DOCSLIB.ORG

Season 2012-2013

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Season 2012-2013 23 Season 2012-2013 Friday, April 12, at 2:00 Saturday, April 13, at 8:00 The Philadelphia Orchestra Jaap van Zweden Conductor Tchaikovsky/arr. Drew Souvenir de Florence, Op. 70, for string orchestra I. Allegro con spirito II. Adagio cantabile e con moto III. Allegretto moderato IV. Allegro vivace Intermission ProkofievSymphony No. 5 in B-flat major, Op. 100 I. Andante II. Allegro marcato III. Adagio IV. Allegro giocoso This program runs approximately 1 hour, 50 minutes. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 2 PM. Visit www.wrti.org to listen live or for more details. 25 3 Story Title The Philadelphia Orchestra Jessica Griffin Renowned for its distinctive Philadelphia is home and Carnegie Hall and the sound, beloved for its the Orchestra nurtures Kennedy Center while also keen ability to capture the an important relationship enjoying a three-week hearts and imaginations not only with patrons who residency in Saratoga of audiences, and admired support the main season Springs, N.Y., and a strong for an unrivaled legacy of at the Kimmel Center but partnership with the Bravo! “firsts” in music-making, also those who enjoy the Vail festival. The Philadelphia Orchestra Orchestra’s other area The ensemble maintains is one of the preeminent performances at the Mann an important Philadelphia orchestras in the world. Center, Penn’s Landing, tradition of presenting and other venues. The The Orchestra has educational programs for Philadelphia Orchestra cultivated an extraordinary students of all ages. Today Association also continues history of artistic leaders the Orchestra executes a to own the Academy of in its 112 seasons, myriad of education and Music, a National Historic including music directors community partnership Landmark. Fritz Scheel, Carl Pohlig, programs serving nearly Leopold Stokowski, Eugene Through concerts, 50,000 annually, including Ormandy, Riccardo Muti, tours, residencies, its Neighborhood Concert Wolfgang Sawallisch, and presentations, and Series, Sound All Around Christoph Eschenbach, and recordings, the Orchestra and Family Concerts, and Charles Dutoit, who served is a global ambassador eZseatU. as chief conductor from for Philadelphia and for In February 2013 the 2008 to 2012. With the the U.S. Having been the Orchestra announced a 2012-13 season, Yannick first American orchestra recording project with Nézet-Séguin becomes the to perform in China, in Deutsche Grammophon, eighth music director of 1973 at the request of in which Yannick and The Philadelphia Orchestra. President Nixon, today The the ensemble will record Named music director Philadelphia Orchestra Stravinsky’s The Rite of designate in 2010, Nézet- boasts a new partnership Spring. Séguin brings a vision that with the National Centre extends beyond symphonic for the Performing Arts For more information on music into the vivid world of in Beijing. The Orchestra The Philadelphia Orchestra, opera and choral music. annually performs at please visit www.philorch.org. 4 Music Director Jessica Griffin Yannick Nézet-Séguin triumphantly opened his inaugural season as the eighth music director of The Philadelphia Orchestra in the fall of 2012. From the Orchestra’s home in Verizon Hall to the Carnegie Hall stage, his highly collaborative style, deeply-rooted musical curiosity, and boundless enthusiasm, paired with a fresh approach to orchestral programming, have been heralded by critics and audiences alike. The New York Times has called Yannick “phenomenal,” adding that under his baton, “the ensemble, famous for its glowing strings and homogenous richness, has never sounded better.” Over the past decade, Yannick has established himself as a musical leader of the highest caliber and one of the most exciting talents of his generation. Since 2008 he has been music director of the Rotterdam Philharmonic and principal guest conductor of the London Philharmonic, and since 2000 artistic director and principal conductor of Montreal’s Orchestre Métropolitain. He has appeared with such revered ensembles as the Vienna and Berlin philharmonics; the Boston Symphony; the Accademia Nazionale di Santa Cecilia; the Dresden Staatskapelle; the Chamber Orchestra of Europe; and the major Canadian orchestras. His talents extend beyond symphonic music into opera