Composers a – F: 2011-12 Season
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Brochure De La Saison 2021-2022
Les Talens Lyriques Les Talens Lyriques ont 30 ans ! ui, nous célébrerons cet anniversaire coûte que coûte. O Quelle longévité ! Je ne l’aurais moi-même jamais espé- rée. Comment m’imaginer diriger tant d’opéras, italiens et français, comment imaginer Les Talens à l’opéra de Sydney, de Versailles ou de Drottningholm, comment aurais-je pu me voir diriger du Berlioz, du Verdi, du Gounod ? Ma grande satisfaction est d’avoir tenu ma ligne entre la France et l’Italie, d’avoir pu éviter l’effet pour l’effet, d’avoir pris des risques avec les trompettistes mais aussi les cornistes et autres aventuriers du baroque pour retrouver les techniques et les sonorités « justes ». Je ne rougis d’aucune eau dans le vin que je respecte trop pour l’édulcorer. Cette saison marquera aussi nos 15 ans d’actions pédagogiques dans les écoles et les collèges. Aujourd’hui, les partenariats se transforment et se multiplient, de nou- veaux projets se développent dans ce souci de transmis- sion qui m’est si cher. Bien sûr, tous ces accomplissements ne seraient pos- sibles sans l’aide de nos partenaires qui nous soutiennent fidèlement depuis de nombreuses années. Sans eux, Les Talens Lyriques n’auraient pu mener à bien tous ces beaux projets. Qu’ils en soient ici très chaleureusement remerciés. Et merci à vous cher public pour votre présence pas- sionnée à nos côtés depuis toutes ces années. Vous me manquez, et j’ai hâte de vous retrouver ! Et maintenant : que la fête commence ! Cette saison justement rassemble ce qui est le cœur de notre vocation : 3 beaucoup d’opéras, surtout méconnus ; de la musique de chambre (car le claveciniste que je suis tient à rester aussi chambriste) ; des récitals de jeunes chanteurs (car découvrir de nouveaux talents est aussi notre marque de fabrique) ; et des incursions dans le romantisme. -
Avant Première Catalogue 2018 Lists UNITEL’S New Productions of 2017 Plus New Additions to the Catalogue
CATALOGUE 2018 This Avant Première catalogue 2018 lists UNITEL’s new productions of 2017 plus new additions to the catalogue. For a complete list of more than 2.000 UNITEL productions and the Avant Première catalogues of 2015–2017 please visit www.unitel.de FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CATALOGUE 2018 Unitel GmbH & Co. KG Gruenwalder Weg 28D 82041 Oberhaching/Munich, Germany CEO: Jan Mojto Editorial team: Franziska Pascher, Dr. Martina Kliem, Arthur Intelmann Layout: Manuel Messner/luebbeke.com All information is not contractual and subject to change without prior notice. All trademarks used herein are the property of their respective owners. Date of Print: February 2018 © UNITEL 2018 All rights reserved Front cover: Alicia Amatriain & Friedemann Vogel in John Cranko’s “Onegin” / Photo: Stuttgart Ballet ON THE OCCASION OF HIS 100TH BIRTHDAY UNITEL CELEBRATES LEONARD BERNSTEIN 1918 – 1990 Leonard Bernstein, a long-time exclusive artist of Unitel, was America’s ambassador to the world of music. -
Stephan Matthias Lademann, Piano Stephan Matthias Lademann Was
Stephan Matthias Lademann, piano Stephan Matthias Lademann was born in Meißen, Germany. He studied piano at the Dresden University of Music where he soon specialized in accompaniment. Since then he has won praise for his accomplished work with world renowned artists such as Diana Damrau, Siegfried Jerusalem, Edita Gruberova, Paul Armin Edelmann, Sibylla Rubens, Chen Reiss, Günther Groissböck, Daniela Fally and Robert Dean Smith. Stephan Matthias Lademann has performed to critical acclaim at numerous international music festivals including the Salzburg Festival, the Schubertiade Schwarzenberg, the Rheingau Festival, the Schleswig-Holstein Festival, the Ludwigsburger Schloss Festival, the Kissinger Sommer, the Klangbogen-Festival Theater an der Wien, and the Munich Opera Festival. He has distinguished himself on stage at the Wiener Musikverein, the Wiener Konzerthaus, the Alte Oper Frankfurt, the Laeiszhalle Hamburg, the Semperoper Dresden, the Berlin Philharmonie, the Teatro della Zarzuela Madrid, the Auditorio Santiago de Compostela, the New York Carnegie Hall, the Teatro alla