ALBERTO GINASTERA: a CATALOGUE of the ORCHESTRAL MUSIC 1934-37: Ballet “Panambi”, Op.1: 39 Minutes (And Ballet Suite- + (N

Total Page：16

File Type：pdf, Size：1020Kb

ALBERTO GINASTERA: A CATALOGUE OF THE ORCHESTRAL MUSIC 1934-37: Ballet “Panambi”, op.1: 39 minutes (and Ballet Suite- + (Naxos, Everest and Urania cds)) 1936: “Concierto argentino” for Piano and Orchestra (withdrawn) 1938: Psalm for clarinet, chorus and orchestra, op.5 1941: Ballet “Estancia” for narrator and orchestra, op.8: 33 minutes (and Ballet Suite) + (several recordings) 1932: Overture “Creloe Faust”, op.9 + (Chandos, Bridge, Mercury and Decca cds) 1942: Symphony No.1 “Portena” (withdrawn) 1944: Symphony No. 2 “Elegiaca” (withdrawn) 1947: “Ollantay: Three Symphonic Movements” for orchestra, op.17 + (Naxos, Bridge and First Edition cds) 1953: “Variations Concertante” for chamber orchestra, op.23: 24 minutes + (Arte Nova, Naxos, Elan and Koch cds) 1954: “Pampeana No.3” for orchestra, op.24 + (Chandos, First Edition, Sono Luminus and Bridge cds) 1956/65: Harp Concerto, op.25: 23 minutes + (Chandos, Berlin Classics, Kontrapunkt and Afka cds) 1960: Cantata No.1 “ Cantata para America magica” for soprano and percussion orchestra, op.27: 23 minutes + (Neos cd) 1961-62: Piano Concerto No.1, op.28: 28 minutes + (Naxos, Arte Nova and Phoenix cds) 1963: Violin Concerto, op.30: 27 minutes + (Dynamic cd) 1964: Cantata No.2 “Bomarzo” for soloists, narrator and chamber orchestra, op.32 1968/78: Cello Concerto No.1, op.36: 32 minutes + (Pierian and Naxos cds) 1965: Concerto for strings, op.33: 17 minutes + (Caprice cd) 1967: Symphonic Studies for orchestra, op.35 1971: Cantata No.3 “Milena” for soprano and orchestra, op.37: 23 minutes + (Phoneix cd) 1972: Piano Concerto No.2, op.39: 37 minutes + (Naxos cd) 1974: “Turbae ad Passionem Gregorianum” for soloists, chorus and orchestra, op.43 1975-83: “Popol Vuh” for orchestra, op.44: 24 minutes (unfinished) + (Neos, Naxos and RCA cds) 1976: “On a theme of Pablo Casals” for string quintet and strings, op.46: 16 minutes + (Naxos, Profil and Koch cds) 1976-77: “On a theme of Pablo Casals” for orchestra, op.48: 17 minutes + (Chandos, Naxos and Koch cds) 1979-80: “Jubilum ‘Celebracion Sinfonica’” for orchestra, op.51 + (First Edition cd) 1980-81: Cello Concerto No.2, op.50: 32 minutes + (Pierian and Naxos cds) .

Copy Link

Recommended publications

Alberto Ginastera En Wikipedia
Alberto Ginastera en Wikipedia http://es.wikipedia.org/wiki/Alberto_Ginastera Alberto Ginastera video photos / fotos (sitio compositores & Intérpretes) http://www.ciweb.com.ar/Ginastera/ Biografia Nació en Buenos Aires, Argentina, el 11 de abril de 1916. Murió en Ginebra, Suíza, el 25 de junio de 1983. Su primer trabajo importante fue el ballet Penambí, que lo hizo conocido en toda Argentina. De 1945 a 1948 abandona su país debido a su pésima relación con Perón. Va para Estados Unidos, donde estudia con Copland y Tanglewood. Cerca de 1956 expande su estilo musical más allá de los límites de la nacionalidad. Es la época de excelentes trabajos. En 1969 sale nuevamente de Argentina y va a vivir en Ginebra, Suíza. Su música es esencialmente tradicionalista. Una ecléctica síntesis de técnicas de varias escuelas musicales está evidente en su composición más famosa, la ópera Bomarzo. Quedó famoso como compositor de fuerte sentimiento nacionalista, a pesar de haber influencias de la música internacional que se producía en Europa después de la Segunda Guerra Mundial. Su obra puede ser dividida en 3 períodos: nacionalismo objetivo, nacionalismo subjetivo y neo-expresionismo. Sus primeros trabajos pertenecen al primer período. Él caracterizó ese período como una etapa de "nacionalismo objetivo" en el cual las características de la música folklórica se reproducían abiertamente. Usa el folklore argentino y es influenciado por Stravinsky, Bartok y Falla. Son de este período: Danzas Argentinas op. 2 para piano, Estancia (ballet), las Cinco Canciones Populares Argentinas, Las horas de una estancia y Pampeana nº 1. El estreno de la suite orquestal de su ballet Estancia, consolidó su posición dentro de Argentina.
