London Cello Orchestra 2017
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UMF-Programm-2021 Web 4 72.Pdf
Das Usedomer Musikfestival 2021 wird gefördert durch Mittel der Bundes- regierung, der Landesregierung Mecklenburg-Vorpommern, des Landkreises Vorpommern-Greifswald, der Ämter Usedom-Nord und Usedom-Süd, der Stadt Świnoujście, der Gemeinden der Insel Usedom sowie durch zahlreiche Liebes Sponsoren und Förderer: Festivalpublikum, „Litauen, mein Vaterland! Wie die Gesundheit bist du! Wer dich noch nie ver- loren, der hat dich nie gekannt!”. Der polnische Dichter Adam Mickiewicz, den die Litauer Adomas Mickevičius nennen, eröffnet damit sein Epos „Pan Finanzgruppe Mecklenburg-Vorpommern Tadeusz”. Ist es nicht eine seltsame Fügung, dass wir beim Usedomer Mu- sikfestival Litauen ins Zentrum stellen, nachdem wir uns alle so angespannt um unsere Gesundheit sorgen mussten? „Wer dich noch nie verloren, der hat dich nie gekannt!” – nachdenklich, aber mit Zuversicht wollen wir aufbrechen in eine neue Normalität des Festivallebens. Ihr überwältigender Zuspruch im vergangenen Jahr gibt uns Mut dafür. In Litauen lebten seit alters her Litauer zusammen mit Polen, Deutschen, Juden und Weißrussen. Mit Filmen von Vol- ker Koepp und einer Lesung von Corinna Harfouch werden wir diese Geschich- te wachrufen. Die Volkslieder Litauens sind Weltkulturerbe der Unesco; sie leben weiter in jungen Spitzenkünstlern wie dem Akkordeonisten Martynas Levickis und dem Pianisten Lukas Geniušas. Der Cellist und Dirigent David Geringas ist litauischer Kulturpatriot und Weltbürger zugleich. Er wird die Musik seines Landes auf Usedom, zwischen Wald und Meer, Schloss und Seebad, ebenso feiern, wie der Gewandhausorganist Michael Schönheit und der neue litauische Weltstar der Opernbühne: Aušrine Stundytė. Auch das NDR Elbphilharmonie Orchester und unser Baltic Sea Philharmonic kommen wieder nach Peenemünde. Sie sind eingeladen, dabei zu sein! Thomas Hummel Georg Friedrich Rolf Seelige-Steinhoff Intendant Prinz von Preußen Vorsitzender des Ehrenpräsident Fördervereins RA Rainer Schweitzer DR. -
Thesis October 11,2012
Demystifying Galina Ustvolskaya: Critical Examination and Performance Interpretation. Elena Nalimova 10 October 2012 Submitted in partial requirement for the Degree of PhD in Performance Practice at the Goldsmiths College, University of London 1 Declaration The work presented in this thesis is my own and has not been presented for any other degree. Where the work of others has been utilised this has been indicated and the sources acknowledged. All the translations from Russian are my own, unless indicated otherwise. Elena Nalimova 10 October 2012 2 Note on transliteration and translation The transliteration used in the thesis and bibliography follow the Library of Congress system with a few exceptions such as: endings й, ий, ый are simplified to y; я and ю transliterated as ya/yu; е is е and ё is e; soft sign is '. All quotations from the interviews and Russian publications were translated by the author of the thesis. 3 Abstract This thesis presents a performer’s view of Galina Ustvolskaya and her music with the aim of demystifying her artistic persona. The author examines the creation of ‘Ustvolskaya Myth’ by critically analysing Soviet, Russian and Western literature sources, oral history on the subject and the composer’s personal recollections, and reveals paradoxes and parochial misunderstandings of Ustvolskaya’s personality and the origins of her music. Having examined all the available sources, the author argues that the ‘Ustvolskaya Myth’ was a self-made phenomenon that persisted due to insufficient knowledge on the subject. In support of the argument, the thesis offers a performer’s interpretation of Ustvolskaya as she is revealed in her music. -
Mid 2021 Update
