DOCSLIB.ORG

FOR RELEASE: January 22, 2014

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
FOR RELEASE: January 22, 2014 FOR IMMEDIATE RELEASE March 17, 2016 Contact: Katherine E. Johnson (212) 875-5718; [email protected] ALAN GILBERT AND THE NEW YORK PHILHARMONIC MAHLER’s DAS LIED VON DER ERDE Featuring Baritone Thomas Hampson and Tenor Stefan Vinke in His Philharmonic Debut SIBELIUS’s Symphony No. 7 April 20–22, 2016 “Discovering The Song of the Earth” Part of FREE INSIGHTS AT THE ATRIUM April 18, 2016 Alan Gilbert will conduct the New York Philharmonic in Mahler’s Das Lied von der Erde, featuring baritone Thomas Hampson and tenor Stefan Vinke, in his Philharmonic debut, and Sibelius’s Symphony No. 7, Wednesday, April 20, 2016, at 7:30 p.m.; Thursday, April 21 at 7:30 p.m.; and Friday, April 22 at 11:00 a.m. “Thomas Hampson’s interpretation of Mahler is unbelievably distinctive — he has such an affinity for this music,” says Alan Gilbert. “The tenor part is enormous and fiendishly difficult, so we are delighted to have engaged Stefan Vinke, who has the power and agility that Das Lied requires.” Long acclaimed as an interpreter of Mahler’s music, particularly in performances with Philharmonic Laureate Conductor Leonard Bernstein — who called Das Lied von der Erde Mahler’s “greatest symphony” — Thomas Hampson was the first to serve as the New York Philharmonic’s Mary and James G. Wallach Artist-in-Residence, a position Alan Gilbert introduced in the 2009–10 season, his first as Music Director. Mr. Hampson returned for the Orchestra’s EUROPE / SPRING 2011 tour, when he sang Mahler’s Kindertotenlieder, led by Alan Gilbert. “First and foremost, I found Mahler’s music deeply inspiring, and then I started to discover him as a human being,” says Thomas Hampson. “It speaks to the character of this Orchestra that they still refer to themselves after 100 years as Mahler’s Orchestra. It moves me very deeply. Of course, performing anything with the Philharmonic is a thrill and a pleasure and a privilege. It has been a very beautiful relationship.” “Das Lied von der Erde is such profound music,” says Stefan Vinke. “I feel honored that my first approach to New York is with Mahler and his orchestra.” (more) Alan Gilbert / Thomas Hampson / Stefan Vinke / 2 This program is among several in the 2015–16 season to feature works by Gustav Mahler, Philharmonic Music Director from 1909 to 1911. The season also honors the 150th anniversary of Sibelius’s birth. “Sibelius’s music says something very true about all of humanity,” says Music Director Alan Gilbert. “His Seventh Symphony is an amazing piece, in part because of its enigmatic ending — it is difficult to decide whether it is happy or sad, a dilemma that is so true of life.” The New York Philharmonic will present “Discovering The Song of the Earth,” a free Insights at the Atrium event Monday, April 18, 2016, featuring baritone Thomas Hampson as speaker and The Leonard Bernstein Scholar-in-Residence Matthew Mugmon as moderator. The event takes place at the David Rubenstein Atrium at Lincoln Center (Columbus Avenue at 62nd Street) and is co-presented with Lincoln Center for the Performing Arts. Related Events Pre-Concert Insights Author Fred Plotkin will introduce the program. Pre-Concert Insights are $7, and discounts are available for three (3) or more talks. They take place one hour before these performances in the Helen Hull Room, unless otherwise noted. Attendance is limited to 90 people. Information: nyphil.org/preconcert or (212) 875-5656. Insights at the Atrium — “Discovering The Song of the Earth” Thomas Hampson, speaker New York Philharmonic Leonard Bernstein Scholar-in-Residence Matthew Mugmon, moderator Monday, April 18, 2016, 7:30 p.m. David Rubenstein Atrium at Lincoln Center (Columbus Avenue at 62nd Street) Insights at the Atrium events are free and open to the public. Seating is available on a first- come, first-served basis. Subscribers, Friends at the Fellow level and above, and Patrons may