Newsletter 06 | 2019
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Košická Hudobná Jar 64
KOŠICKÁ HUDOBNÁ JAR 64. Medzinárodný hudobný festival 02. 05.–30. 05. 2019 ŠTÁTNA FILHARMÓNIA KOŠICE Štátna príspevková organizácia MK SR 64. KOŠICKÁ HUDOBNÁ JAR Medzinárodný hudobný festival sa koná pod záštitou Ministerky kultúry Slovenskej republiky, s finančnou podporou Košického samosprávneho kraja a Mesta Košice. Festival je prioritným projektom MK SR. Festival sa koná pod záštitou ministerky kultúry SR a je prioritným projektom MK SR. Hlavný reklamný partner: k á á ž ce e R va ova r a s o ého ta P N b a Ko ášik k m l ě r Záborsk mo p mc om o m T ti s o b PR3 vá v o ensk vo ná a Technická T m Svorno á ve o o v l š s Ci o j é té n univerzita i h Ale l o h o o m s o Vo vý a t ty a v Košiciach Slovenskej jedno o A W h l S iansk Rozália v č y t P S i r PR3 N y b n a l o á á k en ě o c r l s d m v T m m z H e vská k jednot y o k o j Jak J yho c ob h o r r e a Jak v v o va e vi o k o llo á á v e c Lipto ka n o B č e o Rozáls c j vensk b l o o N lo S va y e va v ě a m tio h á ná Bi Oli Fak t a n co Le M o e v J Boc om St o e e l L a v a K r j se yns k á spi ľ s o o ayh iar r k v v šs vá k n H a PR3 u ká c á Sza n k p D e Z á ý i e s im n tv t i a n s a ns n k á J á á n e á k á r h ícka a etn Ja s ova Te L e arbiarska on Hutn yk rch n G r ovsk asa Benc á á Zi n M n á r m o Ja ná Paj n kéh Jiskr l c ú á PR3 ro o iemyse Jilemni va Pr a Kalvár ii ro o Obsah N v O va i a r Mag Zi va e lvári J ťo c K a m e N N a h B á s Kme o Kost n sk e a anícka vá d á en 2 nsk ár Š a Š alénska Vencová v S roj t é o v va Thur aj o P e ť ätopl St fánik h e ero b ln o m 19 S e K u Lö PR3 e á a SN Š ko va z t H d o Jesen o í T a ie la va v t r t a s o a v a e k P čí poto T t ov T a v r Mäsiars ná s c igria R ík k ri á a č ého á n Ba e Branis u sk sk k a m o k K NP vá Rum a nov 2. -
Greek Classics Impressions for Saxophone And
557992bk Saxophone US 12/9/06 4:37 pm Page 8 Myron Michailidis GREEK CLASSICS Myron Michailidis was born in Heraklion, Crete, where he received his first piano lessons at a very early age. He continued with Dimitris Toufexis in Athens; he subsequently studied conducting at the Berlin Music Academy under Hans-Martin Rabenstein, graduating in 1996 with top marks in conducting. At the same time, IMPRESSIONS he attended conducting seminars with Miltiadis Karidis at the Carl Maria von Weber Academy in Dresden and with Sir Simon Rattle. He also holds a Law degree from Athens University. He has FOR conducted such important orchestras as the Berlin Symphony Orchestra, the Orchestra of the Opera of Eastern Saxonia, Magdeburg Philharmonic, New Brandenburg Philharmonic, SAXOPHONE Thüringen Symphony Orchestra, Niederschlesien Orchestra (Poland and Czech Republic), as well as all the major Greek AND ORCHESTRA orchestras. Since 2001, he has collaborated regularly with the Greek National Opera, conducting productions of Tosca, Il trovatore, L’Italiana in Algeri, Les contes d’Hoffmann, L’elisir d’ amore and Photograph: © Koukis Fedora. He has collaborated with famous soloists such as Aldo Theodorakis Ciccolini, Paul Badura-Skoda, Shlomo Mintz, Martino Tirimo, Teresa Berganza and Cheryl Studer. He has given particular emphasis to promoting Greek culture, especially Greek Skalkottas classical music, and young Greek musicians abroad. From 1999 to 2004 he was Permanent Conductor and Director of Musical Studies at the Opera of Eastern Saxonia, Germany. Since July 2004, he has been Artistic Director of the Antoniou Thessaloniki State Symphony Orchestra. He has recorded, in collaboration with the University of Crete, a CD of Mikis Theodorakis’s Axion Esti. -
Christos HATZIS Flute Concertos Departures Overscript