An A to Z of the Piano Trio Repertoire Discography & Review Index: 2021 Mid-Year Update Compiled by David Barker Project Index These are not necessarily new releases. These entries have been added to the main discographies. Anton Arensky Barbara Moser, Thomas Albertus Irnberger, David Geringas Trio 1 (in “It’s Girl”) Gramola 99225 Brahms Trio (+ Taneyev) Naxos 8574115 Ludwig van Beethoven Trio 1 Ernst Bacon 1898-1990, USA Trio Sōra (+ Trios 2, 3, 5-7) Trio 2 (ca 1946) Naïve V7085 [review] Lincoln Trio Trio 2 (+ Sowerby) Cedille CDR90000203 Trio Sōra (+ Trios 1, 3, 5-7) Naïve V7085 [review] Arno Badjanian Trio 3 Trio Trio Sōra Z.E.N. Trio (+ Trios 1, 2, 5-7) (+ Shostakovich 2 & arrangements) Naïve V7085 [review] DG 4855046 [review] Trio 5 Alkis Baltas Trio Sōra 1948-, Greece (+ Trios 1-3, 6, 7) Naïve V7085 [review] Trio (1989) Trio 6 Athens Trio (+ String quartet) Trio Sōra Phasma-Music 028 (+ Trios 1-3, 5, 7) Naïve V7085 [review] Amy Beach Trio 7 Trio Trio Sōra (+ Trios 1-3, 5, 6) Naïve V7085 [review] MusicWeb International June 2021 Piano Trio Discography: 2021 MY Update Nash Ensemble John Bilotta (+ String quartet 2, Romance, 4 Pieces) ?-, USA Hyperion CDA68343 Beauty From Forgetfulness Michael Cohen Casals Trio ?-, USA (in “Moto Eterno”) Navona NV6341 Monday Morning Casals Trio Mélanie Bonis (in “Moto Eterno”) Navona NV6341 Soir & Matin Barbara Moser, Thomas Albertus Irnberger, Aaron Copland David Geringas (in “It’s Girl”) Vitebsk Gramola 99225 Trio Boulanger (+ Francaix, Copland: Vitebsk, Glass: Head on, Alexander Borodin Piazzolla: Cuatro estaciones) Berlin Classics 0301656BC Trio Brahms Piano Trio Antonin Dvořák (+ Rimsky-Korsakov, Cui: Suite) Naxos 8.574114 Trio 3 Trio des Alpes Johannes Brahms (+ Trio 4) Dynamic CDS7851 Trio 3 Trio 4 Feininger Trio (+ Zemlinsky) Trio des Alpes CAvi-music 8553489 (+ Trio 3) Dynamic CDS7851 David Bridges Alexander Lonquich, Barnabás Kelemen, ?-, USA Nicolas Altstaedt (+ Kodaly: Duo) Three Caprices Alpha 737 Casals Trio (in “Moto Eterno”) Vladimir Dyck Navona NV6341 1882-1943, Russia Trio in c op. -
TESTAMENT Booklet Note English
TESTAMENT booklet note English SBT 1310 Maurice Gendron which formed most of the basis of the pastiche, but persuaded Pablo Casals to conduct his recording of it. Gendron published a number of The French school of cello playing had a most distinguished history in the transcriptions and was a superb deviser of cadenzas for classical twentieth century. First came Maurice Maréchal (1892-1964) and then the concertos such as those by Haydn – he also made the first critical edition trio of Pierre Fournier (1906-86), André Navarra (1911-88) and Paul of the D major Concerto. He taught in Saarbrücken (from 1954), at the Tortelier (1914-90). They have often been represented as the Three Menuhin School and at the Paris Conservatoire (1970-87), but acquired a Musketeers of the cello; and their d’Artagnan was the slightly younger reputation as a tyrannical taskmaster and did not produce any notable Maurice Gendron. For various reasons his career did not have the staying pupils. In the early 1970s he suffered a fearful car accident in which a power of theirs, and so this reissue – which takes us back to quite an shoulder was severely damaged. He fought his way back and in 1985 early stage in his progress – is particularly timely. reappeared in London for a 40th anniversary recital, but was not the same Born in Nice on 26 December 1920, Gendron was brought up in a force as before. He died on 20 August 1990 at the riverside home in poor household by his mother and grandmother, his father having Grez-sur-Loing where he and his wife, a former violinist, had lived for deserted them. -
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. -
Concert Program