secure guaranteed admission by emailing [email protected]. Space is limited. Artists Music Director Alan Gilbert began his New York Philharmonic tenure in 2009, the first native New Yorker in the post. He and the Philharmonic have introduced the positions of The Marie- Josée Kravis Composer-in-Residence, The Mary and James G. Wallach Artist-in-Residence, and Artist-in-Association; CONTACT!, the new-music series; the NY PHIL BIENNIAL, an exploration of today’s music; and the New York Philharmonic Global Academy, partnerships with cultural institutions to offer training of pre-professional musicians, often alongside performance residencies. As The New Yorker wrote, “Gilbert has made an indelible mark on the orchestra’s history and that of the city itself.” Alan Gilbert’s 2015–16 Philharmonic highlights include R. Strauss’s Ein Heldenleben to welcome Concertmaster Frank Huang; Carnegie Hall’s Opening Night Gala; and four World Premieres. He co-curates and conducts in the second NY PHIL BIENNIAL and performs violin in Messiaen’s Quartet for the End of Time. He leads the Orchestra as part of the Shanghai (more) Alan Gilbert / Thomas Hampson / Stefan Vinke / 3 Orchestra Academy and Residency Partnership and appears at Santa Barbara’s Music Academy of the West. Philharmonic-tenure highlights include acclaimed stagings of Ligeti’s Le Grand Macabre, Janáček’s The Cunning Little Vixen, Stephen Sondheim’s Sweeney Todd starring Bryn Terfel and Emma Thompson (for which Mr. Gilbert was nominated for a 2015 Emmy Award for Outstanding Music Direction), and Honegger’s Joan of Arc at the Stake starring Marion Cotillard; 24 World Premieres; The Nielsen Project, a performance and recording cycle; Verdi Requiem and Bach’s B-minor Mass; the score from 2001: A Space Odyssey alongside the film; Mahler’s Resurrection Symphony on the tenth anniversary of 9/11; and nine tours around the world. In August 2015 he led the Mahler Chamber Orchestra in the U.S. Stage Premiere of George Benjamin’s Written on Skin, co-presented as part of the Lincoln Center–New York Philharmonic Opera Initiative. Conductor laureate of the Royal Stockholm Philharmonic Orchestra and former principal guest conductor of Hamburg’s NDR Symphony Orchestra, Alan Gilbert regularly conducts leading orchestras around the world. This season Mr. Gilbert makes debuts with four great European orchestras — Filarmonica della Scala, Dresden Staatskapelle, London Symphony, and Academy of St Martin in the Fields — and returns to The Cleveland Orchestra and Tokyo Metropolitan Symphony Orchestra. He made his acclaimed Metropolitan Opera debut conducting John Adams’s Doctor Atomic in 2008, the DVD of which received a Grammy Award. Renée Fleming’s recent Decca recording Poèmes, on which he conducted, received a 2013 Grammy Award. His recordings have received top honors from the Chicago Tribune and Gramophone magazine. Mr. Gilbert is Director of Conducting and Orchestral Studies at The Juilliard School, where he holds the William Schuman Chair in Musical Studies. His honors include an Honorary Doctor of Music degree from The Curtis Institute of Music (2010), Columbia University’s Ditson Conductor’s Award for his “exceptional commitment to the performance of works by American composers and to contemporary music” (2011), election to The American Academy of Arts & Sciences (2014), a Foreign Policy Association Medal for his commitment to cultural diplomacy (2015), and being named Officier de l’Ordre des Arts et des Lettres. Baritone Thomas Hampson hails from Spokane, Washington. He combined the role of The Leonard Bernstein Scholar-in-Residence with that of The Mary and James G. Wallach Artist-in- Residence at the New York Philharmonic in the 2009–10 season. He has received many honors and awards for his probing artistry and cultural leadership. His discography, which comprises more than 150 albums, includes Grammy Award winners, five Edison Awards, and the Grand Prix du Disque. He received the 2009 Distinguished Artistic Leadership