Elena SCHWARZ Steven Osborne

Total Page:16

File Type:pdf, Size:1020Kb

Elena SCHWARZ Steven Osborne NEWSLETTER AUTUMN 2017 NEW SIGNING: ELENA SCHWARZ STEVEN OSBORNE We are delighted to announce the signing of Swiss-Australian conductor, World Premiere of Julian Anderson at the Proms Elena Schwarz, for general management. Schwarz (b.1985) is currently assistant conductor to Mikko Franck at the Orchestre Philharmonique de Osborne gave the world premiere of Julian Anderson’s Piano Radio France and stepped in at the last minute to conduct a programme Concerto “The Imaginary Museum” with the BBC Scottish of works by Ravel at Maison de Radio last May. Symphony/Ilan Volkov in July. Co-commissioned by the BBC Proms, Bergen Philharmonic and Sydney Symphony Orchestras nd Her success in the Panula Competition (2 Prize, 2015), and Princess the concerto was “Dedicated to Osborne with admiration”, and takes st Astrid Competition, Trondheim (1 Prize, 2014) was followed by her the listener on an aural journey through diverse landscapes and appointment as joint assistant to Asher Fisch at the West Australian colours. It was praised by The Guardian as “a hugely imaginative, Symphony Orchestra and Marko Letonja at the Tasmania Symphony beautiful piece”. Orchestra running concurrently with her Paris appointment. Osborne returns to Lincoln Center to perform Messiaen Vingt Elena Schwarz has also conducted the Trondheim Symphony Orchestra, regards sur l’enfant Jésus at the White Light Festival and gives Sinfonietta de Lausanne and Orchestre de Cannes, as well as working performances of Turangalîla with the Danish National Symphony/ with contemporary music ensembles such as Ensemble Matka, Remix, Mena, Bournemouth Symphony/Karabits, Royal Liverpool Ensemble Diagonal and Internationale Ensemble Modern Akademie Philharmonic/Petrenko and the Vienna Radio Symphony (Frankfurt). Other notable performances include “Portraits” of Nicolas Orchestra/Meister. Bacri (Orchestre Philharmonique de Radio France) and Olga Neuwirth (Lucerne Festival Academy). Celebrating his artistry in French repertoire, Hyperion releases piano concertos by Ravel (BBC Scottish Symphony/Morlot) and Please see our listings page for details of her forthcoming performances. Priska Ketterer a disc of solo works by Debussy. Benjamin Ealovega Christian Wind Felix Broede Zohar Ron CHRISTOPH KÖNIG LEONARD ELSCHENBROICH AVI AVITAL Méhul and Beethoven release on Rubicon Classics Saint-Saëns and Dutilleux Concertos released on Onyx Portrait Artist at Schleswig-Holstein Entering his eighth season as Chief Conductor of the Solistes “a fascinating and grippingly expressive performer” A two-month residency as Portrait Artist at the Schleswig- Européens Luxembourg, König continues to explore lesser-known ***** RONDO – Das Klassik & Jazz Magazin Holstein Music Festival sets mandolinist Avi Avital off on gems of the repertoire including symphonies by Étienne Méhul another season of globe-trotting. Performances of his jazz/world and Louise Farrenc. He embarks on a series of recordings with the Following his seventh appearance at the Proms Elschenbroich returns to the collaboration Avital meets Avital (DG release June 2017) include orchestra for Rubicon Classics with the first release featuring Méhul UK for performances with the Royal Philharmonic, BBC Scottish Symphony, Amsterdam, Vienna, Budapest, Jerusalem, Tel Aviv, Athens and Symphony No 1 and Beethoven Symphony No 3. City of Birmingham Symphony and Bournemouth Symphony Orchestras. Berlin’s Boulez Saal. In the coming months he also performs with the Bergen Philharmonic, Warsaw Upcoming concerts bring him back to the Pittsburgh Symphony, Royal As concerto soloist in repertoire from Bach and Vivaldi through Philharmonic, Polish National Radio Symphony, Filarmónica de Sevilla, Bremen Philharmonic, Bournemouth Symphony and BBC Scottish Symphony to Avner Dorman and Anna Clyne, Avital performs with the Philharmonic and the Residentie Orkest with repertoire including Kabalevsky Orchestras, whilst other guest conducting includes first visits to the St Louis Symphony, MDR Leipzig, Orchestre National de Lille, Concerto No 2, Walton, Elgar, Dvořák, Tchaikovsky, Bernstein and Tavener Deutsche Staatsphilharmonie Rheinland-Pfalz, Wiener Concert-Verein Kremerata Baltica, Orquestra Camera Musicae and The Knights. under