DOCSLIB.ORG

Concert Programme Winter/Spring 2021

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Concert Programme Winter/Spring 2021 Concert Programme Winter/Spring 2021 bsolive.com Romeo and Juliet fantasy-overture Pytor Ilyich Tchaikovsky Born: 7 May 1840 Votkinsk, Vyatka Governorate (present-day Udmurtia), Russia Died: 6 November 1893 Saint Petersburg, Russia The remarkable Mily Balakirev (1837-1910) In this final form it soon made such a strong was a fine composer in his own right as impression that when the composer went well as one of the most important figures in on his various conducting tours of Europe Russian music, especially in terms of giving and America, its popularity compelled him to encouragement to his fellow artists. The feature it on practically every programme. leader of the nationalist group known as The Five, he also enjoyed the confidence That the music is constructed in sonata of Tchaikovsky, to whom he made several form is less important than the sequence suggestions which resulted in significant of characters and events it contains. For projects. Among these were the Manfred Tchaikovsky’s plan was to capture the Symphony and the fantasy-overture Romeo essential moods and characters of the and Juliet. drama rather than attempt to retell the story in music. The opening music is a character- In 1869, following the completion of his own study of Friar Laurence, while the other King Lear Overture, Balakirev recommended themes clearly outline their relationship to to Tchaikovsky that he should compose a the strife between the Montagues and the concert piece on Romeo and Juliet, even Capulets, the love of Romeo and Juliet, the going so far as to write down a few bars resumption of inter-family hostilities, the of music which could be used in relation poignancy of the tragic final scene. to the feuding Montagues and Capulets. Tchaikovsky undertook the project readily In 1893, the last year of his life, Tchaikovsky enough, but decided to create his own drew upon material from his fantasy- musical material. However, after the first overture to compose a further setting of performance in 1870, he was dissatisfied the love scene, now in the form of a duet for with the results. It was only when he tenor and soprano. In the event this scene returned to revise the score, a full ten had to be completed by Sergei Taneyev. years later, after he had composed the 4th Had Tchaikovsky lived longer, he might have Symphony, Swan Lake and Eugene Onegin, turned his Romeo and Juliet into a full-scale that Romeo and Juliet became known in the opera. version which is familiar today. Terry Barfoot Biography 3 Frank Zielhorst Conductor Since January 2018, Frank Frank worked as assistant- In the last few years Frank Zielhorst has held the position conductor for Garsington has done a lot of education of Principal Conductor Opera, where he conducted and outreach work ranging Designate with Sinfonia Viva. the Philharmonia Orchestra from rehearsing Ulster Youth Before that, he worked with the and the Garsington Festival Orchestra to CPD trainings for BSO as their Young Conductor Orchestra during productions music teachers and from big in Association. of Intermezzo and Pelleas et school’s concerts with the BSO Melisande. He has assisted to working with people on the Recently, Frank had the on several other opera autistic spectrum with Sinfonia opportunity to conduct productions with the BSO, the Viva. orchestras the Ulster Dutch Reisopera, Opera Zuid Orchestra, the Residentie and the Dutch National Opera Frank is a devoted advocate Orchestra The Hague, the Academy. of music in the community and Prague Symphony Orchestra believes music can and should and the Tomsk Philharmonic. During his studies at the touch everyone. Royal Conservatoire in The Frank has always combined his Hague with Jac van Steen and symphonic work with operatic Kenneth Montgomery, Frank productions and has in recent had the opportunity to assist years conducted performances and learn with all professional of Viktor Ullmann’s Der Kaiser orchestras in The Netherlands von Atlantis, written during through a programme set up by the Second World War in the Kersjes Foundation. the concentration camp Theresienstadt, and Woody Allen’s Death Knocks on music by Christian Jost. 4 Bournemouth Symphony Orchestra The Orchestra Patron First Violins Cor Anglais HRH Princess Alexandra Amyn Merchant (Leader) Rebecca Kozam Mark Derudder Chief Conductor Kate Turnbull Y Clarinets Kirill Karabits