and choral music, leading acclaimed performances at the Metropolitan Opera, La Scala, London’s Royal Opera House, and the Salzburg Festival. In February 2013, following the July 2012 announcement of a major long-term collaboration between Yannick and Deutsch Grammophon, the Orchestra announced a recording project with the label, in which Yannick and the Orchestra will record Stravinsky’s The Rite of Spring. His discography with the Rotterdam Philharmonic for BIS Records and EMI/Virgin includes an Edison Award-winning album of Ravel’s orchestral works. He has also recorded several award-winning albums with the Orchestre Métropolitain for ATMA Classique. A native of Montreal, Yannick studied at that city’s Conservatory of Music and continued studies with renowned conductor Carlo Maria Giulini and with Joseph Flummerfelt at Westminster Choir College. In 2012 Yannick was appointed a Companion of the Order of Canada, one of the country’s highest civilian honors. His other honors include Canada’s National Arts Centre Award; a Royal Philharmonic Society Award; the Prix Denise-Pelletier, the highest distinction for the arts in Quebec; and an honorary doctorate by the University of Quebec in Montreal. To read Yannick’s full bio, please visit www.philorch.org/conductor. 26 Conductor Bert Hulselmans Amsterdam-born Jaap van Zweden has risen rapidly in little more than a decade to become one of today’s most sought-after conductors. He has been music director of the Dallas Symphony since 2008, and in September 2012 he became music director of the Hong Kong Philharmonic. Appointed at age 19 as the youngest concertmaster ever of the Royal Concertgebouw Orchestra, he began his conducting career in 1995. He has held the positions of chief conductor of the Netherlands Symphony, the Residentie Orchestra of the Hague, and the Royal Flemish Philharmonic, and chief conductor and artistic director of the Netherlands Radio Philharmonic and the Netherlands Radio Chamber Orchestra. He remains honorary chief conductor of the Netherlands Radio Philharmonic and conductor emeritus of the Netherlands Radio Chamber Orchestra. Mr. van Zweden was recently named Musical America’s Conductor of the Year for 2012 in recognition of his critically-acclaimed work with the Dallas Symphony and as a guest conductor with the most prestigious U.S. orchestras, including The Philadelphia Orchestra, which he has conducted every season since making his debut in 2009. On the opera stage he has conducted Verdi’s La traviata and Beethoven’s Fidelio with the National Reisopera, and concert performances of Verdi’s Otello, Barber’s Vanessa, and Wagner’s Die Meistersinger von Nürnberg, Parsifal, and Lohengrin at the Concertgebouw with the Netherlands Radio Philharmonic. Highlights of the 2012-13 season and beyond include subscription debuts with the Orchestre de Paris, the San Francisco Symphony, the National Symphony, and the Chamber Orchestra of Europe, and return visits to the Orchestre National de France, the Chicago and Saint Louis symphonies, the Cleveland Orchestra, and the Rotterdam and London philharmonics. Mr. van Zweden’s numerous recordings include Stravinsky’s The Rite of Spring and Petrushka, Mahler’s Symphony No. 5 with the London Philharmonic (LPO Live), and the complete Beethoven and Brahms symphonies. He is currently recording a cycle of Bruckner symphonies with the Netherlands Radio Philharmonic. 27 Framing the Program The two works that we hear on the program today, Parallel Events composed by Russian masters Tchaikovsky and Prokofiev, 1890 Music could hardly be more different in their purpose and effect. Tchaikovsky Strauss Souvenir de Death and Tchaikovsky’s Souvenir de Florence is a loving look at a Florence Transfiguration country, and specifically at a city, he adored and where Literature he spent some of the happiest times of his life. It is his Ibsen last chamber music composition—indeed his final multi- Hedda Gabler movement instrumental work generally except for the Sixth Art Symphony. He originally wrote the piece for a string sextet Cézanne consisting of two violins, two violas, and two cellos. The The Card performance today offers an arrangement for full string Players orchestra that showcases the Philadelphians in a piece History that deftly combines Italianate charm with Russian passion. Global influenza epidemics Prokofiev composed his epic