such conductors as Litton, Letonja, König, Kaspszyk, Ryan Wigglesworth, and the Warsaw Philharmonic Orchestra. Collon, Shelley, John Wilson and Tortelier. Barnara Aumuller Luca Valenta Marco Borggreve Nancy Horowitz Bell Soto Lisa-Marie Mazzucco STEFAN BLUNIER AUGUSTIN HADELICH RONALD BRAUTIGAM CARLOS KALMAR MIGUEL HARTH-BEDOYA EUGENE TZIGANE Tour with the NHK Symphony Orchestra Paganini Caprices released on Warner Classics Beethoven Cycles in Finland and the Netherlands Kalmar commissions Mark-Anthony Turnage for Oregon Returns to Los Angeles Philharmonic Debut with the London Philharmonic Orchestra Blunier’s acclaimed performances of Wozzeck last season brought The first months of the 2017/18 season see Hadelich featured as soloist We are delighted to be expanding our representation of Ronald Entering his sixteenth season as Music Director of the Oregon Symphony Entering his fifth season asChief Conductor of the Norwegian Radio Eugene Tzigane conducts an all-Beethoven programme with an immediate re-invitation to the Grand Théâtre de Genève and with the Boston Symphony/Adès, San Francisco Symphony/Urbanski, Brautigam to include Scandinavia. Brautigam’s well-documented Orchestra, Kalmar’s winter programmes include the world premiere of Orchestra Harth-Bedoya brings Beethoven Symphonies Nos 3, 4 and 5 the London Philharmonic Orchestra in Brighton (Sat 28 Oct). he returns to conduct Strauss Zigeunerbaron in December. St Louis Symphony/Robertson and Seattle Symphony/Morlot and he commitment to Beethoven continues with a Concerto cycle with Mark-Anthony Turnage’s Symphonic Movements along with works by alongside works by Milhaud, Strauss, Barber and Jennifer Higdon. Guest becomes Artistic Partner of the Fort Worth Symphony Orchestra. the Oulu Symphony Orchestra and Johannes Gustavsson, whilst Takemitsu, Morton Gould, Balakirev, Barber, Piston and Schoenberg. engagements bring him to the Copenhagen Philharmonic, RTÉ National Other notable debuts include concerts with the Swedish Chamber Concert engagements include the Frankfurt Museumsorchester, European appearances include the Royal Scottish National Orchestra/ in the Netherlands he undertakes a complete survey of the Sonatas His recording of Haydn Symphonies (Nos 53, 64 and 96) with the Oregon Symphony Orchestra of Ireland, Bremen Philharmonic and Los Angeles Orchestra, Orchestre National d’île de France and Orquesta Orquestra Sinfónica do Porto, Nationaltheater Orchester Oundjian and Polish National Radio Symphony Orchestra/Arming. with performances in Enschede, Doetinchem and Bloemendaal. Symphony is released on Pentatone. Philharmonic where he conducts Hilary Hahn in Bernstein Serenade. Sinfónica de Galicia. He returns to the Norwegian Radio Orchestra Mannheim, Orchestre National de Belgique and a tour of and Helsingborg Symphony with a wide range of repertoire including He returns to the Anthaltisches Theater in Dessau where he was Music Japan with the NHK Symphony Orchestra featuring works Recipient of the Warner Music Prize (2015) Hadelich’s recording He returns to the UK to perform with regular collaborators the After years of intensive research into lost and neglected music works by Mozart, Linde, Tabakova, Strauss, Britten, Debussy, Nielsen, Director until 2000 to conduct Haydn and Mahler Das Lied von der Erde. by Rachmaninov, Dvořák, Schoenberg and Mahler. of Paganini Caprices is released on the Warner Classics label. Chiaroscuro Quartet at the Bath Mozartfest (17 Nov) and Isabelle from South America, Harth-Bedoya launches an online catalogue Weinberg and Francisco Coll. Elsewhere Kalmar conducts the Lahti Symphony, Singapore Symphony van Keulen at the Wigmore Hall (8 Jan). www.latinorchestralmusic.com. and Detroit Symphony Orchestras. Sophie Zhai Ian Watson Marco Borggreve Lisa Marie Mazzucco George Garnier Ira Polyarnaya STEFAN JACKIW CHLOË HANSLIP LISE DE LA SALLE ADAM WALKER DORIC STRING QUARTET VADYM KHOLODENKO “brimming with technical ability and youthful passion ... his Beethoven release on Rubicon Classics Returns to Wigmore Hall Chamber Music Society of Lincoln Center “CMS Two” Haydn Series at the Wigmore Hall US tour with Staatskapelle Weimar and Kirill Karabits reading of the Korngold Concerto was perfect” [Cleveland The first edition of Chloë Hanslip’s Beethoven cycle, with regular collaborator De La Salle returns