Julie Gillett-Smith Barry Deacon * Kate Hawes Helen Paskins Conductor Laureate Joan Martinez Andrew Litton Tim Fisher Y Bassoons Jennifer Curiel Y Tammy Thorn * Conductor Emeritus Emma Selby Marin Alsop Second Violins Carol Paige * Horns Associate Guest Conductor Magdalena Gruca-Broadbent Alex Wide David Hill MBE Lara Carter Y Ruth Spicer Y Vicky Berry Y Robert Harris Y Agnieszka Gesler Kevin Pritchard Y Hanna Tracz Edward Lockwood Y Janice Thorgilson Y Rebecca Burns Trumpets Chris Avison * BSO Associates Violas Peter Turnbull Musicians in the Community Tom Beer * Patrick Bailey Miguel Rodriguez Trombones Matt Harrison Jacoba Gale Y Kevin Morgan *Y Jonathan James Liam Buckley Robb Tooley Sam Mason Eva Malmbom Hugh Nankivell Judith Preston Y Bass Trombone Neil Valentine Kevin Smith Cellos Jesper Svedberg * Tuba Thomas Isaac Andy Cresci *Y Hannah Arnold Philip Collingham Timpani Geoff Prentice * Double Basses David Daly *Y Percussion Nicole Boyesen Y Matt King * Jane Ferns Y Ben Lewis Flutes/Piccolo Harp Anna Pyne * Eluned Pierce *Y Jenny Farley Owain Bailey * Oboes Edward Kay *Y * Principal Holly Randall Y Long Service Award Bournemouth Symphony Orchestra 5 A Cultural Beacon for the South and South-West of England One of the UK’s best-loved orchestras, A bold champion of talent the BSO boasts Bournemouth Symphony Orchestra is a an enviable list of principal conductors, professional ensemble known for igniting including Marin Alsop — the first female change both on and off the stage. principal conductor of a major UK orchestra With residencies in Bournemouth, Bristol, — Constantin Silvestri, Paavo Berglund and Exeter, Poole and Portsmouth it is also the Andrew Litton. It has given memorable largest cultural provider in the South West performances at Carnegie Hall, the of England serving one of the biggest and Musikverein and Rudolfinum, and gives most diverse regions. regular live broadcasts on BBC Radio 3 and Classic FM. Maintaining the highest artistic ideals the BSO remains committed to new and Empowering lives through music remains lesser-known repertoire whilst remaining at the core of all that the BSO does. relevant to its broad audience’s tastes. Awarded the Royal Philharmonic Society’s Under Chief Conductor Kirill Karabits the Impact Award in 2019, for its work in Orchestra’s Voices from the East series of improving opportunities for disabled talent, former Soviet music continues to receive the BSO continues to explore new territory critical acclaim, and its recent recordings with BSO Resound — the world’s first of Prokofiev and Walton are outstanding professional disabled-led ensemble at the modern performances. The Orchestra is also core of a major orchestra. BSO Participate loved for its performances of film and light works with all ages off the stage and is music, and its discography charts a number internationally recognised as an act to of landmark moments in 20th century music. follow: over 650 community workshops and A commissioner of new music, the Orchestra events take place each year across the will give premiere performances of works by Orchestra’s vast region, empowering Azerbaijani composer Franghiz Ali-Zadeh, thousands of lives every year. Shirley J. Thompson and Magnus Lindberg in its 2020/21 season. In recent years it has Following the longest break in its 127-year worked with Mark-Anthony Turnage, Sally history, the BSO was one of the first Beamish and James MacMillan. ensembles in the UK to launch a series of full symphonic performances in 2020. 6 Bournemouth Symphony Orchestra The Team Board of Trustees Chief Executive Head of Finance & Operations Dougie Scarfe Teresa Woolley Chair Terence O’Rourke MBE Executive Assistant Management Accountant to Chief Executive Wendy Jones d Natalie Wright Deputy Chair Finance Officer Annette D’Abreo Head of Human Resources Kim Ricketts Jenny Wingfield d Lorna Carver Head of Development Adrian Dunford Head of Concerts Jackie Tanner Andrew Flockhart & Programming Development Manager Steve Edge Heather Duncan Faith Bayley Lord Shaftesbury Orchestra Manager Mary O’Sullivan Liz Williams Development Manager Ashley Eldridge-Ford d Vice Presidents Deputy Orchestra Manager Nigel Beale Adam Glynn Development Manager Brendan O’Brien Rebecca Kemp Concerts Manager Colin Patrick DL Development Officer Alex Segrave d William Cainen Concerts Administrator Development Assistant Marion Aston Y Jade Grassby Orchestra Administration Officer Emma Fisher Head of Marketing Anthony Brown Librarian Alastair