CONCERT PROGRAM 1 Концертная программа Санкт-ПетербургСкая гоСударСтвенная конСерватория им. н. а. римСкого-корСакова THE ST. PETERSBURG N. A. RIMSKY-KORSAKOV STATE CONSERVATORY Санкт-Петербург ST. PETERSBURG 2014 2 УчреДитель FOUNDER Владимир СТОПИЧЕВ Vladimir STOPICHEV декан оркестрового факультета Dean of the Orchestra Department Санкт-Петербургская государственная The St. Petersburg N. A. Rimsky-Korsakov леонид ЗАЙЧИК Leonid ZAICHIK консерватория им. Н. А. Римского-Корсакова State Conservatory декан фортепианного факультета Dean of the Piano Department Юрий ЛАПТЕВ Yury LAPTEV При поддержке With support from декан вокально-режиссерского факультета Dean of the Vocal and Directing Department Министерства культуры Российской Федерации the Ministry of Culture of the Russian Federation олег ШАРОВ Oleg SHAROV Комитета по культуре Санкт-Петербурга the St. Petersburg Committee for Culture декан факультета народных инструментов Dean of the Folk Instruments Department Комитета по внешним связям Санкт-Петербурга the Committee for External Relations of St. Petersburg наталья АГАБаБоВа Natalia AGABABOVA декан по работе с иностранными учащимися Chief of the Dean`s Office for International Students ирина БОГАЧЕВа Irina BOGACHEVA заведующая кафедрой сольного пения Head of the Recital Division ПОПЕЧИТЕЛЬСКий СоВет THE BOARD OF TRUSTEES екатерина мУрина Ekaterina MURINA заведующая кафедрой специального фортепиано Head of the Special Piano Division ГЕНЕРАЛЬНЫЕ КОНСУльСтВа: THE CONSULATES GENERAL OF: александр ТИТОВ Alexander TITOV Соединенных Штатов Америки в Санкт-Петербурге the United States in St. Petersburg заведующий кафедрой оперно-симфонического Head of the Opera and Symphony дирижирования Conducting Division Федеративной Республики Германия в Санкт-Петербурге the Federal Republic of Germany in St. Petersburg антон ТАНОНОВ Anton TANONOV Азербайджанской Республики в Санкт-Петербурге the Republic of Azerbaijan in St. -
Sheku Kanneh-Mason
Sheku Kanneh-Mason Sheku Kanneh-Mason is the 2016 BBC Young Musician, a title he won with a stunning performance of the Shostakovich Cello Concerto at London’s Barbican Hall with the BBC Symphony Orchestra. In April 2017, Sheku returned to the hall for another performance of the concerto, this time with the National Youth Orchestra and Carlos Miguel Prieto after which the Guardian wrote that “technically superb and eloquent in his expressivity, he held the capacity audience spellbound with an interpretation of exceptional authority” and the Telegraph acknowledged “what a remarkable musician he already is, bringing other- worldly tone to the haunting slow movement and displaying mature musicianship in his handling of the extended cadenza” Only eighteen years old, Sheku’s international career is developing very quickly with engagements in the 2017/18 and 2018/19 seasons including the CBSO, the Philharmonia Orchestra at the Newbury Spring Festival, a return to the Royal Liverpool Philharmonic, Zurich Tonhalle Orchestra, Barcelona Symphony, Netherlands Chamber Orchestra (his debut at the Concertgebouw), Los Angeles Chamber Orchestra (Sheku’s concerto debut in North America), Louisiana Philharmonic, and the Seattle and Atlanta symphonies. He will also return to the BBC Symphony Orchestra to perform the Elgar Concerto in his hometown of Nottingham and make his debut at the Vienna Konzerthaus with the Japan Philharmonic. In recital, Sheku has several concerts across the UK with highlights over the next two seasons including his debuts at Kings Place as part of their Cello Unwrapped series, Milton Court, and Wigmore Hall. He will also perform a series of concerts in Canada in December 2017, and further recitals at the Zurich Tonhalle, and the Lucerne Festival. -
Composer Keith Burstein Pays Homage to Beethoven with a New Work to Mark the 250Th Anniversary of His Birth