Scala di Milano, the Wigmore Hall London, the Concert Hall Vancouver, and the Teatro Nacional Bogota. In 2006 Stephan Matthias Lademann was awarded the International Record Prize Toblach for his debut recording of the original piano version of Gustav Mahler's “Des Knaben Wunderhorn” with Diana Damrau and Iván Paley. His other CD recordings include a live recording of the recital with Diana Damrau at the Salzburg Festival 2005; the debut recording of Gustav Mahler's “Das Lied von der Erde” in the version for tenor, baritone and piano with Robert Dean Smith and Iván Paley (2007); and a CD of Italian songs by Franz Schubert and Gaetano Donizetti with soprano Chen Reiss (2007). -
The Pedagogical Legacy of Johann Nepomuk Hummel
ABSTRACT Title of Document: THE PEDAGOGICAL LEGACY OF JOHANN NEPOMUK HUMMEL. Jarl Olaf Hulbert, Doctor of Philosophy, 2006 Directed By: Professor Shelley G. Davis School of Music, Division of Musicology & Ethnomusicology Johann Nepomuk Hummel (1778-1837), a student of Mozart and Haydn, and colleague of Beethoven, made a spectacular ascent from child-prodigy to pianist- superstar. A composer with considerable output, he garnered enormous recognition as piano virtuoso and teacher. Acclaimed for his dazzling, beautifully clean, and elegant legato playing, his superb pedagogical skills made him a much sought after and highly paid teacher. This dissertation examines Hummel’s eminent role as piano pedagogue reassessing his legacy. Furthering previous research (e.g. Karl Benyovszky, Marion Barnum, Joel Sachs) with newly consulted archival material, this study focuses on the impact of Hummel on his students. Part One deals with Hummel’s biography and his seminal piano treatise, Ausführliche theoretisch-practische Anweisung zum Piano- Forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung, 1828 (published in German, English, French, and Italian). Part Two discusses Hummel, the pedagogue; the impact on his star-students, notably Adolph Henselt, Ferdinand Hiller, and Sigismond Thalberg; his influence on musicians such as Chopin and Mendelssohn; and the spreading of his method throughout Europe and the US. Part Three deals with the precipitous decline of Hummel’s reputation, particularly after severe attacks by Robert Schumann. His recent resurgence as a musician of note is exemplified in a case study of the changes in the appreciation of the Septet in D Minor, one of Hummel’s most celebrated compositions. -
UCLA UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Hypermeter and Phrase Structure in Selected Works by Stravinsky, Crumb, and Adams Permalink https://escholarship.org/uc/item/8044m9c0 Author Young, Samuel M Publication Date 2018 Supplemental Material https://escholarship.org/uc/item/8044m9c0#supplemental Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Hypermeter and Phrase Structure in Selected Works by Stravinsky, Crumb, and Adams A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Samuel Martin Young 2018 © Copyright by Samuel Martin Young 2018 ABSTRACT OF THE DISSERTATION Hypermeter and Phrase Structure in Selected Works by Stravinsky, Crumb, and Adams by Samuel Martin Young Doctor of Philosophy in Music University of California, Los Angeles, 2018 Professor Ian Krouse, Co-Chair Professor David Samuel Lefkowitz, Co-Chair This dissertation studies the occurrence of hypermeter—the extension of metric organization beyond the measure level—in twentieth-century music. Meter is the hierarchical framework against which the listener relates melodic complexes on the musical surface, and this metric foundation is key to the listener’s understanding of the musical fabric as a whole. While many theorists have discussed the relationship between musical surface and metric structure in Classical- and Romantic-era music, the rhythmic and structural underpinning of twentieth- century repertoires has received far less attention. In the tonal music of the Common Practice period, meter was relatively stable, but metric structure became increasingly complex in the twentieth century, with repertoires that avoid regularity across musical parameters. -
Edition 2 | 2018-2019