Simpson Senior Marketing Manager Johanna Perkins d Assistant Librarian Carmen Ho Interim Marketing Manager Katie Stitson Senior Stage Manager Scott Caines Senior Digital Marketing Officer Emilie Barton Stage Manager Emily Trevett Publications Officer Ivor Kemp Y Head of BSO Participate Lucy Warren Marketing Officer Sophie Hart BSO Participate Programme Manager Digital Marketing Officer Jess Craig d Alex Rimell BSO Participate Digital Officer Programme Manager Richard Berry Ben Jennings Ticket Sales Assistant Lisa Spencer BSO Participate Coordinator Y Long Service Award Alison Sawyer d Communications Manager d Diversity Champion Claire Rawles BSO Participate Coordinator Catherine
Load more

Recommended publications
  • Bsolive.Com Concert Programme Autumn 2020 Bsolive.Com Concert
    Concert Programme Autumn 2020 bsolive.com Welcome It’s my great pleasure to welcome you to this What amazing musical portraits Elgar week’s BSO concert of two British created in this dazzling sequence of masterworks, and a gem by Fauré. inventive musical vignettes, for instance, to name but three - the humorous Troyte, the The Britten and Elgar works hold special serious intellect of A.J Jaeger aka ‘Nimrod’, resonances for me. I’d been taken on holiday and the bulldog Dan, the beloved pet of to the Suffolk coast as a child, and when, George Sinclair, organist of Hereford aged fourteen, I first saw Peter Grimes, I was Cathedral, paddling furiously up the river totally bowled over by the power of the Wye. music, and the way it evoked, especially in the Four Sea Interludes, those East Anglican In between, I’m relishing the prospect of the landscapes and coast seascapes that I BSO’s Principal Cello, Jesper Svedberg, remembered. Later, at university in Norwich, bringing his poetic musicianship to Fauré’s I had the privilege of singing under Britten at haunting Élégie. I’m also looking forward to the Aldeburgh Festival, as well as meeting hearing the Britten and Elgar conducted by him at his home, The Red House. For me, David Hill, whose interpretations of English these memories are unforgettable. music are second to none, witnessed, not just in his performances, but also in his Elgar was another discovery of my teens; superb recordings, many, of course, with the when growing up in Birmingham, BSO. Worcestershire and Elgar country was only a couple of hours bus ride away.
    [Show full text]
  • Bournemouth Symphony Orchestra Announce Electrifying 2019/20 Season Strauss’ Masterpiece the Pinnacle of a High-Octane Year: Karabits, Montero and More
    Bournemouth Symphony Orchestra Announce Electrifying 2019/20 Season Strauss’ masterpiece the pinnacle of a high-octane year: Karabits, Montero and more 2 October 2019 – 13 May 2020 Kirill Karabits, Chief Conductor of the Bournemouth Symphony Orchestra [credit: Konrad Cwik] EMBARGO: 08:00 Wednesday 15 May 2019 • Kirill Karabits launches the season – his eleventh as Chief Conductor of the BSO – with a Weimar- themed programme featuring the UK premiere of Liszt’s melodrama Vor hundert Jahren • Gabriela Montero, Venezuelan pianist/composer, is the 2019/20 Artist-in-Residence • Concert staging of Richard Strauss’s opera Elektra at Symphony Hall, Birmingham and Lighthouse, Poole under the baton of Karabits, with a star-studded cast including Catherine Foster, Allison Oakes and Susan Bullock • The Orchestra celebrates the second year of Marta Gardolińska’s tenure as BSO Leverhulme Young Conductor in Association • Pianist Sunwook Kim makes his professional conducting debut in an all-Beethoven programme • The Orchestra continues its Voices from the East series with a rare performance of Chary Nurymov’s Symphony No. 2 and the release of its celebrated Terterian performance on Chandos • Welcome returns for Leonard Elschenbroich, Ning Feng, Alexander Gavrylyuk, Steven Isserlis, Simone Lamsma, John Lill, Carlos Miguel Prieto, Robert Trevino and more • Main season debuts for Jake Arditti, Stephen Barlow, Andreas Bauer Kanabas, Jeremy Denk, Tobias Feldmann, Andrei Korobeinikov and Valentina Peleggi • The Orchestra marks Beethoven’s 250th anniversary, with performances by conductors Kirill Karabits, Sunwook Kim and Reinhard Goebel • Performances at the Barbican Centre, Sage Gateshead, Cadogan Hall and Birmingham Symphony Hall in addition to the Orchestra’s regular venues across a 10,000 square mile region in the South West Bournemouth Symphony Orchestra announces its 2019/20 season with over 140 performances across the South West and beyond.
