Jenkins Still with the Music
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SEASON 2020/2021 Stickers for Programme Choice ARTISTS LIST
SEASON 2020/2021 Stickers for Programme Choice ARTISTS LIST STRING QUARTET Arditti Quartet Cuarteto Casals Quatuor Modigliani Artemis Quartett Jerusalem Quartet Quatuor Van Kuijk Belcea Quartet Novus String Quartet Schumann Quartett Brooklyn Rider Quatuor Ébène VIOLIN VIOLA CELLO Marc Bouchkov Amihai Grosz Miklós Perényi Isabelle Faust Jean-Guihen Queyras Vadim Gluzman Alisa Weilerstein Gidon Kremer Nikolaj Szeps-Znaider PIANO FORTEPIANO MANDOLIN Piotr Anderszewski Alexander Melnikov Avi Avital Saleem Ashkar Elena Bashkirova Jonathan Biss Alexander Melnikov CLARINET VOICE RECITATION Sharon Kam Georg Nigl (Baritone) Martina Gedeck CONDUCTOR ENSEMBLE PROJECTS Ariane Matiakh Brandt Brauer Frick Building Bridges Nikolaj Szeps-Znaider Ensemble Beethoven Cycle Scharoun Ensemble International ARDITTI QUARTET & JAKE ARDITTI STRING STRING QUARTET & COUNTER-TENOR Dillon: String Quartet No. 9 Paredes: “Canciones Lunáticas” QUARTET Henze: String Quartet No. 5 Sciarrino: “Cosa resta” On the occasion of the string quartet biennals in Paris and Amsterdam, as well as at the invitation of the Cologne Philharmonie, several world premieres are pending, by Ben Mason and Christian Mason, as well as Betsy Jolas and Toshio Hosokawa. ARTEMIS QUARTETT The Artemis Quartett, in their new top-class lineup, has created a first programme for the fall of 2020. Additional ones for the spring of 2021 to follow. Mendelssohn: String Quartet No. 2 in A minor, Op. 13 Vasks: New work for String Quartet (2020) Beethoven: String Quartet No. 15 in A minor, Op. 132 BELCEA QUARTET In the fall of 2020 with the Beethoven string quartet cycle, however, already fully booked. Spring 2021: Britten: String Quartet No. 1 in D major, Op. 25 Shostakovich: String Quartet No. -
1 the Roots of Birtwistle's Theatrical Expression
Cambridge University Press 978-0-521-89534-7 - Harrison Birtwistle’s Operas and Music Theatre David Beard Excerpt More information 1 The roots of Birtwistle’s theatrical expression: from Pantomime to Down by the Greenwood Side With six major operas, around eight music dramas, and a body of incidental music to his name, Harrison Birtwistle has made a significant contribution to contemporary opera and music theatre during a period that spans more than forty years. This study is concerned not only to reflect the importance of these stage works by examining them in some detail but also to convey their varied musical and intellectual worlds. Previous studies have rightly focused on Birtwistle’s perennial concerns, such as myth, ritual, cyclical journeys, varied repetition, verse–refrain structures, instrumental role-play, layers and lines.1 These characteristics highlight consistency throughout Birtwistle’s oeuvre and are a mark of his formalist stance. By contrast, this book is motivated by a belief that the stage works – in which instrumental and physical drama, song and narrative are combined – demand interpre- tation from multiple, inter-disciplinary perspectives. While not denying obvious or important relations between works, what follows is rather more focused on differences: Birtwistle’s choice of contrasting narrative subjects, his collaborations with nine librettists, his varied pre-compositional ideas and working methods, his experience with different directors, producers and others, all distinguish one stage work from another. A recurring theme is therefore a consideration of ways in which Birtwistle’s initial concepts are informed, altered or conveyed differently in each case. Moreover, as ideas evolve, from the composer’s musical sketches to the final production, mul- tiple meanings accrue that are particular to each drama. -
Einem Gottfried