[Show full text]
Alberto Ginastera
FUNDACION JUAN MARCH HOMENAJE A Alberto Ginastera Miércoles, 20 de abril de 1977, 20 horas. PROGRAMA ALBERTO GINASTERA. Quihteto para piano y cuarteto de cuerdas, Op. 29 (1963). I. Introduzione. II. Cadenza I per viola e violoncello. III. Scherzo Fantastico. IV. Cadenza II per due violini. V. Piccola musica notturna. VI. Cadenza III per pianoforte. VII. Finale. ALBERTO GINASTERA. Serenata sobre los «Poemas de amor», de Neruda, Op. 42 (1974). I. Poetico. II. Fantastico. III. Drammatico. Violoncello: Aurora Nàtola. Baritono: Antonio Blancas. Grupo Koan Director: Julio Malaval. NOTAS AL PROGRAMA QUINTETO Para piano y cuarteto de cuerdas, Op. 29 El «Quinteto» Op. 29 me fue encargado por la señora Jeannette Arata de Erize, presidente del Mozarteum Argentino, con destino al Quinteto Chigiano de Siena, quien estrenó la obra ei 13 de abril de 1963 en el teatro La Fenice de Venecia durante el Festival de Música Contemporánea que se realizaba en dicha ciudad. En este «Quinteto», como lo señalaron algunos mu- sicólogos estudiosos de mi obra, se manifiestan cla- ramente algunas de mis preocupaciones más anhe- lantes en el campo de la creación musical: la elabo- ración de un lenguaje personal en su textura, la bús- queda de nuevas estructuras que se acomoden al idioma sonoro actual y la adaptación del discurso musical a un procedimiento de escritura basado en el máximo empleo de las posibilidades de los instru- mentos y en el realce del virtuosismo de los intérpre- tes. Los movimientos tradicionales de las obras de cá- mara que respondían a las exigencias de la música tonal están aquí reemplazados por cuatro estructuras que conservan el carácter del allegro, scherzo, ada- gio y final, pero cuya forma está dada por los proce- dimientos derivados de la técnica «post-serial».
[Show full text]
Bomarzo - Opera En 2 Actos Y 15 Cuadros
Bomarzo - Opera en 2 actos y 15 cuadros Alberto Ginastera Libreto de Manuel Mujica Láinez Basada en su novela homónima del escritor Obra encargada por Hobart Spalding, presidente de la Opera Society de Washington. Estrenado: 19 mayo 1967, Washington DC, Lisner Auditorium, con dirección de Julius Rudel, Regie de Tito Cappobianco. Intérpretes: Salvador Novoa, Isabel Penagos, Joanna Simon, Claramae Turner. Estreno Sudamericano, Teatro Colón, 1972 El argumento narra la vida de Pier Francesco Orsini, duque de Bomarzo, perteneciente a una noble familia romana, de cuya historia real existen pocos datos y por esto mismo resulta el personaje ideal para ser recreado por el escritor Manuel Mujica Láinez (1910-1984) que le da una nueva vida, literaria pero verosímil, rescatándolo así del anonimato. El protagonista da pie para evocar a toda una serie de personajes históricos que componen un impresionante fresco del Renacimiento italiano tardío, el del siglo XVI, conocido allí como“cinquecento”. Siglo XVI. El Duque de Bomarzo, Pier Francesco Orsini, cuyo aspecto y pecados se reflejan en las figuras de piedra en su jardín, bebe una poción para conseguir la inmortalidad, pero es envenenado. Ve pasar distintos episodios de su vida pasada, su infancia despreciada, su horóscopo siniestro, su unión con una cortesana, la provocación de su padre, su fracaso al tratar de salvar a su hermano de la muerte en el Tiber, y en consecuencia, su reinado como Duque, con sus celos y asesinatos. Ambientada en la Italia renacentista es una minuciosa reconstrucción del ambiente que dominaba aquel entonces en el mundo de los condottieri, prelados, artistas y hombres del pueblo.