    [Show full text]
  • David Eaton August 14, 2013
    The Beauty Option: Why Art Matters David Eaton August 14, 2013 David D'Or and David Eaton share a bow with the Evergreen Symphony Orchestra at the National Concert Hall in Taipei, Taiwan. Over the years I have been a vociferous advocate concerning issues relating to music and the Unificationist perspective regarding creativity and art. The issue has deep meaning for me, for I consider beauty to be imperative in our witness to the truth that eventually can create a culture in which true love is paramount. As a performing artist for 40 years in our church, I’ve had many opportunities to use my talent for providential purposes, both within our community and with artists who are not members of our church. At the heart of my creative endeavors has been my motivation to use my God-given abilities as a musician to promote the ideal of godliness and to cultivate a culture of peace. I recently returned from conducting two concerts with Israeli vocalist, David D’Or and the Evergreen Symphony Orchestra at the National Concert Hall in Taipei, Taiwan. The concert was produced by the Tzu Chi Foundation, a Buddhist organization founded in 1966 that boasts three million members and scores of chapters throughout the world. Tzu Chi (which means “relief and compassion”) is headquartered in Taipei and has done an amazing amount of humanitarian work, including providing assistance in the aftermath of hurricanes Katrina and Sandy, the Japan tsunami and relief efforts into North Korea. In addition to running several schools, hospitals and free clinics in Taiwan, Tzu Chi has its own cable television network that broadcasts the news of their global-relief efforts as well as programming original content that promotes the ideals and vision of their organization — 24/7.
    [Show full text]
  • Field Notes Summer 2007
    Field Notes A newsletter of the Sociology and Anthropology Department Middlebury College June 2007 Number 3 Editor: Michael Sheridan SOAN Department Senior Picnic, May 13, 2007 Back row: Doug Hale, Sara Granstrom, Charlene Barrett Second row: Liz Kofmann, Sienna Chambers, Claire Schultz, Elise Shanbacker, Aysegul Savas, Tina Coll, Chris Heinrich, Richie Meyers, Marc Garcelon, David Napier, James Fitzsimmons Third row: Sarah Norton, Adam Fazio, Tamara Vatnick, Christine Bachman, Talia Lincoln, Izzy Marshall, Caryn LoCastro, Peggy Nelson, Ted Sasson and Asher, Ari Sasson Front row: Kerri Ortega, Erin Oliver, Tatiana Virviescas, Mio Perez, Carol Wilson, Mateal Lovaas, Carolyn Barnwell, Kineret Sasson, Laurie Essig, Georgia Essig, Willa Essig Shadow: Mike Sheridan Letter from the Chair • Hilda Llorens also left in Spring 2005 to do a master’s degree in community art in Los Hello everyone! We have been through some Angeles. changes since our last newsletter in 2002. We • Dwight Fee left the college in Spring 2005 have some new people around, including the and is teaching at various institutions in editor of this newsletter. Some of you may Boston. Last summer he and his girlfriend remember Michael Maritza tied the knot. Sheridan from when he • Erin Koch has accepted a tenure-track taught here in 2001-2003. position at the University of Kentucky. He returned in 2006 in a • Linda White has just wrapped up two years tenure-track position and is of teaching for SOAN. In Fall 2007 she will teaching our courses on begin teaching for International Studies and Africa, human ecology, the Japanese Department, including a new anthropological theory and course in contemporary Japan that will be sociolinguistics.
