DOCSLIB.ORG

N E W S R E L E A

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
N E W S R E L E A N E W S R E L E A S E CONTACT: Katherine Blodgett Vice President of Public Relations and Communications Phone: 215.893.1939 E-mail: [email protected] Jesson Geipel Public Relations Manager FOR IMMEDIATE RELEASE Phone: 215.893.3136 DATE: October 18, 2012 E-mail: [email protected] YANNICK NÉZET-SÉGUIN’S INAUGURAL SEASON AS MUSIC DIRECTOR OF THE PHILADELPHIA ORCHESTRA BEGINS THURSDAY, OCTOBER 18, 2012, WITH A GALA CONCERT FEATURING THE INCOMPARABLE RENÉE FLEMING Opening Weeks of Nézet-Séguin’s Tenure to Feature Verdi’s Requiem, His Carnegie Hall Debut, and Concerts with Violinist Joshua Bell (Philadelphia, October 18, 2012)—Yannick Nézet-Séguin officially begins his tenure as The Philadelphia Orchestra’s eighth music director with a gala Opening Concert on October 18, 2012, two weeks of subscription concerts at the Orchestra’s home in Verizon Hall at the Kimmel Center, and with his Carnegie Hall debut on October 23 in New York City. Nézet-Séguin was named music director designate of the legendary ensemble in 2010. The gala concert, featuring soprano Renée Fleming, includes Ravel’s Shéhérazade, Brahms’s Symphony No. 4, and “Mein Elemer!” from Arabella by Richard Strauss. For the Orchestra’s first subscription series at the Kimmel Center and for his Carnegie Hall debut, Nézet-Séguin has chosen Verdi’s Requiem, featuring soprano Marina Poplavskaya, mezzo-soprano Christine Rice, tenor Rolando Villazón, bass Mikhail Petrenko, and the Westminster Symphonic Choir. Philadelphia Orchestra Association President and CEO Allison Vulgamore said, “This is the launch of a new chapter for The Philadelphia Orchestra. We have been anticipating this moment for what seems a very long time, and the entire organization couldn’t be more thrilled that it is finally upon us. Since he began as music director designate two years ago, we have watched Yannick’s relationships with both our musicians and our audiences flourish. The camaraderie he has established with the Orchestra is palpable, and it seems that every concert is more electric than the last. He is the right person at the right time for The Philadelphia Orchestra.” “I fell in love with this Orchestra from the first moment I met them—there was an immediate connection, a unity of purpose in our music-making,” said Yannick Nézet-Séguin. “From a young age, listening to my parents’ records, I knew I must conduct one of the greatest orchestras in the world. Little did I know that my - more - Yannick Nézet-Séguin’s Inaugural Season PAGE 2 dream would become a reality—and that I would someday find my home in Philadelphia. There is great joy when I’m together with our Philadelphia Orchestra musicians, and I want everyone feel this joy, this pride in their Orchestra.” Nézet-Séguin is an extraordinarily accomplished and respected conductor who is very much in demand around the globe. In addition to his Philadelphia post, he is concurrently music director of the Rotterdam Philharmonic, principal guest conductor of the London Philharmonic, and artistic director and principal conductor of the Orchestre Métropolitain in Montreal. He is also in great demand as a guest conductor around the globe, with appearances this year with the Chamber Orchestra of Europe in Paris, the Bavarian Radio Symphony, and at the Metropolitan Opera in New York, leading Verdi’s La traviata. Praised by critics for the passionate excitement he draws at each performance, Nézet-Séguin’s respect for, and intense bond with, his musicians creates a connection between Orchestra and audience that is at once spellbinding and magnetic. Nézet-Séguin’s training at Westminster Choir College, his studies with Maestro Carlo Maria Giulini, and early studies in piano, conducting, composition, and chamber music at the Conservatoire de Musique du Québec in Montreal