Award from the Atlantic Council in Washington, D.C. In 2010 he received a Living Legend Award by the Library of Congress, where he holds the title of Special Advisor to the Study and Performance of Music in America. Mr. Hampson was made honorary professor at the faculty of philosophy of the University of Heidelberg; holds honorary doctorates from the Manhattan School of Music, New England Conservatory, Whitworth College, and San Francisco Conservatory; and is an honorary member of London’s Royal Academy of Music. He carries the titles of Kammersänger of the Vienna Staatsoper and Commandeur dans l’Ordre des Arts et des Lettres of the Republic of France, and was awarded the Austrian Medal of Honor in Arts and Sciences. Thomas Hampson enjoys a singular international career as an opera singer, recording artist, and “ambassador of song,” maintaining an active interest in research, education, musical outreach, and technology. (more) Alan Gilbert / Thomas Hampson / Stefan Vinke / 4 Recently inducted into the American Academy of Arts and Sciences, Mr. Hampson has won worldwide recognition for thoughtfully researched and creatively constructed programs as well as recordings that explore the rich repertoire of song in a wide range of styles, languages, and periods. Through the Hampsong Foundation, which he founded in 2003, he employs the art of song to promote intercultural dialogue and understanding. Thomas Hampson began his relationship with the New York Philharmonic in November 2009 as part of the Leonard Bernstein memorial concert at Carnegie Hall; he most recently traveled with the Orchestra during the EUROPE / SPRING 2011 tour. German tenor Stefan Vinke completed his master’s at the Music Academy of Cologne. From 1999 to 2005 he regularly appeared at Mannheim’s National Theater in heroic tenor roles including Tristan, Parsifal, Logengrin, and Siegmund in Wagner’s Tristan und Isolde, Parsifal, Lohengrin, and Die Walküre, and Florestan in Beethoven’s Fidelio; his other roles there included Mozart’s Idomeneo, Don José in Bizet’s Carmen, and Hoffmann in Offenbach’s The Tales of Hoffmann.
Load more

Recommended publications
  • CATALOGUE WELCOME to NAXOS JAZZ LEGENDS and NAXOS NOSTALGIA, Twin Compendiums Presenting the Best in Vintage Popular Music
    NAXOS JAZZ LEGENDS/NOSTALGIA CATALOGUE WELCOME TO NAXOS JAZZ LEGENDS AND NAXOS NOSTALGIA, twin compendiums presenting the best in vintage popular music. Following in the footsteps of Naxos Historical, with its wealth of classical recordings from the golden age of the gramophone, these two upbeat labels put the stars of yesteryear back into the spotlight through glorious new restorations that capture their true essence as never before. NAXOS JAZZ LEGENDS documents the most vibrant period in the history of jazz, from the swinging ’20s to the innovative ’40s. Boasting a formidable roster of artists who forever changed the face of jazz, Naxos Jazz Legends focuses on the true giants of jazz, from the fathers of the early styles, to the queens of jazz vocalists and the great innovators of the 1940s and 1950s. NAXOS NOSTALGIA presents a similarly stunning line-up of all-time greats from the golden age of popular entertainment. Featuring the biggest stars of stage and screen performing some of the best- loved hits from the first half of the 20th century, this is a real treasure trove for fans to explore. RESTORING THE STARS OF THE PAST TO THEIR FORMER GLORY, by transforming old 78 rpm recordings into bright-sounding CDs, is an intricate task performed for Naxos by leading specialist producer-engineers using state-of-the-art-equipment. With vast personal collections at their disposal, as well as access to private and institutional libraries, they ensure that only the best available resources are used. The records are first cleaned using special equipment, carefully centred on a heavy-duty turntable, checked for the correct playing speed (often not 78 rpm), then played with the appropriate size of precision stylus.
