DOCSLIB.ORG

Sebastian Lang-Lessing Chief Conductor & Artistic Director

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sebastian Lang-Lessing Chief Conductor & Artistic Director 2 0 0 9 SEBASTIAN LANG-LESSING Chief Conductor & Artistic Director 3 2009 3 HIGHLIGHTS WORLD PREMIERES The TSO and TSO Chorus under conductor Richard Mills gave the world première of Mills’s Passion According to St Mark in Hobart on 4 April, a Ten Days on the Island event. Lux Aeterna, by New Zealand composer Kenneth Young, received its world première under conductor Nicholas Milton in Hobart on 24 July. AUSTRALIAN PREMIERE Elena Kats-Chernin’s Ornamental Air, co-commissioned by the TSO, received its Australian première under conductor Baldur Brönnimann in concerts in Launceston and Hobart on 3 and 5 December. CONTENTS ACOUSTIC UPGRADE Highlights 2 The acoustics in Federation Concert Hall received a significant upgrade thanks to an acoustic screen and purpose- Chairman 4 built risers funded by a special one-off grant from the State Government. Managing Director 4 AUSTRALIAN COMPOSER SERIES VOL 3 TSO Holdings Board of Directors 5 The Hon. Peter Garrett, Federal Minister for the Arts, launched the Australian Composer Series Volume 3 at Moorilla on Strategies, Goals, KPIs 7 31 March. The five-CD box set, which features the music of Gerard Brophy, Brett Dean, Peggy Glanville-Hicks, Concerts 9 Richard Meale and Malcolm Williamson, brings the total number of CDs in the Australian Composer Series to 18. Artists 10 (L-R) Richard Mills, Lyndon Terracini, Core Repertoire Sebastian Lang-Lessing, the Hon. Peter Garrett and Nicholas Heyward. Classical and Early Romantic Music 11 Australian Music 13 CD Releases 14 Recordings 16 Marketing and Business Development 17 Education and Training 17 ABAF AwaRDS Orchestra 19 The TSO took out national honours at the Australia Business Arts Staff 20 Foundation (AbaF) awards in the ‘Giving Award’ category at a ceremony TSO Chorus 20 held in Brisbane on 15 October. The TSO had earlier won a state-level ‘Giving Award’. Friends of the TSO (FOTSO) Committee 21 Chair Sponsors 21 FUNDING FOR SPECIAL PROJECTS TSO Patrons 22 The TSO received a $25,000 grant from the Ian Potter Foundation TSO Partners 23 to assist with the TSO-Australian Youth Orchestra Orchestral Career Development Project and a $90,000 grant from the Annual Financial Report 24 Tasmanian Community Fund to assist with the purchase of risers for the TSO Chorus. 2009 4 5 2009 5 CHAIRMAN MANAGING DIRECTOR I am delighted to report that the Tasmanian Symphony 2009 offered many highlights commencing with the TSO-AYO Mahler Orchestra (TSO) enjoyed a very successful year in 2009. gala opening concerts featuring Sebastian Lang-Lessing On 12 September the TSO and musicians from Australian Youth Orchestra under conductor Sebastian Lang-Lessing The orchestra, management, staff and board worked and pianist Alexander Gavrylyuk. Later in the year James joined forces in Hobart for a performance of Mahler’s Symphony No 9, the first ever Tasmanian performance of tirelessly and we achieved great success both on and off Judd led a superb Elijah with the TSO, TSO Chorus and the work. the stage. Artistic highlights included the world première distinguished soloists. Conductor Eivind Aadland made of Richard Mills’s Passion According to St Mark, Mahler’s a welcome return and it was a pleasure to welcome TSO Foundation Symphony No 9 with the TSO and players from Australian conductor Baldur Brönnimann making his TSO debut. The TSO Foundation, the TSO’s endowment fund, was launched in Hobart and Launceston on 4 and 5 March. Youth Orchestra, and Roberta Flack with the TSO. Clearly Standout soloists included clarinettist Michael Collins and these and other events give us every reason to be proud pianists Freddy Kempf and Nicholas Angelich – the latter Sydney Season of the TSO’s contribution to artistic vibrancy in Tasmania. being the soloist for the TSO’s fifth annual Sydney Season. The TSO under Sebastian Lang-Lessing and with pianist Nicholas Angelich delivered its fifth consecutive three-concert Furthermore, all this was achieved against a backdrop Concerts that were less traditional but no less memorable Sydney Season at City Recital Hall Angel Place, 27-29 August. of financial stress. Right from the first day our annual included Best of British, Melvin Tix’s school concerts and subscriptions went on sale we continued to receive the ABBA