EINEM VON GOTTFRIED Compositore austriaco (Berna 24 I 1918 - Waldviertel 12 VII 1966) Dapprima autodidatta, Gottfried von Einem studiò con Boris Blacher e sviluppò in seguito un equilibrato linguaggio musicale. Nel 1938 iniziò la sua carriera come istruttore di canto all'Opera di Berlino e come assistente al Festival di Bayreuth. Durante il nazionalsocialismo venne più volte arrestato. Dopo la guerra Einem rivestì varie funzioni sia al Festival di Salisburgo, sia alle Festwochen di Vienna. Dal 1963 al 1972 insegnò alla Musikhochschule di Vienna, dal 1964 fu membro della Akademie der Kunste di Berlino e dal 1965 al 1970 presidente dell'Akademie fur Musik austriaca. 1 DANTONS TOD Di Gottfried von Einem (1918-1996) libretto proprio e di Boris Blacher, dal dramma di Georg Büchner (La morte di Danton) Opera in due atti e sei quadri Prima: Salisburgo, Felsenreitschule, 6 agosto 1947 Personaggi: Georges Danton (Bar); Julie, sua moglie (Ms); Camille Desmoulins e Jean Hérault de Séchelles, deputati (T); Lucille, moglie di Camille (S); Maximilien Robespierre (T); Saint-Just (B); Simon, suggeritore (B); due becchini (T); una dama (S); una popolana (A); uomini e donne del popolo In Dantons Tod non si saluta solo un esordio teatrale particolarmente felice, tanto da decretare all’autore fama subitanea, ma anche l’inizio della consuetudine salisburghese (mai più abbandonata) di inserire ogni anno nel Festival un’opera contemporanea in ‘prima’ assoluta. Il soggetto di Büchner venne scelto sull’onda emotiva suscitata dal fallito attentato a Hitler nel 1944; ad approntare la versione ridotta fu Boris Blacher, maestro di Einem e futuro dedicatario dell’opera. -
Juilliard Orchestra Marin Alsop, Conductor Daniel Ficarri, Organ Daniel Hass, Cello
Saturday Evening, January 25, 2020, at 7:30 The Juilliard School presents Juilliard Orchestra Marin Alsop, Conductor Daniel Ficarri, Organ Daniel Hass, Cello SAMUEL BARBER (1910–81) Toccata Festiva (1960) DANIEL FICARRI, Organ DMITRI SHOSTAKOVICH (1906–75) Cello Concerto No. 2 in G major, Op. 126 (1966) Largo Allegretto Allegretto DANIEL HASS, Cello Intermission CHRISTOPHER ROUSE (1949–2019) Processional (2014) JOHANNES BRAHMS (1833–97) Symphony No. 2 in D major, Op. 73 (1877) Allegro non troppo Adagio non troppo Allegretto grazioso Allegro con spirito Performance time: approximately 1 hour and 50 minutes, including an intermission This performance is made possible with support from the Celia Ascher Fund for Juilliard. The taking of photographs and the use of recording equipment are not permitted in this auditorium. Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving). Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. Juilliard About the Program the organ’s and the orchestra’s full ranges. A fluid approach to rhythm and meter By Jay Goodwin provides momentum and bite, and intricate passagework—including a dazzling cadenza Toccata Festiva for the pedals that sets the organist’s feet SAMUEL BARBER to dancing—calls to mind the great organ Born: March 9, 1910, in West Chester, music of the Baroque era. Pennsylvania Died: January 23, 1981, in New York City Cello Concerto No. 2 in G major, Op. 126 DMITRI SHOSTAKOVICH In terms of scale, pipe organs are Born: September 25, 1906, in Saint Petersburg different from every other type of Died: August 9, 1975, in Moscow musical instrument, and designing and assembling a new one can be a challenge There are several reasons that of architecture and engineering as complex Shostakovich’s Cello Concerto No. -
Gardner • Even Orpheus Needs a Synthi Edit No Proof
James Gardner Even Orpheus Needs a Synthi Since his return to active service a few years ago1, Peter Zinovieff has appeared quite frequently in interviews in the mainstream press and online outlets2 talking not only about his recent sonic art projects but also about the work he did in the 1960s and 70s at his own pioneering computer electronic music studio in Putney. And no such interview would be complete without referring to EMS, the synthesiser company he co-founded in 1969, or namechecking the many rock celebrities who used its products, such as the VCS3 and Synthi AKS synthesisers. Before this Indian summer (he is now 82) there had been a gap of some 30 years in his compositional activity since the demise of his studio. I say ‘compositional’ activity, but in the 60s and 70s he saw himself as more animateur than composer and it is perhaps in that capacity that