    [Show full text]
  • Muzicieni Români În Texte Şi Documente Fondul Constantin Silvestri
    MUZICA nr.1/2010 Viorel COSMA Muzicieni români în texte şi documente Fondul Constantin Silvestri Viaţa şi activitatea artistică a compozitorului şi dirijorului Constantin Silvestrei (1913- 1969) a cunoscut două etape, complet diferite: înainte de 1959 (când a avut domiciliul în ţară) şi după 1961 (când s-a stabilit definitiv în străinătate). Materialul documentar din prima perioadă a fost parţial valorificată de Eugen Pricope (în monografia dedicată maestrului, publicată în 1975), în timp ce scrisorile, fotografiile şi sutele de articole din presa străină din ultimul deceniu al vieţii muzicianului au rămas în posesia celei de a doua soţii, Regina-Pupa Silvestri, şi a muzeografului Romeo Drăghici, primul director al Muzeului „George Enescu”. După moartea lui Constantin Silvestri, arhiva s-a risipit, o parte din corespondenţa Silvestri/Drăghici intrând în posesia Arhivelor Istorice de Stat a Municipiului Bucureşti, în timp ce majoritatea cronicilor muzicale şi programelor de sală de la Bournemouth (Anglia) mi-au fost trimise de soţia dirijorului pentru redactarea articolului din lexiconul Muzicieni din România, vol. VIII, 2005. Prin amabilitatea colegului meu Ioan Holender, directorul general al Operei de Stat din Viena, am intrat în posesia unui corpus de texte inedite adresate lui Constantin Silvestri (scrisori de la Mihail Jora, Dinu Lipatti etc.), documente care vor vedea lumina tiparului în revista Muzica, nr. 2/2010. Materialul de faţă se întinde pe o perioadă de peste un sfert de secol (1940-1968), însumând scrisorile adresate lui
    [Show full text]
  • Constantin Silvestri Conducts the Bournemouth Symphony Orchestra Hiviz Ltd
    CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer YELLOW Catalogue No. BLACK Job Title Page Nos. 20 - 1 The RMA (Romanian Musical Adventure) With special thanks to: was formed to record outstanding works The Bournemouth Symphony Orchestra by Romanian composers, new and and the Musicians Union CONSTANTIN SILVESTRI David Lee, Wessex Film & Sound Archive lesser-known repertoire and well-known Raymond Carpenter and Kenneth Smith repertoire interpreted in a new light. Glen Gould, Audio restoration ABOURNEMOUTHLOVEAFFAIR 72 Warwick Gardens, London W14 8PP Georgina Rhodes and Richard Proctor, Design. Email: [email protected] Photograph of the sea, Richard Proctor The legendary Constantin Silvestri conducts the Bournemouth Symphony Orchestra www.romanianmusicaladventure.org HiViz Ltd. Media Solutions, CD Production and print BBC The George Enescu Museum, Bucharest Constantin Silvestri’s BBC recordings are also available on BBC Legends www.mediciarts.co.uk © 2009 RMA, London. The BBC word mark and logo is a trade mark of the British Broadcasting Corporation and is used under license from BBC Worldwide. BBC logo © BBC 1996 2CD DIGITALLY RE-MASTERED CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer YELLOW Catalogue No. BLACK Job Title Page Nos. 2 - 19 Constantin Silvestri conducts the Bournemouth Symphony Orchestra Disc 1 69.93 Disc 2 75.73 George Enescu (1881–1955) George Enescu (1881–1955) Symphony No. 1 First Orchestral Suite 1 Assez vif et rythmé 11.17 1 Prélude à l’unisson 6.40 2 Lent 12.42 2 Menuet lent 11.13 3 Vif et vigoureux 8.53 3 Intermède 3.40 4 Vif 6.05 Wolfgang Amadeus Mozart (1756–1791) Second Orchestral Suite 4 The Magic Flute Overture 6.52 5 Ouverture 3.43 6 Sarabande 4.12 Wolfgang Amadeus Mozart 7 Gigue 2.29 Symphony No.
    [Show full text]
  • Artes 21-22.Docx
    DOI: 10.2478/ajm-2020-0004 Artes. Journal of Musicology Constantin Silvestri, the problematic musician. New press documents ALEX VASILIU, PhD “George Enescu” National University of Arts ROMANIA∗ Abstract: Constantin Silvestri was a man, an artist who reached the peaks of glory as well as the depths of despair. He was a composer whose modern visions were too complex for his peers to undestand and accept, but which nevertheless stood the test of time. He was an improvisational pianist with amazing technique and inventive skills, and was obsessed with the score in the best sense of the word. He was a musician well liked and supported by George Enescu and Mihail Jora. He was a conductor whose interpretations of any opus, particularly Romantic, captivate from the very first notes; the movements of the baton, the expression of his face, even one single look successfully brought to life the oeuvres of various composers, endowing them with expressiveness, suppleness and a modern character that few other composers have ever managed to achieve. Regarded as a very promising conductor, a favourite with the audiences, wanted by the orchestras in Bucharest in the hope of creating new repertoires, Constantin Silvestri was nevertheless quite the problematic musician for the Romanian press. Newly researched documents reveal fragments from this musician’s life as well as the features of a particular time period in the modern history of Romanian music. Keywords: Romanian press; the years 1950; socialist realism. 1. Introduction The present study is not necessarily occasioned by the 50th anniversary of Constantin Silvestri’s death (23rd February 1969).