Spectacular! with guest artists Rajaton. Outstanding Contribution to Music in Education same high level of support. By year end, box office sales, Landmark events included the release of the Australian The TSO received a Tasmania State Award at the 2009 Classical Music Awards for ‘Outstanding Contribution to Music contributions and funding revenues had again exceeded Composer Series Volume 3 and Mendelssohn: The Five in Education’ for the Australian Composers’ School. $10 million and an underlying operating surplus for the Symphonies, further proof of the TSO’s expertise in its core year was assured. repertoire. The TSO is mindful of continuing to make its B&E Symphony under the Stars In 2009 we gratefully received funding from the Australia mark through its recordings and considerable time and B&E Symphony under the Stars – the TSO’s free outdoor concerts – attracted large and appreciative audiences in Council for the Arts and the State of Tasmania under the effort were devoted in 2009 to exploring and planning for Glenorchy on 14 February and Launceston on 21 February. final year of the four-year funding agreement put in place the transmission of recorded music in new digital formats. upon separation from the ABC. The funding agreement Hobart concert-goers enjoyed acoustic improvements to has been extended for 2010 whilst a review is undertaken Federation Concert Hall with the installation of a custom- and we have made extensive submissions to that review built acoustic screen and new risers – equipment that will emphasising the role and importance of the TSO in continue to be fine-tuned in the future. New risers for the Tasmanian life. TSO Chorus are forthcoming, thanks, in part, to a generous The financial assistance of sponsors and patrons was grant from the Tasmanian Community Fund. Launceston extremely valuable and we thank our many supporters concert-goers will soon be able to enjoy more satisfying for their contributions. A separate new entity, the TSO concert experiences in Albert Hall thanks to heritage Foundation, was established in 2009 to garner other forms stimulus funding earmarked for improvements to the of long-term support and we are very grateful to former auditorium, foyers, stage and backstage areas. Meanwhile, TSO director Colin Jackson for his leadership in the start- in the crucially important world of online communications, up phase of this important new affiliation. the TSO unveiled its new and vastly improved website. Power Hip Hop Maria Grenfell was elected to the board and Michael We welcomed Greg Low as our new Orchestra Manager and players Rohana Brown, Charlotte Burbrook de Vere Musicians from the TSO appeared with eight young Tasmanian hip hop Fortescue, having served the maximum term as a director, and Liam O’Malley. We farewelled Kate Salvatore, Emma artists in Power Hip Hop: New Sounds, New Voices, a series of three retired after 10 years of outstanding service. Happily, the Wilkins and trumpeter Bruce Lamont, who retired in June concerts held at Hobart’s Peacock Theatre on 11 and 12 December. contract of Sebastian Lang-Lessing, Chief Conductor and Artistic Director, was extended until the end of 2011. I after a 39-year career with the TSO. It was a pleasure to Soul Diva in Concert would like to thank Sebastian, members of the orchestra welcome Lyndon Terracini as Director of the Australian and chorus, Nicholas Heyward, management, staff and Music Program. Soul diva Roberta Flack appeared in concert with the TSO before a the board for another successful year in a long line of I extend my thanks to the members of the orchestra, capacity audience at Wrest Point on 17 February. successes for the TSO. administration staff, board, TSO Chorus, FOTSO and the many volunteers for contributing to the success of 2009. Geoffrey Willis Nicholas Heyward 2009 6 7 2009 7 TSO HOLDINGS BOARD OF DIRECTORS Maria Grenfell was appointed to the TSO board in May 2009. Born in Malaysia and raised in Geoff Willis was appointed to the board of the TSO in September 2004 and became Chairman Christchurch, New Zealand, Maria is Senior Lecturer and Co-ordinator of Composition at the in January 2006. He is the Chairman of Colorpak Ltd, Chairman of the Tasmanian Water University of Tasmania’s Conservatorium of Music where she has been a lecturer since 1998. and Sewerage Corporations, a Director of Aurora Energy Pty Ltd, a Trustee of the Tasmanian She holds a masters degree from