Terra Nova San Antonio 6983 Blanco Rd San Antonio, TX 78216 Ph: 210-349-4700 Fax: 210-349-4725 Terra Nova Austin 7795 Burnet Rd Austin, TX 78757 Ph: 512-640-4072 Fax: 512-879-6853 www.TerraNovaViolins.com Did You Know? Young people who participate in the arts for at least three hours on three days each week through at least one full year are: • 4 times more likely to be recognized for academic achievement • 3 times more likely to be elected to class office within their schools • 4 times more likely to participate in a math and science fair • 3 times more likely to win an award for school attendance • 4 times more likely to win an award for writing an essay or poem 2 AustinChamberMusic.org / 512.454.0026 AustinChamberMusic.org / 512.454.0026 3 Welcome to the 2018-2019 Concert Season: Landscapes 4 AustinChamberMusic.org / 512.454.0026 PERFORMANCES FRIDAY INTIMATE SEASON CONCERTS An up-close and personal setting for chamber music About ACMC in stylish Austin homes with post-concert reception. SATURDAY SYNCHRONISM SEASON CONCERTS MISSION Chamber music in public venues in tandem with The Austin Chamber Music Center (ACMC) is Intimate Concert performances. dedicated to serving Central Texans by expanding A CHARLIE BROWN CHRISTMAS knowledge, understanding, and appreciation of An annual holiday concert featuring all of your favorite chamber music through the highest quality instruction tunes from the TV classic. and performance. AUSTIN CHAMBER MUSIC FESTIVAL Featuring over 30 performances by internationally EDUCATION acclaimed local and visiting artists over three weeks. OPPORTUNITIES for musicians of all ages and A MOVEABLE FEAST CONCERT SERIES skill levels, including a Chamber Academy and A bi-annual series of adventurous programming ChamberFlex in the academic year, and an combining diverse music, visual art, cuisine, and a intensive Summer Workshop. -
Abos 2021/22
ABOS 2021/22 Abo-Rabatt Adressänderungen Abo-Rabatt Alles über Ein Abo berechtigt zum Bezug von Billetts Bitte teilen Sie uns die Änderungen Ihres für alle Konzerte der Tonhalle-Gesellschaft Namens oder Ihrer Adresse per Post oder Abonnent*innen erhalten Abos Zürich AG mit 10% Rabatt. E-Mail mit. 10 % Rabatt auf jedes neu Abo-Bestellung Abo-Ausweis-Verlust Wegfall der vordersten Reihen im Parkett gekaufte oder verlängerte Alle Abos können Sie an der Billettkasse der Bei Verlust Ihres Abo-Ausweises erhalten Sie Bei grossen Orchesterbesetzungen wird das Abo. Der Rabatt wird auf die Tonhalle Zürich kaufen oder per Telefon, gegen eine Gebühr von CHF 10 einen Ersatz- Konzertpodium vergrössert. Für diese Konzerte jeweiligen Billettpreise ge- Internet und E-Mail bestellen. Ihre Bestellung Ausweis. erhalten Sie adäquate Ersatzplätze der ist verbindlich. Wir bearbeiten die Abos in der gleichen Kategorie. währt. Die in diesem Prospekt Reihenfolge des Eingangs. Die Abo-Rechnung Abo-Umtausch bis 4 Arbeitstage vor publizierten Abo-Preise sind ist gleichzeitig die Abo-Bestätigung. dem Konzert Änderungen vorbehalten bereits rabattiert. Ein Abo Der Aboausweis ist übertragbar. Programm- und Besetzungsänderungen Jugend-Abos Der Umtausch eines Abokonzerts ist 2x pro behalten wir uns vor. Ausführliche Angaben zu berechtigt zudem zum Bezug Die meisten unserer Abos sind auch als Saison möglich. (Anmeldung 4 Arbeitstage den Konzerten finden Sie in der Tagespresse von Billetts für alle weiteren Jugend-Abo erhältlich. Jugendliche bis 25 im Voraus. Kein Umtausch an der Abendkasse sowie auf unserer Website. Konzerte der Tonhalle- erhalten jedes Abo zum Preis von CHF 20 pro möglich.) Für folgende Abos und Serien ist Gesellschaft Zürich AG mit Konzert. -
Patrick Messina Clarinet "The Magic Clarinet" - Yehudi Menuhin
