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Medici.Tv for Public Libraries Brochure PUBLIC LIBRARIES THE LEADING VIDEO RESOURCE IN CLASSICAL MUSIC, OPERA AND DANCE PUBLIC LIBRARIES The leading video resource ABOUT US in classical music, opera and dance What is medici.tv online platform ? The largest online catalog of classical music, opera and dance videos: [] 3,500 musical works filmed from the 1940’s through to the present day [] 2,700 films including concerts, operas, ballets, documentaries [] and master classes [] Over 150 live events streamed every year from the world’s most [] prestigious venues The ideal tool for dicovering classical music: [] Powerful search engine and customized recommendation [] User-friendly browsing system [] MARC records powered by OCLC [] 4 languages: English, Spanish, French and Russian A resource available anytime, anywhere: [] Unlimited multi-user access [] Remote access [] On all digital devices medici.tv has already been selected by 250 public libraries, universities and schools of music in over 30 countries. THESE LIBRARIES IN EUROPE… RECENTLY JOINED US: Copenhagen Main Library (Denmark) Aalborg Libraries (Denmark) IN NORTH AMERICA… Odense Libraries (Denmark) National Library of Estonia (Estonia) Library of Congress (USA) Bibliothèque nationale de France (France) Mid-Continent Public Library (USA) Bibliothèque publique d’information (France) Santa Clara County Library District (USA) Berlin Central and Regional Library (Germany) Pearl River Public Library (USA) Bavarian State Library (Germany) Hoboken Public Library (USA) Cologne Public Library (Germany) Toronto Public Library (Canada) Bibliothèque cantonale et universitaire Vancouver Public Library (Canada) de Lausanne (Switzerland)... Surrey Libraries (Canada) Bibliothèque et Archives Nationales du Québec (Canada) AND ALSO... Sechelt Public Library (Canada)... in Australia, Austria, Colombia, Ecuador, Finland, Hong Kong, Hungary, Lebanon, Lithuania, Malaysia, Mexico, Netherlands, New Zealand, Norway, Poland, Qatar, Serbia, South Korea, Spain, Sweden, Taiwan, Turkey, United Kingdom. TO REQUEST A FREE TRIAL AND RECEIVE A CUSTOMIZED SUBSCRIPTION OFFER, PLEASE CONTACT US: [email protected] PUBLIC LIBRARIES The leading video resource OUR CATALOG in classical music, opera and dance with specific 3,500+ 2,700+ 200+ editorial content: [] synopsis musical works videos of concerts, new programs featuring Baroque to operas, ballets, each year [] casts Contemporary music documentaries and [] performers’ biographies master classes IN PARTNERSHIP WITH THE BEST AUDIOVISUAL PRODUCERS ACCENTUS MUSIC | ALLEGRO FILMS | ARTHAUS | BEL AIR | CAMERA LUCIDA | CLC | C MAJOR | EUROARTS FRA PRODUCTIONS | GAUMONT | ICA | IDÉALE AUDIENCE | INA | LES FILMS JACK FÉBUS | LGM | NAXOS OPUS ARTE | PETER ROSEN PRODUCTIONS | TELMONDIS | THE MASTERCLASS MEDIA FOUNDATION | RAI | UNITEL CONCERTS OPERAS DANCE DOCUMENTARIES MASTER CLASSES THE GREATEST ARTISTS… Martha Argerich ○ Daniel Barenboim ○ Cecilia Bartoli ○ Joshua Bell ○ George Benjamin ○ Riccardo Chailly William Christie ○ Teodor Currentzis ○ Lucas Debargue ○ Natalie Dessay ○ Joyce DiDonato ○ Plácido Domingo Gustavo Dudamel ○ Renée Fleming ○ Juan Diego Flórez ○ John Eliot Gardiner ○ Valery Gergiev ○ Alan Gilbert Philip Glass ○ Hélène Grimaud ○ Bernard Haitink ○ Daniel Harding ○ Nikolaus Harnoncourt ○ Janine Jansen Mariss Jansons ○ Philippe Jaroussky ○ Paavo Järvi ○ Vladimir Jurowski ○ Jonas Kaufmann ○ Evgeny Kissin Lang Lang ○ Yo-Yo Ma ○ Misha Maisky ○ Denis Matsuev ○ Zubin Mehta ○ Gabriela Montero ○ Riccardo Muti Anne-Sophie Mutter ○ John Nelson ○ Anna Netrebko ○ Yannick Nézet-Séguin ○ Nobu ○ Gianandrea Noseda Maurizio Pollini ○ Menahem Pressler ○ Thomas Quasthoff ○ Ruggero Raimondi ○ Sir Simon Rattle ○ Steve Reich Vadim Repin ○ Esa-Pekka Salonen ○ Jordi Savall ○ Fazil Say ○ Gil Shaham ○ Lahav Shani ○ Bryn Terfel Daniil Trifonov○ Maxim Vengerov ○ Rolando Villazón Anne Sofie von Otter ○ Yuja Wang ○ And many others... TO REQUEST A FREE TRIAL AND RECEIVE A CUSTOMIZED SUBSCRIPTION OFFER, PLEASE CONTACT US: [email protected] PUBLIC LIBRARIES The leading video resource OUR LIVE EVENTS in classical music, opera and dance 150 live events planned each year. THE GREATEST ORCHESTRAS... []Berliner Philharmoniker Catch-up available the following 90 days. []Chamber Orchestra of Europe []London Symphony Orchestra []Los Angeles Philharmonic []Lucerne Festival Orchestra []Mariinsky Orchestra A FEW EXAMPLES OF OUR LIVE EVENTS IN 2019… []National Symphony Orchestra []New York Philharmonic []Orchestre de Paris []Orchestre Symphonique de Montréal []Royal Concertgebouw Orchestra Daniil Trifonov []Rotterdam Philharmonic Orchestra Recital []Shanghai Symphony Orchestra []Wiener Philharmoniker Carnegie Hall AND CONCERT HALLS. []Carnegie Hall, New York []Concertgebouw, Amsterdam []Walt Disney Concert Hall, Los Angeles []Mariinsky Theatre, Saint Petersburg []NCPA, Beijing Teodor Currentzis []Opéra National de Paris, Paris Verdi’s Requiem []Philharmonie, Berlin Milan’s Church of San Marco []Philharmonie, Paris []Royal Opera House, London []Southbank Center, London []Tchaikovsky Conservatory, Moscow []Teatro Alla Scala, Milan []Teatro Colón, Buenos Aires []Teatro Real, Madrid []The Kennedy Center, Washington, D.C. Joyce DiDonato Master classes THE GREATEST FESTIVALS... Resnick Education Wing at Carnegie Hall []Aix-en-Provence Festival, France []Arena di Verona Opera Festival, Italy []Aspen Music Festival, USA []Dresden Music Festival, Germany []Festival de la Roque d’Anthéron, France []Festival de Saint-Denis, France []Glyndebourne Festival, United Kingdom []Les Chorégies d’Orange, France The XVI International []Lucerne Festival, Switzerland Tchaikovsky Competition []Moscow Easter Festival, Russian Federation Moscow and St. Petersburg []Salzburg Festival, Austria []Verbier Festival, Switzerland AND COMPETITIONS. []International Tchaikovsky Competition, Russian Federation []Van Cliburn International Piano Competition, USA []Leeds International Piano Competition, United Kingdom []Carl Nielsen International Competition, Denmark Danielle de Niese []Plácido Domingo’s Operalia Massenet’s Cinderella []International Chopin Piano Competition, Poland Glyndebourne Festival []Malko Competition, Denmark []International Music Competition Harbin, China (PRC) []Moscow International Ballet Competition, Russian Federation []Montreal International Musical Competition, Canada TO REQUEST A FREE TRIAL AND RECEIVE A CUSTOMIZED SUBSCRIPTION OFFER, PLEASE CONTACT US: [email protected] PUBLIC LIBRARIES The leading video resource HOW IT WORKS in classical music, opera and dance SET UP ENJOY PROMOTE [] Different authentication [] Unlimited access, allowing [] MARC Records powered solutions: ongoing and simultaneous by OCLC • IP Address consultation of the programs • EZProxy in every area of the library [] Marketing resources: • Patron library card • Posters • Referrer URL [] Remote access to enjoy the • Flyers • Shibboleth service outside the library • Bookmarks • OpenAthens • Corporate logos • OpenID Connect [] Available on all digital • SIP2 devices (computer, tablet, [] Monthly newsletter • Archimed smartphone, TV via highlighting the new releases Chromecast and Airplay) of our catalog and the live [] Compatible with all operating events to come systems (Mac, Windows, Linux) 4 languages: and all browsers (Chrome, [] • English Usage statistics allowing Safari, Firefox...) [] • Spanish an evaluation of the resource [] 5 quality video settings for a • French reliable adaptative streaming, • Russian from 500Kpbs to more than 5Mbps for HD contents [] High Definition audio TO REQUEST A FREE TRIAL AND RECEIVE A CUSTOMIZED SUBSCRIPTION OFFER, PLEASE CONTACT US: [email protected] PUBLIC LIBRARIES The leading video resource A VALUE-ADDED PLATFORM in classical music, opera and dance 1 5 ENJOY AN OPTIMAL VIDEO EXPERIENCE... Easily navigate through the movements or arias by clicking on the chapters Choose your video quality from low bitrate to high defi nition & turn subtitles on and off ...AND FIND ALL YOU NEED TO KNOW ABOUT A PROGRAM. Synopsis Casting with performers’ biographies Program presentation and credits Related playlists Customized recommendations TO REQUEST A FREE TRIAL AND RECEIVE A CUSTOMIZED SUBSCRIPTION OFFER, PLEASE CONTACT US: [email protected] PUBLIC LIBRARIES The leading video resource CONTACT US in classical music, opera and dance Louis Berriat Coralie Gardet David Ryfman Sales Officer Sales Manager VP Sales TO REQUEST A FREE TRIAL AND RECEIVE A CUSTOMIZED SUBSCRIPTION OFFER, PLEASE CONTACT US: [email protected] OR VISIT OUR WEBSITE: edu.medici.tv TO REQUEST A FREE TRIAL AND RECEIVE A CUSTOMIZED SUBSCRIPTION OFFER, PLEASE CONTACT US: [email protected].