    [Show full text]
  • Vicent Alberola Cv
    VICENT ALBEROLA CLARINET PROFESSOR Academic record His studies were done with Walter Boeykens at the Royal Conservatory of Antwerp, Belgium, and at the same time with George Pieterson (Royal Concertgebouw Orchestra) and Larry Combs (Chicago Symphony Orchestra). Professional experience Founder of the Alberola MMCV Valencia, Professor at the ESMAR Higher Music Degree School and guest conductor at the Perm Opera, Russia. At the same time, he is also the first clarinet of the Mahler Chamber Orchestra, World Orchestra for Peace (WOP) and Les Dissonances de Paris. Alberola was for more than 20 years the first clarinet of the Madrid Opera and the Galician Symphony. During the last decade he has been the first guest clarinet with the Vicent Alberola Royal Concertgebow Orchestra, New York Philarmonic Orchestra, Lucerne Festival Orchestra, Mahler Chamber Orchestra, Orchester Les He studied with Walter Boeykens at the Royal Conservatory of Antwerp, Dissonances and the MMCK Tokyo Orchestra, groups with which he has Belgium, and with George Pieterson had the opportunity to perform the great repertoire. symphonic under and Larry Combs. the baton of teachers such as Claudio Abbado, Mariss Jansons, Valery Gergiev, Riccardo Muti, Daniele Gatti, Daniel Harding, Andris Nelsons, He has played with orchestras such as Royal Concertgebow Orchestra, Gustavo Dudamel, Alan Gilbert and Nicola Luisotti, among others. New York Philarmonic Orchestra, Lucerne Festival Orchestra, Mahler In 2003 he was appointed conductor of the Young Orchestra of the Chamber Orchestra, Orchester Les Madrid Opera and in 2007 conductor of the Young Orchestra of Soria. Dissonances and the MMCK Tokyo Vicent Alberola has directed the following operas at the Teatro Real de Orchestra.
    [Show full text]
  • THE BALLET Corps De Ballet of Metropolitan, Chicago and San Francisco Draw up Schedules of Minimum Pay and Conditions of Employment
    A~MA Official Organ of the AMERICAN GUILD OF MUSICAL ARTISTS, INC. 576 Fifth Avenue, New York, N. Y. Telephone: LOngacre 3-6223 Branch of the ASSOCIATED ACTORS AND ARTISTES OF AMERICA FEBRUARY~APRIL, 1939 VOLUME IV, Nos. 2, 3, 4 Representatives HolJywood Office: San Francisco: Chicago; ERNEST CHARLBS, Asst. Exec. Seq. VIC CONNORS-THBODOlUl HALE LEO CURLEY 6331 HollyWood Boulevard 220 Bush Street 162 East Ohio Street Officers: Board of Governors: ',LAWltBNCl!• TIBBETT • • ZLATKO BALOKOVIC ERNST LERT ': President WALTER DAMlt9sCH RUTH BRETON LAURITZ MELCHIOR RUDOLPH .GANZ JASCHA HEI~~ FlIANK CHAPMAN JAMES MELTON '1st Vice.PresMent RICHARD CROOKS EzlO PINZA HOWARD HANSON RICHARD BO'Nl'lLU MISCHA ELMAN ERNEST HUTCHESON 2nd Vi&e.~Jitlenl EVA GAUTHIER SERGE KOUSSllVIT?..KY' MARG CHARLES HACKETT Jrd esitli:nJ LEHMANN EDWARD HARRIs FlIAN" .SHERIDAN, ELISABtrR H()llPF'm ;;JOHN MCCORMACK 4th' Tliie"President JULIUS 'HUEHN DANIBL HARRIS EDWIN HUGHES Jth Vice·President JOS!; ITUIlDI Q MARro Fl!.EDERICK JAGBL MAlUIK WINDHBD( r ding Secretary EFlUIM ZrMBALIST PlIAnt( LA FoRGE TrealNl'er • LEO PtsCHBR Edited by L. T. CARR ExecNtitle Secretary Editorial Advisory Committee: .Hll'NlI!t JAl'l'E EDWARD HAl!.l!.IS, Chairman ~, CfIfI1Htil RICHARD BONELLI LEO PlSCHlIR GUILD • • • N THIS issue is reported the signing of agreements be­ I tween AGMA and NBC Artists Service and Columbia authority of an Artists' union in regula Concerts Corporation, the two largest managers of musical and the policies pursued in the concert a~ts in this country. The contracts are the full and final has implications of the grave~t importance, 'not ft)1~fthe symbol of the new order which began in American musical artists directly m~naged by the .~;chains, but £ot~al1milsicaf Hfe with the formation of AGMA and the beginning of its artists.