his unique contribution to British electronic music during those two decades is best understood. In this article I will discuss just some of the work that was done at Zinovieff’s studio during its relatively brief existence and consider two recent contributions to the documentation and contextualization of that work: Tom Hall’s chapter3 on Harrison Birtwistle’s electronic music collaborations with Zinovieff; and the double CD Electronic Calendar: The EMS Tapes,4 which presents a substantial sampling of the studio’s output between 1966 and 1979. Electronic Calendar, a handsome package to be sure, consists of two CDs and a lavishly-illustrated booklet with lengthy texts. -
11 7 Thseason
2016- 17 (117TH SEASON) Repertoire Bach Cantata No. 150, “Nach Dir, Herr, verlanget Feb. 23-25, 2017 mich”* Violin Concerto No. 1 Mar. 15-16, 2017 Bartók Bluebeard’s Castle Mar. 2-4, 2017 Bates Alternative Energy* Apr. 6-9, 2017 Beethoven Piano Concerto No. 4 Feb. 2-4, 2017 Selections from The Creatures of Prometheus Apr. 6-9, 2017 Symphony No. 2 Dec. 8-10, 2016 Symphony No. 3 (“Eroica”) Mar. 10-12, 2017 Symphony No. 6 (“Pastoral”) Nov. 25-27, 2016 Violin Concerto Nov. 3-5, 2016 Berg Violin Concerto Mar. 10-12, 2017 Berlioz Le Corsaire Overture Oct. 7-8, 2016 Harold in Italy Jan. 26-27, 2017 Symphonie fantastique Sep. 22-24, 2016; Oct. 7-8, 2016 Bernstein Prelude, Fugue, and Riffs Mar. 30-Apr. 1, 2017 Symphony No. 1 (“Jeremiah”) May 3-6, 2017 Brahms Symphony No. 1 Oct. 27-29, 2016 Symphony No. 2 Nov. 3-5, 2016 Symphony No. 3 Feb. 17-19, 2017 Symphony No. 4 Feb. 23-25, 2017 Brahms/transcr. Selections from Eleven Choral Preludes Feb. 23-25, 2017 Glanert (world premiere of transcriptions) Britten War Requiem Mar. 23-25, 2017 Canteloube Selections from Songs of the Auvergne Jan. 12-14, 2017 Chabrier Joyeuse Marche** Jan. 12-14, 2017 – more – January 2016—All programs and artists subject to change. PAGE 2 The Philadelphia Orchestra 2016-17 Season Repertoire Chopin Piano Concerto No. 1 Jan. 19-24, 2017 Piano Concerto No. 2 Sep. 22-24, 2016 Dutilleux Métaboles Oct. 27-29, 2016 Dvořák Symphony No. 8 Mar. 15-16, 2017 Symphony No. -
An Analysis of Honegger's Cello Concerto
AN ANALYSIS OF HONEGGER’S CELLO CONCERTO (1929): A RETURN TO SIMPLICITY? Denika Lam Kleinmann, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2014 APPROVED: Eugene Osadchy, Major Professor Clay Couturiaux, Minor Professor David Schwarz, Committee Member Daniel Arthurs, Committee Member John Holt, Chair of the Division of Instrumental Studies James Scott, Dean of the School of Music Mark Wardell, Dean of the Toulouse Graduate School Kleinmann, Denika Lam. An Analysis of Honegger’s Cello Concerto (1929): A Return to Simplicity? Doctor of Musical Arts (Performance), May 2014, 58 pp., 3 tables, 28 examples, 33 references, 15 titles. Literature available on Honegger’s Cello Concerto suggests this concerto is often considered as a composition that resonates with Les Six traditions. While reflecting currents of Les Six, the Cello Concerto also features departures from Erik Satie’s and Jean Cocteau’s ideal for French composers to return to simplicity. Both characteristics of and departures from Les Six examined in this concerto include metric organization, thematic and rhythmic development, melodic wedge shapes, contrapuntal techniques, simplicity in orchestration, diatonicism, the use of humor, jazz influences, and other unique performance techniques. Copyright 2014 by Denika Lam Kleinmann ii TABLE OF CONTENTS Page LIST OF TABLES………………………………………………………………………………..iv LIST OF MUSICAL EXAMPLES………………………………………………………………..v CHAPTER I: INTRODUCTION………..………………………………………………………...1 CHAPTER II: HONEGGER’S -
Press Information Eno 2013/14 Season