have made him equally at home conducting orchestral, opera, and choral repertoire and pursued by the great orchestras and opera companies of the world. At 37 years of age, Nézet-Séguin joins a long line of young music world titans who have led the legendary Philadelphia Orchestra, including Leopold Stokowski, Eugene Ormandy, and Riccardo Muti, who became music director of the ensemble at ages 30, 38, and 39 respectively. Nézet-Séguin’s opening night, on October 18, 2012, comes nearly 100 years to the day to Leopold Stokowski’s first concerts as music director in Philadelphia. Following the Opening Night Gala and the Verdi Requiem, highlights of Nézet-Séguin’s inaugural season with the Orchestra include late October concerts with violinist Joshua Bell performing Bernstein’s Serenade on a program that also features a world premiere by Gabriela Lena Frank and the Brahms Fourth Symphony; a New Year’s Eve concert; January concerts at the Kimmel Center and at Carnegie Hall featuring Ravel’s La Valse, Leonidas Kavakos performing the U.S. premiere of a new Violin Concerto by Osvaldo Golijov, and Shostakovich’s Symphony No. 5; February concerts featuring a world premiere by Oliver Knussen, Ravel’s Piano Concerto in G with Jean-Yves Thibaudet, and Stravinsky’s The Rite of Spring, in collaboration with New York-based Ridge Theater. March brings performances of Bach’s epic St. Matthew Passion, as well as a performance of Shostakovich’s Fifth Symphony that will incorporate dramatic narration, lighting effects, and other theatrical elements. The season concludes with performances in May with two celebrated violinists: Hilary Hahn, who will perform the Korngold Violin Concerto on a program that also includes the love scene from Feuersnot by Richard Strauss and Mahler’s Symphony No. 1, and Gil Shaham playing the Brahms Violin Concerto on a program - more - Yannick Nézet-Séguin’s Inaugural Season PAGE 3 with Dvořák’s Slavonic Dances Nos. 1, 10, and 8; the Janáček Sinfonietta; and Enescu’s Romanian Rhapsody in D major. About Yannick Nézet-Séguin Yannick Nézet-Séguin became the eighth music director of The Philadelphia Orchestra with the start of the 2012-13 season. Named music director designate in June 2010, he made his Philadelphia Orchestra debut in December 2008. Over the past decade, Nézet-Séguin 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 made wildly successful appearances with the world’s most revered ensembles—the Vienna Philharmonic, the Berlin Philharmonic, the Boston Symphony, the Los Angeles Philharmonic, the Dresden Staatskapelle, the Accademia Nazionale di Santa Cecilia, the Chamber Orchestra of Europe, and all the major Canadian orchestras, among many others. Throughout Europe and North America, Yannick’s appearances have left indelible marks on the international classical music scene, making him one of the most sought-after conductors in the world. Since his first appearance in Philadelphia Yannick has connected not only with the musicians of the Orchestra but with the community. His concerts of diverse repertoire offerings attract sold-out houses, and he has established a regular forum for connecting with audiences through Meet & Greets and Post-Concert Conversations following his performances. Yannick has led The Philadelphia Orchestra in a breadth of repertoire ranging from the intimate—Bach’s Brandenburg Concerto No. 5 (which he led from the keyboard)—to the monumental—Mahler’s Symphony No. 5 (which is available for download) and launched a multi-year exploration of the world’s great requiems with performances of the Mozart Requiem in January 2011 and Brahms’s A German Requiem in November 2011. He continues this survey in the 2012-13 season with the Verdi Requiem, which includes his debut at Carnegie Hall. Yannick leads two additional performances at that historic concert hall during the season. Other highlights of his inaugural