COMPOSER KEITH BURSTEIN PAYS HOMAGE TO BEETHOVEN WITH A NEW WORK TO MARK THE 250TH ANNIVERSARY OF HIS BIRTH Keith Burstein rehearsing his Symphony No 1 Elixir with the Kaunas City Symphony Orchestra in Kaunas Lithuania in 2012. Performance Date: 25 March 2020 Venue: Cadogan Hall, London A new work written by composer Keith Burstein to mark the 250th anniversary of the birth of Ludwig van Beethoven will be performed by the London Chamber Orchestra (LCO) at the Cadogan Hall in Chelsea, London, on 25 March 2020. Memories of Bonn, Symphonic Poem No 1 will be conducted by LCO’s Music Director and Principal Conductor, Christopher Warren-Green, and was inspired by the composer’s visit to Bonn, Beethoven’s birthplace. Vladimir Ashkenazy, the great pianist and conductor – and mentor to Burstein – suggested he wrote the Symphonic Poem. Albany Arts | A22 Laystall Street | London | EC1R 4PA | t: + 44 (0) 20 78 79 88 95 | www.albanyartscommunications.com The piece seeks to reflect the complex confluence of history and culture that Burstein experienced in Bonn when he attended a premiere of his music there in 2016. Inevitably the music evokes Beethoven, who is considered by the composer to be ‘the exemplar of a radical composer who wrote memorable melodies.’ Burstein is renowned for his fervent championing of tonal music, as opposed to the atonal style which has dominated classical music teaching and composition for over a century, and Memories of Bonn looks set to ignite the ongoing controversy surrounding the pre-eminence of atonal music over tonal. ‘I am delighted Christopher Warren-Green and the London Chamber Orchestra are premiering this new work, which was strongly advocated by Mark Redman, Chairman of the LCO Trust. -
Suite No. 1 in G Major, BWV 1007
Suite No. 1 in G Major, BWV 1007 [18:08] (1 Prelude [2:47]; 2 Allemande [5:00]; 3 Courante [2:28]; 4 Sarabande [2:57]; 5 Minuet I and II [3:27]; 6 Gigue [1:30]) Suite No. 2 in D Minor, BWV 1008 [20:13] (7 Prelude [3:42]; 8 Allemande [3:43]; 9 Courante [2:01]; 10 Sarabande [4:55]; 11 Minuet I and II [3:18]; 12 Gigue [2:34]) Suite No. 6 in D Major, BWV 1012 [33:35] (13 Prelude [5:27]; 14 Allemande [8:52]; 15 Courante [3:52]; 16 Sarabande [5:48]; 17 Gavotte I and II [5:00]; 18 Gigue [4:37]) Suite No. 3 in C Major, BWV 1009 [22:50] (1 Prelude [3:58]; 2 Allemande [3:45]; 3 Courante [3:10]; 4 Sarabande [4:43]; 5 Bourrée [I and II 4:14]; 6 Gigue [2:59]) Suite No. 4 in E flat major, BWV 1010 [26:04] (7 Prelude [5:20]; 8 Allemande [4:39]; 9 Courante [3:34]; 10 Sarabande [4:26]; 11 Bourrée I and II [5:24]; 12 Gigue [2:40]) Suite No. 5 in C minor, BWV 1011 [28:08] (13 Prelude [6:30]; 14 Allemande [6:57]; 15 Courante [2:14]; 16 Sarabande [4:41]; 17 Gavotte I and II [5:08]; 19 Gigue [2:33]) "Nothing in the world is more precious to me than these suites". So commented the great Russian cellist Rostropovich as he reflected on a lifetime of association with these works although he did not record them as a complete cycle until he was 63. -
PROMS 2018 Page 1 of 7
PROMS 2018 Page 1 of 7 Prom 1: First Night of the Proms Sam Walton percussion Piano Concerto No 1 in G minor (20 mins) 20:15 Friday 13 July 2018 ON TV Martin James Bartlett piano Royal Albert Hall Freddy Kempf piano Morfydd Llwyn Owen Lara Melda piano Nocturne (15 mins) Ralph Vaughan Williams Lauren Zhang piano Toward the Unknown Region (13 mins) BBC Concert Orchestra Robert Schumann Andrew Gourlay conductor Symphony No 4 in D minor (original 1841 version) (28 mins) Gustav Holst The Planets (52 mins) Bertrand Chamayou piano Proms at … Cadogan Hall 1 BBC National Orchestra of Wales Anna Meredith 13:00 Monday 16 July 2018 Thomas Søndergård conductor 59 Productions Cadogan Hall, London Five Telegrams (22 mins) BBC co-commission with 14–18 NOW and Edinburgh Caroline Shaw Proms at … The Roundhouse International Festival: world première Second Essay: Echo (15 mins) 15:00 Saturday 21 July 2018 Third Essay: Ruby Roundhouse, Camden National Youth Choir of Great Britain BBC Symphony Chorus Robert Schumann Charles Ives BBC Proms Youth Ensemble Piano Quintet in E flat major, Op 44 (30 mins) The Unanswered Question (6 mins) BBC Symphony Orchestra Sakari Oramo conductor Calidore String Quartet ensemble Georg Friedrich Haas Javier Perianes piano the last minutes of inhumanity (5 mins) world première Prom 2: Mozart, Ravel and Fauré 19:30 Saturday 14 July 2018 Prom 4: Shostakovich’s ‘Leningrad’ Hannah Kendall Royal Albert Hall Verdala (5 mins) Symphony world première 19:30 Monday 16 July 2018 Gabriel Fauré Royal Albert Hall Pavane (choral version) (5 -
