A Guide to Our Concerts & Events
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ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS from the LEADERSHIP
ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS FROM THE LEADERSHIP The New York Philharmonic’s 2019–20 season certainly saw it all. We recall the remarkable performances ranging from Berlioz to Beethoven, with special pride in the launch of Project 19 — the single largest commissioning program ever created for women composers — honoring the ratification of the 19th Amendment. Together with Lincoln Center we unveiled specific plans for the renovation and re-opening of David Geffen Hall, which will have both great acoustics and also public spaces that can welcome the community. In March came the shock of a worldwide pandemic hurtling down the tracks at us, and on the 10th we played what was to be our final concert of the season. Like all New Yorkers, we tried to come to grips with the life-changing ramifications The Philharmonic responded quickly and in one week created NY Phil Plays On, a portal to hundreds of hours of past performances, to offer joy, pleasure, solace, and comfort in the only way we could. In August we launched NY Phil Bandwagon, bringing live music back to New York. Bandwagon presented 81 concerts from Chris Lee midtown to the far reaches of every one of the five boroughs. In the wake of the Erin Baiano horrific deaths of Black men and women, and the realization that we must all participate to change society, we began the hard work of self-evaluation to create a Philharmonic that is truly equitable, diverse, and inclusive. The severe financial challenge caused by cancelling fully a third of our 2019–20 concerts resulting in the loss of $10 million is obvious. -
Día De Los Muertos Program
New Orchestra NOW of Washington Alejandro Hernandez-Valdez, Artistic Director DÍA DE LOS MUERTOS Featuring Brahms’s Requiem Saturday, October 31, 2020 | 7:30PM Online Presentation e welcome you to this very special e are thrilled to be collaborating W program of Día de los Muertos. W with the New Orchestra of Normally, we would be presenting this Washington for this unique performance program live at the beautiful Mexican of the Brahms Requiem on the Day of Cultural Institute in Washington, D.C., the Dead. but this year instead, we have put You will note that the movements differ together a moving program that reflects in their presentation style. This is by our current reality. design, meant to reflect the fractured Día de los muertos has a very special sense of time and reality that we have meaning to me, personally. I have fond all experienced since the pandemic memories of it from my childhood and struck. In movements two, five, and six, I am thrilled and honored to be able to we remember the ease with which we share a piece of Mexico, my country of performed side by side in close quarters origin, with you. We are eternally grateful not so long ago. Movements one and to the wonderful Choral Arts Society of four reflect our life squeezed into a new Washington for all they have done to online reality, and movements three make this performance possible. and seven show us performing socially We are dedicating this program to the distanced, and the way in which that millions that have perished worldwide makes us feel isolated from one another. -
7 October 2016 Page 1 of 11
Radio 3 Listings for 1 – 7 October 2016 Page 1 of 11 SATURDAY 01 OCTOBER 2016 5:37 AM SCHAEFFER: Cinq Études De Bruits Schumann, Robert (1810-1856) STOCKHAUSEN: Studies 1-2; Gesang Der Jünglinge SAT 01:00 Through the Night (b07wrpks) Märchenbilder (Op.113) XENAKIS: Diamorphoses; Concret PH Brahms Symphony Cycle: Symphony No 3 Pinchas Zukerman (viola), Marc Neikrug (piano) VARÈSE: Poème Électronique 5:53 AM HENRY: Voile D©Orphée Jonathan Swain presents a performance from Lugano in Faure, Gabriel [1845-1924] Musique Concrète recorded in the studios of West German Radio Switzerland of Brahms©s Third Symphony and his Double Reflets dans l©eau from Mirages (Op.113) in Cologne and French Radio in Paris Concerto with violinist Alexandra Soumm and cellist Jean- Ronan Collett (baritone), Nicholas Rimmer (piano) Él ACMEM159CD (CD) Guihen Queyras. 