    [Show full text]
  • March 1936) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 3-1-1936 Volume 54, Number 03 (March 1936) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 54, Number 03 (March 1936)." , (1936). https://digitalcommons.gardner-webb.edu/etude/842 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. 'IPJg ETUDE <JXCagazine WHAT DOES IT TAKE TO MAKE A SINGER?" by Richard Crooks /Jte a &fieturte Toveas) rrvuAic NEW DITSON PUBLICATION MORRISON ORCHESTRAL UNIONS By DON MORRISON A Musical Revue A system of Relay Solos for train¬ By GERTRUDE VAN AKIN ™.TH ^ ^ ing young orchestras Interesting Invaluable for Vocal Score and Dialog"® direction8 and dance steps, may be had Instructive Exhibitions STAGE GUIDE, with ful^ d"e month or fraction thereof. Practical on a rental h™^™JZs,ed popular music and forms of This musical reYu^ °f ^gt jg unique among materials for school or Planned equally lor all i™1™" •„ Illustrates vividly variety * «lg*“,on entertainment of the P h n„e from the usual operetta, offers Builds intonation and tone quai ty Follows any first-year instrumental class •“inUto°o”aoS»^-y *»<! ■-■> ”*y b,! ,,erI<>rmtd "‘k method anv number of players.___ book one 1.
    [Show full text]
  • Richard and Mildred Crooks Collection
    http://oac.cdlib.org/findaid/ark:/13030/kt3z09q52j No online items Guide to the Richard and Mildred Crooks Collection Andrea Castillo and Nancy Lorimer Stanford Archive of Recorded Sound Stanford University Libraries Braun Music Center 541 Lasuen Mall Stanford, CA 94305-3076 Phone: (650) 723-9312 Fax: (650) 725-1145 Email: [email protected] URL: http://www-sul.stanford.edu/depts/ars/ #169; 2006 The Board of Trustees of the Leland Stanford Junior University. All rights reserved. Guide to the Richard and Mildred ARS-0004 1 Crooks Collection Guide to the Richard and Mildred Crooks Collection Collection number: ARS-0004 Stanford Archive of Recorded Sound Stanford University Libraries Stanford, California Processed by: Andrea Castillo and Nancy Lorimer Date Completed: May 2006 Encoded by: Ray Heigemeir #169; 2006 The Board of Trustees of the Leland Stanford Junior University. All rights reserved. Descriptive Summary Title: Richard and Mildred Crooks Collection Dates: 1913-1984 Collection number: ARS-0004 Creator: Richard and Mildred Crooks Collection Size: 9 linear ft. Repository: Stanford Archive of Recorded Sound Stanford University Libraries Stanford, California 94305-3076 Abstract: Materials documenting virtually every stage of Crooks career. Languages: Languages represented in the collection: English Access Collection is open for research. Listening appointments may require 24 hours notice. Contact the Archive Operations Manager. Publication Rights Property rights reside with repository. Publication and reproduction rights reside with the creators or their heirs. To obtain permission to publish or reproduce, please contact the Head Librarian of the Archive of Recorded Sound. Preferred Citation RIchard and Mildred Crooks Collection, ARS-0004. Courtesy of the Stanford Archive of Recorded Sound, Stanford University Libraries, Stanford, Calif.
    [Show full text]
  • Violin Concertos Orchestra Mozart Isabelle Faust Claudio Abbado Franz Liszt Violin Concertos
    BERG • BEETHOVEN VIOLIN CONCERTOS ORCHESTRA MOZART ISABELLE FAUST CLAUDIO ABBADO FRANZ LISZT VIOLIN CONCERTOS ALBAN BERG (1885-1935) Violin Concerto ‘To the Memory of an Angel’ “À la mémoire d’un ange” / “Dem Andenken eines Engels” 1 | I. Andante - Allegretto 11’51 2 | II. Allegro - Adagio 16’07 LUDWIG VAN BEETHOVEN (1770-1827) Violin Concerto in D major op.61 Ré majeur / D-Dur 3 | I. Allegro ma non troppo - Adagio 22’55 4 | II. Larghetto 9’21 5 | III. Rondo allegro 8’34 Isabelle Faust, violin Orchestra Mozart Claudio Abbado Orchestra Mozart Flutes Chiara Tonelli, Mattia Petrilli Oboes Lucas Macias Navarro, Miriam