Fifth Symphony during the summer of 1944, as the military fortunes of the Soviet 1944 Music Union were finally beginning to turn in what had been Prokofiev Copland a devastating period during the Second World War. The Symphony Appalachian composer led the premiere in January of the following No. 5 Spring year, the last time he ever conducted before a serious Literature illness. His stirring Fifth Symphony registers a wide range Camus of emotions reflective of its circumstances and earned the Caligula composer international accolades. Art Rivera The Rug Weaver History D-Day landings in Normandy 28 The Music Souvenir de Florence Italy’s seductive charms held particularly powerful sway over Tchaikovsky’s psyche throughout most of his career and on many occasions found expression in his music. He spent extended periods in the country, especially in Florence,
Load more

Recommended publications
  • Tchaikovsky.Pdf
    Tchaikovsky CD 1 1 Orchestrion It wasn’t unusual, in the middle of the 19th century, to hear sounds like that coming from the drawing rooms of comfortable, middle-class families. The Orchestrion, one of the first and grandest of mass-produced mechanical music-makers, was one of the precursors of the 20th century gramophone. It brought music into homes where otherwise it might never have been heard, except through the stumbling fingers of children, enduring, or in some cases actually enjoying, their obligatory half-hour of practice time. In most families the Orchestrion was a source of pleasure. But in one Russian household, it seems to have been rather more. It afforded a small boy named Piotr Ilyich Tchaikovsky some of his earliest glimpses into a world, and a language, which was to become (in more senses then one), his lifeline. One evening his French governess, Fanny Dürbach, went into the nursery and found the tiny child sitting up in bed, crying. ‘What’s the matter?’ she asked – and his answer surprised her. ‘This music’ he wailed, ‘this music!’ She listened. The house was quiet. ‘No. It’s here,’ cried the boy – he pointed to his head. ‘It’s here, and I can’t make it go away. It won’t leave me.’ And of course it never did. ‘His sensitivity knew no bounds and so one had to deal with him very carefully. Every little trifle could upset or wound him. He was a child of glass. As for reproofs and admonitions (with him there could be no question of punishments), what would have been water off a duck’s back to other children affected him deeply, and if the degree of severity was increased only the slightest, it would upset him alarmingly.’ Despite his outwardly happy appearance, peace of mind is something Tchaikovsky rarely knew, from childhood to his dying day.
    [Show full text]
  • Tchaikovsky / Петр Ильич Чайковский (1840–1893) Дэниэль Джаффе Открывающая Симфонию Тема
    T T H C H V A M A E IK A L O R ER V II Y N GE IEV RA SK SK RG T R N Y Y ORCHES 4 SY NO E U MPHONY K TCRAC 2 THE NUTCRACKER / SYMPHONY NO 4 MARIINSKY ПЕТР ИЛЬИЧ ЧАЙКОВСКИЙ (1840–1893) оркестр. В финале после живого и бодрого начала вступает DISC 1 более приглушенная аранжировка русской народной песни «Во СИМФОНИЯ № 4 ФА МИНОР, поле березонька стояла…», которая повторяется несколько OP. 36 (1877–78) раз в разных вариантах до тех пор, пока опять не возникает PYOTR ILYICH TCHAIKOVSKY / ПЕТР ИЛЬИЧ ЧАЙКОВСКИЙ (1840–1893) Дэниэль Джаффе открывающая симфонию тема. Снова звучит русская народная The Nutcracker, Op. 71 / Щелкунчик, Op. 71 (1891–92) песня, но ее прерывают роковые фанфары первой части. И Чайковского всегда восхищала французская музыка, особенно, все же из явного уныния возрождается – как птица-феникс – музыка Жоржа Бизе. 20 января 1876 года, находясь в Париже, задорная тема финала, которая сперва возникает у валторн, ACT ONE он побывал на представлении оперы Бизе «Кармен», премьера а потом неумолимо движется к эффектному концу. которой состоялась меньше чем за год до того. Чайковский 1 Overture [Увертюра] 3’28’’ был потрясен и растроган и сюжетом, и тем, как живо и просто Бизе его преподнес. Особенно поразил русского Tableau I композитора финал оперы, который он описывал так: «смерть 2 No 1 Scene (The Christmas Tree) [Сцена (Сцена украшения и зажигания ёлки)] 3’44’’ двух главных действующих лиц, которых злой рок, fatum, ЩЕЛКУНЧИК, OP. 71 (1891–92) 3 No 2 March [Марш] 2’26’’ столкнул и через ряд страданий привел к неизбежному концу».