CANADIAN CLASSICS CLASSIQUES CANADIENS Christos HATZIS Flute Concertos Departures Overscript Patrick Gallois, Flute Thessaloniki State Symphony Orchestra Alexandre Myrat Christos Hatzis (b. 1953) original music. The romantic concerto, will hopefully carry the listener beyond listener is invited to the cerebral concerns of the outer movements. Here, the Departures • Overscript make comparisons opening melody – one of the most beautiful melodies by between the original and Bach – is interrupted at the point of the half-cadence, and Christos Hatzis’s relationship with the flute virtuoso inspirational woman who passed away just shy of her the derived materials, what follows is a long development section in the romantic Patrick Gallois began in 2000 with a knock on Hatzis’s 105th birthday. The music of Serenity is consistent with which, for that purpose, tradition which eventually returns to the original melody at office door at the University of Toronto and a question by the title; there are clouds but they are short-lived and the are always juxtaposed the end. The naming of the individual movements (‘Left’, the French master “Have you composed anything for the music returns quickly to sunnier vistas. The latter part of in close proximity as a ‘Right’, ‘Left & Right’ – a 2012 afterthought) has nothing to flute?” A year later Hatzis’s long neglected Overscript had Serenity is a song without words, an unpretentious slow sequence of ‘sound do with punches in the boxing ring but rather with its première at the University of Toronto with Gallois and waltz melody that seems to exist on its own terms. slices’. In the middle hemispheric function in the human brain and how this might the University ensemble of faculty and students. -
Le Vie Dell'amicizia: Ravenna-Atene Riccardo Muti
Le vie dell’Amicizia: Ravenna-Atene direttore Riccardo Muti in collaborazione con Ravenna-Atene Le vie dell’Amicizia direttore Riccardo Muti si ringraziano ATENE con il sostegno di The Port of Ravenna: a strategic asset for the future Palazzo Mauro De André 11 luglio, ore 21 ringrazia Sotto l’Alto Patronato del Presidente della Repubblica Italiana con il patrocinio di Associazione Amici di Ravenna Festival Senato della Repubblica Presidenza del Consiglio dei Ministri Apt Servizi Emilia Romagna Ministero per i Beni e le Attività Culturali Autorità di Sistema Portuale del Mare Adriatico Centro-Settentrionale Ministero degli Affari Esteri e della Cooperazione Internazionale BPER Banca Classica HD Cna Ravenna Confartigianato Ravenna Confindustria Romagna con il sostegno di Consar Group Contship Italia Group Consorzio Integra COOP Alleanza 3.0 Corriere Romagna DECO Industrie Eni Federazione Cooperative Provincia di Ravenna Federcoop Romagna Fondazione Cassa dei Risparmi di Forlì Fondazione Cassa di Risparmio di Ravenna Fondazione del Monte di Bologna e Ravenna Gruppo Hera Gruppo Mediaset Publitalia ’80 Gruppo Sapir con il contributo di GVM Care & Research Hormoz Vasfi Koichi Suzuki Italdron LA BCC - Credito Cooperativo Ravennate, Forlivese e Imolese La Cassa di Ravenna SpA Legacoop Romagna Mezzo PubbliSOLE Publimedia Italia Quick SpA Comune di Forlì Comune di Lugo Comune di Russi Quotidiano Nazionale Rai Uno Ravennanotizie.it Koichi Suzuki Reclam Hormoz Vasfi Romagna Acque Società delle Fonti Setteserequi Unipol Banca UnipolSai Assicurazioni -
Camille Saint-Saëns (1835-1921) Oratorio De Noël
Camille Saint-Saëns (1835-1921) Oratorio de Noël Camille Saint-Saëns komponierte das Weihnachtsoratorium im Jahr 1858 binnen 12 Tagen. Am 25. Dezember 1858 wurde es in der Kirche La Madeleine in Paris uraufgeführt. Es sieht eine Besetzung mit 5 Vokalsolist*innen, vierstimmigem gemischtem Chor, Streichorches- ter, Harfe und Orgel vor. Die Aufführungsdauer beträgt etwa 35 bis 40 Minuten. 