PRESS INFORMATION ENO 2013/14 SEASON 1 #ENGLISHENO1314 NATIONAL OPERA Press Information 2013/4 CONTENTS Autumn 2013 4 FIDELIO Beethoven 6 DIE FLEDERMAUS Strauss 8 MADAM BUtteRFLY Puccini 10 THE MAGIC FLUte Mozart 12 SATYAGRAHA Glass Spring 2014 14 PeteR GRIMES Britten 18 RIGOLetto Verdi 20 RoDELINDA Handel 22 POWDER HeR FAce Adès Summer 2014 24 THEBANS Anderson 26 COSI FAN TUtte Mozart 28 BenvenUTO CELLINI Berlioz 30 THE PEARL FISHERS Bizet 32 RIveR OF FUNDAMent Barney & Bepler ENGLISH NATIONAL OPERA Press Information 2013/4 3 FIDELIO NEW PRODUCTION BEETHoven (1770–1827) Opens: 25 September 2013 (7 performances) One of the most sought-after opera and theatre directors of his generation, Calixto Bieito returns to ENO to direct a new production of Beethoven’s only opera, Fidelio. Bieito’s continued association with the company shows ENO’s commitment to highly theatrical and new interpretations of core repertoire. Following the success of his Carmen at ENO in 2012, described by The Guardian as ‘a cogent, gripping piece of work’, Bieito’s production of Fidelio comes to the London Coliseum after its 2010 premiere in Munich. Working with designer Rebecca Ringst, Bieito presents a vast Escher-like labyrinth set, symbolising the powerfully claustrophobic nature of the opera. Edward Gardner, ENO’s highly acclaimed Music Director, 2013 Olivier Award-nominee and recipient of an OBE for services to music, conducts an outstanding cast led by Stuart Skelton singing Florestan and Emma Bell as Leonore. Since his definitive performance of Peter Grimes at ENO, Skelton is now recognised as one of the finest heldentenors of his generation, appearing at the world’s major opera houses, including the Metropolitan Opera, New York, and Opéra National de Paris. -
Mark Padmore
` BRITTEN Death in Venice, Royal Opera House, Covent Garden At the centre, there’s a tour de force performance by tenor Mark Padmore as the blocked writer Aschenbach, his voice apparently as fresh at the end of this long evening as at the beginning Erica Jeal, The Guardian, November 2019 Tenor Mark Padmore, exquisite of voice, presents Aschenbach’s physical and spiritual breakdown with extraordinary detail and insight Warwick Thompson, Metro, November 2019 Mark Padmore deals in a masterly fashion with the English words, so poetically charged by librettist Myfanwy Piper, and was in his best voice, teasing out beauty with every lyrical solo. Richard Fairman, The Financial Times, November 2019 Mark Padmore is on similarly excellent form as Aschenbach. Padmore doesn’t do much opera, but this role is perfect for him………Padmore is able to bring acute emotion to these scenes, without extravagance or lyricism, drawing the scale of the drama back down to the personal level. Mark Padmore Gavin Dixon, The Arts Desk, November 2019 Tenor ..It’s the performances of Mark Padmore and Gerald Finley that make the show unmissable. …Padmore……conveys so believably the tragic arc of Aschenbach’s disintegration, from pompous self-regard through confusion and brief ecstatic abandon to physical and moral collapse. And the diction of both singers is so clear that surtitles are superfluous. You will not encounter a finer performance of this autumnal masterpiece. Richard Morrison, The Times, November 2019 BACH St John Passion¸ Orchestra of the Age of Enlightenment, Simon Rattle. Royal Festival Hall, London Mark Padmore has given us many excellent evangelists, yet this heartfelt, aggrieved, intimate take on St John’s gospel narrative, sometimes spiked with penetrating pauses, still seemed exceptional. -
The-Corridor-The-Cure-Programma
thE Corridor & thE curE HARRISON BIRTWISTLE DAVID HARSENT LONDON SINFONIETTA INHOUD CONTENT INFO 02 CREDITS 03 HARRISON BIRTWISTLE, MEDEA EN IK 05 HARRISON BIRTWISTLE, MEDEA AND ME 10 OVER DE ARTIESTEN 14 ABOUT THE ARTISTS 18 BIOGRAFIEËN 16 BIOGRAPHIES 20 HOLLAND FESTIVAL 2016 24 WORD VRIEND BECOME A FRIEND 26 COLOFON COLOPHON 28 1 INFO DO 9.6, VR 10.6 THU 9.6, FRI 10.6 aanvang starting time 20:30 8.30 pm locatie venue Muziekgebouw aan ’t IJ duur running time 2 uur 5 minuten, inclusief een pauze 2 hours 5 minutes, including one interval taal language Engels met Nederlandse boventiteling English with Dutch surtitles inleiding introduction door by Ruth Mackenzie (9.6), Michel Khalifa (10.6) 19:45 7.45 pm context za 11.6, 14:00 Sat 11.6, 2 pm Stadsschouwburg Amsterdam Workshop Spielbar: speel eigentijdse muziek play contemporary music 2 Tim Gill, cello CREDITS Helen Tunstall, harp muziek music orkestleider orchestra manager