to London to perform a BBC Radio 3 We are delighted that Adam Walker has been invited to join the The 2017/18 season sees the Doric String Quartet featured at the Vadym Kholodenko enjoyed another highly successful collaboration Orchestra/Juraj Valčuha] Cleveland Plain Dealer Danny Driver, is released on Rubicon Classics and she becomes the first-ever Lunchtime Concert at Wigmore Hall. The recital traces Bach’s Chamber Music Society of Lincoln Center’s prestigious “CMS Two” Wigmore Hall in five concerts as part of the hall’s Haydn String Quartet with Valery Gergiev in May when he joined the conductor and the Jackiw rejoins Juraj Valčuha several times through the season for Artist in Association with the Northern Chamber Orchestra. enduring legacy before exploring treasured jewels of the programme from September 2018. Series. Orchestre Philharmonique de Luxembourg to perform Prokofiev performances with the Orchestre Philharmonique du Luxembourg, romantic repertoire.
Recommended publications
  • Cinephilia Or the Uses of Disenchantment 2005
    Repositorium für die Medienwissenschaft Thomas Elsaesser Cinephilia or the Uses of Disenchantment 2005 https://doi.org/10.25969/mediarep/11988 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: Elsaesser, Thomas: Cinephilia or the Uses of Disenchantment. In: Marijke de Valck, Malte Hagener (Hg.): Cinephilia. Movies, Love and Memory. Amsterdam: Amsterdam University Press 2005, S. 27– 43. DOI: https://doi.org/10.25969/mediarep/11988. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell 3.0 Lizenz zur Verfügung Attribution - Non Commercial 3.0 License. For more information gestellt. Nähere Auskünfte zu dieser Lizenz finden Sie hier: see: https://creativecommons.org/licenses/by-nc/3.0 https://creativecommons.org/licenses/by-nc/3.0 Cinephilia or the Uses of Disenchantment Thomas Elsaesser The Meaning and Memory of a Word It is hard to ignore that the word “cinephile” is a French coinage. Used as a noun in English, it designates someone who as easily emanates cachet as pre- tension, of the sort often associated with style items or fashion habits imported from France. As an adjective, however, “cinéphile” describes a state of mind and an emotion that, one the whole, has been seductive to a happy few while proving beneficial to film culture in general. The term “cinephilia,” finally, re- verberates with nostalgia and dedication, with longings and discrimination, and it evokes, at least to my generation, more than a passion for going to the movies, and only a little less than an entire attitude toward life.
    [Show full text]
  • Download Booklet
    557921bk USA 14/3/07 10:08 am Page 5 Ashley Wass The young British pianist Ashley Wass is recognised as one of the rising stars of his generation. Only the second British pianist in twenty years to reach the finals of the Leeds Piano Competition (in 2000), he was the first British pianist ever to win the top prize at the World Piano Competition in 1997. He appeared in the Rising Stars series at BRIDGE the 2001 Ravinia Festival and his promise has been further acknowledged by the BBC, who selected him to be a New Generations Artist over two seasons. Ashley Wass studied at Chethams Music School and won a scholarship to the Royal Academy of Music to study with Christopher Elton and Hamish Milne. In 2002 he was made an Associate of the Royal Academy. He has spent three summers as a participant at the Marlboro Music Festival, Piano Music playing chamber music with musicians such as Mitsuko Uchida, Richard Goode and members of the Guarneri Quartet and Beaux Arts Trio. He has given recitals at most of the major British concert halls, including the Wigmore Hall, Queen Elizabeth Hall, Symphony Hall, Purcell Room, Bridgewater Hall and St David’s Hall, with Piano Sonata appearances at the City of London Festival, Bath Festival, Brighton Festival, Cheltenham Festival, Belfast Waterfront Hall, Symphony Hall in Birmingham, the Wallace Collection, LSO St Luke’s, St George’s in Bristol, Three Sketches • Pensées fugitives Chicago’s Cultural Centre and Sheffield ‘Music in the Round’. His concerto performances have included Beethoven and Brahms with the Philharmonia, Mendelssohn with the Orchestre National de Lille and Mozart with the Vienna Chamber Orchestra at the Vienna Konzerthaus and the Brucknerhaus in Linz.