season include an Opening Night Concert featuring soprano Renée Fleming, two world premieres (by Gabriela Lena Frank and Oliver Knussen), the U.S. premiere of Osvaldo Golijov’s Violin Concerto, and performances of Stravinsky’s The Rite of Spring in collaboration with New York-based Ridge Theater, complete with dancers, video projection, and theatrical lighting. Widely praised by audiences, critics, and artists alike for his musicianship, dedication, and charisma, Yannick Nézet-Séguin’s talents extend beyond symphonic music into the world of opera and choral music. His critically acclaimed performances at New York’s Metropolitan Opera (where he appears annually), Milan’s La Scala, London’s Royal Opera House, and the historic Salzburg Festival demonstrate that he is an artist of remarkable versatility and depth. In July 2012 Yannick Nézet-Séguin and Deutsche Grammophon announced a major long-term collaboration, following highly successful DVD releases of Gounod’s Romeo and Juliet from the Salzburg Festival and Bizet’s Carmen from the Metropolitan Opera. Yannick’s discography with the Rotterdam Philharmonic includes recordings of Strauss and Berlioz for BIS Records, and three EMI/Virgin releases, including an Edison Award-winning album of Ravel’s orchestral works. He has also recorded several award-winning albums with the Orchestre Métropolitain for the Canadian label ATMA Classique. Yannick’s appearances with other ensembles in the 2012-13 season include two separate tours to Japan and the Far East with the Rotterdam Philharmonic, a German tour with the London Philharmonic, and a cycle of - more - Yannick Nézet-Séguin’s Inaugural Season PAGE 4 the complete Schumann symphonies and concertos with the Chamber Orchestra of Europe in Paris. He also returns to the Bavarian Radio Symphony and to the Metropolitan Opera for Verdi’s La traviata. A native of Montreal, Yannick Nézet-Séguin studied piano, conducting, composition, and chamber music at Montreal’s Conservatory of Music and continued his studies with renowned conductor Carlo Maria Giulini; he also studied choral conducting with Joseph Flummerfelt at Westminster Choir College.
Load more

Recommended publications
  • Sir John Eliot Gardiner Conductor Stravinsky Symphony in Three Movements = 160 Andante—Interlude:Q L’Istesso Tempo— Con Moto Elgar in the South (Alassio), Op
    Program OnE HundrEd TwEnTIETH SEASOn Chicago Symphony orchestra riccardo muti Music director Pierre Boulez Helen regenstein Conductor Emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, January 20, 2011, at 8:00 Saturday, January 22, 2011, at 8:00 Sir John Eliot gardiner Conductor Stravinsky Symphony in Three Movements = 160 Andante—Interlude:q L’istesso tempo— Con moto Elgar In the South (Alassio), Op. 50 IntErmISSIon Bartók Concerto for Orchestra Introduzione: Andante non troppo—Allegro vivace Giuoco delle coppie: Allegro scherzando Elegia: Andante non troppo Intermezzo interrotto: Allegretto Finale: Presto Steinway is the official piano of the Chicago Symphony Orchestra. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. CommEntS by PHILLIP HuSCHEr Igor Stravinsky Born June 18, 1882, Oranienbaum, Russia. Died April 6, 1971, New York City. Symphony in three movements o composer has given us more Stravinsky is again playing word Nperspectives on a “symphony” games. (And, perhaps, as has than Stravinsky. He wrote a sym- been suggested, he used the term phony at the very beginning of his partly to placate his publisher, who career (it’s his op. 1), but Stravinsky reminded him, after the score was quickly became famous as the finished, that he had been com- composer of three ballet scores missioned to write a symphony.) (Petrushka, The Firebird, and The Rite Then, at last, a true symphony: in of Spring), and he spent the next few 1938, Mrs. Robert Woods Bliss, years composing for the theater and together with Mrs.