the Eastman School of Music in Rochester, New York, and a Museum and Art Gallery and a Commissioner of the Tasmanian Planning Commission. A former Doctorate of Musical Arts from the University of Southern California in Los Angeles, where she Chairman of the Forest Practices Authority, he was the CEO of Hydro Tasmania from 1999 was also a lecturer. Her music has been commissioned, performed and recorded by symphony to 2006 and prior to that was the Managing Director of the Amcor Paper Group. He holds a orchestras and chamber groups in Australia, New Zealand and the USA. In 2008 the TSO and Bachelor of Commerce and MBA from the University of Melbourne and attended the Stanford TSO Chorus gave the world première of her commissioned work Night Songs. Executive Programme. He is a CPA and a member of the Institute of Company Directors. Nicholas Heyward has been Managing Director of the Tasmanian Symphony Orchestra since Patricia Leary joined the board of the TSO in March 2006 and was appointed Deputy Chair in October 2001.
Load more

Recommended publications
  • Tivoli Dances
    476 6502 GRAEME KOEHNE tivoli dances TASMANIAN SYMPHONY ORCHESTRA The selection of pieces recorded here forms a on-stage by a piano quintet. The ballet explored survey, ranging across 20 years, of Graeme themes of the continuities between the past Koehne’s engagement with an aesthetic of the and the present, and Murphy called it Old ‘lighter touch’. Graeme’s turn towards ‘lightness’ Friends, New Friends. Graeme (Koehne) chose began in the early 1980s, when he moved from to write in a ‘Palm Court’ style both because it Adelaide to the university town of Armidale in suited the ensemble and had an appropriately New South Wales. Here he encountered, on the nostalgic quality – hence the title Palm Court Graeme Koehne b. 1956 one hand, a withdrawal from the support Suite when the work appears without dancers. Tivoli Dances [20’39] network of Adelaide’s then thriving ‘new music’ The piece was the surprise success of the 1 I. Santa Ana Freeway 4’46 scene; and on the other, a small, close-knit but program and Murphy decided to expand it into a 2 II. Forgotten Waltz (Tivoli Memories) 5’52 musically active community. The change of social full evening work called Nearly Beloved, which 3 III. Salvation Hymn and Whistling Song 5’10 environment prompted Graeme to re-evaluate his has had several seasons, including at the Créteil 4 IV. Vamp ’Til Ready 4’51 aesthetic priorities, leading progressively to his Maison des Arts. rejection of the ideology of ‘heroic’ modernism Shaker Dances [21’14] The return to simplicity and vernacular musical in favour of a new, more modest aim of 5 I.
    [Show full text]
  • Mills, Richard Four Miniatures
    Four Miniatures (l992) Richard Mills “The opening gestures of this work contain all the elements of harmony and melody which form the textures of the later movements. Movements I and III are relatively darker in color than their counterparts and the formative gestures of the first miniature recur as a refrain in Miniature IV, whose more direct harmonies place them in a new context. Miniature II is toccata-like. Miniature III is an extended development of the material from Miniature I, the opening chord of which forms the climax point of Miniature III in an extended articulation across the range of the keyboard. Miniature IV is scherzando in quality and the piece concludes with a witty transformation of the opening gesture, ending with a wry comment from the piano. Four Miniatures was composed for the Verdehr Trio.” ─Richard Mills The world premiere of Four Miniatures was on September 29, 1992 at MacArthur Hall, Flint School of Performing Arts, Flint, Michigan. Richard Mills (born 1949, Toowoomba, Queensland) is one of Australia's most frequently commissioned and performed composers and a frequent guest conductor of Australia's leading orchestras. He went to Nudgee College in Brisbane and studied in London at the Guildhall School of Music and Drama. He worked as a percussionist in England and with the Tasmanian Symphony Orchestra. Mills’ compositions range from major orchestral and choral works to ballet music. He has been commissioned to write for the Victorian State Opera, Opera Australia, the Sydney Symphony, the Chicago Chamber Musicians Brass, the Melbourne Symphony Orchestra, the Perth International Festival, the Commonwealth Games, the Olympic Games, and the Australian Bicentenary.