    [Show full text]
  • “The Transformative Power of Music” Concert
    United Nations Nations Unies T HE PRESIDENT OF THE GEN ERAL ASSEMBLY LE PRESIDENT DE L’AS SEMBLEE GENERALE 24 June 2015 Statement of H.E. Mr. Sam Kahamba Kutesa, President of the 69th Session of the General Assembly, on the “The Transformative Power of Music” concert H.E. Mr. Sam Kahamba Kutesa, President of the 69th session of the United Nations General Assembly (PGA), announced that a concert, “The Transformative Power of Music” will be staged at the General Assembly Hall in New York City, on 30 June 2015, starting at 7 pm. Hosted by President Kutesa in support to the United Nations “2015: Time for Global Action” campaign, the concert will celebrate the musical diversity of the family of nations and raise awareness about the devastating effects of climate change on the livelihoods of communities around the world and the planet’s fragile ecosystems. The Masters of Ceremony will be Ann Tripp and George Collinet, who both have decades of experience in the broadcasting industry. More than 140 performers representing five continents and a wide range of musical repertoires have been invited to perform. They all share the conviction that music has the transformative power to mobilize and bring people together. The 40 musicians of the New York Symphony Orchestra will be conducted by Mr. David Eaton, its globally acclaimed Musical Director. The House Band, under the leadership of Music Director Robin DiMaggio, will comprise South African legendary bass player Bakithi Kumalo New York City-based multi-instrumentalist, composer, singer and instrument designer Mark Stewart French composer, programmer, and jazz percussionist Mino Cinélu and South African accordion, harmonium, and keyboard player Tony Cedras.
    [Show full text]
  • Concerts with the London Philharmonic Orchestra for Seasons 1946-47 to 2006-07 Last Updated April 2007
    Artistic Director NEVILLE CREED President SIR ROGER NORRINGTON Patron HRH PRINCESS ALEXANDRA Concerts with the London Philharmonic Orchestra For Seasons 1946-47 To 2006-07 Last updated April 2007 From 1946-47 until April 1951, unless stated otherwise, all concerts were given in the Royal Albert Hall. From May 1951 onwards, unless stated otherwise, all concerts were given in The Royal Festival Hall. 1946-47 May 15 Victor De Sabata, The London Philharmonic Orchestra (First Appearance), Isobel Baillie, Eugenia Zareska, Parry Jones, Harold Williams, Beethoven: Symphony 8 ; Symphony 9 (Choral) May 29 Karl Rankl, Members Of The London Philharmonic Orchestra, Kirsten Flagstad, Joan Cross, Norman Walker Wagner: The Valkyrie Act 3 - Complete; Funeral March And Closing Scene - Gotterdammerung 1947-48 October 12 (Royal Opera House) Ernest Ansermet, The London Philharmonic Orchestra, Clara Haskil Haydn: Symphony 92 (Oxford); Mozart: Piano Concerto 9; Vaughan Williams: Fantasia On A Theme Of Thomas Tallis; Stravinsky: Symphony Of Psalms November 13 Bruno Walter, The London Philharmonic Orchestra, Isobel Baillie, Kathleen Ferrier, Heddle Nash, William Parsons Bruckner: Te Deum; Beethoven: Symphony 9 (Choral) December 11 Frederic Jackson, The London Philharmonic Orchestra, Ceinwen Rowlands, Mary Jarred, Henry Wendon, William Parsons, Handel: Messiah Jackson Conducted Messiah Annually From 1947 To 1964. His Other Performances Have Been Omitted. February 5 Sir Adrian Boult, The London Philharmonic Orchestra, Joan Hammond, Mary Chafer, Eugenia Zareska,
    [Show full text]
  • Recording Master List.Xls
    UPDATED 11/20/2019 ENSEMBLE CONDUCTOR YEAR Bartok - Concerto for Orchestra Baltimore Symphony Orchestra Marin Alsop 2009 Bavarian Radio Symphony Orchestra Rafael Kubelik 1978L BBC National Orchestra of Wales Tadaaki Otaka 2005L Berlin Philharmonic Herbert von Karajan 1965 Berlin Radio Symphony Orchestra Ferenc Fricsay 1957 Boston Symphony Orchestra Erich Leinsdorf 1962 Boston Symphony Orchestra Rafael Kubelik 1973 Boston Symphony Orchestra Seiji Ozawa 1995 Boston Symphony Orchestra Serge Koussevitzky 1944 Brussels Belgian Radio & TV Philharmonic OrchestraAlexander Rahbari 1990 Budapest Festival Orchestra Iván Fischer 1996 Chicago Symphony Orchestra Fritz Reiner 1955 Chicago Symphony Orchestra Georg Solti 1981 Chicago Symphony Orchestra James