    [Show full text]
  • ORCHESTRATINGA PENTHOUSEINNEW YORKFORTHE VIRTUOSOVIOLIMST Renovationarchitecture and Design by Charlesrose, Ata Textby Stevenm
    BilB ORCHESTRATINGA PENTHOUSEINNEW YORKFORTHE VIRTUOSOVIOLIMST RenovationArchitecture and Design by CharlesRose, AtA Textby StevenM. L.Aronson Photographyby ScottFrances To create his Manhattan residence,Joshua Bell (above) workedwith architect Charles Rose. RrcHr: The 4pO0-square-foot penthouse's living area. Robsiohn-Gibbings low table and Harvey Probber bentwood bench, Eric Appel. Drapery fabric, Larsen. Sofas, Cassina. Odegard rug. 110| www.ArchitecturalDigest.com Asovn: At Bell's request, the archi- tar quality: that thing r,r'hich,as the Ed- to mention the Avery Fisher Prize. On the tect put a fireplace between the liv- wardianartistWalter Sickert - ing and dining areas, one with a oncesho\\ more corporeal side,Bell was one of Glnntour's mantel that cantilevers out on one ily definedit, "can shine, on peacock "It Men of the Millennium" and one of Peopte end to double as a bar. Rietveld days,like a plume of luck abole \-our magazine's"50 Most Beautiful." chair and dining chairs, Cassina. genius."JoshuaBell hasit. Resoundineh. Home is the top two floors, Pollack shade fabric in dining area. plus roof, of a for- Ffe'sa world-classclassical r-iolinist equalh-..rt rner manufacturing plant in Manhattan's Flat- home with popular music (Jos/:rt,rBell tr Hcttte iron District, namedforits signaturebuilding- with Ft'iends,hrsfirst duetsCD. u..rsrccenrh- "To me, the Flatiron Buildinfis NewYork," Eell released,and the friendstellinelr- inclu;- Strne. enthuses.He hired architectCharles Rose to gut Josh Groban, Kristin Chenowethanti -\i.r:. rn and then combine the floors and to transfo".m Hamlisch).And he'sstarred in sir i...-.:s:,,n the saggingold roof into a positivelypagan our- specials,performed all the soloson rh: Llsc:r- door spa(there's a hot tub and a showeropen to -i+i:;: '.i., winning soundtrackforThe Redt ,:.,i ,n the sky,a trellisedpergola, a fireplaceand a cop- a Grammy, a Gramophoneand a -\It:: -.r-.-.r,-r[ per-cladchimney).
    [Show full text]
  • ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS from the LEADERSHIP
    ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS FROM THE LEADERSHIP The New York Philharmonic’s 2019–20 season certainly saw it all. We recall the remarkable performances ranging from Berlioz to Beethoven, with special pride in the launch of Project 19 — the single largest commissioning program ever created for women composers — honoring the ratification of the 19th Amendment. Together with Lincoln Center we unveiled specific plans for the renovation and re-opening of David Geffen Hall, which will have both great acoustics and also public spaces that can welcome the community. In March came the shock of a worldwide pandemic hurtling down the tracks at us, and on the 10th we played what was to be our final concert of the season. Like all New Yorkers, we tried to come to grips with the life-changing ramifications The Philharmonic responded quickly and in one week created NY Phil Plays On, a portal to hundreds of hours of past performances, to offer joy, pleasure, solace, and comfort in the only way we could. In August we launched NY Phil Bandwagon, bringing live music back to New York. Bandwagon presented 81 concerts from Chris Lee midtown to the far reaches of every one of the five boroughs. In the wake of the Erin Baiano horrific deaths of Black men and women, and the realization that we must all participate to change society, we began the hard work of self-evaluation to create a Philharmonic that is truly equitable, diverse, and inclusive. The severe financial challenge caused by cancelling fully a third of our 2019–20 concerts resulting in the loss of $10 million is obvious.
