist principles, as well as problematic implications of a post- Mahlerian structuralist performance style (most prominently developed by the Schoenberg School) are taken in this article as the background for a discussion of the performance history of Mahlerʼs Lied von der Erde with the aim of probing the model of “performance as analysis in real time” (Robert Hill).
    [Show full text]
  • Rezensionen Für
    Rezensionen für Gustav Mahler: Das Lied von der Erde aud 95.491 4022143954916 Badische Zeitung 18.11.2003 (Heinz W. Koch - 2003.11.18) ... Wie spezifisch, ja wie radikal sich Gielens Mahler ausnimmt, erhellt schlagartig, wenn man Rafael Kubeliks dreieinhalb Jahrzehnte alte und vor einer Weile wiederveröffentlichte Einspielung dagegenhält. Eine gehörige Überraschung gab’s schon einmal – als nämlich die nie veröffentlichten Münchner Funk-„Meistersinger“ von 1967 plötzlich zu haben waren. Jetzt ist es Gustav Mahlers drei Jahre später eingespieltes „Lied von der Erde“, das erstmals über die Ladentische geht. Es gehört zu einer Mahler Gesamtaufnahme, die offenbar vor der rühmlich bekannten bei der Deutschen Grammophon entstand. Zumindest bei den hier behandelten Sinfonien Nr. 3 und Nr. 6 war das der Fall. Beim „Lied von der Erde“ offeriert das Symphonie-Orchester des Bayerischen Rundfunks, dessen Chef Kubelik damals war, ein erstaunlich präsentes, erstaunlich aufgesplittertes Klangbild, das sowohl das Idyllisch-Graziöse hervorkehrt wie das Schwerblütig-Ausdrucksgesättigte mit großem liedsinfonischem Atem erfüllt – eine erstrangige Wiedergabe. Auch die beiden 1967/68 erarbeiteten Sinfonien erweisen sich als bestechend durchhörbar. Vielleicht geht Kubelik eine Spur naiver vor als die beim Sezieren der Partitur schärfer verfahrenden Dirigenten wie Gielen, bricht sich, wo es geht, das ererbte böhmische Musikantentum zumindest für Momente Bahn. Da staunt einer eher vor Mahler, als dass er ihn zu zerlegen sucht. Wenn es eine Verwandtschaft gibt, dann ist es die zu Bernstein. Das Triumphale der „Dritten“, das Nostalgische an ihr wird nicht als Artefakt betrachtet, sondern „wie es ist“: Emotion zur Analyse. ... (aus einer Besprechung mit den Mahler-Interpretationen Michael Gielens) CD Compact n°169 (octobre 2003) (Benjamín Fontvelia - 2003.10.01) Rafael Kubelik/Audite Rafael Kubelik/Audite Full review text restrained for copyright reasons.
    [Show full text]
  • PROGRAM NOTES by Phillip Huscher
    PROGRAM NOTES by Phillip Huscher Gustav Mahler Born July 7, 1860, Kalischt, Bohemia. Died May 18, 1911, Vienna, Austria. Symphony No. 9 in D Major Mahler began his ninth symphony in the spring of 1909 and on April 1, 1910, he told the conductor Bruno Walter that the score was complete. Walter conducted the first performance with the Vienna Philharmonic on June 26, 1912. The score calls for four flute s and piccolo, four oboes and english horn, three clarinets, E-flat clarinet and bass clarinet, four bassoons and contrabassoon, four horns, three trumpets, three trombones and tuba, timpani, cymbals, bass drum, tam -tam, triangle, glockenspiel, chimes, two harps, and strings. Performance time is approximately eighty -one minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Mahler’s Ninth Symphony were given at Orchestra Hall on April 6 and 7, 1950, with George Szell conductin g. Our most recent subscription concert performances were given on November 30, December 1, 2, and 5, 1995, with Pierre Boulez conducting. The Orchestra first performed this symphony at the Ravinia Festival on August 11, 1979, with Lawrence Foster conducti ng, and most recently on June 28, 1991, with James Levine conducting. Because this symphony is Mahler’s last completed work, and because he died tragically of heart disease at the age of fifty shortly after finishing it, leaving behind his beautiful wife Alma and young daughter Anna, it’s often considered both his farewell and his most deeply personal score. Bruno Walter, who conducted the premiere thirteen months after Mahler’s death, said that he recognized the composer’s own gait in the limping rhythm o f the march at the climax of the first movement.