110988 Bk Menuhin 19/07/2004 11:42Am Page 4
110988 bk Menuhin 19/07/2004 11:42am Page 4 Ward Marston ADD In 1997 Ward Marston was nominated for the Best Historical Album Grammy Award for his production work on Great Violinists • Menuhin 8.110988 BMG’s Fritz Kreisler collection. According to the Chicago Tribune, Marston’s name is ‘synonymous with tender loving care to collectors of historical CDs’. Opera News calls his work ‘revelatory’, and Fanfare deems him ‘miraculous’. In 1996 Ward Marston received the Gramophone award for Historical Vocal Recording of the Year, honouring his production and engineering work on Romophone’s complete recordings of Lucrezia Bori. He also served as re-recording engineer for the Franklin Mint’s Arturo Toscanini issue and BMG’s Sergey Rachmaninov recordings, both winners of the Best Historical Album Grammy. Born blind in 1952, Ward Marston has amassed tens of thousands of opera classical records over the past four MOZART decades. Following a stint in radio while a student at Williams College, he became well-known as a reissue producer in 1979, when he restored the earliest known stereo recording made by the Bell Telephone Laboratories in 1932. Violin Sonatas In the past, Ward Marston has produced records for a number of major and specialist record companies. Now he is bringing his distinctive sonic vision to bear on works released on the Naxos Historical label. Ultimately his goal is to make the music he remasters sound as natural as possible and true to life by ‘lifting the voices’ off his old 78 rpm K. 376 and K. 526 recordings. His aim is to promote the importance of preserving old recordings and make available the works of great musicians who need to be heard. -
Principles of Music Composing: Muzikos Komponavimo Principai
MUZIKOS PRINCIPLES KOMPONAVIMO OF MUSIC PRINCIPAI: COMPOSING: orkestras Orchestra šiuolaikiniuose in Contemporary kontekstuose Contexts XIX Lietuvos muzikos ir teatro akademija Vilnius 2019 ISSN 2351-5155 REDAKcinė KOlegija / EDITOrial BOarD Vyr. redaktorius ir sudarytojas / Editor-in-chief Prof. Dr. Rimantas Janeliauskas Redaktoriaus asistentai / Assistant editors Assoc. prof. Marius Baranauskas Aistė Vaitkevičiūtė Nariai / Members Prof. James Dalton (Bostono konservatorija, JAV / Boston Conservatory, USA) Dr. Bert Van Herck (Naujosios Anglijos muzikos konservatorija, JAV / New England Conservatory of Music, USA) Dr. Mark Konewko (Diedericho komunikacijos koledžas, Marquette’o Universitetas, JAV / Diederich College of Communication at Marquette University, USA) Prof. Dr. Antanas Kučinskas (Lietuvos muzikos ir teatro akademija / Lithuanian Academy of Music and Theatre) Assoc. prof. Dr. Ramūnas Motiekaitis (Lietuvos muzikos ir teatro akademija / Lithuanian Academy of Music and Theatre) Dr. Jānis Petraškevičs (Latvijos Jāzepo Vītuolio muzikos akademija, Latvija / Jāzeps Vītols Latvian Academy of Music, Latvia) Prof. Dr. Pavel Puşcaş (Muzikos akademija Cluj-Napoca, Rumunija / Music Academy Cluj-Napoca, Romania) Prof. Roger Redgate (Goldsmito Londono universitetas, Anglija / Goldsmiths University of London, England) Dr. Gundega Šmite (Latvijos Jāzepo Vītuolio muzikos akademija, Latvija / Jāzeps Vītols Latvian Academy of Music, Latvia) Assoc. prof. Dr. Mārtiņš Viļums (Lietuvos muzikos ir teatro akademija / Lithuanian Academy of Music and Theatre)