    [Show full text]
  • Verdi Week on Operavore Program Details
    Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
    [Show full text]
  • The Inaugural Season 27 Season 2012-2013
    YANNICK October 2012 The Inaugural Season 27 Season 2012-2013 Friday, October 19, at 8:00 Saturday, October 20, at The Philadelphia Orchestra 8:00 Sunday, October 21, at 2:00 Yannick Nézet-Séguin Conductor Marina Poplavskaya Soprano Christine Rice Mezzo-soprano Rolando Villazón Tenor Mikhail Petrenko Bass Westminster Symphonic Choir Joe Miller Director Verdi Requiem I. Requiem (Solo Quartet and Chorus) II. Dies irae: Dies irae (Chorus) Tuba mirum (Bass and Chorus) Liber scriptus (Mezzo-soprano and Chorus) Quid sum miser (Soprano, Mezzo-soprano, and Tenor) Rex tremendae (Solo Quartet and Chorus) Recordare (Soprano and Mezzo-soprano) Ingemisco (Tenor) Confutatis (Bass and Chorus) Lacrymosa (Solo Quartet and Chorus) III. Offertorio (Solo Quartet) IV. Sanctus (Chorus I and II) V. Agnus Dei (Soprano, Mezzo-soprano, and Chorus) VI. Lux aeterna (Mezzo-soprano, Tenor, and Bass) VII. Libera me (Soprano and Chorus) This program runs approximately 1 hour, 30 minutes, and will be performed without an intermission. 228 Story Title The Philadelphia Orchestra Jessica Griffin Renowned for its distinctive vivid world of opera and Orchestra boasts a new sound, beloved for its choral music. partnership with the keen ability to capture the National Centre for the Philadelphia is home and hearts and imaginations Performing Arts in Beijing. the Orchestra nurtures of audiences, and admired The Orchestra annually an important relationship for an unrivaled legacy of performs at Carnegie Hall not only with patrons who “firsts” in music-making, and the Kennedy Center support the main season The Philadelphia Orchestra while also enjoying a at the Kimmel Center for is one of the preeminent three-week residency in the Performing Arts but orchestras in the world.
    [Show full text]
  • To Read Or Download the Competition Program Guide
    THE KLEIN COMPETITION 2021 JUNE 5 & 6 The 36th Annual Irving M. Klein International String Competition TABLE OF CONTENTS Board of Directors Dexter Lowry, President Katherine Cass, Vice President Lian Ophir, Treasurer Ruth Short, Secretary Susan Bates Richard Festinger Peter Gelfand 2 4 5 Kevin Jim Mitchell Sardou Klein Welcome The Visionary The Prizes Tessa Lark Stephanie Leung Marcy Straw, ex officio Lee-Lan Yip Board Emerita 6 7 8 Judith Preves Anderson The Judges/Judging The Mentor Commissioned Works 9 10 11 Competition Format Past Winners About California Music Center Marcy Straw, Executive Director Mitchell Sardou Klein, Artistic Director for the Klein Competition 12 18 22 californiamusiccenter.org [email protected] Artist Programs Artist Biographies Donor Appreciation 415.252.1122 On the cover: 21 25 violinist Gabrielle Després, First Prize winner 2020 In Memory Upcoming Performances On this page: cellist Jiaxun Yao, Second Prize winner 2020 WELCOME WELCOME Welcome to the 36th Annual This year’s distinguished jury includes: Charles Castleman (active violin Irving M. Klein International performer/pedagogue and professor at the University of Miami), Glenn String Competition! This is Dicterow (former New York Philharmonic concertmaster and faculty the second, and we hope the member at the USC Thornton School of Music), Karen Dreyfus (violist, last virtual Klein Competition Associate Professor at the USC Thornton School of Music and the weekend. We have every Manhattan School of Music), our composer, Sakari Dixon Vanderveer, expectation that next June Daniel Stewart (Music Director of the Santa Cruz Symphony and Wattis we will be back live, with Music Director of the San Francisco Symphony Youth Orchestra), Ian our devoted audience in Swensen (Chair of the Violin Faculty at the San Francisco Conservatory attendance, at the San of Music), and Barbara Day Turner (Music Director of the San José Francisco Conservatory.
    [Show full text]
  • By MARTIN BOOKSPAN
    December 31, 2007, 8:00pm on PBS New York Philharmonic New Year’s Eve Gala with Joshua Bell In September Live From Lincoln Center observed one of its longtime traditions: the Gala opening concert of the new season of the New York Philharmonic. On December 31 we'll re-invent another longtime Live From Lincoln Center tradition: the Gala New Year's Eve concert by the New York Philharmonic. Music Director Lorin Maazel will be on the podium for a program of music appropriate for the festive occasion, and the guest artist will be the acclaimed violinist, Joshua Bell. I first encountered Joshua Bell at the Spoleto Festival, U.S.A. in Charleston, South Carolina. He was then barely into his teens but he was already a formidable violinist, playing chamber music with some of the world's most honored musicians. Not long afterward he burst upon the international scene at what was described as "a sensational debut" with the Philadelphia Orchestra and its Music Director of the time, Riccardo Muti. Joshua Bell was brought up in Bloomington, Indiana, where his father was a Professor at Indiana University. I.U., as it is known in academia, is an extraordinary university, with a School of Music that is world-renowned. Among its outstanding faculty was the eminent violinist Josef Gingold, who became Josh's inspired (and inspiring) mentor and devoted friend. Indeed it was the presence of Gingold in Indiana that led to the establishment of the Indianapolis International Violin Competition. One way for a young musician to attract attention is to win one of the major international competitions.