Patrick Messina Clarinet "The Magic Clarinet" - Yehudi Menuhin Patrick Messina is well known to orchestras and audiences as one of the leading clarinetists of our times. In 2003 Patrick Messina became Principal Clarinet of the Orchestre National de France under Kurt Masur’s direction. From 1996 to 2003, Patrick has worked with the Metropolitan Opera in New York under the baton of James Levine, Valery Gergiev, Leonard Slatkin and he is regularly invited as guest Principal clarinetist with some of the best orchestra in the world, like the Royal Concertgebouw Orchestra in Amsterdam and the Chicago Symphony Orchestra under the baton of Kurt Masur, Bernard Haitink and others. A frequent soloist with major orchestras, Patrick Messina has performed with the Houston Symphony Orchestra, the Orchestre National de France, the Orchestre de Cannes, the “Philharmonie der Nationen”, the Orchestre National d’Ile de France, the Orchestre de Chambre de Toulouse, the Ensemble Orchestral de Paris, the Kioi Sinfonietta (Tokyo) and the National Philharmonic Orchestra of Ukraine under the direction of Riccardo Muti, Trevor Pinnock, Bernard Haitink, Yehudi Menuhin, Tan Dun, Daniele Gatti, Sascha Goetzel, Anton Nanut, Kristjan Jarvi, Jaap Van Zweden, Sascha Goetzel, and John Axelrod. An avid chamber music player, Messina has made regular international appearances with renowned artist such as Edita Gruberova, Chen Reiss, Daniel Hope, Bruno Giuranna, Ida Bieler, Jean-Yves Thibaudet, Fabrizio Chiovetta, Simone Dinnerstein, Nina Tichman, Katia et Marielle Labeque, Gautier Capuçon, and some of the greatest string quartets, the Philharmonia Quartett Berlin (Berlin Philharmonic), the Vogler, Parker, Diotima, Parisii, Debussy, Elysées and Fine Arts. He has played in some of the most prestigious Festivals like: Mecklenburg-Vorpommern, Gstaad, Spoleto, Schleswig-Holstein, Savannah, Mitte Europa, Pablo Casals, Istanbul, Menton, Wissembourg, Berlioz. -
The Ultimate On-Demand Music Library
2020 CATALOGUE Classical music Opera The ultimate Dance Jazz on-demand music library The ultimate on-demand music video library for classical music, jazz and dance As of 2020, Mezzo and medici.tv are part of Les Echos - Le Parisien media group and join their forces to bring the best of classical music, jazz and dance to a growing audience. Thanks to their complementary catalogues, Mezzo and medici.tv offer today an on-demand catalogue of 1000 titles, about 1500 hours of programmes, constantly renewed thanks to an ambitious content acquisition strategy, with more than 300 performances filmed each year, including live events. A catalogue with no equal, featuring carefully curated programmes, and a wide selection of musical styles and artists: • The hits everyone wants to watch but also hidden gems... • New prodigies, the stars of today, the legends of the past... • Recitals, opera, symphonic or sacred music... • Baroque to today’s classics, jazz, world music, classical or contemporary dance... • The greatest concert halls, opera houses, festivals in the world... Mezzo and medici.tv have them all, for you to discover and explore! A unique offering, a must for the most demanding music lovers, and a perfect introduction for the newcomers. Mezzo and medici.tv can deliver a large selection of programmes to set up the perfect video library for classical music, jazz and dance, with accurate metadata and appealing images - then refresh each month with new titles. 300 filmed performances each year 1000 titles available about 1500 hours already available in 190 countries 2 Table of contents Highlights P. -
Emily Dickinson in Song
1 Emily Dickinson in Song A Discography, 1925-2019 Compiled by Georgiana Strickland 2 Copyright © 2019 by Georgiana W. Strickland All rights reserved 3 What would the Dower be Had I the Art to stun myself With Bolts of Melody! Emily Dickinson 4 Contents Preface 5 Introduction 7 I. Recordings with Vocal Works by a Single Composer 9 Alphabetical by composer II. Compilations: Recordings with Vocal Works by Multiple Composers 54 Alphabetical by record title III. Recordings with Non-Vocal Works 72 Alphabetical by composer or record title IV: Recordings with Works in Miscellaneous Formats 76 Alphabetical by composer or record title Sources 81 Acknowledgments 83 5 Preface The American poet Emily Dickinson (1830-1886), unknown in her lifetime, is today revered by poets and poetry lovers throughout the world, and her revolutionary poetic style has been widely influential. Yet her equally wide influence on the world of music was largely unrecognized until 1992, when the late Carlton Lowenberg published his groundbreaking study Musicians Wrestle Everywhere: Emily Dickinson and Music (Fallen Leaf Press), an examination of Dickinson's involvement in the music of her time, and a "detailed inventory" of 1,615 musical settings of her poems. The result is a survey of an important segment of twentieth-century music. In the years since Lowenberg's inventory appeared, the number of Dickinson settings is estimated to have more than doubled, and a large number of them have been performed and recorded. One critic has described Dickinson as "the darling of modern composers."1 The intriguing question of why this should be so has been answered in many ways by composers and others. -
