Toutes Les Partitions De Musique Sont Chez Diam
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Contact Us at 615.687.6494 Or [email protected] the Power of Corporate Partnerships
NASHVILLE SYMPHONY INSPIRE. ENTERTAIN. EDUCATE. 3 OUR VISION FOR NASHVILLE SYMPHONY | SCHERMERHORN SYMPHONY CENTER THE NASHVILLE SYMPHONY INSPIRES, ENTERTAINS AND EDUCATES THE FUTURE THROUGH EXCELLENCE IN MUSICAL PERFORMANCE. Dear Friends: Our community is in the midst of a transformative period, and so is the Nashville Symphony. Building on our six-decade history of performing exciting and soul-stirring music, we continue to grow and innovate, and we 2018 Highlights, By the Numbers: remain devoted to making music accessible for everyone in our community. Finding new and vibrant ways to connect with listeners of all ages, backgrounds and life experiences. Celebrating American music. Driving creative partnerships and projects. These are the strategic initiatives that propel us forward. 137 ticketed concerts at Schermerhorn Symphony Center This work, accomplished daily by 83 world-class musicians, along with the Symphony’s administrative staff, volunteers and board, helps to cement our purpose as a community-focused organization. 4 ticketed concerts at Ascend Amphitheater This brochure shares some information about who we are and what we do – groundbreaking artistic projects, million in ticket sales internationally distributed recordings, impactful education programs and community engagement initiatives. $10.7 But equally important is why we do this work: tickets sold To create an orchestra that reflects the richness of the community we serve. 193,252 To share beauty and inspire joy. To create meaningful experiences for families, friends and neighbors. 27 83 To cultivate the next generation of artists, educators and leaders. FREE CONCERTS FULL-TIME MUSICIANS featuring the orchestra Because music matters. We are reimagining what it means to be an orchestra in the 21st century. -
New Music for Orchestra
Michel van der Aa (*1970) Johannes Boris Borowski (*1979) Reversal (2016) 11’ Stretta (2016–17) 23’ Releases 2016–18 for orchestra for piano and orchestra WP: 13 Jan 2017 Staatsoper, Hamburg WP: 15 Nov 2017 Philharmonie, Berlin Andrey Kaydanowskiy, choreographer / Daniel Barenboim, piano / Staatskapelle Berlin / Bundesjugendballett / Bundesjugendorchester / Zubin Mehta Alexander Shelley for piano and orchestra 1.1.2(II=bcl).2(II=dbn)—4.2.2.btrbn.0—perc(2):vib/glsp/ 2.2.2.2.dbn—4.2.2.1—timp.perc(3):marimba/vib/glsp/t.bells/ marimba/BD/SD/maracas/bongo/tgl/bamboo chimes/glass SD/BD/4tom-t/2bongo/2Conga/tamb/2lion’s roar/2splash cym/ chimes/BD/log dr/cyms/whip/church bell or t.bells—harp— 2crash cym/2ride cym/3Chin.cym/tam-t/5opera gong/rainmaker/ strings(16.14.12.10.8) whip(lg)/2ratchet/wind machine/mark tree/wood chimes—harp— strings(10.8.6.6.3; alternatively 6db) John Adams (*1947) Walter Braunfels (1882–1954) Lola Montez Tag- und Nachtstücke (1933–34) 30’ Does the Spider Dance (2016) 4’ for piano and orchestra from ‘Girls of the Golden West’ WP: 13 Jul 2017 Ruhrfestspielhaus, Recklinghausen for orchestra Michael Korstick, piano / Neue Philharmonie WP: 06 Aug 2016 Civic Auditorium, Santa Cruz, CA Westfalen / Peter Ruzicka Cabrillo Festival of Contemporary Music / Marin Alsop 2(I,II=picc).2.2.2(II=dbn)—4.2.2.1—timp.perc(1):tamb/tgl/xyl/SD/ 3(III=picc).2.corA.2.bcl.2.dbn—4.3.3.0—perc(1):BD—pft—strings glsp/cyms—harp—strings (*1939) Louis Andriessen Enrico Chapela (*1974) Agamemnon (2017) 20’ Antikythera (2016) 10’ RCHESTRA for orchestra -
2014Generation
GENERATION 20 ANS YEARS 1994-2014 53 compositeurs 55 concerts 8 tournées canadiennes 75 ateliers de composition 1994-2014 117 lectures d’œuvres YEARS Bravo à l’ECM+ pour son projet Génération ANS fièrement soutenu par la Fondation SOCAN. 20 ON TI A ER ENERATION N E 53 composers G ANS YEARS 55 concerts ❘ 8 Canadian tours 1994 - 20 2014 75 composition workshops 117 new work readings Congratulations to ECM+ for its Generation project proudly supported by the SOCAN Foundation. ISBN 978-2-9814904-0-7G29.95 $ Ensemble contemporain de Montréal (ECM+) Directrice artistique/ Artistic Director : Véronique Lacroix Directrice générale/ General Director : Natalie Watanabe Coordonnatrice/ Coordinator : Anne-Laure Colombani Adjointe à la direction/ Assistant Director : Maude Gareau Adjoint aux communications/ Communications Assistant : Symon Henry ENERATION Graphisme et mise en page/ Graphic design and layout : Louise Durocher Traduction/ Translation : Geneviève Cloutier, Marc Hyland, Keren Penney Révision/ Revision : Martine Chiasson, Keren Penney ANS ❘ YEARS 