    [Show full text]
  • Chicago Symphony Orchestra Riccardo Muti Zell Music Director Yo-Yo Ma Judson and Joyce Green Creative Consultant
    PROGRAM ONE HUNDRED TWENTY-SIXTH SEASON Chicago Symphony Orchestra Riccardo Muti Zell Music Director Yo-Yo Ma Judson and Joyce Green Creative Consultant Friday, October 14, 2016, at 8:00 Tuesday, October 18, 2016, at 7:30 Riccardo Muti Conductor John Sharp Cello Dvořák Husitská Overture, Op. 67 Schumann Cello Concerto in A Minor, Op. 129 Not too fast— Slow— Very lively JOHN SHARP INTERMISSION Hindemith Concert Music for String Orchestra and Brass, Op. 50 Part 1: Moderately fast and with power—Very broad, but always flowing Part 2: Lively—Slow—Lively Mussorgsky, orch. Ravel Pictures from an Exhibition Promenade 1. Gnomus Promenade— 2. The Old Castle Promenade— 3. Tuileries 4. Bydlo Promenade— 5. Ballet of the Chicks in their Shells 6. Samuel Goldenberg and Schmuyle 7. The Market Place at Limoges 8. Catacombs: Sepulcrum romanum— Promenade: Con mortuis in lingua mortua 9. The Hut on Hen’s Legs (Baba-Yaga)— 10. The Great Gate of Kiev This evening’s performance is generously sponsored by Margot and Josef Lakonishok. CSO Tuesday series concerts are sponsored by United Airlines. The Chicago Symphony Orchestra is grateful to WBBM Newsradio 780 and 105.9 FM for their generous support as media sponsors of the Tuesday series. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. COMMENTS by Phillip Huscher Antonín Dvořák Born September 8, 1841; Mühlhausen, Bohemia (now Nelahozeves, Czech Republic) Died May 1, 1904; Prague, Bohemia Husitská Overture, Op. 67 This triumphant music located in the heart of what is today Pilsen, was closed the first concert later established in honor of his visit.) During ever given by the Chicago the exposition, Thomas arranged to send a string Orchestra, on October 16, quartet to the composer’s hotel to read through a 1891.
    [Show full text]
  • A Culture of Recording: Christopher Raeburn and the Decca Record Company
    A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon.
    [Show full text]
  • Festival of Strings 2017 Flier
    Festival of Strings 2017 Five Consecutive days of Concerts and Master Classes with Internationally Recognized Artists and our own SHSU faculty Dylana Jenson (violin), The Solera String Quartet with Josu de Solaun (piano), The Kolonneh String Quartet (SHSU faculty) • Thursday, October 5, Concert Hall, 2:30-5:00 pm Master class with Dylana Jenson • Friday, October 6, Recital Hall 1:00-3:00 pm Master class with Dylana Jenson • Friday, October 6, Concert Hall, 7:30 pm SHSU Symphony Orchestra Concert with guest soloist Daniel Saenz (cello) VENUE CHANGE! • Saturday, October 7, Recital Hall, 7:30 pm University Heights Baptist Church Guest Artist Recital 2400 Sycamore Ave, Huntsville, TX 77340 Dylana Jenson, (violin) with Josu de Solaun (piano) •Sunday, October 8, Recital Hall, 3:30 pm Guest Artist Recital The Solera String Quartet with Josu de Solaun (piano) • Monday, October 9, Recital Hall, 7:30 pm The Kolonneh String Quartet www.shsu.edu/music/events Sam Houston State University Festival of Strings 2017 Guest Artists DYLANA JENSON Dylana Jenson has performed with most major orchestras in the United States and traveled to Europe, Australia, Japan and Latin America for concerts, recitals and recordings. After her triumphant success at the Tchaikovsky Competi- tion, where she became the youngest and first American woman to win the Silver Medal, she made her Carnegie Hall debut playing the Sibelius Concerto with Eugene Ormandy and the Philadelphia Orchestra. Following her most recent Carnegie Hall performance, Jenson again electrified both audience and critics in her per- formance of Karl Goldmark's violin concerto. According to Strad Magazine, "In Jenson's hands, even lyrical passages had an intense, tremulous quality..