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  • Mozart Magic Philharmoniker
    THE T A R S Mass, in C minor, K 427 (Grosse Messe) Barbara Hendricks, Janet Perry, sopranos; Peter Schreier, tenor; Benjamin Luxon, bass; David Bell, organ; Wiener Singverein; Herbert von Karajan, conductor; Berliner Mozart magic Philharmoniker. Mass, in C major, K 317 (Kronungsmesse) (Coronation) Edith Mathis, soprano; Norma Procter, contralto...[et al.]; Rafael Kubelik, Bernhard Klee, conductors; Symphonie-Orchester des on CD Bayerischen Rundfunks. Vocal: Opera Così fan tutte. Complete Montserrat Caballé, Ileana Cotrubas, so- DALENA LE ROUX pranos; Janet Baker, mezzo-soprano; Nicolai Librarian, Central Reference Vocal: Vespers Vesparae solennes de confessore, K 339 Gedda, tenor; Wladimiro Ganzarolli, baritone; Kiri te Kanawa, soprano; Elizabeth Bainbridge, Richard van Allan, bass; Sir Colin Davis, con- or a composer whose life was as contralto; Ryland Davies, tenor; Gwynne ductor; Chorus and Orchestra of the Royal pathetically brief as Mozart’s, it is Howell, bass; Sir Colin Davis, conductor; Opera House, Covent Garden. astonishing what a colossal legacy F London Symphony Orchestra and Chorus. Idomeneo, K 366. Complete of musical art he has produced in a fever Anthony Rolfe Johnson, tenor; Anne of unremitting work. So much music was Sofie von Otter, contralto; Sylvia McNair, crowded into his young life that, dead at just Vocal: Masses/requiem Requiem mass, K 626 soprano...[et al.]; Monteverdi Choir; John less than thirty-six, he has bequeathed an Barbara Bonney, soprano; Anne Sofie von Eliot Gardiner, conductor; English Baroque eternal legacy, the full wealth of which the Otter, contralto; Hans Peter Blochwitz, tenor; soloists. world has yet to assess. Willard White, bass; Monteverdi Choir; John Le nozze di Figaro (The marriage of Figaro).
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  • Simfonies 1, 2, 3, 4 JORDI SAVALL
    Simfonies 1, 2, 3, 4 JORDI SAVALL "An impressive recording" "Jordi Savall démontre une The Classic Review compréhension profonde du massif beethovénien ; il en révèle les équilibres singuliers” Classique News "L'enregistrement de l'année de Beethoven" MERKUR "It’s the organic nature of Savall’s conception that makes it stand head and shoulders above this year’s crop of Fifths" Limelight, EDITOR'S CHOICE "La perfección en estas grabaciones es difícil de comentar. La música está viva y coleando" POLITIKEN "A really first-class recording" Classical Candor 10/2/2021 Review | Gramophone BEETHOVEN Symphonies Nos 1-5 (Savall) Follow us View record and artist details Author: Peter Quantrill We know a lot about how Beethoven composed at the keyboard, and right from the clipped, slashed and rolled tutti chords of the First Symphony’s opening-movement Allegro, all weighted according to context by Le Concert des Nations, there’s a fine and rare sense of how his thinking transferred itself to an orchestral canvas. Made under studio conditions in the church of a medieval Catalonian fortress, these recordings BEETHOVEN enjoy plenty of string bass colour and timpani impact without Symphonies Nos 1-5 swamping the liveliest inner-part debates between solo winds (Savall) or divided-violin combat. Symphony No. 1 ‘Enjoy’ is the word for the set as a whole. The tempos are largely Beethoven’s own, at least according to the metronome Symphony No. 2 marks he retrospectively applied in 1809 to all the symphonies Symphony No. 3, he had composed up to that point, but almost no 'Eroica' interpretative decision feels insisted upon, no expressive horizon foreshortened by a ready-made frame.