5:58 AM 1:01 AM Dohnányi, Ernõ (1877-1960) BRITTEN: War Requiem Op. 66 Brahms, Johannes (1833-1897) Variations on a Nursery Song (Op.25) Galina Vishnevskaya (soprano), Peter Pears (tenor), Dietrich Double Concerto in A minor, Op.102 Arthur Ozolins (piano), Toronto Symphony, Mario Bernardi Fischer-Dieskau (baritone), Simon Preston (organ), London Alexandra Soumm (violin), Jean-Guihen Queyras (cello), (conductor) Symphony Orchestra, Melos Ensemble, London Symphony Orchestra della Svizzera Italiana, Markus Poschner (conductor) 6:23 AM Orchestra Chorus, Highgate School Choir, The Bach Choir, 1:36 AM Bach, Johann Sebastian (1685-1750), orch. Webern, Anton Benjamin Britten (conductor) Brahms, Johannes (1833-1897) -
View List (.Pdf)
Symphony Society of New York Stadium Concert United States Premieres New York Philharmonic Commission as of November 30, 2020 NY PHIL Biennial Members of / musicians from the New York Philharmonic Click to jump to decade 1842-49 | 1850-59 | 1860-69 | 1870-79 | 1880-89 | 1890-99 | 1900-09 | 1910-19 | 1920-29 | 1930-39 1940-49 | 1950-59 | 1960-69 | 1970-79 | 1980-89 | 1990-99 | 2000-09 | 2010-19 | 2020 Composer Work Date Conductor 1842 – 1849 Beethoven Symphony No. 3, Sinfonia Eroica 18-Feb 1843 Hill Beethoven Symphony No. 7 18-Nov 1843 Hill Vieuxtemps Fantasia pour le Violon sur la quatrième corde 18-May 1844 Alpers Lindpaintner War Jubilee Overture 16-Nov 1844 Loder Mendelssohn The Hebrides Overture (Fingal's Cave) 16-Nov 1844 Loder Beethoven Symphony No. 8 16-Nov 1844 Loder Bennett Die Najaden (The Naiades) 1-Mar 1845 Wiegers Mendelssohn Symphony No. 3, Scottish 22-Nov 1845 Loder Mendelssohn Piano Concerto No. 1 17-Jan 1846 Hill Kalliwoda Symphony No. 1 7-Mar 1846 Boucher Furstenau Flute Concerto No. 5 7-Mar 1846 Boucher Donizetti "Tutto or Morte" from Faliero 20-May 1846 Hill Beethoven Symphony No. 9, Choral 20-May 1846 Loder Gade Grand Symphony 2-Dec 1848 Loder Mendelssohn Violin Concerto in E minor 24-Nov 1849 Eisfeld Beethoven Symphony No. 4 24-Nov 1849 Eisfeld 1850 – 1859 Schubert Symphony in C major, Great 11-Jan 1851 Eisfeld R. Schumann Introduction and Allegro appassionato for Piano and 25-Apr 1857 Eisfeld Orchestra Litolff Chant des belges 25-Apr 1857 Eisfeld R. Schumann Overture to the Incidental Music to Byron's Dramatic 21-Nov 1857 Eisfeld Poem, Manfred 1860 - 1869 Brahms Serenade No. -
BRITISH and COMMONWEALTH CONCERTOS from the NINETEENTH CENTURY to the PRESENT Sir Edward Elgar
BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Sir Edward Elgar (1857-1934) Born in Broadheath, Worcestershire, Elgar was the son of a music shop owner and received only private musical instruction. Despite this he is arguably England’s greatest composer some of whose orchestral music has traveled around the world more than any of his compatriots. In addition to the Conceros, his 3 Symphonies and Enigma Variations are his other orchestral masterpieces. His many other works for orchestra, including the Pomp and Circumstance Marches, Falstaff and Cockaigne Overture have been recorded numerous times. He was appointed Master of the King’s Musick in 1924. Piano Concerto (arranged by Robert Walker from sketches, drafts and recordings) (1913/2004) David Owen Norris (piano)/David Lloyd-Jones/BBC Concert Orchestra ( + Four Songs {orch. Haydn Wood}, Adieu, So Many True Princesses, Spanish Serenade, The Immortal Legions and Collins: Elegy in Memory of Edward Elgar) DUTTON EPOCH CDLX 7148 (2005) Violin Concerto in B minor, Op. 61 (1909-10) Salvatore Accardo (violin)/Richard Hickox/London Symphony Orchestra ( + Walton: Violin Concerto) BRILLIANT CLASSICS 9173 (2010) (original CD release: COLLINS CLASSICS COL 1338-2) (1992) Hugh Bean (violin)/Sir Charles Groves/Royal Liverpool Philharmonic Orchestra ( + Violin Sonata, Piano Quintet, String Quartet, Concert Allegro and Serenade) CLASSICS FOR PLEASURE CDCFP 585908-2 (2 CDs) (2004) (original LP release: HMV ASD2883) (1973) -
Composers in Residence Motivate Curtis's Student Performers And