    [Show full text]
  • I Urban Opera: Navigating Modernity Through the Oeuvre of Strauss And
    Urban Opera: Navigating Modernity through the Oeuvre of Strauss and Hofmannsthal by Solveig M. Heinz A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Germanic Languages and Literatures) in the University of Michigan 2013 Doctoral Committee: Associate Professor Vanessa H. Agnew, Chair Associate Professor Naomi A. André Associate Professor Andreas Gailus Professor Julia C. Hell i For John ii Acknowledgements Writing this dissertation was an intensive journey. Many people have helped along the way. Vanessa Agnew was the most wonderful Doktormutter a graduate student could have. Her kindness, wit, and support were matched only by her knowledge, resourcefulness, and incisive critique. She took my work seriously, carefully reading and weighing everything I wrote. It was because of this that I knew my work and ideas were in good hands. Thank you Vannessa, for taking me on as a doctoral rookie, for our countless conversations, your smile during Skype sessions, coffee in Berlin, dinners in Ann Arbor, and the encouragement to make choices that felt right. Many thanks to my committee members, Naomi André, Andreas Gailus, and Julia Hell, who supported the decision to work with the challenging field of opera and gave me the necessary tools to succeed. Their open doors, email accounts, good mood, and guiding feedback made this process a joy. Mostly, I thank them for their faith that I would continue to work and explore as I wrote remotely. Not on my committee, but just as important was Hartmut. So many students have written countless praises of this man. I can only concur, he is simply the best.
    [Show full text]
  • THE KOSCIUSZKO FOUNDATION CHOPIN PIANO COMPETITION HISTORICAL OVERVIEW in 1949, to Mark the Centennial of the Death of Fryderyk
    THE KOSCIUSZKO FOUNDATION CHOPIN PIANO COMPETITION HISTORICAL OVERVIEW In 1949, to mark the centennial of the death of Fryderyk Chopin, the Kosciuszko Foundation’s Board of Trustees authorized a National Committee to encourage observance of the anniversary through concerts and programs throughout the United States. Howard Hansen, then Director of the Eastman School of Music, headed this Committee, which included, among others, Claudio Arrau, Vladimir Horowitz, Serge Koussevitzky, Claire Booth Luce, Eugene Ormandy, Artur Rodzinski, George Szell, and Bruno Walter. The Chopin Centennial was inaugurated by Witold Malcuzynski at Carnegie Hall on February 14, 1949. A repeat performance was presented by Malcuzynski eight days later, on Chopin’s birthday, in the Kosciuszko Foundation Gallery. Abram Chasins, composer, pianist, and music director of the New York Times radio stations WQXR and WQWQ, presided at the evening and opened it with the following remarks: In seeking to do justice to the memory of a musical genius, nothing is so eloquent as a presentation of the works through which he enriched our musical heritage. … In his greatest work, Chopin stands alone … Throughout the chaos, the dissonance of the world, Chopin’s music has been for many of us a sanctuary … It is entirely fitting that this event should take place at the Kosciuszko Foundation House. This Foundation is the only institution which we have in America which promotes cultural relations between Poland and America on a non-political basis. It has helped to understand the debt which mankind owes to Poland’s men of genius. At the Chopin evening at the Foundation, two contributions were made.
    [Show full text]