    [Show full text]
  • Freedom from Violence and Lies Essays on Russian Poetry and Music by Simon Karlinsky
    Freedom From Violence and lies essays on russian Poetry and music by simon Karlinsky simon Karlinsky, early 1970s Photograph by Joseph Zimbrolt Ars Rossica Series Editor — David M. Bethea (University of Wisconsin-Madison) Freedom From Violence and lies essays on russian Poetry and music by simon Karlinsky edited by robert P. Hughes, Thomas a. Koster, richard Taruskin Boston 2013 Library of Congress Cataloging-in-Publication Data: A catalog record for this book as available from the Library of Congress. Copyright © 2013 Academic Studies Press All rights reserved ISBN 978-1-61811-158-6 On the cover: Heinrich Campendonk (1889–1957), Bayerische Landschaft mit Fuhrwerk (ca. 1918). Oil on panel. In Simon Karlinsky’s collection, 1946–2009. © 2012 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn Published by Academic Studies Press in 2013. 28 Montfern Avenue Brighton, MA 02135, USA [email protected] www.academicstudiespress.com Effective December 12th, 2017, this book will be subject to a CC-BY-NC license. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/. Other than as provided by these licenses, no part of this book may be reproduced, transmitted, or displayed by any electronic or mechanical means without permission from the publisher or as permitted by law. The open access publication of this volume is made possible by: This open access publication is part of a project supported by The Andrew W. Mellon Foundation Humanities Open Book initiative, which includes the open access release of several Academic Studies Press volumes. To view more titles available as free ebooks and to learn more about this project, please visit borderlinesfoundation.org/open.
    [Show full text]
  • Tchaikovsky Considered
    Tchaikovsky Considered Tracks and clips 1. Introduction 6:10 a. Tchaikovsky, Pyotr Il’yich (PT), Piano Concerto No. 2 in G, Op. 44, Gary Graffman, Eugene Ormandy, Philadelphia Orchestra, Columbia MS-6755 recorded 2/17/1965. b. PT, Symphony No. 4 in f, Op. 36, Christoph Eschenbach, Philadelphia Orchestra, Phil. Orch. Priv. Label recorded 3/16/2006.* c. PT, Eugene Onegin, James Levine, Staatskapelle Dresden, Deutsche Grammophon, 0289 423 9592 3 GF 2 released 12/29/1988. ‡ d. PT, Piano Trio in a, Op. 50, Lyubov Timofeyeva, Maxim Fedotov, Kirill Rodin, Mezhdunarodnaya Kniga MK 417001 recorded April, 1990. e. PT, Symphony No. 5 in e, Op. 64, Christoph Eschenbach, Philadelphia Orchestra, Ondine ODE 1076-5 recorded September, 2006. f. Ibid. 2. The Five 20:43 a. Cimarosa, Domenico, Il matrimonio segreto, Daniel Barenboim, English Chamber Orchestra, Deutsche Grammophon 0289 437 6962 4 GX 3 recorded 1975. ‡ b. Glinka, Mikhail Ivanovich, Nochnoi smotr (The Night Review), Lina Mkrtchyan, Evgeni Talisman, Opus 111 OP30277 released 10/1/2012.◊ c. Dargomïzhsky, Alexander Sergeyevich, The Stone Guest, Andrey Chistiakov, Bolshoi Theatre Orchestra, Brilliant Classics 94028 recorded 1993. d. Balakirev, Alexander Porfir’yevich, Islamey, Julius Katchen Deutsche Grammophon 0289 460 8312 3 DF 2 released 1/12/2004. ‡ e. Cui, César, Préludes, Op. 64, Jeffrey Biegel, Marco-Polo 8.223496 released 11/3/1993.◊ f. Rimsky-Korsakov, Nikolay Andreyevich, The Legend of the invisible City of Kitezh and the Maiden Fevroniya, Vladimir Fedoseyev, Vienna Symphony Orchestra, Koch 3-1144-2-Y5 recorded 7/20/1995. g. Borodin, Alexander Porfir’yevich, String Quartet No. 2 in D, Wister Quartet, Direct-to-Tape released 2008.