[Show full text]
Boston Symphony Orchestra Concert Programs, Season 128, 2008-2009
BOSTON SYMPHONY ORCHESTRA James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 128th Season, 2008-2009 COMMUNITY CONCERT IX Sunday, March 29, at 3, at Granoff Music Center, Tufts University, Medford CHAMBER TEA V Friday, April 3, at 2:30 COMMUNITY CONCERT X Sunday, April 5, at 3, at Hernandez Cultural Center, Boston The free Community Concerts on March 29 and April 5 are generously supported by The Lowell Institute. CYNTHIA MEYERS, flute and piccolo ROBERT SHEENA, oboe and English horn THOMAS MARTIN, clarinet SUZANNE NELSEN, bassoon JONATHAN MENKIS, horn TIMOTHY GENIS, percussion (Piazzolla; Toussaint; D'Rivera "Afro") PIAZZOLLA Libertango (arr. Jeff Scott) MILHAUD "Sorocaba" and "Ipanema" from Saudades do Brasil, Opus 67 (arr. David Bussick) PIAZZOLLA Oblivion (arr. Jeff Scott) TOUSSAINT Mambo D'RIVERA Aires Tropicales 1. Alborada 2. Son 3. Wapango (arr. Jeff Scott /Tom Martin) 4. Habanera 5. Vals Venezolano 6. Afro 7. Contradanza Week 22 Astor Piazzolla (1921-92) Libertango and Oblivion Born in Mar del Plata, Argentina, Astor Piazzolla moved with his family to New York City in 1925, where (with one brief return to Argentina in 1930) they lived until 1936. He took up the bandoneon, the central instrument in the Ar- gentine tango, and also studied classical piano. Upon his return to Argentina he began to perform with tango orchestras, but also studied composition with the great Alberto Ginastera. He formed his first orchestra in 1946 but disbanded it as his music became more experimental. Piazzolla's music of the time shows the influence of Bartok and Stravinsky, but with some Argentine elements like the inclusion of two bandoneons in the orchestral work Buenos Aires.
[Show full text]
Alberto Ginastera (1916-1983)
Suárez Urtubey, Pola Alberto Ginastera (1916-1983) Revista del Instituto de Investigación Musicológica “Carlos Vega” Nº 7, 1986 Este documento está disponible en la Biblioteca Digital de la Universidad Católica Argentina, repositorio institucional desarrollado por la Biblioteca Central “San Benito Abad”. Su objetivo es difundir y preservar la producción intelectual de la Institución. La Biblioteca posee la autorización del autor para su divulgación en línea. Cómo citar el documento: Suárez Urtubey, Pola. “Alberto Ginastera (1916-1983)” [en línea]. Revista del Instituto de Investigación Musicológica “Carlos Vega”, 7 (1986). Disponible en: http://bibliotecadigital.uca.edu.ar/greenstone/cgi-bin/library.cgi? a=d&c=Revistas&d=alberto-ginastera-1916-1983 [Fecha de consulta:........] ALBERTO GINASTERA (1916 -1983) Ofrecemos aquí el catálogo integral de las obras de Alberto Ginastera. Se trata de 54 composiciones, todas ellas numerados por el autor, a las que cabría añadir varias creaciones tempranas que Ginastera eliminó del mismo. Ahí quedan, repudiadas, algunas que los intérpretes aún hoy se empeñan en ejecutar, como .es el caso de las Impresiones de la puna; o que merecieron distinciones, tal la Sonatina para arpa, premio de la Comi sión Nacional de Cultura; o la Sinfonía porteña, que en 1942 fue estrenada por un director del relieve de Fritz Busch.1 Queda igualmente al margen toda la música incidental realizada en el curso de dieciocho años, de 1940 a 1958, para teatro y cine,1I así como transcripciones realizadas por Ginastera de su propia obra o de otro autor.8 La existencia de toda esa música, en gran parte inédita, nos mueve a ocuparnos, en un trabajo futuro, de su estudio, con miras a realizar una aproximación valorativa y buscar las razones que movieron a su autor a desecharla.