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  • Gustavo Dudamel 2020/21 Season (Long Biography)
    GUSTAVO DUDAMEL 2020/21 SEASON (LONG BIOGRAPHY) Gustavo Dudamel is driven by the belief that music has the power to transform lives, to inspire, and to change the world. Through his dynamic presence on the podium and his tireless advocacy for arts education, Dudamel has introduced classical music to new audiences around the world and has helped to provide access to the arts for countless people in underserved communities. As the Music & Artistic Director of the Los Angeles Philharmonic, now in his twelfth season, Dudamel’s bold programming and expansive vision led The ​ New York Times to herald the LA Phil as “the most important orchestra in America – period.” ​ With the COVID-19 global pandemic shutting down the majority of live performances, Dudamel has committed even more time and energy to his mission of bringing music to young people across the globe, firm in his belief that the arts play an essential role in creating a more just, peaceful, and integrated society. While quarantining in Los Angeles, he hosted a new radio program from his living room entitled “At Home with Gustavo,” sharing personal stories and musical selections as a way to bring people together during a time of isolation. The program was broadcast locally as well as internationally in both English and Spanish, with guest co-hosts including, among others, composer John Williams, his wife, actress María Valverde. Dudamel also participated in Global Citizen’s Global Goal: Unite For Our Future TV fundraising special, giving a ​ ​ socially-distanced performance from the Hollywood Bowl with the LA Phil and YOLA (Youth Orchestra Los Angeles).
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  • Myung-Whun Chung
    如 • 歌 • 文 • 化 Ruge Artists Management 扫描关注微信订阅号 CONDUCTOR / Myung-Whun Chung PERFORMANCES He was Music Director of the Saarbrücken Radio Symphony Orchestra from 1984 to 1990, Principal Guest Conductor of the TeatroComunale of Florence from 1987 to 1992, Music Director of the Opéra de Paris-Bastille from 1989 to 1994 and Principal Conductor atthe Santa Cecilia Orchestra in Rome from 1997 to 2005. In 1995, Myung-Whun Chung founds the Asia Philharmonic, an orchestra made up of the best musicians from 8 Asian countries. In 2005,he was appointed Music Director of the Seoul Philarmonic Orchestra. He has been Music Director of the Orchestre Philharmonique deRadio France since 2000. Myung-Whun Chung has conducted virtually all the world’s leading orchestras, including the Berlin and Vienna Philharmonic, theConcertgebouw, all the major London and Parisian Orchestras, Filharmonica della Scala, Bayerisch Rundfunk, Dresden Staatskapelle,Boston and Chicago Symphony, the Metropolitan Opera, the New York Philharmonic and the Cleveland and Philadelphia Orchestras. RECORDINGS An exclusive recording artist for Deutsche Grammophon since 1990, many of his numerous recordings have won international prizes and awards. These include Messiaen's TurangalîlaSymphony and Eclairs sur l’Au-Delà, Verdi's Otello, Berlioz'sSymphonie Fantastique, Shostakovich's Lady Macbeth with the Orchestre de l'Opéra Bastille; a series of Dvorák's symphonies and serenades with the Vienna Philharmonic Orchestra and a series dedicated to the great sacred music with the Orchestra dell'Accademia Nazionale di Santa Cecilia, including the award-winning recording of Duruflé’s and Fauré’s Requiems with Cecilia Bartoli and Bryn Terfel. Recent releases include Messiaen’s La transfiguration de Notre Seigneur Jésus-Christ and Des Canyons aux étoiles with the Orchestre Philharmonique de Radio France as well as works by Debussy and Ravel with the Seoul Philharmonic Orchestra.