    [Show full text]
  • “Music Hath Charms”
    CHAMBER MUSIC ON THE HILL in residence at McDaniel College in its 26th Season Proudly Presents “Music Hath Charms” featuring Charm City Chamber Players Violists: Karin Brown and Renate Falkner Cellists: Daniel Levitov and Steven Thomas Guest Violinists: Brent Price and Christian Simmelink Sunday, September 20, 2015 3:00 p.m. The Forum, Decker College Center McDaniel College, Westminster, MD Funded in part by a Community Arts Development Grant from the Carroll County Arts Council and the Grants for Organizations Program from the Maryland State Arts Council. Program Notes Luigi Boccherini (1743 -1805) was roughly contemporary with Joseph Haydn and had a rather colorful life. Son of a professional double bass player, Luigi adopted the cello and was playing professionally by the age of thirteen. After four years in Rome, to complete his musical studies, he set off on a series of continental tours with a violinist colleague. In Paris, in 1768, he is said to have “created a sensation ” both for his playing and for his compositions – trios and quartets. He was persuaded to settle in Spain as a court musician, eventually for the Crown Prince, Don Luis. He married a Spanish girl and composed prolifically until his patron ’s death in 1785. His next employer was King Frederick William of Prussia but, when the latter died in 1797, he was left without income and returned to Spain. For a while he was supported by the French Ambassador, Lucien Bonaparte (the Emperor ’s brother), but when the latter was recalled in 1802, Boccherini was left to eke out a meager living rearranging his compositions to in- clude the guitar, then a fashionable instrument.
    [Show full text]
  • 056-Tchaikovsky-String-Quartets-Nos-1
    DDD Absolutely Digital™ CDR 90000 056 TCHAIKOVSKY String Quartet No. 1 in D major, Op. 11 (28:20) 1 I. Moderato e semplice (10:55) 2 II. Andante cantabile (6:15) 3 III. Scherzo: Allegro non tanto (4:02) 4 IV. Finale: Allegro giusto (6:54) String Quartet No. 3 in E-flat minor, Op. 30 (38:45) 5 I. Andante sostenuto – Allegro moderato – Andante sostenuto (16:41) 6 II. Allegretto vivo e scherzando (4:14) 7 III. Andante funebre e doloroso ma con moto (11:29) 8 IV. Finale: Allegro non troppo e risoluto (6:07) Vermeer Quartet Shmuel Ashkenasi & Mathias Tacke, violins Total Time: (67:15) ba Richard Young, viola Marc Johnson, cello Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not- for-profit foundation devoted to promoting the finest musicians and ensembles in the Chicago area. The Chicago Classical Recording Foundation’s activities are supported in part by contributions and grants from individuals, foundations, corporations, and govern- ment agencies including the WPWR-TV Channel 50 Foundation, the Chicago Depart- ment of Cultural Affairs (CityArts III Grant), and the Illinois Arts Council, a state agency. TCHAIKOVSKY STRING QUARTETS NOS. 1 & 3 by Andrea Lamoreaux The frequency with which we hear the music enrich and vary concert programs and recitals of Peter Ilyich Tchaikovsky — in concert and to a much greater extent than they currently on recordings — is the subject of much com- do. The Tchaikovsky chamber works heard most mentary. Such comments often rise to the sta- often are his Piano Trio in A Minor and the tus of complaints: a concert-goer exclaiming, sextet subtitled Souvenir de Florence (the latter “The Tchaikovsky Violin Concerto AGAIN?”, reflecting Tchaikovsky’s love for Italy along with or a CD reviewer questioning the need for his skill for creating lush string sonority).