    [Show full text]
  • Download Booklet
    557592 bk Bax UK/US 8/03/2005 02:22pm Page 5 Ashley Wass Also available: The young British pianist, Ashley Wass, is recognised as one of the rising stars of his generation. Only the second British pianist in twenty years to reach the finals of the Leeds Piano Competition (in 2000), he was the first British BAX pianist ever to win the top prize at the World Piano Competition in 1997. He appeared in the ‘Rising Stars’ series at the 2001 Ravinia Festival and his promise has been further acknowledged by the BBC, who selected him to be a New Generations Artist over two seasons. Ashley Wass studied at Chethams Music School and won a scholarship to the Royal Academy of Music to study with Christopher Elton and Hamish Milne. He was made an Associate of the Piano Sonatas Nos. 3 and 4 Royal Academy in 2002. In 2000/1 he was a participant at the Marlboro Music Festival, playing chamber music with musicians such as Mitsuko Uchida, Richard Goode and David Soyer. He has given recitals at most of the major British concert halls including the Wigmore Hall, Queen Elizabeth Hall, Purcell Room, Bridgewater Hall and St Water Music • Winter Waters David’s Hall. His concerto performances have included Beethoven and Brahms with the Philharmonia, Mendelssohn with the Orchestre National de Lille and Mozart with the Vienna Chamber Orchestra at the Vienna Konzerthaus and the Brucknerhaus in Linz. He has also worked with Sir Simon Rattle and the City of Birmingham Symphony Orchestra, the London Mozart Players, the BBC Scottish Symphony Orchestra and the BBC Ashley Wass Philharmonic.
    [Show full text]
  • Download the Concert Programme (PDF)
    London Symphony Orchestra Living Music Thursday 18 May 2017 7.30pm Barbican Hall Vaughan Williams Five Variants of Dives and Lazarus Brahms Double Concerto INTERVAL Holst The Planets – Suite Sir Mark Elder conductor Roman Simovic violin Tim Hugh cello Ladies of the London Symphony Chorus London’s Symphony Orchestra Simon Halsey chorus director Concert finishes approx 9.45pm Supported by Baker McKenzie 2 Welcome 18 May 2017 Welcome Living Music Kathryn McDowell In Brief Welcome to tonight’s LSO concert at the Barbican. BMW LSO OPEN AIR CLASSICS 2017 This evening we are joined by Sir Mark Elder for the second of two concerts this season, as he conducts The London Symphony Orchestra, in partnership with a programme of Vaughan Williams, Brahms and Holst. BMW and conducted by Valery Gergiev, performs an all-Rachmaninov programme in London’s Trafalgar It is always a great pleasure to see the musicians Square this Sunday 21 May, the sixth concert in of the LSO appear as soloists with the Orchestra. the Orchestra’s annual BMW LSO Open Air Classics Tonight, after Vaughan Williams’ Five Variants of series, free and open to all. Dives and Lazarus, the LSO’s Leader Roman Simovic and Principal Cello Tim Hugh take centre stage for lso.co.uk/openair Brahms’ Double Concerto. We conclude the concert with Holst’s much-loved LSO WIND ENSEMBLE ON LSO LIVE The Planets, for which we welcome the London Symphony Chorus and Choral Director Simon Halsey. The new recording of Mozart’s Serenade No 10 The LSO premiered the complete suite of The Planets for Wind Instruments (‘Gran Partita’) by the LSO Wind in 1920, and we are thrilled that the 2002 recording Ensemble is now available on LSO Live.