    [Show full text]
  • Download Booklet
    PROGRAMME NOTE While America’s culture of performance VIOLIN CONCERTOS inevitably turned to Europe for its models, it ROY HARRIS • JOHN ADAMS Among the enduring transformations that gradually gathered strands of American identity coursed through the United States in the – complete with works by native musicians – to decades following the Civil War, one stands set alongside classics by Handel, Mozart and proud in the history of the nation’s musical life. Beethoven and more recent scores from It concerns what the scholar and critic Joseph the Old World. The New York-born composer Horowitz calls the “culture of performance”, Edward MacDowell, for instance, directed his Concerto for Violin and Orchestra (1949) Roy Harris (1898-1979) the creation of civic institutions devoted to thoroughly European training in France and 1 Section One [8.46] the making of music and the rise of a new Germany to the intentional cultivation of a 2 Section Two [9.53] generation of American musicians determined distinct brand of musical nationalism, “a 3 Section Three [6.05] to build their own traditions of ‘classical music which should be American”, as he 4 Section Four [3.24] music’. The process was already in train put it. The nature of what ‘American’ meant, before the war in many east coast cities, as so often with debates about cultural Concerto for Violin & Orchestra (1993) John Adams (b. 1947) where orchestral and choral societies arose identity, varied according to perspective. Many 5 I – [15.51] to meet the needs of a growing middle-class Americans at
    [Show full text]
  • Monteverdi's L'orfeo
    Australian Brandenburg Orchestra MONTEVERDI’S L’ORFEO Paul Dyer, Artistic Director and Conductor Brendan Ross, Staging Justin Nardella, Styling Teresa Desmarchelier, Italian Diction Coach Narelle French & Lynne Murray, Surtitles Joanna Tondys, Surtitle Operator SINGERS Markus Brutscher – Sara Macliver Fiona Campbell – Wolf Matthias Friedrich Tobias Cole – Robert MacFarlane – Morgan Pearse Sarah Ampil – Siobhan Stagg – Anna Sandström Richard Butler – Nick Gilbert – Paul Sutton ORCHESTRA Brendan Joyce – Aaron Brown – Monique O’Dea – Marianne Yeomans Jamie Hey – Kirsty McCahon – Laura Vaughan Melissa Farrow – Mikaela Oberg – Matthew Manchester – Russell Gilmour Roslyn Jorgensen – Nigel Crocker – Jamie Kennedy – Keal Couper – Brett Page Brian Nixon – Jess Ciampa – Tommie Andersson – Samantha Cohen Marshall McGuire – Paul Dyer – Donald Nicolson This concert will last approximately 2 1/2 hours including interval. We request that you kindly switch off all electronic devices during the performance. The Australian Brandenburg Orchestra is assisted The Australian Brandenburg by the Australian Government through the Australia Orchestra is assisted by the NSW 1 Council, its arts funding and advisory body. Government through Arts NSW. PRINCIPAL PARTNER LORFEO Program_FINAL.indd 1 13/09/12 7:37 PM CAST AND CHARACTERS PROLOGUE: La Musica (Music) Sara Macliver THE UPPER WORLD Apollo, god of music and the sun Morgan Pearse Orfeo, son of Apollo Eurydice, loved by Orfeo Markus Brutscher Sara Macliver La messagiera (Messenger), friend of Eurydice Fiona Campbell
    [Show full text]
  • Focus 2020 Pioneering Women Composers of the 20Th Century
    Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers.