Olga Pastor Burgos Clarinets Giammarco Casani, Maria Francesca Latella (Berg: bass clarinet) Erik Masera*, Manuela Vettori*” Alto saxophone* Alda Dalle Lucche Bassoons Guilhaume Santana, Zeynep Koyuoglu Contrabassoon Klaus Lohrer* Horns Alessio Allegrini, Giuseppe Russo, José Castello, Geremia Iezzi Trumpets Alexander Kirn, Jakob Gollien Trombones* Andrea Conti, Federico Gerato, Martin Schippers Tuba* Alessandro Fossi Timpani Robert Kendell Percussion* Giovanni Franco, Gabriele Lattuada Harp* Nabila Chajai Violins 1 Raphael Christ, Lorenza Borrani, Yunna Shevchenko, Henja Semmler Francesco Senese, Manuel Kastl, Giacomo Tesini, Tilman Büning Claudia Schmidt, Timoti Fregni, Andrea Mascetti, Gabrielle Shek Lavinia Morelli, Tim Summers Violins 2 Etienne Abelin, Gisella Curtolo, Michal Duris, Paolo Lambardi Nicola Bignami, Gian Maria Lodigiani, Jo Marie Sison, Federica Vignoni Jana Kuhlmann, Massimiliano Canneto, Gunilla Kerrich,
    [Show full text]
  • London's Symphony Orchestra
    London Symphony Orchestra Living Music Tuesday 2 June 2015 7.30pm Barbican Hall LSO INTERNATIONAL VIOLIN FESTIVAL JANINE JANSEN Edward Rushton I nearly went, there (UK premiere) Mendelssohn Violin Concerto SundayINTERVAL 21 September 2014 7.30pm BarbicanMahler Symphony Hall No 5 London’s Symphony Orchestra MAKEDaniel HardingUP A TITLE conductor HERE Janine Jansen violin Composer Work ComposerConcert finishes Work approx 10pm Composer Work The LSO International Violin Festival is Namegenerously conductor supported by Jonathan Moulds CBE Name soloist Concert finishes approx ?.??pm International Violin Festival Media Partner 2 Welcome 2 June 2015 Welcome Living Music Kathryn McDowell In Brief Tonight we are delighted to welcome back the PANUFNIK COMPOSERS WORKSHOP 2015 LSO’s Principal Guest Conductor Daniel Harding, following a tour of Germany and Switzerland with Witness the fascinating process of putting together the Orchestra. This evening’s concert begins with and rehearsing a new orchestral piece as the LSO the UK premiere of a new work, I nearly went, there, works with six of the UK’s most promising emerging by British composer Edward Rushton, who first composers, under the guidance of Colin Matthews wrote for the LSO in 2008 when his piece Everything and conductor François-Xavier Roth. The workshops Goes So Fast, which Daniel Harding also conducted, take place on Friday 5 June at LSO St Luke’s. The was commissioned as part of the UBS Soundscapes: composers taking part are Michael Cryne, Michael Pioneers scheme. Cutting, Vitalija Glovackyte˙, Alex Roth, Jack Sheen and Michael Taplin. Tickets are free; to reserve your Our soloist is violin virtuoso Janine Jansen, a great place, phone the Box Office on 020 7638 8891.
    [Show full text]
  • Carmel Music Society
    Musical Excellence Since 1927 carmel music society PERFORMANCE HISTORY 1927-2013 with support from the Monterey County Board of Supervisors Carmel Music Society Post Office Box 22783 Carmel, California 93922 831-625-9938 831-625-6823 FAX www.carmelmusic.org [email protected] printed on recycled paper 2008-09 2011-12 The Romeros Guitar Quartet Nobuyuki Tsujii, Pianist Adaskin Trio & Gryphon Trio Carmel Music Society Tom Gallant, Oboist Astrid Schween, Cellist & Board of Directors Takâcs Quartet Gary Hammond, Pianist Hans Boepple, Pianist Frederica von Stade, Mezzo-Soprano & Voices of London Kristin Pankonin, Pianist Anne Thorp, President Bennewitz String Quartet Israeli Chamber Project Victoria Davis, First Vice President Triple Helix & Garrick Ohlsson, Pianist Rudolf Schroeter, Second Vice President Paul Hersh, Violist Nadja Salerno-Sonnenberg, Violinist & Yefim Bronfman, Pianist Anne-Marie McDermott, Pianist Larry Davidson, Third Vice President Dana Booher, Saxophonist* Pavel Haas Quartet Peter Thorp, Treasurer Jae-in Shin, Violinist* Greta Alexander, Secretary 2009-10 Academy of Saint Martin in the Fields Chamber Ensemble Tim Brown Kate Kluetmeier Alexander Quartet & Eli Eban, Clarinetist Doris Cobb Jim Rotter Susan Graham, Beverly Dekker-Davidson Barbara Ruzicka Mezzo-Soprano & Erik Dyar Kumi Uyeda Malcolm Martineau, Pianist Menachem Pressler, Pianist & American String Quartet Gustavo Romero, Pianist Advisors Albers String Trio David Gordon, Renée Bronson Timothy Fain, Violinist & Cory Smythe, Pianist Bert Ihlenfeld, Ginna