    [Show full text]
  • Vermeer Quartet Shmuel Ashkenasi & Mathias Tacke, Violins Richard Young, Viola Marc Johnson, Cello *With Rami Solomonow, Viola John Sharp, Cello
    DDD Absolutely Digital CDR 90000 017 PIOTR ILYICH TCHAIKOVSKY (1840-93) String Quartet No. 2, in F major, Op. 22 (36:00) 1 I. Adagio — Moderato assai, quasi andantino (7:00) 2 II. Scherzo: Allegro giusto(5:00) 3 III. Andante ma non tanto (12:00) 4 IV. Finale: Allegro con moto (12:00) String Sextet in D minor, Op. 70 “Souvenir de Florence” (36:00)* 5 I. Allegro con spirito (7:00) 6 II. Adagio cantabile e con moto (11:00) 7 III. Allegretto moderato(11:00) 8 IV. Allegro vivace (7:00) Vermeer Quartet Shmuel Ashkenasi & Mathias Tacke, violins Richard Young, viola Marc Johnson, cello *with Rami Solomonow, viola John Sharp, cello TT: (72:00) Recorded May & October, 1993 at the Great Hall, First United Methodist Church, Evanston, Illinois Producer: James Ginsburg Engineer: Bill Maylone Graphic Design: Cheryl A Boncuore & © 1994 Cedille Records Tchaikovsky: String Quartet No. 2 and “Souvenir de Florence” for String Sextet Although Tchaikovsky’s orchestral works are much performed and recorded, his chamber and solo piano music remain comparatively obscure. Tchaikovsky’s three string quartets are all relatively early works stemming from a transitional period in his turbulent life. The Second Quartet, composed between December 1873 and January 1874, has become the Cinderella of the three. A month after its completion, the quartet was performed privately at the apartment of pianist and pedagogue Nicolai Rubinstein. The work was well received by all present except for the host’s brother, composer and pianist Anton Rubinstein. As Tchaikovsky’s friend Nicolai Kashkin reported: “All the while the music continued, Anton Grigoryevich listened with a dark, dissatisfied air, and soon as it was over, said with his usual ruthless candor, that this was not at all in the chamber style, and that he did not understand the composition at all.
    [Show full text]
  • I Would Like Something Very Poetic and at the Same Time Very Simple, Intimate and Human!"
    "I would like something very poetic and at the same time very simple, intimate and human!" Previously unknown or unidentified letters by Tchaikovsky to correspondents from Russia, Austria and France (Tchaikovsky Research Bulletin No. 2) Presented by Luis Sundkvist Contents Introduction .. .. .. .. .. .. .. .. .. .. 2 List of abbreviations .. .. .. .. .. .. .. .. .. 5 I. Russia (Nicolas de Benardaky, Pavel Peterssen, Robert von Thal) .. .. 6 II. Austria (unidentified) .. .. .. .. .. .. .. .. 16 III. France (Léonce Détroyat, Paul Dultier, Louis de Fourcaud, Martin Kleeberg, Ambroise Thomas, Pauline Viardot-García) .. 19 New information on previously identified letters .. .. .. .. .. 51 Chronological list of the 17 letters by Tchaikovsky presented in this bulletin .. 53 Acknowledgements .. .. .. .. .. ... .. .. .. 55 Introduction1 One of the most surprising letters by Tchaikovsky featured in the first Research Bulletin was that which he wrote in the summer of 1892 to the French librettist Louis Gallet, asking him to resume work on the libretto for the opera La Courtisane.2 For in the standard reference books on Tchaikovsky it had always been assumed that after 1891 he had no longer expressed any interest in the projected French-language opera in three acts, La Courtisane, or Sadia, that, back in 1888, he had agreed to write in collaboration with Gallet and his fellow-librettist Léonce Détroyat.3 This letter suggested otherwise, and whilst it is still true that Tchaikovsky does not seem to have even made any musical sketches for this opera
    [Show full text]
  • Tchaikovsky & Grieg