1 Prélude: Dans le style de Sébastien Bach (instrumental) 2 Récit et Choeur (nach Lukas 2, 8-14) Tenor Et pastores erant in regionem eadem vigilantes Und Hirten waren in jener Gegend am Hüten et custodientes vigilias noctis super gregem suum. und hielten Nachtwache über ihre Herde. Alt Et ecce Angelus Domini stetit juxta illos, Da trat ein Engel des Herrn zu ihnen, et claritas Dei circumfulsit illos, und der Glanz Gottes umstrahlte sie, et timuerunt timore magno. und sie fürchteten sich sehr. Tenor Et dixit illis Angelus: Da sagte der Engel zu ihnen: Sopran Nolite timere! Fürchtet euch nicht! Ecce enim evangelizo vobis gaudium magnum, Denn ich verkünde euch eine große Freude, quod erit omni populo: die dem ganzen Volk widerfahren wird: quia natus es vobis hodie Christus, euch ist heute Christus geboren worden, Dominus in civitate David. der Herr, in der Stadt Davids. Et hoc vobis signum: Und das soll für euch das Zeichen sein: Invenietis infantem pannis involutum, Ihr werden ein Kind finden, das in Windeln gewickelt ist et positum in praesepio. und in einer Krippe liegt. Bass Et subito facta es com Angelo Und plötzlich war bei dem Engel Mulstitudo militiae coelestis, das ganze himmlische Heer, laudantium Deum, et dicentium: die Gott lobten und sprachen: Chor Gloria in altissimis Deo, Ehre sei Gott in der Höhe et in terra pax hominibus bonae voluntatis! und auf Erden Friede den Menschen seines Wohlgefallens. -
Sinfonia Degli Eroi
GIAN FRANCESCO MALIPIERO Sinfonia degli eroi Dai sepolcri • Ditirambo tragico Thessaloniki State Symphony Orchestra Amaury du Closel Gian Francesco Malipiero (1882-1973): (‘Divine Comedy’) of Dante Alighieri (c. 1265-1321): ‘All things clash, established at the start, between the tonalities of B and created before me are eternal, and I am eternal’ – some of the F, a tritone apart. If we sometimes hear echoes of Debussy, and Sinfonia degli eroi (1905) • Ditirambo tragico (1917) • Armenia (1917) terrible words written in black that Dante sees over the gates of especially of Stravinsky’s ballet The Rite of Spring (1911-13) – Grottesco (1918) • Dai sepolcri (1904) the Inferno (the following line, which Malipiero does not quote, is at whose Paris première in 1913, Malipiero said, he ‘awoke from the famous conclusion of the inscription, ‘Abandon all hope, you a long and dangerous lethargy’ – the Ditirambo is surely most If Gian Francesco Malipiero were still alive, he would probably hated Vienna. He had spent an unhappy year in 1898-99 who enter’). So is this music hellish or heroic – or both? Driven closely allied with the still more violent Elegia eroica (‘Heroic have tried to prevent us hearing any of the music recorded here. studying at the Conservatory there (run, like the Musikverein, by by positive or negative forces – or conflict between the two? Elegy’) [Naxos 8.572415] that Malipiero’s friend and compatriot ‘I wish I had not emerged from silence before 1911, with the first the city’s Society of the Friends of Music); but it seems to have Positive, certainly, in the fanfare figures on horns and trumpets Alfredo Casella had composed in 1916 as a memorial to Italian set of Impressioni dal vero’, he said in a book about his work made him contacts. -
Anton Bruckner Institute Linz
Issued three times a year and sold by subscription www.brucknerjournal.co.uk Editorial: [email protected] 23 Mornington Grove, Bow, London E3 4NS Subscriptions and Mailing: [email protected] 4 Lulworth Close, Halesowen, B63 2UJ 01384 566383 VOLUME ELEVEN, NUMBER ONE, MARCH 2007 Editor: Ken Ward Managing Editor: Raymond Cox. Associate Editors: Peter Palmer, Crawford Howie, Nicholas Attfield In this issue: Linz Brucknerfest 2006 report - Franz Zamazal .. page 3 The 9th in Linz and Vienna Nicholas Attfield - page 8 Takashi Asahina’s Bruckner - Neil Schore . page 12 Symphonisches Präludium in C Minor Benjamin- Gunnar Cohrs page 21 Thematic and Tonal Unity in Bruckner’s Eighth Symphony pt II Paul Dawson-Bowling page 24 ANTON BRUCKNER INSTITUTE LINZ Dr Erich Partsch has written to Crawford Howie to say that Johann Herbeck and Anton Bruckner - Crawford Howie the ABIL (Anton Bruckner Institut Linz, the centre for page 29 Bruckner research in Austria and responsible inter alia for the regular publication of the Bruckner Symposium, Bruckner Fever by Hartwig Bruckner Yearbook and ‘Documents and Studies’ volumes, Molzow page 