    [Show full text]
  • Mahler's Wunderhorn World of Sound
    Mahler’s Wunderhorn World of Sound Mahler set fourteen poems from Des Knaben Wunderhorn for voice and orchestra over a period of almost ten years, composing them both simultaneously with his symphonies and also during breaks in his work on those symphonies. In doing so, he demonstrated his predilection for certain literary forms, while at the same time breathing life into a musical genre that had previously been relatively uncommon: the balladic and humorous song for voice and orchestra. Mahler discovered the linguistic basis of his vocal works at a very early date in his life, drawing his inspiration from a source that he claimed had become available to him in book form only after he had written his own words for his Lieder eines fahrenden Gesellen. The book in question was the three-volume collection of “folk songs” that the two Romantic poets Achim von Arnim and Clemens Brentano published between 1805 and 1808 and that enjoyed widespread popularity in the 19th century. At this date, then, Mahler drew exclusively on “old German” literature when casting round for poems to set to music. (“Old German Songs” is Des Knaben Wunderhorn’s original subtitle.) Mahler’s interventionist approach to the words he set went far beyond anything we normally understand by the term “word-setting” for he regularly rewrote not only individual phrases but even entire passages and verses, often replacing them with words or lines of his own. “These are blocks of rock from which each of us may form something uniquely his own,” he is said to have justified a procedure that sometimes extends to the point where it becomes a montage technique.
    [Show full text]
  • MAHLER LORIN MAAZEL P2013 Philharmonia Orchestra C2013 Signum Records SYMPHONY NO
    CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer YELLOW Catalogue No. BLACK Job Title Page Nos. Recorded at Southbank Centre’s Royal Festival Hall, London, 17 April 2011 Producer – Misha Donat Engineer – Jonathan Stokes, Classic Sound Ltd Design – With Relish (for the Philharmonia Orchestra) and Darren Rumney Cover image CLebrecht Music & Arts MAHLER LORIN MAAZEL P2013 Philharmonia Orchestra C2013 Signum Records SYMPHONY NO. 2, RESURRECTION 24 1 291.0mm x 169.5mm CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer YELLOW Catalogue No. BLACK Job Title Page Nos. “On Mahler” Mahler’s earlier symphonies frequently draw GUSTAV MAHLER on the world of his Wunderhorn songs – A century after his death, Mahler’s music settings of simple folk poems about birds and SYMPHONY NO. 2, RESURRECTION resonates more powerfully than ever. Its animals, saints and sinners, soldiers and their unique mix of passionate intensity and lovers. But this apparently naive, even childlike CD1 terrifying self-doubt seems to speak directly to tone is found alongside vast musical our age. One moment visionary, the next 1 I. Allegro maestoso 25.13 canvasses that depict the end of the world. In despairing, this is music that sweeps us up in quieter, more intimate movements, Mahler CD2 its powerful current and draws us along in its seems to speak intimately and directly to the 1 II. Andante moderato. Sehr gemächlich 11.25 drama. We feel its moments of ecstatic rapture listener, but the big outer movements are 2 III. Scherzo. In ruhig fliessender Bewegung 12.14 and catastrophic loss as if they were our own.