Song Settings of Heinrich Heine: a Comparative Analysis of Song Settings from the Poetry Perspective
SONG SETTINGS OF HEINRICH HEINE: A COMPARATIVE ANALYSIS OF SONG SETTINGS FROM THE POETRY PERSPECTIVE BY ELISABETH MARSHALL Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University December, 2013 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Johannes Türk, Research Director __________________________________ Carol Vaness, Chairperson __________________________________ Timothy Noble __________________________________ Patricia Stiles ii ACKNOWLEDGMENTS The author wishes to express her sincere gratitude to Johannes Türk, research director, for his long-suffering, generous, and careful guidance; to chairperson Carol Vaness for her consistent encouragement and unfailing support; to committee members Timothy Noble and Patricia Stiles for their faithful contributions of time and support, without which completion of this project would have been impossible. I also wish to thank Oscar Strasnoy, for his time and interviews via e-mail, and especially my friend and colleague, James Kallembach, for his invaluable assistance in the editing process. iii PREFACE Today there is an almost obsessive concern with the question of what is the “most accurate” historical performance of a given piece of music. In many performances and ensembles this leads to an investigation into the types of instruments or techniques of singing used in a given period, the number of performers employed, and other ensemble and technical concerns. Related to this concern for historical performance, but perhaps not as often considered, is the issue of the relationship between the original poem and a musical setting. -
The 23Rd Annual Music Festival at Walnut Hill 胡桃山音樂營 July 24
The 23rd Annual Music Festival at Walnut Hill 胡桃山音樂營 July 24 – August 17, 2014 Boston, Massachusetts, USA Organized by Foundation for Chinese Performing Arts 3 Partridge Lane, Lincoln, MA 01773, USA Tel: 781-259-8195 Email: [email protected] Website: www.ChinesePerformingArts.net APPLICATION DATES: July 24, 2014 (check in) – August 17, 2014 (check out) LOCATION: Walnut Hill School, 12 Highland St.,Natick, MA 01760. About 15 miles west of Boston, Massachusetts. www.WalnutHillArts.org DEADLINE FOR APPLICATION April 10, 2014 Submit with a non-refundable fee of US$70. Late applications will be considered depending upon space availability. AGE AND ENROLLMENT: Age 14 or above. Total enrollment 40 students. No upper age limit. Special arrangement is required for applicant younger than 13. PROGRAM: . Two to Three private lessons per week for piano, violin, viola, cello, double bass, flute, clarinet, oboe, saxophone, trombone, voice, composition, and others (upon request). Chamber Ensembles . Orchestral Performances . Master Classes and Workshops . Stage presentation workshop . Concerts with faculty members and students . Attending concert at Tanglewood Music Center, visiting Norman Rockwell Museum, shopping in towns of the Berkshires . Visits to New England Conservatory, Harvard University, Museum of Fine Arts, and other historical sites in the metropolitan Boston area . English is the official language. Chinese translator available for the first week only if needed AUDITION Live audition and/or DVD audition is required for all applicants except students recommended by faculty members. Returning students should contact Director Dr. Catherine Chan for waving the audition. Application forms and fees are required for all applicants including returning students. Each applicant should prepare at least two contrasting pieces or two contrasting movements of the same piece of his/her own choice that will represent his/her musical level and achievement.