36 Bruckner exhibitions etc.) will no longer be affiliated with the Austrian Academy of Sciences in Vienna. A planned Bruckner Scores: Magnificat and affiliation with the Anton Bruckner University of Linz was Psalm settings: page 38 rejected by the University, though some sort of ‘co-operation’ is envisaged. Prof. Antonicek has agreed to work together Letters from Benjamin-Gunnar with the new Geschäftsführer of the ABIL, Herr Direktor Cohrs and Ian Beresford Gleaves Wolfgang Winkler, to help to help find a way forward for page 39 further research work on Bruckner, and on music in Upper Copyright in all pieces remains with Austria more generally. -
The Donatella Flick LSO Conducting Competition 2016
London Symphony Orchestra Living Music The Donatella Flick LSO Conducting Competition 2016 COMPETITION FINAL THURSDAY 17 NOVEMBER 2016 Patron HRH The Prince of Wales HRH The Prince of Wales Patron of the Donatella Flick LSO Conducting Competition Discover the world’s greatest music with DIGITAL RADIO CLASSICFM.COM FM London Symphony Orchestra Living Music The Donatella Flick LSO Conducting Competition 2016 Thursday 17 November 2016 7pm Barbican Hall COMPETITION FINAL PROGRAMME Members of the Jury for the Final of the Competition National Anthem Lennox Mackenzie, Dame Felicity Lott, Sir Antonio Pappano, Carlo Rizzi, Gennady Rozhdestvensky, Yuri Temirkanov, Rachel Gough Verdi Overture: The Force of Destiny Presented by Catherine Bott Elgar Variations on an Original Theme (‘Enigma’) Rachmaninov Symphonic Dances Full programme on page 8 Recorded for broadcast on Thu 24 Nov by 6 Welcome 17 November 2016 Welcome from Donatella Flick, Founder of the Competition It is a pleasure to welcome you to the Final of the 2016 Donatella Flick LSO Conducting Competition, which I founded twenty-six years ago in 1990, under the kind patronage of His Royal Highness The Prince of Wales. The Competition’s principal aim is to bridge the gap between conservatoire training and professional life for emerging young conductors. Since 1996, the Competition has had the honour to have the LSO play for the Final, and since 2012 the LSO and the Competition have forged a partnership whereby the administration has been undertaken by the Orchestra. I continue to take a central role in the Competition’s organisation and take a great pleasure in supporting it. -
Meðunarodno Saksofonisticˇko Natjecanje International Saxophone
MEÐUNARODNO MEÐUNARODNO SAKSOFONISTICˇKO SAKSOFONISTICˇKO NATJECANJE NATJECANJE INTERNATIONAL INTERNATIONAL SAXOPHONE SAXOPHONE COMPETITION COMPETITION ACADEMY OF MUSIC ZAGREB ACADEMY OF MUSIC ZAGREB SPRING 2024 JUNE 5 - JUNE 10 2021 4. Archive downloaded in Adolphesax.com 3. MEĐUNARODNO SAKSOFONISTIČKO NATJECANJE JOSIP NOCHTA ZAGREB, 5.6. - 10.6.2021. Muzička akademija Sveučilišta u Zagrebu 3rd INTERNATIONAL SAXOPHONE COMPETITION JOSIP NOCHTA ZAGREB, June 05 - 10 2021 University of Zagreb Academy of Music Archive downloaded in Adolphesax.com 3. međunarodno saksofonističko natjecanje Josip Nochta održava se pod visokim pokroviteljstvom Ministarstva kulture i medija Republike Hrvatske 3rd International Saxophone Competition Josip Nochta is held under the high patronage of Ministry of Culture and Media of the Republic of Croatia Održavanje 3. međunarodnog saksofonističkog natjecanja Josip Nochta omogućuje 3rd International Saxophone Competition Josip Nochta is supported by Ministarstvo kulture i medija Republike Hrvatske Ministry of Culture and Media of the Republic of Croatia Gradski ured za obrazovanje, kulturu i sport Zagreb City Office for Education, Culture and Sport Posebnu zahvalnost za suradnju i pomoć zaslužuju Our special thanks for the collaboration and help goes to Zagrebačka filharmonija The Zagreb Philharmonic Orchestra Adolphesax.com, la web del saxofón kao i sponzori i donatori nagrada navedeni u katalogu as well as the sponsors and donators of the awards listed in the catalogue Umjetnički ravnatelj natjecanja / Artistic