Introducing Tianwa Yang
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Dossier De Presse
1 2 3 4 5 6 7 Marie Ythier © Marie-Caroline DOUTREc Théo FOUCHENNERET © d.r. Quatuor Les Métamorphoses © d.r. La réunion de ces quatre solistes invités sur les plus grandes scènes françaises et dans les festivals les plus prestigieux, a fait du quatuor Strada un laboratoire musical hors du commun. 8 Quatuor STRADA © d.r. Pierre FOUCHENNERET © d.r. Sarah NEMTANU © d.r. Lise BERTHAUD © d.r. François Salque © d.r. 9 Nicolas BALDEYROU © Sylvaine PIERRE Vladimir DUBOIS © d.r. Hortense CARTIER-BRESSON © Jeanne BROST 10 Alexandre PASCAL © FloppeSchut Marie CHILEMME © d.r. Adrien BELLOM © d.r. Guillaume BELLOM © d.r. 11 Jean-Michel KIM © d.r. Claude ABROMONT © d.r. 12 13 1. Animé et très décidé 2. Assez vif et bien rythmé 3. Andantino, doucement expressif 4. Très modéré - Très mouvementé 1. Allegro 2. Andante 3. Menuetto allegretto 4. Allegretto ma non troppo Sainte-Lizaigne (36260) – église romane * 20:30 - CONCERT * le lendemain, vendredi 26 mai à 15h, le concert sera donné au Centre Hospitalier de La Tour Blanche d’Issoudun (Arcades) - entrée libre BIOGRAPHIE Les Métamorphoses 14 00 La Prée (36100, Ségry) – Salle capitulaire 18 : 00 - CONCERT Biographie Marie YTHIER La Prée (36100, Ségry) – Hôtellerie 19 : 00 - DÎNER (réservation indispensable avant le 21 mai) 00 La Prée (36100, Ségry) – Grand salon 20 : 30 – CONCERT (durée du concert : 1h sans entracte) Biographie Théo FOUCHENNERET 15 La Prée (36100, Ségry) Grand salon 10 : 30 – CONCERT Biographies Pierre FOUCHENNERET Vladimir DUBOIS Hortense CARTIER-BRESSON La Prée (36100) – Salle Marquiset 18 : 00 - Clés d’écoute Biographie Claude ABROMONT La Prée (36100, Ségry) – Hôtellerie 19 : 00 - DÎNER (réservation indispensable avant le 21 mai) 16 1. -
Ballades À Cor Perdu
JEUDI 12 ET VENDREDI 13 MARS 2020 20H PMC - SALLE ÉRASME BALLADES À COR PERDU SMETANA DIRECTION La Fiancée vendue, CORNELIUS MEISTER ouverture COR MOZART STEFAN DOHR Concerto pour cor n°4 en mi bémol majeur K 495 VON ZEMLINSKY Die Seejungfrau BEDRICHˇ SMETANA (1824-1884) La Fiancée vendue, ouverture (1866) 6’ WOLFGANG AMADEUS MOZART (1756-1791) Concerto pour cor n°4 en mi bémol majeur K. 495 (1786) 17’ I. Allegro moderato II. Romanza : Andante III. Rondo : Allegro vivace ALEXANDER VON ZEMLINSKY (1871-1942) Die Seejungfrau, fantaisie d'après le conte d’Hans Christian Andersen (1905) 45’ I. Sehr mässig bewegt II. Sehr bewegt, rauschend III. Sehr gedehnt, mit schmerzvollem Ausdruck DIRECTION CORNELIUS MEISTER COR STEFAN DOHR 2 À l’origine, Stefan Dohr apprend l’alto et, après avoir entendu le célèbre corniste Hermann Baumann, il en conclut que « ce cor sonne mieux que mon alto ». Aujourd’hui, Stefan est le cor solo de l’Orchestre philharmonique de Berlin. À Strasbourg, il montrera toute l’étendue de son talent en interprétant Mozart. Cornelius Meister dirigera l’une des plus belles œuvres de Zemlinsky que l’on entend peu en concert, Die Seejungfrau (La Sirène) d’après le conte d’Andersen. Armin Jordan l’avait révélée au public strasbourgeois en 2002. 3 Smetana fut l’un des artisans de l’émergence d’une musique natio- nale tchèque et signa l’un des pre- miers chœurs en langue tchèque : La Chanson tchèque en 1860. Ce musicien-citoyen conçut son métier comme une mission patriotique, se dévouant à l’enseignement et, à partir de 1861, exclusivement au Théâtre national. -
Die Seejungfrau Zemlinsky
Zemlinsky Die Seejungfrau NETHERLANDS PHILHARMONIC ORCHESTRA MARC ALBRECHT Cover image: derived from Salted Earth (2017), cling to them. Has Zemlinsky’s time come? photo series by Sophie Gabrielle and Coby Baker Little mermaid in a fin-de-siècle https://www.sophiegabriellephoto.com garment Or is the question now beside the point? http://www.cobybaker.com In that Romantic vein, the Lyric Symphony ‘I have always thought and still believe remains Zemlinsky’s ‘masterpiece’: frequently that he was a great composer. Maybe performed, recorded, and esteemed. His his time will come earlier than we think.’ operas are now staged more often, at least Arnold Schoenberg was far from given to in Germany. In that same 1949 sketch, Alexander von Zemlinsky (1871-1942) exaggerated claims for ‘greatness’, yet he Schoenberg praised Zemlinsky the opera could hardly have been more emphatic in composer extravagantly, saying he knew the case of his friend, brother-in-law, mentor, not one ‘composer after Wagner who could Die Seejungfrau (Antony Beaumont edition 2013) advocate, interpreter, and, of course, fellow satisfy the demands of the theatre with Fantasy in three movements for large orchestra, after a fairy-tale by Andersen composer, Alexander Zemlinsky. Ten years better musical substance than he. His ideas, later, in 1959, another, still more exacting his forms, his sonorities, and every turn of the 1 I. Sehr mäßig bewegt 15. 56 modernist critic, Theodor W. Adorno, wrote music sprang directly from the action, from 2 II. Sehr bewegt, rauschend 17. 06 in surprisingly glowing terms. Zemlinsky the scenery, and from the singers’ voices with 3 III. -
The Ultimate On-Demand Music Library
2020 CATALOGUE Classical music Opera The ultimate Dance Jazz on-demand music library The ultimate on-demand music video library for classical music, jazz and dance As of 2020, Mezzo and medici.tv are part of Les Echos - Le Parisien media group and join their forces to bring the best of classical music, jazz and dance to a growing audience. Thanks to their complementary catalogues, Mezzo and medici.tv offer today an on-demand catalogue of 1000 titles, about 1500 hours of programmes, constantly renewed thanks to an ambitious content acquisition strategy, with more than 300 performances filmed each year, including live events. A catalogue with no equal, featuring carefully curated programmes, and a wide selection of musical styles and artists: • The hits everyone wants to watch but also hidden gems... • New prodigies, the stars of today, the legends of the past... • Recitals, opera, symphonic or sacred music... • Baroque to today’s classics, jazz, world music, classical or contemporary dance... • The greatest concert halls, opera houses, festivals in the world... Mezzo and medici.tv have them all, for you to discover and explore! A unique offering, a must for the most demanding music lovers, and a perfect introduction for the newcomers. Mezzo and medici.tv can deliver a large selection of programmes to set up the perfect video library for classical music, jazz and dance, with accurate metadata and appealing images - then refresh each month with new titles. 300 filmed performances each year 1000 titles available about 1500 hours already available in 190 countries 2 Table of contents Highlights P. -
MARC ALBRECHT Conductor
MARC ALBRECHT Conductor “With Marc Albrecht, a man of the late romantic era stands on the podium, a man who perfectly balances the exact dose of the Strauss agogics […] What a Strauss dream in the open air!” – concerti, 2018 Since 2011 Marc Albrecht has been Music Director of the Dutch National Opera, the Netherlands Philharmonic and the Netherlands Chamber Orchestra. In May 2016, the National Opera Amsterdam was awarded with the International Opera Award “Opera House of the Year”. Albrecht himself received the prestigious award 2019 in the category “Conductor of the Year”. His Music Director contract has been extended until the summer of 2020. Marc Albrecht is a highly requested guest in international opera houses. In March 2013, he gave his debut at the Teatro alla Scala Milan with “Die Frau ohne Schatten” (direction: Claus Guth), and in August 2017, he was invited back to conduct “Hänsel and Gretel”. He gave guest performances at the Bayreuther Festspiele (2003-2006) with “Der fliegende Holländer” as well as Janáček’s “From the House of the Dead” at the Teatro Real in Madrid. Marc Albrecht also maintains a close relationship with the Semperoper Dresden, where he has conducted “Wozzeck”, “La Damnation de Faust” and most recently, in 2009, “Elektra”, amongst others. At the Bayerische Staatsoper, he celebrated notable success with Henze’s “Die Bassariden” (direction: Christoph Loy) in 2008 and in the subsequent year at the Royal Opera House Covent Garden with “Der fliegende Holländer”. The Theater an der Wien regularly invites him to conduct, most recently Henze’s “Der Prinz von Homburg” in 2011 and “Elegie für Junge Liebende” in 2017. -