Inspiration, BY DAVID LUDWIG In Person Composers in residence motivate Curtis’s student performers and creators in new and exciting directions. 22 OVERTONES SPRING 2017 Every now and then in a rehearsal for one of my pieces, a performer or It is hard to conductor will remark to me how nice it is to have the composer present — argue against the something along the lines of, “if only we could ask Beethoven these same questions, too!” For many musicians, the opportunity to tap directly into the creative source of a work tremendous value they are playing is an unusual and special experience. This was less true for performers in Beethoven’s time, when musicians played music by living composers as a matter of of working with a course to a much larger extent than their counterparts today. living composer , Granted, centuries ago there was far less repertoire by composers of the past to begin with (much less even a concept of a “canon”). Regardless of the reason, it is hard to argue a process that allows that there hasn’t been a major shift over time in our larger performance culture in terms of playing contemporary music. But it is also hard to argue against the tremendous value the performer to of working with a living composer, a process that allows the performer to play a unique play a unique and and active role in a piece’s evolution. Whether it’s historical fact or simply widespread anecdote, I’ve heard from many active role in a composers of prior generations—and many have written about this—that when they were students, they felt constrained in their work by Modernist orthodoxy. -
01 Announce/News
News Figure 1. Electronic music composer Bebe Barron honored at a Los Angeles Figure 2. Steven Holtzman. gala. From left: Earl Holliman (partially hidden), Bebe Barron, Warren Stevens, and Star Trek’s George Takei. Bebe Barron Honored at Gala Steven R. Holtzman: Worlds, was published by The MIT for Forbidden Planet 1956–1999 Press in 1994. Electronic music composer Bebe Steven R. Holtzman died at his Barron was honored on 16 June Woodside, California home of cancer Bourges Electroacoustic Music 1999 at a screening of the classic at age 43. Born in Great Neck, New Competition 1999 science-fiction film Forbidden York, Mr. Holtzman became an ac- Planet (1956), for which she and her complished musician, studied phi- The Bourges International Institute late husband Louis created the losophy, and received a doctorate in of Electroacoustic Music has an- unique electronic soundtrack. The music and computer science from nounced the winners of the 26th In- recording of this soundtrack on the University of Edinburgh when ternational Electroacoustic Music GNP Crescendo Records is avail- he was 24. While in Edinburgh, he Competition/Bourges 1999. As in able from the Electronic Music directed the first electronic music the previous three years, awards Foundation (on the World Wide festival held in conjunction with the were made both for electroacoustic Web, http://www.emf.org). The gala annual Edinburgh Festival. A fre- music composition and musical event, sponsored by the Los Angeles quent advisor to start-up companies, software. This year’s Golden Pierre Conservancy, United Artists, and Mr. Holtzman founded Perspecta, Award for electroacoustic composi- Metro-Goldwyn-Mayer, was held in Liquid Audio, and Optimal Net- tion was received by Jacky Merit of the most lavish of the Los Angeles works. -
Reducing the Term of Copyright in Unpublished Works (“2039” Rule)
December 2014 Consultation on reducing the duration of copyright in unpublished (“2039”) works in accordance with section 170(2) of the Copyright, Designs and Patents Act 1988 About UK Music 1. UK Music is the umbrella body representing the collective interests of the UK’s commercial music industry, from songwriters and composers to artists and musicians, studio producers, music managers, music publishers, major and independent record labels, music licensing companies and the live music sector. 