    [Show full text]
  • Berkeley Symphony Biography
    Berkeley Symphony Biography Berkeley Symphony is unique among American orchestras: founded in 1969 in the intellectual and artistic nexus of Berkeley, California; led by the restlessly innovative Music Director Joana Carneiro and Executive Director René Mandel, an actively performing violinist; committed to premiering and commissioning new music, including a disproportionate amount of music written by women; and sustained by the supportive musical environment of Berkeley, the East Bay, and the San Francisco Bay Area. From the outset, the people behind Berkeley Symphony’s culture and programming were attuned to the culturally diverse people and the heady creative climate of their home city. Thomas Rarick, a protégé of the great English maestro Sir Adrian Boult, founded the orchestra in 1969 as the Berkeley Promenade Orchestra. Reflecting the spirit of the times, musicians performed in street dress and at unusual locations such as the University Art Museum. When Kent Nagano became the music director of the orchestra in 1978, he charted a new course by offering innovative programming that included a number of rarely performed 20th-century works and numerous premieres. The renamed Berkeley Symphony Orchestra gained an international reputation for its adventurous programming, and became known for premiering the music of international composers and showcasing young local talents. During the 30 years he served as music director, Nagano established an international reputation as a gifted interpreter of both the operatic and symphonic repertoire. Nagano stepped down from his post at Berkeley Symphony in 2008, after his 30th anniversary season. In January 2009, Portuguese conductor Joana Carneiro became the orchestra’s third Music Director in its 40-year history.
    [Show full text]
  • Fascinating Rhythms
    M E L B O U R N E C O N S E R V A T O R I U M O F M U S I C 2 0 2 1 FASCINATING RHYTHMS: University of Melbourne Wind Symphony Melbourne Conservatorium of Music Concert Band Conductor: Dr Nicholas Enrico Williams Sunday 23 May, 5PM Melbourne Town Hall Faculty of Fine Arts and Music A WELCOME MESSAGE FROM THE CONSERVATORIUM DIRECTOR After the privations of 2020, the opportunity for students and staff in the Melbourne Conservatorium of Music to work together again in the fabulous Ian Potter Southbank Centre has been a wonderfully intensive and euphoric experience for us all! After practising alone for months, we have a deeper understanding that collaboration is at the essence of music, and that sharing this rewarding experience with the public is its most important gift to us all. We are listening with fresh ears and responses, and we are energised by the mutual empowerment and inspiration that blossom when we play and listen together. We are thrilled to perform for you in the Melbourne Town Hall! This performance featuring the University of Melbourne Concert Band and Wind Symphony, under the direction of Associate Professor Nicholas Williams, has been prepared with great enthusiasm and anticipation. The program includes compositions written in the UK, France, US, and Australia, and many of the works will be receiving their Victorian and Australian premieres. The music will display the fabulous array of vibrant colours, energies, and rhythms that are uniquely attainable with large ensembles of wind, brass, and percussion instruments, and I know you will delight in the sonic power and spectacle the students will create together.
    [Show full text]
  • Sara Macliver with Wind Quintet Plus
    ONE & MANY SARA MACLIVER WITH WIND QUINTET PLUS Presented in association with Tura New Music Perth Festival acknowledges the Noongar people who continue to practise their values, language, beliefs and knowledge on their kwobidak boodjar. They remain the spiritual and cultural birdiyangara of this place and we honour and respect their caretakers and custodians and the vital role Noongar people play for our community and our Festival to flourish. Stay COVID-19 safe 1.5m Physical distancing Wash your hands Stay home if you are sick Register your attendance For latest health advice visit healthywa.wa.gov.au/coronavirus SARA MACLIVER WITH WIND QUINTET PLUS YANDILUP / NORTHBRIDGE HACKETT HALL, WA MUSEUM BOOLA BARDIP M T W T F S S FEBRUARY 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 Fri - Sun 6pm Duration 60mins CONTENTS CONTENTS CONTENTS WELCOME WELCOME 6 Welcome 9 Credits CREDITS 10 Repertoire 11 A Note on the Repertoire BIOGRAPHIES REPERTOIRE 18 Sara Macliver 19 Wind Quintet Plus 21 Tura New Music BIOGRAPHIES ACKNOWLEDGEMENTS 22 Perth Festival Partners 23 Perth Festival Donors ACKNOWLEDGEMENTS * Just tap the interactive tabs on the left to skip to a specific section CONTENTS WELCOME CREDITS Image: Jess Wyld REPERTOIRE I grew up in a house filled with classical music, books and bones – objects emblematic of my parents’ voracious listening and reading habits and my BIOGRAPHIES dad’s work as a veterinary anatomist. I was intrigued by the beauty inside some of those antiquarian anatomy books, made aware of evolutionary secrets revealed by some of those bones and inexorably drawn towards the strange power inside the music ACKNOWLEDGEMENTS that emanated from the turntable in the disused fireplace.