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  • Navigating, Coping & Cashing In
    The RECORDING Navigating, Coping & Cashing In Maze November 2013 Introduction Trying to get a handle on where the recording business is headed is a little like trying to nail Jell-O to the wall. No matter what side of the business you may be on— producing, selling, distributing, even buying recordings— there is no longer a “standard operating procedure.” Hence the title of this Special Report, designed as a guide to the abundance of recording and distribution options that seem to be cropping up almost daily thanks to technology’s relentless march forward. And as each new delivery CONTENTS option takes hold—CD, download, streaming, app, flash drive, you name it—it exponentionally accelerates the next. 2 Introduction At the other end of the spectrum sits the artist, overwhelmed with choices: 4 The Distribution Maze: anybody can (and does) make a recording these days, but if an artist is not signed Bring a Compass: Part I with a record label, or doesn’t have the resources to make a vanity recording, is there still a way? As Phil Sommerich points out in his excellent overview of “The 8 The Distribution Maze: Distribution Maze,” Part I and Part II, yes, there is a way, or rather, ways. But which Bring a Compass: Part II one is the right one? Sommerich lets us in on a few of the major players, explains 11 Five Minutes, Five Questions how they each work, and the advantages and disadvantages of each. with Three Top Label Execs In “The Musical America Recording Surveys,” we confirmed that our readers are both consumers and makers of recordings.
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  • 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.
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  • Pierre-Laurent Aimard, Piano Tamara Stefanovich, Piano
    Thursday, March 12, 2015, 8pm Zellerbach Hall Pierre-Laurent Aimard, piano Tamara Stefanovich, piano The Piano Music of Pierre Boulez PROGRAM Pierre Boulez (b. 1925) Notations (1945) I. Fantastique — Modéré II. Très vif III. Assez lent IV. Rythmique V. Doux et improvisé VI. Rapide VII. Hiératique VIII. Modéré jusqu'à très vif IX. Lointain — Calme X. Mécanique et très sec XI. Scintillant XII. Lent — Puissant et âpre Boulez Sonata No. 1 (1946) I. Lent — Beaucoup plus allant II. Assez large — Rapide Boulez Sonata No. 2 (1947–1948) I. Extrêmement rapide II. Lent III. Modéré, presque vif IV. Vif INTERMISSION PLAYBILL PROGRAM Boulez Sonata No. 3 (1955–1957; 1963) Formant 3 Constellation-Miroir Formant 2 Trope Boulez Incises (1994; 2001) Boulez Une page d’éphéméride (2005) Boulez Structures, Deuxième livre (1961) for two pianos, four hands Chapitre I Chapitre II (Pièces 1–2, Encarts 1–4, Textes 1–6) Funded, in part, by the Koret Foundation, this performance is part of Cal Performances’ – Koret Recital Series, which brings world-class artists to our community. This performance is made possible, in part, by Patron Sponsor Françoise Stone. Hamburg Steinway piano provided by Steinway & Sons, San Francisco. Cal Performances’ – season is sponsored by Wells Fargo. CAL PERFORMANCES PROGRAM NOTES THE PROGRAM AT A GLANCE the radical break with tradition that his music supposedly embodies. If Boulez belongs to an Tonight’s program includes the complete avant-garde, it is to a French avant-garde tra - piano music of Pierre Boulez, as well as a per - dition dating back two centuries to Berlioz formance of the second book of Structures for and Delacroix, and his attitudes are deeply two pianos.
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  • Fall/Winter 2002/2003
    PRELUDE, FUGUE News for Friends of Leonard Bernstein RIFFS Fall/ Winter 2002 Bernstein's Mahler: A Personal View @ by Sedgwick Clark n idway through the Adagio £male of Mahler's Ninth M Symphony, the music sub­ sides from an almost desperate turbulence. Questioning wisps of melody wander throughout the woodwinds, accompanied by mut­ tering lower strings and a halting harp ostinato. Then, suddenly, the orchestra "vehemently burst[s] out" fortissimo in a final attempt at salvation. Most conductors impart a noble arch and beauty of tone to the music as it rises to its climax, which Leonard Bernstein did in his Vienna Philharmonic video recording in March 1971. But only seven months before, with the New York Philharmonic, His vision of the music is neither Nearly all of the Columbia cycle he had lunged toward the cellos comfortable nor predictable. (now on Sony Classical), taped with a growl and a violent stomp Throughout that live performance I between 1960 and 1974, and all of on the podium, and the orchestra had been struck by how much the 1980s cycle for Deutsche had responded with a ferocity I more searching and spontaneous it Grammophon, are handily gath­ had never heard before, or since, in was than his 1965 recording with ered in space-saving, budget-priced this work. I remember thinking, as the orchestra. Bernstein's Mahler sets. Some, but not all, of the indi­ Bernstein tightened the tempo was to take me by surprise in con­ vidual releases have survived the unmercifully, "Take it easy. Not so cert many times - though not deletion hammerschlag.
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