Philharmonia Orchestra Ducted by Valery Gergiev
CAL PERFORMANCES PRESENTS PROGRAM NOTES Friday, November 9, 2012, 8pm Esa-Pekka Salonen (b. 1958) Zellerbach Hall Helix Composed in 2005. Premiered on August 29, 2005, in London by the World Orchestra for Peace con- Philharmonia Orchestra ducted by Valery Gergiev. Esa-Pekka Salonen, Principal Conductor & Artistic Advisor Conducting is tough, composing probably even harder, but some of the most brilliant musi- PROGRAM cians—Busoni, Mahler, Bernstein, Boulez, Previn—have pursued parallel careers in both fields that enriched all the facets of their creative Esa-Pekka Salonen (b. 1958) Helix (2005) personalities. To this select company must now be added the Finnish composer-conductor Esa- Pekka Salonen. Born in Helsinki on June 30, 1958, Salonen majored in horn at the Sibelius Ludwig van Beethoven (1770–1827) Symphony No. 7 in A major, Op. 92 Conservatory, where he founded a “collective” (1811–1812) called Ears Open for promoting and perform- I. Poco sostenuto — Vivace ing new music with Jouni Kaipainen, Magnus II. Allegretto Lindberg, and Kaija Saariaho, now all major Esa-Pekka Salonen III. Presto — Assai meno presto musical figures in Finland. After graduating IV. Allegro con brio in 1977, Salonen studied composition privately Illustration by Tom Bachtell with Einojuhani Rautavaara and conducting with Jorma Panula, and attended conducting He also continues to guest conduct concerts and INTERMISSION courses in Siena and Darmstadt; he also stud- opera throughout the world and to serve as ar- ied composition with Niccolò Castiglioni and tistic director of the Baltic Sea Festival, which Franco Donatoni in Italy. In 1979, Salonen he co-founded in 2003. -
Gurrelieder Pleyel-ALTAMUSICA-Juin 2011
CRITIQUES DE CONCERTS 29 juin 2011 Gurre-Lieder de Schoenberg sous la direction de Marc Albrecht à la salle Pleyel, Paris. Apothéose opératique Enthousiasme salle Pleyel à la mesure de la somptueuse interprétation des Gurre-Lieder sous la baguette de Marc Albrecht à la tête de l’Orchestre philharmonique de Strasbourg. Sur des poèmes du Danois Jens Peter Jacobsen, la cantate de Schoenberg tient en haleine pendant les deux heures de cette œuvre monumentale à tous égards. Salle Pleyel, Paris Le 25/06/2011 Claude HELLEU Deux heures d’excès magnifiques. Sous la direction précise, calme, incisive de Marc Albrecht, les effectifs démesurés de l’orchestre donnent tout à entendre des envolées d’une partition gigantesque. L’Orchestre philharmonique de Strasbourg porte le souffle épique des masses instrumentales et raffine les voix données aux pupitres – seules les flûtes, au début, restent un peu en deçà des autres vents – sans jamais faillir à la lisibilité grandiose des Gurre-Lieder , poèmes d’amour et de mort de Jens Peter Jacobsen que nous pouvons ce soir suivre surtitrés. Six solistes, trois chœurs d’hommes à quatre voix, un chœur mixte à huit voix – Chœur Philharmonique de Brno, magnifique – participent au climat palpitant de ce conte fantastique où nous allons dans une atmosphère de plus en plus inquiétante des extases amoureuses du roi du Danemark aux chasse et équipée infernales qui le puniront de son blasphème à Dieu pour avoir permis la mort de sa bien-aimée. Panthéisme, symbolisme, impressionnisme somptueusement décadent, expressionnisme soudain et saisissant en troisième partie : les narrateurs se succèdent, voix individuelles limpides sur les masses orchestrales, celles des femmes particulièrement remarquables. -
Media – History