2. UK Music exists to represent the UK’s commercial music sector, to drive economic growth and promote the benefits of music to British society. The members of UK Music are listed in annex 1. General 3. We see no justification to change the 2039 Rule to the extent that it impacts music, whether it is for sound recordings or musicial works. The rule constitutes a compromise achieved in 1988 in order to bring the calculation of term for unpublished works in line with the one for published works in 2039. We note that Government has not provided any evidence in the Impact Assessment which would justify their preferred Option 2a with regards to sound recordings and is otherwise very limited for other forms of works. 4. There are some important general points about the Impact Assessment that we would wish to note: a) On page 1 it is stated that the works cannot be lawfully published if copyright owners cannot be identified. The Government has recently introduced an orphan works licensing scheme to permit lawful publication of such works. In addition the Impact Assessment does not consider whether works subject to the 2039 Rule could be cleared via an extended collective licence. -
Han Chen / Piano
HAN CHEN / PIANO Hailed by the New York Times as a pianist with "a graceful touch... rhythmic precision... hypnotic charm” and "sure, subtle touch," Han Chen is a distinctive artist whose credentials at a young age already include important prizes in competitions of traditional music as well as increasing respect in the avant- garde. Mr. Chen’s debut CD with Naxos Records, which consists of all-Liszt operatic transcriptions, was released in January 2016 as the first prize winner of the 6th China International Piano Competition. Gramophone complimented Mr. Chen’s “brilliant performance” in the CD as “impressively commanding and authoritative.” The website Classics Today also praised for his “assured, elegant and totally effortless technique” by scoring 10 out of 10 in both artistic quality and sound quality. International Piano magazine (UK) described Mr. Chen’s performance in the competition as “[Chen] displayed extraordinary strength, talent and flair.” His performances in the 15th Van Cliburn International Piano Competition, the 15th Arthur Rubinstein Piano Competition and the 2018 Honens International Piano Competition were also highly acclaimed. As a soloist, Mr. Chen has appeared with many orchestras, including the Hong Kong Philharmonic Orchestra (under Maestro Vladimir Ashkenazy), Calgary Philharmonic Orchestra, Fort Worth Symphony Orchestra, China Symphony Orchestra, Macao Orchestra, Juilliard Orchestra, National Taiwan Symphony Orchestra, Xiamen National Orchestra, Lexington Philharmonic Orchestra, Sendai Philharmonic Orchestra, Aspen Music Festival Brass Ensemble and Shanghai Conservatory Middle School Orchestra. Being an advocate for modern music, Mr. Chen actively performs music from the 20th and the 21st century. As a member of the New York-based contemporary music group Ensemble Échappé, he worked with composers such as Tonia Ko, Kevin Puts, Sean Shepherd and Nina Young. -
Classical Listing
23918 ChoralCat4:Layout 1 8/5/09 11:44 AM Page 405 CLASSICAL LISTING This listing includes works from a variety of publishers, including: Boosey & Hawkes Bote & Bock Eschig Fennica Gehrmann G. Schirmer Ricordi Salabert Schott Sikorski 23918 ChoralCat4:Layout 1 8/5/09 11:44 AM Page 406 406 ORATORIO, MASSES & LARGE CHORAL WORKS Vocal scores unless otherwise noted. ______49004658 Christmas with J.S. Bach Mixed choir (SATB and SSATB); keyboard instruments; APPLEFORD other inst. Schott ED4133..........................................$13.95 ______48016496 New English Mass Vocal Score ______50500030 Jesus, Priceless Treasure (Jesu, meine Freude) (Hufs- Joseph Weinberger M570050567..............................$17.95 tader) SSATB Eng – Schirmer ED2913 .......................$4.95 ______50324530 Magnificat Lat/Eng – Schirmer ED2034 .....................$5.95 ARGENTO, DOMINICK ______50405570 Magnificat (Barré) Lat – Salabert SR12219 ................$7.95 ______48002907 Everyone Sang SSAATTBB a cappella ______49010404 Magnificat, BWV 243 in D Major (ed. Schering) Boosey & Hawkes M051323302..................................$9.95 Study Score Eulenburg ETP964.................................$12.95 ______48002876 I Hate and I Love SATB and percussion ______49010397 Mass in B minor, BWV 232 “High Mass” Boosey & Hawkes M051318506................................$13.95 (ed. Volbach) Study Score Eulenburg ETP959...........$26.95 ______48002851 Peter Quince at the Clavier SATB ______50323910 Mass in B minor Lat – Schirmer ED272 ...................$14.95 Boosey -