    [Show full text]
  • Morning Heroes Blissmorning Heroes
    SUPER AUDIO CD MORNING HEROES BLISS Hymn to Apollo (original version) Samuel West orator BBC Symphony Chorus BBC Symphony Orchestra SIR ANDREW DaVIS Arthur Bliss,1923 Arthur Photograph by Herbert Lambert (1881 – 1936) / Mary Evans Picture Library Sir Arthur Bliss (1891 – 1975) Morning Heroes, F 32 (1930)* 55:33 A Symphony for Orator, Chorus, and Orchestra To the memory of my brother FRANCIS KENNARD BLISS and all other comrades killed in battle 1 I Hector’s Farewell to Andromache. Maestoso – L’istesso tempo – L’istesso tempo – 13:00 2 II The City Arming. Allegro alla marcia (with great spirit and elation) – Poco meno – Più mosso – Meno mosso (Moderato) – Alla marcia – Più mosso – Pochissimo meno – Andante moderato 11:14 3 III Vigil. Andante sostenuto – L’istesso tempo (Tranquillo) – Agitato – Tempo I – 7:53 4 The Bivouac’s Flame. Adagio maestoso – Più mosso – A tempo maestoso – Tempo I – Largamente 4:26 5 IV Achilles Goes Forth to Battle. Allegro con fuoco – Tranquillo – 6:45 6 The Heroes. Allegro con fuoco – Molto animato 1:38 V Now, Trumpeter, for thy Close 7 Spring Offensive. Andante maestoso – Più animato – Andante molto tranquillo – 5:32 8 Dawn on the Somme. Grave (quasi chorale) – Andante tranquillo – Pochissimo più mosso – Più mosso – Maestoso – Molto tranquillo 5:02 3 premiere recording 9 Hymn to Apollo, F 116 (1926) 9:26 for Orchestra Original version Moderato maestoso – Più mosso (assai allegro) – A tempo I (moderato) – Più mosso – Tranquillo, ma non meno mosso – A tempo I meno mosso TT 65:12 Samuel West orator* BBC Symphony Chorus* Stephen Jackson chorus master BBC Symphony Orchestra Laura Samuel leader Sir Andrew Davis 4 Sir Andrew Davis Andrew Sir © Dario Acosta Photography Bliss: Morning Heroes / Hymn to Apollo Morning Heroes by machine gun fire near barrier..
    [Show full text]
  • JOHN IRELAND 70Th Birthday Concert
    JOHN IRELAND 70th Birthday ConCert Sir ADRIAN BOULT conductor EILEEN JOYCE piano LONDON PHILHARMONIC ORCHESTRA JOHN IRELAND 70th Birthday ConCert The Henry Wood Promenade Concerts were BBC Symphony Orchestra’s Chief Conductor, inaugurated in 1895 in London’s principal the move from one rostrum to another was concert venue, Queen’s Hall. Following the effected with great smoothness: “I was only hall’s destruction during World War II, the out of work for two or three days,” he liked to BBC Promenade concerts have continued say. For Ireland’s birthday concert he was the ever since at the Royal Albert Hall. The annual ideal choice. Boult’s wide embrace of English summer season is in effect a huge music music had long included Ireland’s music: he festival, drawing the greatest artists and had premièred These things shall be in his BBC orchestras from all over the world. In the days, and in 1936 encouraged the composer to years after the 1939–45 war it became quite turn his Comedy Overture, originally composed usual to celebrate composers’ anniversaries, for brass band, into A London Overture, so sometimes devoting a concert entirely to giving it a wider and more popular following. their music. The concert recorded on this CD, Ireland had a great love of London, revealed in given on 10 September 1949 to mark John such cameos as his picturesque London Pieces Ireland’s 70th birthday, was conducted by Sir for piano with their nostalgic titles ‘Chelsea Adrian Boult (1889–1983). Boult described Reach’ and ‘Soho Forenoons’. A London Overture the composer
    [Show full text]
  • Dalia Stasevska Conducts the Last Night of the Proms
    Dalia Stasevska conducts the Last Night of the Proms Dalia Stasevska conducts historic Last Night of the BBC Proms (12 September) Principal Guest Conductor of BBC Symphony Orchestra and Chief Conductor Designate of Lahti Symphony Orchestra prepares to lead landmark performance Much has happened in the year since Dalia Stasevska was invited to conduct the Last Night of the BBC Proms. The BBC Symphony Orchestra’s Principal Guest Conductor was looking forward to leading the end-of- season celebrations to a capacity Royal Albert Hall audience. She will, however, now direct what promises to be one of the most emotional and memorable Last Nights in Proms history, the culmination of a festival reconceived due to the Covid-19 pandemic. A global audience of millions is expected to watch or listen to Stasevska’s first Last Night when it is televised on the BBC and broadcast on BBC Radio 3 on Saturday 12 September. “Of course I’m tremendously happy that the Last Night is going ahead this year and that we will have two weeks of live music at the Proms,” comments the 35-year-old Finnish conductor. “We all need music in our lives again and glimpses of light in challenging times. It will naturally be a very different Last Night from the past, but I do know that it will have terrific power to bring people together, not only in the UK but around the world too. I’m delighted that we’re able to make this happen.” Knowing that I’m going to perform music with my dear colleagues in the BBC Symphony Orchestra makes me smile every day.