Matej Santi, Elias Berner (eds.) Music – Media – History Music and Sound Culture | Volume 44 Matej Santi studied violin and musicology. He obtained his PhD at the University for Music and Performing Arts in Vienna, focusing on central European history and cultural studies. Since 2017, he has been part of the “Telling Sounds Project” as a postdoctoral researcher, investigating the use of music and discourses about music in the media. Elias Berner studied musicology at the University of Vienna and has been resear- cher (pre-doc) for the “Telling Sounds Project” since 2017. For his PhD project, he investigates identity constructions of perpetrators, victims and bystanders through music in films about National Socialism and the Shoah. Matej Santi, Elias Berner (eds.) Music – Media – History Re-Thinking Musicology in an Age of Digital Media The authors acknowledge the financial support by the Open Access Fund of the mdw – University of Music and Performing Arts Vienna for the digital book pu- blication. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche National- bibliografie; detailed bibliographic data are available in the Internet at http:// dnb.d-nb.de This work is licensed under the Creative Commons Attribution-NonCommercial-NoDeri- vatives 4.0 (BY-NC-ND) which means that the text may be used for non-commercial pur- poses, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/ To create an adaptation, translation, or derivative of the original work and for commercial use, further permission is required and can be obtained by contacting rights@transcript- publishing.com Creative Commons license terms for re-use do not apply to any content (such as graphs, figures, photos, excerpts, etc.) not original to the Open Access publication and further permission may be required from the rights holder. -
Schoenberg and the Gesamtkunstwerk Path to Abstraction By
Schoenberg and the Gesamtkunstwerk Path to Abstraction by John Blythe A thesis submitted to the University of Birmingham for the degree of MA by Research in the History of Art Dept. of Art History, Curating and Visual Studies, College of Arts and Law, University of Birmingham. February 2019. University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. To the technicians Tom and Marlowe Contents Lists of Figures Lists of Illustrations Introduction page 1 Schoenberg’s First Exhibitions page 3 Review of literature page 14 National Gallery Exhibition page 20 Berlinische Exhibition page 27 Richard Gerstl page 29 Schoenberg’s Jewish Antecedents page 35 Research Methodology page 43 Thesis Structure page 51 Chapter 1 Schoenberg’s fin-de-siècle Vienna and Harmonielehre. page 53 The Discourse on Synaesthesia in fin-de-siècle Vienna page 53 Austrian culture and politics page 56 Origins of Viennese Discourse on Synaesthesia page 60 A Widening Discourse page 66 Schoenberg’s Harmonielehre page 76 Honoré de Balzac’s Seraphita page 90 Summary page 92 Chapter 2: First Triad – Wagner, Schopenhauer and Schoenberg. page 94 Gesamtkunstwerk page 94 Overtones to the First Triad page 116 Gurrelieder, a new redemption page 125 Summary page 128 Chapter 3: Second Triad and the Idea of Language. -
NEW on NAXOS | MARCH 2017 © Jean-Baptiste Millot
NEW ON The World’s Leading ClassicalNAXOS Music Label MARCH 2017 This Month’s Other Highlights © 2017 Naxos Rights US, Inc. • Contact Us: [email protected] www.naxos.com • www.classicsonline.com • www.naxosmusiclibrary.com • blog.naxos.com NEW ON NAXOS | MARCH 2017 © Jean-Baptiste Millot 8.573476 Playing Time: Price Code: NXP 58:22 7 47313 34767 4 Romain Descharmes (1835–1921) Since his noteworthy début with the Orchestre de Paris in May Camille SAINT-SAËNS 2012, Romain Descharmes has established himself as one of the Piano Concertos Nos. 1 and 2 foremost French pianists of his generation. Winner of the Dublin Allegro appassionato Competition in 2006, he has appeared in concerts in the United Romain Descharmes, Piano States, Canada, the United Kingdom, Sweden, Italy, France, Malmö Symphony Orchestra Japan, China and elsewhere, collaborating with the Orchestre Marc Soustrot de Paris under Paavo Järvi and Ingo Metzmacher, the Malmö Symphony Orchestra and the Aarhus Symphony Orchestra under The sheer attractiveness of Saint-Saëns’s music has ensured its Marc Soustrot, the Orchestre National de Lyon under Leonard immortality in the canon of French romantic composers. Spanning Slatkin, and the Shanghai Philharmonic Orchesta, among others. almost four decades, his five piano concertos vary widely in He has been the guest of several renowned festivals and venues, character but offer some of his most exciting if unorthodox creations, including La Roque d’Anthéron, Piano aux Jacobins, Carnegie and represent an important evolutionary phase in the French piano Hall, Wigmore Hall, and the Berlin Philharmonie. concerto. The Piano Concerto No. 1 in D major, widely considered the first by a major French composer, is a youthful and exuberant Supplementary Promotional Materials piece, and the virtuosic Piano Concerto No. -