    [Show full text]
  • The Impact of the Third Reich on Famous Composers by Bwaar Omer
    The Impact of the Third Reich on Famous Composers By Bwaar Omer Germany is known as a land of poets and thinkers and has been the origin of many great composers and artists. In the early 1920s, the country was becoming a hub for artists and new music. In the time of the Weimar Republic during the roaring twenties, jazz music was a symbol of the time and it was used to represent the acceptance of the newly introduced cultures. Many conservatives, however, opposed this rise of for- eign culture and new music. Guido Fackler, a German scientist, contends this became a more apparent issue when Adolf Hitler (1889-1945) took power in 1933 and created the Third Reich. The forbidden music during the Third Reich, known as degen- erative music, was deemed to be anti-German and people who listened to it were not considered true Germans by nationalists. A famous composer who was negatively affected by the brand of degenerative music was Kurt Weill (1900-1950). Weill was a Jewish composer and playwright who was using his com- positions and stories in order to expose the Nazi agenda and criticize society for not foreseeing the perils to come (Hinton par. 11). Weill was exiled from Germany when the Nazi party took power and he went to America to continue his career. While Weill was exiled from Germany and lacked power to fight back, the Nazis created propaganda to attack any type of music associated with Jews and blacks. The “Entartete Musik” poster portrays a cartoon of a black individual playing a saxo- phone whose lips have been enlarged in an attempt to make him look more like an animal rather than a human.
    [Show full text]
  • 75Thary 1935 - 2010
    ANNIVERS75thARY 1935 - 2010 The Music & the Artists of the Bach Festival Society The Mission of the Bach Festival Society of Winter Park, Inc. is to enrich the Central Florida community through presentation of exceptionally high-quality performances of the finest classical music in the repertoire, with special emphasis on oratorio and large choral works, world-class visiting artists, and the sacred and secular music of Johann Sebastian Bach and his contemporaries in the High Baroque and Early Classical periods. This Mission shall be achieved through presentation of: • the Annual Bach Festival, • the Visiting Artists Series, and • the Choral Masterworks Series. In addition, the Bach Festival Society of Winter Park, Inc. shall present a variety of educational and community outreach programs to encourage youth participation in music at all levels, to provide access to constituencies with special needs, and to participate with the community in celebrations or memorials at times of significant special occasions. Adopted by a Resolution of the Bach Festival Society Board of Trustees The Bach Festival Society of Winter Park, Inc. is a private non-profit foundation as defined under Section 509(a)(2) of the Internal Revenue Code and is exempt from federal income taxes under IRC Section 501(c)(3). Gifts and contributions are deductible for federal income tax purposes as provided by law. A copy of the Bach Festival Society official registration (CH 1655) and financial information may be obtained from the Florida Division of Consumer Services by calling toll-free 1-800-435-7352 within the State. Registration does not imply endorsement, approval, or recommendation by the State.