    [Show full text]
  • (WA Opera Society
    W.A.OPERA COMPANY (W.A. Opera Society - Forerunner) PR9290 Flyers and General 1. Faust – 14th to 23rd August; and La Boheme – 26th to 30th August. Flyer. 1969. 2. There’s a conspiracy brewing in Perth. It starts September 16th. ‘A Masked Ball’ Booklet. c1971. D 3. The bat comes to Perth on June 3. Don’t miss it. Flyer. 1971. 4. ‘The Gypsy Baron’ presented by The W.A. Opera Company – Gala Charity Premiere. Wednesday 10th May, 1972. Flyer. 5. 2 great love operas. Puccini’s ‘Madame Butterfly’ ; Rossini’s ‘The Barber of Seville’ on alternate nights. September 14-30. Flyer. 1972. D 6. ‘Rita’ by Donizetti and ‘Gallantry’ by Douglas Moore. Sept. 9th-11th, & 16th, 17th. 1p. flyer. c1976. 7. ‘Sour Angelica’ by Puccini, Invitation letter to workshop presentation. 1p..Undated. 8. Letter to members about Constitution Amendments. 2p. July 1976. 9. Notice of Extraordinary General Meeting re Constitution Change. 1p. 7 July 1976. 10. Notice of Extraordinay General Meeting – Agenda and Election Notice. 1p. July 1976. 11. Letter to Members summarising events occurring March – June 1976. 1p. July 1976. 12. Memo to Acting Interim Board of Directors re- Constitutional Developments and Confrontation Issues. 3p. July 1976. 13. Campaign letter for election of directors on to the Board. 3p. 1976. 14. Short Biographies on nominees for Board of Directors. 1p.. 1976. 15. Special Priviledge Offer. for ‘The Bear’ by William Walton and ‘William Derrincourt’ by Roger Smalley. 1p. 1977. 16. Membership Card. 1976. 17. Concession Vouchers for 1976 and 1977. 18. The Western Australian Opera Company 1980 Season.