«Miroirs De La Musique Française»
Association loi 1901 MOULIN DE BLANCHARDEAU 22 290 LANVOLLON Email : [email protected] http://lesmusicalesdeblanchardeau. org www.facebook.com FESTIVAL MUSICAL 2017 En Côtes d’Armor 15e édition «Miroirs de la musique française» PLOUHA – PLEGUIEN - LANVOLLON - PLEGUIEN 1, 4, 8 et 11 août 2017 Edition de mai 2017 www.classique-bretagne.com 1 Les Musicales de Blanchardeau Association loi 1901 Maison du Développement et des Services publics MOULIN DE BLANCHARDEAU 22 290 LANVOLLON www.lesmusicalesdeblanchardeau.org En Côtes d’Armor, « Les Musicales de Blanchardeau », un Festival original et prestigieux. « Amener la musique, les textes poétiques, les arts chorégraphiques à la population locale et estivale ; contribuer au rayonnement de la région ; valoriser le patrimoine architectural ». Chaque été, en France, les festivals de musique attirent touristes, mélomanes avertis ou estivants simplement curieux de la vie culturelle. Ils participent à l’enrichissement culturel et touristique de nos régions et à leur prestige. Le Festival des Musicales de Blanchardeau a vu le jour, il y a douze ans dans les Côtes d’Armor. L’association a été créée et enregistrée au mois de mai 2003 à la Préfecture de Saint-Brieuc sous le n° 0224009667 (n° SIRET 47751674400018), parrainé par la Communauté de Communes de Lanvollon-Plouha, soutenu par le Conseil Régional, le Conseil Général et la SPEDIDAM. Le Festival propose des concerts de niveau international dans les belles églises : Lanvollon, Pludual ou Pléguien et les chapelles de grand intérêt architectural, comme la chapelle Renaissance, Notre-Dame de l’Isle à Goudelin dans son cadre bucolique ou la chapelle de Kermaria-An-Isquit en Plouha, remarquable pour son étrange décor : la fresque « la Danse macabre ». -
GUSTAV MAHLER SYMPHONY NO. 4 Netherlands Philharmonic
GUSTAV MAHLER SYMPHONY NO. 4 Netherlands Philharmonic Orchestra Marc Albrecht Elizabeth Watts Gustav Mahler (1860-1911) Violin 1 Emmy Stoel-Mourits Atie Aarts Symphony No. 4 in G Vadim Tsibulevsky Lotte Reeskamp Rik Otto Jan Evert van Riemsdijk Heleen Veder Carin Nelson 1 Bedächtig. Nicht eilen – Recht gemächlich 16. 32 Saskia Viersen Vanessa Damanet Anjali Tanna 2 In gemächlicher Bewegung. Ohne Hast 10. 14 Robert Lis Jos Schutjens Sebastian Koloski 3 Ruhevoll (Poco adagio) 21. 42 Angela Skala Irene Nas 4 Sehr behaglich 9. 20 Hike Graafland Double Bass “Wir genießen die himmlischen Freuden” Philip Dingenen Viola Annette Zahn (Des Knaben Wunderhorn) Anuschka Franken Janos Konrad Walther van Domburg Henrik Svahnström Marjolein de Waart Sorin Orcinschi Total playing time: 57. 53 Lonneke van Straalen Michiel Holtrop Julien Beijer Marina Malkin Avi Malkin Erik Spaepen Marijke van Kooten Suzanne Dijkstra Larissa Klipp Armand Gouder de Berdien Vrijland Beauregard Stephanie Steiner Flute Nicoline van Santen Odile Torenbeek Leon Berendse Nicholas Durrant Hanspeter Spannring Violin 2 Maaike-Merel van Ellen Vergunst David Peralta Alegre Baarzel Liset Pennings Mintje van Lier Guillaume Serpenti Cello Netherlands Philharmonic Orchestra Karina Korevaar Douw Fonda Conducted by Marc Albrecht Saskia Schröeder Jan Bastiaan Neven Elizabeth Watts, soprano Cynthia Briggs Mariet van Dijk Oboe Trumpet Das himmlische Leben The Heavenly Life Toon Durville Ad Welleman (aus Des Knaben Wunderhorn) (from Des Knaben Wunderhorn) Danielle Kreeft Jeroen Botma Anita Janssen Marc Speetjens Wir genießen die himmlischen Freuden, We enjoy heavenly pleasures (English horn) D’rum tun wir das Irdische meiden. and therefore avoid earthly ones. Timpani Kein weltlich’ Getümmel No worldly tumult Clarinet Peter Elbertse Hört man nicht im Himmel! is to be heard in heaven! Rick Huls Lebt alles in sanftester Ruh’.