    [Show full text]
  • City Research Online
    City Research Online City, University of London Institutional Repository Citation: Pace, I. (2012). Instrumental performance in the nineteenth century. In: Lawson, C. and Stowell, R. (Eds.), The Cambridge History of Musical Performance. (pp. 643-695). Cambridge University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/6305/ Link to published version: http://dx.doi.org/10.1017/CHOL9780521896115.027 Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] C:/ITOOLS/WMS/CUP-NEW/2654833/WORKINGFOLDER/LASL/9780521896115C26.3D 643 [643–695] 5.9.2011 7:13PM . 26 . Instrumental performance in the nineteenth century IAN PACE 1815–1848 Beethoven, Schubert and musical performance in Vienna from the Congress until 1830 As a major centre with a long tradition of performance, Vienna richly reflects
    [Show full text]
  • Josef Suk's Asrael Re-Envisioned Via Schoenberg
    A STUDY IN CLARITY: JOSEF SUK’S ASRAEL RE-ENVISIONED VIA SCHOENBERG Volume I of II IVAN ARION KARST School of Arts and Media College of Arts and Social Sciences University of Salford, Salford, UK Submitted in Fulfilment of the Requirements of the Degree of Doctor of Philosophy, October 2020 i Contents Table of Figures ........................................................................................................................... 4 Acknowledgements..................................................................................................................... 7 Abstract: ‘A Study in Clarity: Suk Re-envisioned via Schoenberg’ ................................................. 8 Chapter 1: Introduction ............................................................................................................... 1 Thesis Methodology ................................................................................................................. 1 A Study in Clarity: Literature Review ......................................................................................... 4 Chapter 2: Historical Context .................................................................................................... 10 Schoenberg: Transcription and the Verein .............................................................................. 10 Chapter 3: Analysis.................................................................................................................... 12 Transcription Techniques of the Verein .................................................................................
    [Show full text]
  • The Analytical Study of Anton Bruckner Symphony NO.8
    Frontiers in Art Research ISSN 2618-1568 Vol. 1, Issue 3: 14-19, DOI: 10.25236/FAR.20190303 The analytical study of Anton Bruckner Symphony NO.8 Lei Dong, Naixin Lu Academy of music, Shandong University of Technology, Zibo 255000, China; *Corresponding Author ABSTRACT.As a representative composer of late romanticism, Bruckner created many classic works in his life. The Eighth Symphony is one of the representative classical works in his later years. In the summer of 1884, Bruckner began to work on The Eighth Symphony, which was completed in the fall of 1887. During the creation of The Eighth Symphony, Bruckner ushered in two major events in his life, namely, The Deum and The Seventh Symphony successfully performed for the first time, and received wide appreciation and spread. All of these helped Bruckner gain a worldwide reputation. In view of the classic of The Eighth Symphony, many composers are studying it carefully. However, there are still many problems troubling researchers in the study, which restrict the development of contemporary music. Based on this, this paper briefly analyzes Bruckner's Symphony NO. 8. KEYWORDS: Theme; Polyphony; Harmony; Music form 1. Introduction As a famous composer in the late period of romanticism, Bruckner often used religious music forms such as Mass in his works[1]. Based on this, he combined with the folk national music and expressed his feelings and beliefs thoroughly. His music works are very poetic and religious, with strong romantic and lyrical characteristics. The Eighth Symphony is full of life philosophy. The classic of it is its ability to tug at the heartstrings, and expressing a strong piety and reverence for religion.
    [Show full text]
  • Mahler's Song of the Earth
    SEASON 2020-2021 Mahler’s Song of the Earth May 27, 2021 Jessica GriffinJessica SEASON 2020-2021 The Philadelphia Orchestra Thursday, May 27, at 8:00 On the Digital Stage Yannick Nézet-Séguin Conductor Michelle DeYoung Mezzo-soprano Russell Thomas Tenor Mahler/arr. Schoenberg and Riehn Das Lied von der Erde I. Das Trinklied von Jammer der Erde II. Der Einsame im Herbst III. Von der Jugend IV. Von der Schönheit V. Der Trunkene im Frühling VI. Der Abschied First Philadelphia Orchestra performance of this version This program runs approximately 1 hour and will be performed without an intermission. This concert is part of the Fred J. Cooper Memorial Organ Experience, supported through a generous grant from the Wyncote Foundation. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. Our World Lead support for the Digital Stage is provided by: Claudia and Richard Balderston Elaine W. Camarda and A. Morris Williams, Jr. The CHG Charitable Trust Innisfree Foundation Gretchen and M. Roy Jackson Neal W. Krouse John H. McFadden and Lisa D. Kabnick The Andrew W. Mellon Foundation Leslie A. Miller and Richard B. Worley Ralph W. Muller and Beth B. Johnston Neubauer Family Foundation William Penn Foundation Peter and Mari Shaw Dr. and Mrs. Joseph B. Townsend Waterman Trust Constance and Sankey Williams Wyncote Foundation SEASON 2020-2021 The Philadelphia Orchestra Yannick Nézet-Séguin Music Director Walter and Leonore Annenberg Chair Nathalie Stutzmann Principal Guest Conductor Designate Gabriela Lena Frank Composer-in-Residence Erina Yashima Assistant Conductor Lina Gonzalez-Granados Conducting Fellow Frederick R.