    [Show full text]
  • A Boy Was Born: an Examination of the Stylistic Influences on the Young Benjamin Britten Stephen Sieck
    A Boy was Born: An Examination of the Stylistic Influences on the Young Benjamin Britten Stephen Sieck enjamin Britten (1913–1976) was a pro- sources and techniques and applied them in his digious and gifted composer for the unique way, a more coherent understanding of voice whose collective oeuvre demon- A Boy was Born and of Britten’s broader style Bstrates an especially distinctive style and ap- may emerge. proach. Most of our musical and scholarly in- Britten’s journal entries from Letters from terest lies in the adult Britten, from Hymn to St. a Life reveal a college student who was con- Cecilia (1942) and Peter Grimes (1943) through stantly listening to music and attending con- the War Requiem (1963) and beyond. But I sug- certs. He frequented the Proms at the Queen’s gest there is much to be gleaned from examin- Hall, London, concerts given by the London ing Benjamin Britten’s early works. Specifically, Symphony, the BBC Symphony, and anything what were his influences and how did they af- Frank Bridge conducted. He would often bor- fect the formation of his mature compositional row someone’s radio to listen to BBC broad- style? We should therefore give close study to casts. In short, he was immersed in the British Britten’s first published choral work, A Boy was concert culture of the early 1930s. He listened Born, Opus 3. Written in 1932-33 and published to and formed opinions about the canon of in 1934 by Oxford University Press, A Boy was the German tradition, including such com- Born was Britten’s final school project (one that posers as Beethoven, Wagner, Brahms, and occupied him for an uncharacteristically long Mozart; other Romantics such as Schumann, period of six months).
    [Show full text]
  • The Proms Listening Service Radio 3’S Tom Service Proposes Onward Sonic Explorations Inspired by the Music of Tonight’S Prom
    The Proms Listening Service Radio 3’s Tom Service proposes onward sonic explorations inspired by the music of tonight’s Prom The Last Night of the Proms Something similar is true of massed musical celebrations in other cultures and contexts: the performances of the finale of The amazing thing about the ‘traditions’ of the Last Night of the Beethoven’s Ninth Symphony by entire stadiums of choirs in Proms is that there’s nothing traditional about them. This time- Japan, every voice singing the ‘Ode to Joy’; or the communal honoured sequence of music, at least at the end of the concert, expression of identity through music that’s spontaneously made is a made-up ‘tradition’, a pageant of musical communality that by crowds at sporting events: the way Liverpool football fans sing was effectively ‘composed’ over decades by successive masters ‘You’ll never walk alone’ as a collective performance of sporting of Proms ceremonies. But it was only with Malcolm Sargent in and emotional solidarity at every match, or perhaps the greatest the post-war years that the sequence that is known and loved sporting vocal performance of them all, when Welsh rugby today was really put together. And, like all traditions worthy fans turn ‘Bread of Heaven’ into a heaven-storming anthem. of the name, what’s significant about these musical rituals is how open they are to change and how they seem not to be But the Proms’ Last Night rituals have shown their value through the product of the institution that calls itself the BBC Proms the way they have been open to change, whether it’s going live but, rather, how they seem to belong to us, the audience.