Harrison Birtwistle Hal Hutchison tekst text productieleiding production manager David Harsent David Pritchard regie direction supervisie kostuums costume supervisor Martin Duncan Ilaria Martello toneelbeeld, kostuums set, costume supervisie garderobe wardrobe supervisor Alison Chitty Gemma Reeve licht light supervisie pruiken & make-up Paul Pyant wigs & make-up supervisor Elizabeth Arklie choreografie choreography Michael Popper voorstellingsleiding company stage manager regie-assistent assistant director Laura Thatcher Marc Callahan assistent voorstellingsleiding sopraan soprano deputy stage manager Elizabeth Atherton -
Alberto Ginastera
FUNDACION JUAN MARCH HOMENAJE A Alberto Ginastera Miércoles, 20 de abril de 1977, 20 horas. PROGRAMA ALBERTO GINASTERA. Quihteto para piano y cuarteto de cuerdas, Op. 29 (1963). I. Introduzione. II. Cadenza I per viola e violoncello. III. Scherzo Fantastico. IV. Cadenza II per due violini. V. Piccola musica notturna. VI. Cadenza III per pianoforte. VII. Finale. ALBERTO GINASTERA. Serenata sobre los «Poemas de amor», de Neruda, Op. 42 (1974). I. Poetico. II. Fantastico. III. Drammatico. Violoncello: Aurora Nàtola. Baritono: Antonio Blancas. Grupo Koan Director: Julio Malaval. NOTAS AL PROGRAMA QUINTETO Para piano y cuarteto de cuerdas, Op. 29 El «Quinteto» Op. 29 me fue encargado por la señora Jeannette Arata de Erize, presidente del Mozarteum Argentino, con destino al Quinteto Chigiano de Siena, quien estrenó la obra ei 13 de abril de 1963 en el teatro La Fenice de Venecia durante el Festival de Música Contemporánea que se realizaba en dicha ciudad. En este «Quinteto», como lo señalaron algunos mu- sicólogos estudiosos de mi obra, se manifiestan cla- ramente algunas de mis preocupaciones más anhe- lantes en el campo de la creación musical: la elabo- ración de un lenguaje personal en su textura, la bús- queda de nuevas estructuras que se acomoden al idioma sonoro actual y la adaptación del discurso musical a un procedimiento de escritura basado en el máximo empleo de las posibilidades de los instru- mentos y en el realce del virtuosismo de los intérpre- tes. Los movimientos tradicionales de las obras de cá- mara que respondían a las exigencias de la música tonal están aquí reemplazados por cuatro estructuras que conservan el carácter del allegro, scherzo, ada- gio y final, pero cuya forma está dada por los proce- dimientos derivados de la técnica «post-serial». -
Bomarzo - Opera En 2 Actos Y 15 Cuadros
Bomarzo - Opera en 2 actos y 15 cuadros Alberto Ginastera Libreto de Manuel Mujica Láinez Basada en su novela homónima del escritor Obra encargada por Hobart Spalding, presidente de la Opera Society de Washington. Estrenado: 19 mayo 1967, Washington DC, Lisner Auditorium, con dirección de Julius Rudel, Regie de Tito Cappobianco. Intérpretes: Salvador Novoa, Isabel Penagos, Joanna Simon, Claramae Turner. Estreno Sudamericano, Teatro Colón, 1972 El argumento narra la vida de Pier Francesco Orsini, duque de Bomarzo, perteneciente a una noble familia romana, de cuya historia real existen pocos datos y por esto mismo resulta el personaje ideal para ser recreado por el escritor Manuel Mujica Láinez (1910-1984) que le da una nueva vida, literaria pero verosímil, rescatándolo así del anonimato. El protagonista da pie para evocar a toda una serie de personajes históricos que componen un impresionante fresco del Renacimiento italiano tardío, el del siglo XVI, conocido allí como“cinquecento”. Siglo XVI. El Duque de Bomarzo, Pier Francesco Orsini, cuyo aspecto y pecados se reflejan en las figuras de piedra en su jardín, bebe una poción para conseguir la inmortalidad, pero es envenenado. Ve pasar distintos episodios de su vida pasada, su infancia despreciada, su horóscopo siniestro, su unión con una cortesana, la provocación de su padre, su fracaso al tratar de salvar a su hermano de la muerte en el Tiber, y en consecuencia, su reinado como Duque, con sus celos y asesinatos. Ambientada en la Italia renacentista es una minuciosa reconstrucción del ambiente que dominaba aquel entonces en el mundo de los condottieri, prelados, artistas y hombres del pueblo.