Levine 1991 Chicago Symphony Orchestra Pierre Boulez 1993 Cincinnati Symphony Orchestra Paavo Jarvi 2005 City of Birmingham Symphony Orchestra Simon Rattle 1994L Cleveland Orchestra Christoph von Dohnányi 1988 Cleveland Orchestra George Szell 1965 Concertgebouw Orchestra, Amsterdam Antal Dorati 1983 Detroit Symphony Orchestra Antal Dorati 1983 Hungarian National Philharmonic Orchestra Tibor Ferenc 1992 Hungarian National Philharmonic Orchestra Zoltan Kocsis 2004 London Symphony Orchestra Antal Dorati 1962 London Symphony Orchestra Georg Solti 1965 London Symphony Orchestra Gustavo Dudamel 2007 Los Angeles Philharmonic Andre Previn 1988 Los Angeles Philharmonic Esa-Pekka Salonen 1996 Montreal Symphony Orchestra Charles Dutoit 1987 New York Philharmonic Leonard Bernstein 1959 New York Philharmonic Pierre
    [Show full text]
  • Prod-471-18 Septembrie 1958.Pdf
    Ateneul Român, joi, 18 septembrie 1958 Romanian Athenaeum, Thursday, 18 September 1958 CD 1 Aram HACIATURIAN/KHACHATURIAN Simfonia a II-a „cu clopote” Symphony No. 2 ‘with Bells’ 51’33” 1. Andante maestoso ............................................................................................................................................17’40” 2. Allegro risoluto ................................................................................................................................................10’08” 3. Andante sostenuto ............................................................................................................................................11’55” 4. Andante mosso. Allegro sostenuto ...................................................................................................................11’46” T.T. CD 1: 51’33” CD 2 Johannes BRAHMS Concertul op.77 în re major pentru vioară şi orchestră Violin Concerto in D major, Op.77 38’33” 1. Allegro non troppo ...........................................................................................................................................21’10” 2. Adagio ................................................................................................................................................................9’08” 3. Allegro giocoso, ma non troppo vivace ..............................................................................................................8’15” Johann Sebastian BACH Concertul în re minor, BWV 1043 pentru două viori şi
    [Show full text]
  • Hyo Jeong Cheon Won and the History of the Preforming Arts in Unificationism
    Hyo Jeong Cheon Won and the History of the Preforming Arts in Unificationism David Eaton April 2017 "People often think that politics moves the world, but that is not the case. It is culture and art that move the world. It is emotion, not reason, that strikes people in the innermost part of their hearts. When hearts change and are able to receive new things, ideologies and social regimes change as a result." -- As a Peace- Loving Global Citizen -- Sun Myung Moon This quotation of our True Father appears in the chapter from his autobiography in which he recalls the founding of the Sun Hwa Arts School and its resident performing arts troupe, the Little Angels. At that time, there was little Dr. David Eaton and Ms. Lee meeting United understanding among the church membership as Nations' Secretary General Ban Ki Moon to why Father would invest so heavily in a school of this sort at a time (1958) when the church was in its earliest days. Korea was still recovering from the forty-year Japanese occupation and a dreadful war that devastated much of the country. Resources were scant and given the severe economic realities of that time, not many early church members were fully supportive of this initiative. Still, Rev. Moon pressed on with the establishment of the school, and the rest, as they say, is history. Both the Sun Hwa Arts School and the Little Angels are now the source of immense pride, not only within the unification movement, but also throughout Korea. The Little Angels have become among the finest cultural ambassadors for the vision of our founders, acting as a "secret weapon" that opened the doors for our founders to carry God's messages of true love and peace to the most recalcitrant of opponents.
    [Show full text]