    [Show full text]
  • SIR ANDREW DAVIS Music Director and Principal Conductor, Lyric Opera of Chicago
    SIR ANDREW DAVIS Music Director and Principal Conductor, Lyric Opera of Chicago Biography (Full Version) Sir Andrew Davis has served as music director and principal conductor of Lyric Opera of Chicago since 2000. His contract with Lyric Opera was recently extended through the 2020-2021 season. In January 2013 Sir Andrew began his tenure as chief conductor of the Melbourne Symphony Orchestra. He is also conductor laureate of the Toronto Symphony Orchestra (having previously served as principal conductor), conductor laureate of the BBC Symphony Orchestra (his tenure as that ensemble’s chief conductor was the longest since that of its founder Sir Adrian Boult) and former music director of Glyndebourne Festival Opera. The English conductor begins his 2014-2015 season at Lyric Opera for the company’s new production of Don Giovanni , as well as Strauss’s Capriccio. Following Lyric Opera’s 60th Anniversary Diamond Gala, Sir Andrew heads to the Melbourne Symphony Orchestra for a series of concerts, and then to the Metropolitan Opera to conduct Hansel und Gretel and a new production of The Merry Widow directed by Susan Stroman. In the New Year, Sir Andrew returns to Lyric Opera to conduct the monumental Tannhauser, and Lyric’s presentation of David Pountney’s production of Mieczyslaw Weinberg’s The Passenger. The rest of the 2014-2015 season includes returns to Melbourne for the continuation of Sir Andrew’s exploration of all the Mahler Symphonies with the MSO as well as performances of Britten’s War Requiem, and engagements with the Royal Liverpool Philharmonic, the BBC Philharmonic, the BBC Symphony Orchestra, the Royal Scottish National Orchestra, The Toronto Symphony (Verdi’s Requiem), and performances with the Philharmonia Orchestra at the Three Choirs Festival.
    [Show full text]
  • C. Bechstein and Competitions 19 Steinway @ Competitions 29 Fazioli Pianos on Stage 47 the Chris Maene Straight Strung Grand Piano
    2 2019 Tsar of the piano POWERED BY conquered Moscow Alexandre Kantorow WELCOME Dear readers, The World Federation of International Music Competitions (WFIMC) is the umbrella organisation for more than 120 international music competitions, including the leading piano competitions worldwide. There are thousands of music competitions around the world. And amongst them, piano competitions are by far the most common. This is a fact. There are smaller and bigger competitions, competitions for young, senior, amateur, regional, and national pianists, as well as international competitions. People love to see young artists competing for a prize, exactly the same way everybody likes to see young athletes competing for an Olympic medal. This is a part of our human nature: we need to compare ourselves with others and we cherish the winners, giving them medals, money and fame … The question therefore is not to decide on the usefulness of music competitions, but to organise these events as well as possible in order to match the desires and the needs of young musicians and of the world of music. Today’s best music competitions are looking for artists capable of building a career for decades, able to present themselves to the media, who are open to new cultural initiatives, willing to experiment with new music and having inside themselves enough resources and energy to live the life of an international artist. This isn’t an easy task, but this is the mission of the WFIMC’s competitions. The WFIMC provides its members with a large panel of services and meetings, helping them to rene the model of music competitions by exchanging practices and ideas.
    [Show full text]
  • Too Many Cookes…? in This Issue: in a Review of the 2011 BBC Prom Performance of Bruckner’S
    ISSN 1759-1201 www.brucknerjournal.co.uk Issued three times a year and sold by subscription FOUNDING EDITOR: Peter Palmer (1997-2004) Editor : Ken Ward [email protected] 23 Mornington Grove, London E3 4NS Subscriptions and Mailing: Raymond Cox [email protected] 4 Lulworth Close, Halesowen, B63 2UJ 01384 566383 VOLUME FIFTEEN, NUMBER THREE, NOVEMBER 2011 Associate Editor: Crawford Howie Too many Cookes…? In this issue: IN A review of the 2011 BBC Prom performance of Bruckner’s Concert Reviews Page 4 Eighth Symphony on the web-site Seenandheard- International.com, Geoff Diggines referred to the view of New Recordings Page 13 Deryck Cooke on the first printed editions of Bruckner symphonies - “abominable bowdlerisations”. Those of us who Book Review: Constantin Floros discovered Bruckner in the third quarter of the 20th century Anton Bruckner. The Man and the Work reviewed by Crawford learnt much of what we thought we knew about Bruckner and Howie and Malcolm Hatfield Page 14 the editions of his music from Cooke’s writings, and indeed, we have much to be grateful for. He wrote well, he was Bruckner’s Sonata Form Terminology devoted to the music and took it seriously, and said much that in Sketches for the Finale of the Eighth Symphony facilitated our understanding and love for this music. And in by Paul Hawkshaw Page 19 taking on board his view of versions and editions, one felt one was joining a community dedicated to the defence of Bruckner Constructing the “Bruckner Problem” against those who would impose inauthentic and vulgar by Benjamin Korstvedt Page 23 alterations upon his works.
    [Show full text]