1994 - 20 2014 ISBN 978-2-9814904-0-7 Dépôt légal, quatrième trimestre 2014 Imprimé au Canada ECM+ © 2014 3890, rue Clark Montréal (Québec) H2W 1W6 Tél. : (514) 524-0173 Fax : (514) 524-0179 www.ecm.qc.ca G Ensemble contemporain de Montréal (ECM+) Directrice artistique/ Artistic Director : Véronique Lacroix Directrice générale/ General Director : Natalie Watanabe Coordonnatrice/ Coordinator : Anne-Laure Colombani Adjointe à la direction/ Assistant Director : Maude Gareau Adjoint aux communications/ Communications Assistant : Symon Henry ENERATION Graphisme et mise en page/ Graphic design and layout : Louise Durocher Traduction/ Translation : Geneviève Cloutier, Marc Hyland, Keren Penney Révision/ Revision : Martine Chiasson, Keren Penney ANS ❘ YEARS 1994 - 20 2014 ISBN 978-2-9814904-0-7 Dépôt légal, quatrième trimestre 2014 Imprimé au Canada ECM+ © 2014 3890, rue Clark Montréal (Québec) H2W 1W6 Tél. -
Offenbach a Publishing Success Story the Offenbach Edition Keck, with Quality Performance Materials and Rediscovered Works, Spearheaded the Composer’S Bicentenary
February 2020 Offenbach a publishing success story The Offenbach Edition Keck, with quality performance materials and rediscovered works, spearheaded the composer’s bicentenary. With over 600 performances utilising its editions in of audiences. And the OEK goes far beyond the 2019, the Offenbach Edition Keck enjoyed a high stage, with rediscovered concert works and profile in the composer’s bicentenary celebrations, educational publications. from Salzburg, Vienna and Cologne to Lyon and London. The collaboration between Boosey & Hawkes and leading Offenbach scholar Jean- Christophe Keck has been a game-changer for Offenbach’s music over the past two decades and a major publishing success story. Surprisingly, even familiar Offenbach works lacked full scores and authoritative performing materials, Photo: Salzburg Festival/Monika Rittershaus now provided by the OEK for such favourites as Orpheus in the Underworld, La Grande-Duchesse de Gérolstein and La Vie parisienne. Opera companies, conductors such as Marc Minkowski and Mark Elder, and directors including Laurent Pelly and Barrie Kosky have endorsed the edition, making it a focal point for Offenbach on stage: 2019 saw the OEK Orpheus in the Underworld reach its landmark 1000th performance. With ardent scholarship and expert sleuthing Photo: Theater fur Niedersachsen/Jochen Quast Jean-Christophe Keck has put a series of major The Princess of Trebizond Offenbach stageworks back on the map. Theater Baden-Baden (2015) From the Romantic opera Les Fées du Rhin Theater für Niedersachsen (2019) -
Report Spring 2017 Scott S
CBDNA REPORT SPRING 2017 SCOTT S. HANNA Editor REPORT SPRING 2017 IN THIS ISSUE From the Podium – 1 Commissions and Premieres - 2 News – 2 Programs – 4 FROM THE PODIUM Dear Colleagues, wider dissemination of our collective research activities, and finally, pointing the way forward to begin important As I write this first official communication to the collaborative efforts with other like-minded organizations membership as CBDNA President, my mind is still in the areas of professional leadership, service, and reeling at the memory of the incredible spectacle of a engagement. If I am feeling the uneasy sensation that I National Conference that we were treated to via the have very big shoes to fill, it is certainly understandable. many courtesies of Steven Davis, Joseph Parisi, and the Thanks Pat, from ALL of us! talents and seemingly inexhaustible energy and engagement of the students, administration, and Thanks also to the surprisingly large number of our technical support staff from the University of Missouri – CBDNA colleagues who have offered with such Kansas City Conservatory of Music and Dance. In my generosity and sincere motivations to serve our 30+ years of CBDNA membership, I have not seen or organization as committee members in this coming heard anything quite like the experience we all were biennium! I am so impressed with the enthusiasm, privileged to share. We owe these folks (and all our passion, and commitment from these folks, who talented colleagues and guests who conducted their represent a very wide and admirably diverse range of marvelous ensembles, spoke about the music they had ages, institutional program profiles and experiences, composed or analyzed, or served as presenters and genders, and ethnicities. -
Andriessen 80Th Birthday Celebrations