    [Show full text]
  • MALCOLM WILLIAMSON (1931-2003) 1 Overture ‘Santiago De Espada’ (1957) (6’33”) Elevamini – Symphony No
    SRCD.281 STEREO ADD MALCOLM WILLIAMSON (1931-2003) 1 Overture ‘Santiago de Espada’ (1957) (6’33”) Elevamini – Symphony No. 1 (1957) (29’49”) 2 1st movement: Lento (13’27”) Malcolm 3 2nd movement: Allegretto (5’45”) 4 3rd movement: Lento assai - Allegro (10’37”) Sinfonia Concertante for three tumpets, piano and strings (1958/61) * (18’46”) Williamson 5 1st movement: 'Gloria in excelsis Deo' (5’17”) 6 2nd movement: ‘Salve Regina’ (5’16”) 7 3rd movement: ‘Gloria Patri’ (8’13”) Piano Sonata No. 2 (1957 rev.1971) ** (17’28”) Overture ‘Santiago de Espada ’ 8 1st movement: Quasi lento (6’35”) 9 - 2nd movement: Poco adagio (7’19”) Elevamini – Symphony No. 1 10 3rd movement: Allegro assai (3’34”) Sinfonia Concertante (72’43”) * Martin Jones, piano Piano Sonata No. 2 ** Malcolm Williamson, piano Royal Liverpool Philharmonic Orchestra Martin Jones conducted by Malcolm Williamson Sir Charles Groves Royal Liverpool The above individual timings will normally each include two pauses. One before the beginning of each movement or work, and one after the end. ൿ 1976 ** ൿ 1972 The copyright in these sound recordings is owned by Lyrita Recorded Edition, England Philharmonic Orchestra This compilation and digital remastering ൿ 2007 Lyrita Recorded Edition, England © 2007 Lyrita Recorded Edition, England. Made in the UK Sir Charles Groves LYRITA RECORDED EDITION. Produced under an exclusive license from Lyrita by Wyastone Estate Ltd, PO Box 87, Monmouth, NP25 3WX, UK hough Malcolm Williamson lived in London for fifty years, many of the titles central movement, in A flat; it was conceived as a set of variations on a theme related T and first performance venues of his works confirm that he was at heart an to the first movement, but in simpler and less astringent language.
    [Show full text]
  • An Analysis of the Lost Art of Letter Writing By
    u. 0 >> ~.X 1-tu ., 0 (j) z :I 0 a:o ~ m L'\J >- G :!! (/) c: ... z o a :l 0 a:: UNIVERSITY OF SYDNEY Con Music Rare Book Q 784.272 0281 1 Thesis An analysis of "The Lost art of letter writing" by Brett Dean THE UNIVERSITY OF SYDNEY COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51(2) of the Copyright Act permits an authorised officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorised officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author's moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author's reputation For further information contact the University's Director of Copyright Services sydney.edu.au/copyright AN ANALYSIS OF 'THE LOST ART OF LETTER WRITING' BY BRETT DEAN Clare Miller A thesis submitted in partial fulfilment of requirements for the degree of Master of Music (Music Performance) Sydney Conservatorium of Music University of Sydney 2010 II I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree.
    [Show full text]
  • 2006/07 Season Press Release
    Contact: Adam Crane, 213.972.3422 Rachelle Roe, 213.972.7310 LOS ANGELES PHILHARMONIC ASSOCIATION ANNOUNCES 2006/07 SEASON Season Highlights include: • The Tristan Project premieres in New York City and returns for encore performances in Los Angeles, including the complete opera in one evening • Esa-Pekka Salonen, soprano Dawn Upshaw, and the orchestra give U.S. premiere of Kaija Saariaho’s new Philharmonic co-commissioned oratorio for orchestra and chorus: La Passion de Simone • Shadow of Stalin programs explore the effects of political climate on creativity and artistic expression • On Location residencies with Thomas Adès, Emanuel Ax, Joshua Bell, and Dawn Upshaw feature orchestral, Green Umbrella, chamber music, and recital programs • Cycle of complete symphonies by Brahms, led by Christoph von Dohnányi • Other U.S. premieres of works by Gerald Barry, Brett Dean, Esa-Pekka Salonen, Liza Lim, and Anthony Pateras Los Angeles (February 7, 2006) – The Los Angeles Philharmonic announces the season programming for the 2006/07 season, the orchestra’s 88 th subscription year, and 15th under Music Director Esa-Pekka Salonen. Beginning September 28, 2006 and running through June 3, 2007, the 2006/07 season marks the orchestra’s fourth year in Walt Disney Concert Hall. The season opens with a gala concert, led by Esa-Pekka Salonen, that features Manuel de Falla’s Master Peter’s Puppet Show with puppet theater, and works by Ravel, closing with the showpiece, Bolero . “I’m looking forward to this season,” says Music Director Esa-Pekka Salonen. “It has an energizing mix of old and new, familiar and unfamiliar, and even some repertoire returning in a richer version than before.” “The 2006/07 Los Angeles Philharmonic season bears the imprint of our unique perspective on how a season is assembled and what it offers our audiences.
    [Show full text]