    [Show full text]
  • HUMMEL Mozart’S Symphonies Nos
    HUMMEL Mozart’s Symphonies Nos. 38 ‘Prague’, 39 and 40 Arranged for Flute, Violin, Cello and Piano Uwe Grodd • Friedemann Eichhorn Martin Rummel • Roland Krüger Johann Nepomuk Hummel (1778–1837) his privy council, after acceding to the throne in 1775, was pirated copies of his original manuscripts were always a Wolfgang Amadeus Mozart (1756-1791) that of poet, artist and politician Johann Wolfgang von threat. Hummel was suspicious of editions published on the Goethe. The court theatre immediately became the central continent. In a letter to a friend he wrote: “How come … Mozartʼs Symphonies Nos. 38 ʻPragueʼ, 39 and 40 focus of city life and the addition of the new Hoftheater in you do not find a single note from an honourable German arranged by Hummel for flute, violin, cello and piano 1791 ensured the predominance of music. Hummelʼs publisher?” The editions for this recording were made using dedication of his arrangement of the Prague Symphony Hummelʼs English publications from Chappell and Co In 1786, at the age of eight, Hummel went to live and study aus dem Serail. Hummelʼs lack of diplomacy, however, reads “This Symphony is respectfully dedicated to His (1823-4) for which J. R. Schultz acted as intermediary in with Wolfgang Amadé Mozart in Vienna. During his two combined with his disregard of dress codes, “loud and Excellency Baron von Goethe, Minister of State to His London. While England and France had regulations years as a lodger in the familyʼs apartment in the pushy” manner and devotion to his own performing career Royal Highness the Grand Duke of Saxe Weimar by J.
    [Show full text]
  • Chicago Symphony Orchestra Riccardo Muti Zell Music Director Y H P a R G O T O H P
    ChiCago Symphony orCheStra riCCardo muti zell muSiC direCtor y h p a r g o t o h P g r e b n e s o R d d o T OCTOBER 13 @15, 2017 ZELLERBACH HALL, UC BERKELEY FALL 2017 ORCHESTRA RESIDENCY ABOUT THE ARTISTS Salzburg mozarteum and the golden Johann Strauss award by the Johann Strauss Society of Vienna. he is also an honorary member of Vienna’s gesellschaft der musikfreunde, the Vienna hofmusikkapelle, the Vienna philhar - monic, and the Vienna State opera. in addition to his distinguished appoint - ments as music director, muti has received innumerable international honors. he is a Cavaliere di gran Croce of the italian republic, officer of the French legion of honor, and a recipient of the german Verdienstkreuz. Queen elizabeth ii bestowed on him the title of hon - y h orary Knight Commander of the British em - p a r g pire, russian president Vladimir putin awarded o t o h P him the order of Friendship, and pope Bene - g r e dict XVi made him a Knight of the grand b n e s Cross First Class of the order of Saint gregory o R d d the great—the highest papal honor. muti also o T has received israel’s Wolf prize for the arts, Riccardo Muti Sweden’s prestigious Birgit nilsson prize, Spain’s Born in naples, italy, riccardo muti is one of prince of asturias award for the arts, Japan’s the preeminent conductors of our day. in 2010, order of the rising Sun gold and Silver when he became the 10th music director of the Star decoration, and the gold medal from italy’s Chicago Symphony orchestra (CSo), he had ministry of Foreign affairs as well as the more than 40 years of experience at the helm of prestigious “presidente della repubblica” award maggio musicale Fiorentino (1968–1980), the from the italian government.
    [Show full text]