    [Show full text]
  • Mahler Chamber Orchestra Sir George Benjamin
    MAHLER CHAMBER ORCHESTRA SIR GEORGE BENJAMIN 7. SEPTEMBER 2020 ELBPHILHARMONIE GROSSER SAAL Montag, 7. September 2020 | 18:30 & 21 Uhr | Elbphilharmonie Großer Saal Elbphilharmonie Abo 1 | 1. Konzert MAHLER CHAMBER ORCHESTRA PIERRE-LAURENT AIMARD KLAVIER DIRIGENT SIR GEORGE BENJAMIN Leoš Janáček (1854–1928) Concertino für Klavier, zwei Violinen, Viola, Klarinette, Horn und Fagott (1925) Moderato Piu mosso Con moto Allegro ca. 20 Min. George Benjamin (*1960) Duet für Klavier und Orchester (2008) ca. 10 Min. Maurice Ravel (1875–1937) Ma mère l’oye / Ballettmusik (1911) Prélude Danse du rouet et scène (Tanz des Spinnrads und Szene) Pavane de la belle au bois dormant (Pavane der Schönen im schlafenden Wald) Les entretiens de la belle et de la bête (Die Schöne und das Biest) Petit poucet (Der kleine Däumling) Laideronnette, impératrice des pagodes (Laideronnette, Kaiserin der Pagoden) Le jardin féerique (Der Feengarten) ca. 30 Min. WILLKOMMEN Mit seiner unprätentiösen Art und Musik von »schimmernder Schönheit« (The Guardian) nahm Sir George Benjamin das Hamburger Publikum schon in der Saison 2018/19 für sich ein. Nun kehrt der hochdekorierte Komponist und Dirigent als einer der Ersten nach der Corona-Zwangspause zurück an die Elbe. Begleitet wird er vom fulmi- nanten Mahler Chamber Orchestra, ausgewiese- nen Kennern seiner Musik, und dem Pianisten, Neue-Musik-Spezialisten und geschätzten Freund Pierre-Laurent Aimard. Ebenso delikat wie die Besetzung ist das neu zusammengestellte Programm: Ravel schrieb seine märchenhafte Suite »Ma mère l’oye« für Kinderohren; aus Janáčeks Concertino tönen Igel, Eichhörnchen und Eule. Und Benjamins »Duet« wandelt durch karge, verschlungene Klangland- schaften. DIE MUSIK KLEINE ZOOLOGIE Leoš Janáček: Concertino Die Domäne des großen Opernkomponisten Leoš Janáček waren Menschen, die stets existenziell und seelisch am Sir George Benjamin Abgrund balancieren.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 128, 2008-2009
    Music Director James Levine | Conductor Emeritus Bernard Haitink | Music Director Laureate Seiji Ozawa | SYAAP ] O R C H E STf R 2008-2009 SEASON I VHMB WfBSfSBe^m mum E3K MSgfc'tixsm IK HEP the Clarendon BACK BAY 3K The Way to Live i|!l . mi '' I II !l I II, :1 » !«! ? i nr k Ct isi. ' IB i w: i Hi- ' l !! ; a |* »f '«^ ^.. it a*H J MP IMS a £#.l W; PJMJ » 1 :,]„,, ii 3lj.W • ii «'• '.,'? ir ill!! 1 iiiP !IP* !Iii 1 il mil :'il . n; : if in ~ r ;f>«w mi i v m F1&& n=:2 RENDERING BY NEOSCAPE INTRODUCING FIVE STAR LIVING™ WITH UNPRECEDENTED SERVICES AND AMENITIES DESIGNED BY ROBERT A.M. STERN ARCHITECTS, LLP ONE TO FOUR BEDROOM LUXURY CONDOMINIUM RESIDENCES STARTING ON THE 15TH FL0( CORNER OF CLARENDON AND STUART STREETS THE CLARENDON SALES AND DESIGN GALLERY, 14 NEWBURY STREET, BOSTON. MA 617.267.4001 www.theclarendonbackbay.com BRELATED DC/\LcOMPAN REGISTERED WITH THE U.S. GREEN BUILDING COUNCIL WITH ANTICIPATED LEED SILVER CERTIFICATION The artist's rendering shown may not be representative of the building. The features described and depicted herein are based upon current development plans, whic subject to change without notice. No guarantee is made that said features will be built, or, if built, will be of the same type, size, or nature as depicted or described. No Fe agency has judged the merits or value, if any, of this property. This is not an offer where registration is reguired prior to any offer being made. Void where prohibits Table of Contents | Week 24 15 BSO NEWS 23 ON DISPLAY IN SYMPHONY HALL 25 BSO MUSIC DIRECTOR JAMES LEVINE 28 THE BOSTON SYMPHONY ORCHESTRA 33 THIS WEEK'S PROGRAM Notes on the Program 35 Ludwig van Beethoven 47 Gustav Mahler 63 To Read and Hear More.
    [Show full text]