    30 April – 1 May Utzon Room, Sydney Opera House TCHAIKOVSKY & GRIEG Principal Partner Presenting Partner SYDNEY SYMPHONY ORCHESTRA PATRON Her Excellency The Honourable Margaret Beazley AC QC Founded in 1932 by the Australian Broadcasting Commission, the Sydney Symphony Orchestra has evolved into one of the world’s finest orchestras as Sydney has become one of the world’s great cities. Resident at the iconic Sydney Opera House, the Sydney Symphony Orchestra also performs in venues throughout Sydney and regional New South Wales, and international tours to Europe, Asia and the USA have earned the Orchestra worldwide recognition for artistic excellence. The Orchestra’s first chief conductor was Sir Eugene Goossens, appointed in 1947; he was followed by Nicolai Malko, Dean Dixon, Moshe Atzmon, Willem van Otterloo, Louis Frémaux, Sir Charles Mackerras, Zdenêk Mácal, Stuart Challender, Edo de Waart and Gianluigi Gelmetti. Vladimir Ashkenazy was Principal Conductor from 2009 to 2013, followed by David Robertson as Chief Conductor from 2014 to 2019. Australia-born Simone Young has been the Orchestra’s Chief Conductor Designate since 2020. She commences her role as Chief Conductor in 2022 as the Orchestra returns to the renewed Concert Hall of the Sydney Opera House. The Sydney Symphony Orchestra's concerts encompass masterpieces from the classical repertoire, music by some of the finest living composers, and collaborations with guest artists from all genres, reflecting the Orchestra's versatility and diverse appeal. Its award-winning education program is central to its commitment to the future of live symphonic music, and the Orchestra promotes the work of Australian composers through performances, recordings and its commissioning program.
    [Show full text]
  • Jerusalem Quartet
    Jerusalem Quartet Alexander Pavlovsky / Violin Sergei Bresler / Violin Ori Kam / Viola Kyril Zlotnikov / Cello with Pinchas Zukerman / Viola Amanda Forsyth / Cello Saturday Evening, October 6, 2018 at 8:00 Rackham Auditorium Ann Arbor Fourth Performance of the 140th Annual Season 56th Annual Chamber Arts Series This evening’s performance is supported by Carl Cohen, whose bequest will establish an endowment to support a UMS Chamber Arts performance in perpetuity. Media partnership provided by WGTE 91.3 FM and WRCJ 90.9 FM. Special thanks to Valerie and David Canter for their gift in honor of this evening’s performance of Schoenberg’s Verklärte Nacht. The Jerusalem Quartet appears by arrangement with David Rowe Artists. The Jerusalem Quartet records for Harmonia Mundi. Mr. Zukerman and Ms. Forsyth appear by arrangement with Kirshbaum Associates. In consideration of the artists and the audience, please refrain from the use of electronic devices during the performance. Any photography, sound recording, or videotaping of this performance is prohibited. PROGRAM Richard Strauss Capriccio, Op. 85 (excerpt) String Sextet Arnold Schoenberg Verklärte Nacht, Op. 4 Intermission Piotr Ilyich Tchaikovsky “Souvenir de Florence” for String Sextet in d minor, Op. 70 Allegro con spirito Adagio cantabile e con moto Allegretto moderato Allegro con brio e vivace 3 CAPRICCIO, OP. 85 (EXCERPT) (1941­­­–42) Richard Strauss Born June 11, 1864 in Munich, Germany Died September 8, 1949 in Garmisch-Partenkirchen, Germany UMS premiere: Moscow Virtuosi conducted by Vladimir Spivakov; February 1996 in Rackham Auditorium. Snapshots of History…In 1942: · The movie Casablanca premieres in New York City · 13-year-old Anne Frank makes the first entry in her diary · The majority of Japanese Americans are forcibly relocated to internment camps An opera about the relationship tipping the balance, ever so slightly, between music and words in opera? in the direction of Strauss’s own art On the face of it, this sounds like a form.