February 2019 Andriessen 80th birthday celebrations Events honouring Dutch master Louis Andriessen’s 80th include performances of his new orchestral work Agamemnon and a concert series at Amsterdam’s Muziekgebouw. “Not only the leading Dutch composer of our Andriessen’s 80th birthday year opened with the time, but one of the most important figures in first European performances ofAgamemnon , a European music in the last half century, whose rare foray into the orchestral sphere, with Marin influence has spread far beyond that of his own Alsop conducting the London Philharmonic works.” So The Guardian summed up Louis Orchestra and JoAnn Falletta the Netherlands Andriessen, whose 80th birthday on 6 June Radio Philharmonic Orchestra in the is celebrated throughout 2019. ZaterdagMatinee series at Amsterdam’s Concertgebouw. Described by the New York Times as a “frenetically inventive tone poem”, the “…brilliant and deep, 20-minute work was premiered last October within Andriessen’s music the New York Philharmonic’s Art of Andriessen compels from start to series, conducted by Jaap van Zweden. finish…” Los Angeles Times “…a compelling performance of an ambitious premiere… The lavishly orchestrated score abounds in raucous, militaristic fanfares; eerie high-pitched chords and Harnessing the propulsive energy of minimalism grumbling percussion, all to suggest the warlike and jazz to a distinctly Stravinskian approach to atmosphere that permeates Agamemnon’s public and compositional technique, Andriessen was once family lives… the jazz elements -
Adams Girls of the Golden West
February 2018 Adams Girls of the Golden West The latest collaboration between John Adams and Peter Sellars opened at San Francisco Opera in November and travels onwards to Dallas Opera and Dutch National Opera. “Girls of the Golden West is our state and our Sellars’s favoured approach of assembling a libretto country two centuries ago and now”. So wrote the from documentary and existing materials gives an Los Angeles Times, summing up the fusion of authenticity to the voices in the opera, whether locality and topicality in the new Californian opera Dame Shirley, the fugitive slave Ned, the Latina by John Adams, recently unveiled in San Josefa or the Chinese prostitute Ah Sing, though Francisco. With a title that echoes Puccini’s Gold the conscious distancing of action and interaction Rush opera, the new work plays out scenes only proved controversial for some reviewers. Positive a few hundred miles from modern Silicon Valley. responses included Limelight magazine which Featuring libretto and staging by Peter Sellars, the praised Sellars for his “dramatically cohesive and production saw a cast of emerging star vocalists searingly effective libretto… providing a poetic and including Julia Bullock, Davóne Tines and spicy text for Adams”. J’Nai Bridges. “Much of the opera, especially the first act, suggests that Adams is moving in a different direction in his “…a sweeping tale of the theatre writing. The orchestration seems lighter, the mad quest for fortune…” harmonies more transparent. The use of percussion and folk instruments lends a unique quality… Adams is New York Times second to none in his word-setting. -
Baltimore Symphony Orchestra: 2017-2018 Season Calendar
Media Contacts Rebecca Bute, Director of Marketing & PR 410.783.8123 [email protected] Kaila Willard, Marketing & PR Manager 410.783.8144 [email protected] Baltimore Symphony Orchestra: 2017-2018 Season Calendar Gala Celebration Concert with Wynton Marsalis Saturday, September 9, 2017 – 8 pm (Meyerhoff) Marin Alsop, conductor Wynton Marsalis, trumpet Dan Nimmer, piano Carlos Henriquez, bass Ali O.M. Jackson, II, drums Tchaikovsky Thrill Ride Thursday, September 14, 2017 – 8 pm (Strathmore) Friday, September 15, 2017 – 8 pm (Meyerhoff) Saturday, September 16, 2017 – 8 pm (Meyerhoff) Marin Alsop, conductor JOHN ADAMS: Short Ride in a Fast Machine Łukasz Kuropaczewski, guitar JOHN ADAMS: Lola Montez Does the Spider Dance (East Coast Premiere) RODRIGO: Concierto de Aranjuez TCHAIKOVSKY: Symphony No. 5 in E Minor Poetic Fire: From Hamlet to Don Juan Friday, September 22, 2017 – 8 pm (Meyerhoff) Saturday, September 23, 2017 – 8 pm (Strathmore) Sunday, September 24, 2017 – 3 pm (Meyerhoff) Marin Alsop, conductor TCHAIKOVSKY: Hamlet, Fantasy-Overture After Lukáš Vondráček, piano Shakespeare R. STRAUSS: Don Juan RACHMANINOFF: Piano Concerto No. 3 in D Minor Page 1 of 10 Wagner’s Quest Thursday, October 5, 2017 – 8 pm (Meyerhoff) Sunday, October 8, 2017 – 3 pm (Strathmore) Markus Stenz, conductor MENDELSSOHN: The Hebrides Overture Jonathan Carney, violin BRUCH: Scottish Fantasy WAGNER: Selections from Parsifal Off The Cuff: Wagner’s Quest Friday, October 6, 2017 – 8:15 pm (Strathmore) Saturday, October 7, 2017 – 7 pm (Meyerhoff) Markus Stenz,