[Show full text]
UNIVERSITY of CALIFORNIA RIVERSIDE the 1964 Festival Of
UNIVERSITY OF CALIFORNIA RIVERSIDE The 1964 Festival of Music of the Americas and Spain: A Critical Examination of Ibero- American Musical Relations in the Context of Cold War Politics A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Alyson Marie Payne September 2012 Dissertation Committee: Dr. Leonora Saavedra, Chairperson Dr. Walter Clark Dr. Rogerio Budasz Copyright by Alyson Marie Payne 2012 The Dissertation of Alyson Marie Payne is approved: ______________________________________________________________ ______________________________________________________________ _______________________________________________________________ Committee Chairperson University of California, Riverside Acknowledgments I would like to acknowledge the tremendous help of my dissertation committee, Dr. Leonora Saavedra, Dr. Walter Clark, and Dr. Rogerio Budasz. I am also grateful for those that took time to share their first-hand knowledge with me, such as Aurelio de la Vega, Juan Orrego Salas, Pozzi Escot, and Manuel Halffter. I could not have completed this project with the support of my friends and colleagues, especially Dr. Jacky Avila. I am thankful to my husband, Daniel McDonough, who always lent a ready ear. Lastly, I am thankful to my parents, Richard and Phyllis Payne for their unwavering belief in me. iv ABSTRACT OF THE DISSERTATION The 1964 Festival of Music of the Americas and Spain: A Critical Examination of Ibero- American Musical Relations in the Context of Cold War Politics by Alyson Marie Payne Doctor of Philosophy, Graduate Program in Music University of California, Riverside, September 2012 Dr. Leonora Saavedra, Chairperson In 1964, the Organization of American States (OAS) and the Institute for Hispanic Culture (ICH) sponsored a lavish music festival in Madrid that showcased the latest avant-garde compositions from the United States, Latin America, and Spain.
[Show full text]
Central Opera Service Bulletin
CENTRAL OPERA SERVICE BULLETIN SEPTEM BER-OCTOBER, 1967 COS NATIONAL CONFERENCE—APRIL 11-12, 1968, SAN ANTONIO, TEXAS Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Center Plan • Metropolitan Opera • New York, N.Y. 10023 • 799-3467 CENTRAL OPERA SERVICE COMMITTEE R. L. B. TOBIN, National Chairman The National Council JULIUS RUDEL, Co-Chairman New York City Opera National Council Directors MRS. AUGUST BELMONT MRS. FRANK W. BOWMAN GEORGE HOWERTON E. H. CORRIGAN, JR. ELIHU M. HYNDMAN MRS. NORRIS DARRELL MRS. JOHN R. SAVAGE HOWARD J. HOOK, JR. JAMES SCHWABACHER, JR. Professional Committee MAURICE ABRAVANEL RICHARD KARP Salt Lake City Symphony Pittsburgh Opera KURT HERBERT ADLER PAUL KNOWLES San Francisco Opera University of Minnesota VICTOR ALESSANDRO GLADYS MATHEW San Antonio Symphony Community Opera ROBERT G. ANDERSON MRS. LOUDON MELLEN Tulsa Opera Opera Soc. of Wash., D.C. WILFRED C. BAIN ELEMER NAGY Indiana University Hartt College of Music ROBERT BAUSTIAN MME. ROSE PALMAI-TENSER Santa Fe Opera Mobile Opera Guild MORITZ BOMHARD RUSSELL D. PATTERSON Kentucky Opera Kansas City Lyric Theatre JOHN BROWNLEE MRS. JOHN DEWITT PELTZ Manhattan School of Music Metropolitan Opera PAUL CALLAWAY GEORGE SCHICK Opera Soc. of Wash., D.C. Metropolitan Opera STANLEY CHAPPLE MARK SCHUBART University of Washington Lincoln Center EUGENE CONLEY MRS. L. S. STEMMONS No. Texas State Univ. Dallas Civic Opera WALTER DUCLOUX LEONARD TREASH University of S. California Eastman School of Music PETER PAUL FUCHS LUCAS UNDERWOOD Louisiana State University College of the Pacific ROBERT GAY GID WALDROP Northwestern University Juilliard School of Music BORIS GOLDOVSKY MRS. J. P. WALLACE Goldovsky Opera Theatre Shreveport Civic Opera WALTER HERBERT MRS.