    [Show full text]
  • Pjotr Iljitsch Tschaikowski / Pyotr Ilyich Tchaikovsky (1840-1893) Sämtliche Werke / Complete Works in MP3-Format Details
    Pjotr Iljitsch Tschaikowski / Pyotr Ilyich Tchaikovsky (1840-1893) Sämtliche Werke / Complete works in MP3-Format Details P. I. Tchaikovsky (1840 – 1893) - Sämtliche Werke als MP3 / Complete works - Gesamtspielzeit / Time total 61:20:48 Titel/Title Zeit/Time Titel/Title Zeit/Time 1.Ballett /Ballet 6:13:12 op.20 Schwanensee / Swan Lake 2:26:50 Act 1 0:51:19 1 Scene 0:05:49 6 Pas d'action 0:02:24 2 Valse 0:07:33 7 Sujet 0:02:37 3 Scene 0:03:54 8 Danse des coupes 0:04:12 4 Pas de trois 0:10:24 9 Finale 0:03:31 5 Pas de deux 0:10:55 Act 2 0:33:13 10 Scene 0:03:23 13 Danses des cygnes 0:17:19 11 Scene 0:05:51 14 Scene. Moderato 0:03:11 12 Scene 0:03:29 Act 3 0:44:59 15 Danses de fantailles 0:02:46 20 Danse hongroise. Czardas 0:02:32 16 Danses du corps de ballet et des nains 0:02:24 21 Danse espagnole 0:02:25 17 Scene. Sortie des invites et valse 0:07:54 21a Danse russe 0:04:33 18 Scene 0:01:39 22 Danse napolitaine 0:01:55 19 Pas de six 0:05:46 23 Mazurka 0:04:12 19a Pas de six 0:05:17 24 Scene 0:03:36 Act 4 0:17:19 25 Entr'acte 0:01:53 29 Scene finale 0:09:13 26 Scene. Danses des petits cygnes 0:06:13 Montreal Symphony Orchestra - Charles Dutoit, 1990 op.66 Dornröschen / The Sleeping Beauty 2:18:22 Act 1 1:01:25 1.Introduction 0:02:58 3.
    [Show full text]
  • Programme Notes by Chris Darwin – Use Freely for Non-Commercial Purposes
    Programme Notes by Chris Darwin – use freely for non-commercial purposes Pyotr Il’yich Tchaikovsky (1840-1893) String Quartet No 2, Op 22 (1874) Adagio – Moderato assai (quasi andantino) Scherzo: Allegro giusto Andante ma non tanto Finale: Allegro con moto Although he is better known as a master orchestral writer of symphonies and ballet music, Tchaikovsky also published successful chamber music: three string quartets (1871, 1874, 1876), a piano trio (1882) and a string sextet (Souvenir de Florence, 1892). As a child, he was verbally precocious – aged 6 he read in French and German, at 7 he wrote in French on metaphysical topics – but curiously he had only above average musical ability. His unusual musical talent only emerged in his twenties. Denied promotion as a qualified lawyer in the Department of Justice, in 1862 he joined Anton Rubinstein’s new ‘music school’, the St Petersburg Conservatory. There Rubinstein taught him good classical composing habits and he absorbed the craftsmanship of Western music: Haydn, Mozart, Beethoven and Schubert. One of his classmates prophesied ‘You are the greatest musical talent in present-day Russia … I see in you the greatest, or, better said, the sole hope of our musical future’. He moved to Moscow at the invitation of Anton’s brother Nikolai, to teach harmony at the Moscow Conservatoire, and in 1868 was introduced to “The Five” (aka “The Mighty Handful”): Mily Balakirev (the leader), César Cui, Modest Mussorgsky, Nikolai Rimsky- Korsakov and Alexander Borodin. The group aimed to produce a specifically Russian kind of art music, rather than one based on the Western European style taught in the conservatories.
    [Show full text]