Revue Française De Civilisation Britannique, XXII-3 | 2017 « a Musician for an Occasion »: Britten, Compositeur Engagé 2
Revue Française de Civilisation Britannique French Journal of British Studies XXII-3 | 2017 Forms of Activism in the United Kingdom (Grassroots Activism, Culture, Media) « A musician for an occasion »: Britten, compositeur engagé « A Musician for an Occasion » : Britten as a Committed Composer Gilles Couderc Édition électronique URL : http://journals.openedition.org/rfcb/1443 DOI : 10.4000/rfcb.1443 ISSN : 2429-4373 Éditeur CRECIB - Centre de recherche et d'études en civilisation britannique Référence électronique Gilles Couderc, « « A musician for an occasion »: Britten, compositeur engagé », Revue Française de Civilisation Britannique [En ligne], XXII-3 | 2017, mis en ligne le 05 juillet 2017, consulté le 02 mai 2019. URL : http://journals.openedition.org/rfcb/1443 ; DOI : 10.4000/rfcb.1443 Ce document a été généré automatiquement le 2 mai 2019. Revue française de civilisation britannique est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. « A musician for an occasion »: Britten, compositeur engagé 1 « A musician for an occasion »: Britten, compositeur engagé « A Musician for an Occasion » : Britten as a Committed Composer Gilles Couderc Introduction I believe that the artist must be consciously a human being. He is part of society and he should not lock himself up in an ivory tower. I think he has a duty to play towards his fellow creatures. It is not only a duty; I think it’s a pleasure too. I want to have my music used. I would rather—this seems perhaps a silly thing to say—but I would rather have my music used than to write masterpieces which were not used .1 1 Ainsi s’exprime Benjamin Britten (1913-1976) en avril 1968 dans un article sous-titré « The Moral Responsibility of the Artists toward his Fellow Man. -
The Cambridge Companion to Elgar Edited by Daniel M
Cambridge University Press 0521826233 - The Cambridge Companion to Elgar Edited by Daniel M. Grimley and Julian Rushton Index More information Index Acworth, H. A., 26, 64, 70, 72, 75, 76, 77, 78 Binge, Ronald, 77 Alexandra, Queen, 28, 30, 60 Binyon, Laurence, 83, 138, 173, 203, 219–20 Allen, Sir Hugh, 23 Winnowing Fan, The, 219 Allgemeine Musik-Zeitung, 204, 205–6, 211 Birmingham, 6, 8, 17, 18, 20, 52, 82, 87, 90, 95, Anderson, Robert, 1, 86, 101, 223 113, 140, 147, 204 Argyll, 9th Duke of, see Campbell, John Birmingham and Midland Institute, 22 Douglas Sutherland Birmingham Festival, 18, 20, 94, 100, Armes, Philip, 17 101 Arnold, Matthew, 61 Birmingham Oratory, 91 Ashton, Sir Frederick, 56, 57 Birmingham Popular Concerts, 17 Asquith, Herbert Henry, 176 Peyton Chair, University, see Elgar, Sir AssociatedBoardoftheRoyalSchoolsof Edward William Music, 12 Birmingham Daily Post, 220 Atkins, Sir Ivor, 17, 95, 104, 113, 118, Bizet, Georges, 4 186 Carmen, 140 Augustine, St Jeux d’enfants,65 Civitas Dei, 104 Blackwood, Algernon, 134, 178, 182 A Prisoner in Fairyland, 134, 178 Bach, Carl Philip Emmanuel, 4 Blair, Hugh, 17, 113, 115 Bach, Johann Sebastian, 27, 118, 193–4 Blake, Carice Elgar, 7, 25, 32, 57, 58, 82, Bach Gesellschaft, 28 188 Brandenburg Concerto No. 3, 27, 123 Bliss, Sir Arthur, 22 St Matthew Passion, 100 Boosey & Co., publisher, 28, 30, 68, Baker, Sir Herbert, 172 217 Bantock, Sir Granville, 21–2, 23 Boosey and Hawkes, publisher, 30, 43 Dante and Beatrice,22 Boughton, Edgar, 22 Russian Scenes,22 Boult, Sir Adrian, 101, 102, 191, 197, 201, Barbirolli, Sir John, 1, 129, 191, 192 202 Barrie, Sir James M., 60 Bournemouth Municipal Orchestra, 22 Peter Pan, 58, 178 Brahms, Johannes, 4, 89, 120, 141, 148, 205; Bartok,´ Bela,´ 192 developing variation, 129; influence String Quartet No.