[Show full text]
Krautrock and the West German Counterculture
“Macht das Ohr auf” Krautrock and the West German Counterculture Ryan Iseppi A thesis submitted in partial fulfillment of the requirements for the degree of BACHELOR OF ARTS WITH HONORS DEPARTMENT OF GERMANIC LANGUAGES & LITERATURES UNIVERSITY OF MICHIGAN April 17, 2012 Advised by Professor Vanessa Agnew 2 Contents I. Introduction 5 Electric Junk: Krautrock’s Identity Crisis II. Chapter 1 23 Future Days: Krautrock Roots and Synthesis III. Chapter 2 33 The Collaborative Ethos and the Spirit of ‘68 IV: Chapter 3 47 Macht kaputt, was euch kaputt macht: Krautrock in Opposition V: Chapter 4 61 Ethnological Forgeries and Agit-Rock VI: Chapter 5 73 The Man-Machines: Krautrock and Electronic Music VII: Conclusion 85 Ultima Thule: Krautrock and the Modern World VIII: Bibliography 95 IX: Discography 103 3 4 I. Introduction Electric Junk: Krautrock’s Identity Crisis If there is any musical subculture to which this modern age of online music consumption has been particularly kind, it is certainly the obscure, groundbreaking, and oft misunderstood German pop music phenomenon known as “krautrock”. That krautrock’s appeal to new generations of musicians and fans both in Germany and abroad continues to grow with each passing year is a testament to the implicitly iconoclastic nature of the style; krautrock still sounds odd, eccentric, and even confrontational approximately twenty-five years after the movement is generally considered to have ended.1 In fact, it is difficult nowadays to even page through a recent issue of major periodicals like Rolling Stone or Spin without chancing upon some kind of passing reference to the genre.
[Show full text]
Ginastera TXT ES.Pdf
GiNAStE∏A GiNAStE∏A S 5 Introduction / Introducción ido 5 English 9 Español 14 Works / Obras EN 15 Opera / Ópera t Ginastera’s Operas / Óperas de Ginastera 17 Ballet / Ballet N The Great Ballet / El gran ballet o 17 Works for Orchestra / Obras para orquesta New York Content, Review Arrivals and Departures: North America / Llegadas y partidas: Norteamérica c Boosey & Hawkes, Inc. Trudy Chan 229 West 28th St, 11th Floor Patrick Gullo Música Mágica / Música Mágica New York, NY 10001 Maggie Heskin 21 Works for String Orchestra / Obras para orquesta de cuerdas / USA Steven Lankenau 21 Works for Solo Instrument & Orchestra / Obras para solo de instrumento y orquesta +1 (212) 358-5300 Zizi Mueller S [email protected] Introduction Concierto argentino / Concierto argentino www.boosey.com t Deborah Schwartz-Kates 23 Works Arranged for Solo Instrument & Orchestra / Obras adaptadas para solo de instrumento y orquesta London Translations 25 Works for Voice(s) & Orchestra / Obras para voz (voces) y orquesta Boosey & Hawkes Verbatim Solutions Music Publishers Limited Jens Luckwaldt Arrivals and Departures: New York / Llegadas y partidas: Nueva York EN Aldwych House Sebastián Zubieta 26 Works for Chorus & Orchestra / Obras para coro y orquesta 71-91 Aldwych London, WC2B 4HN Sampler Editing Arrivals and Departures: Europe / Llegadas y partidas: Europa t UK Trudy Chan Chris Cresswell 27 Works for Ensemble & Chamber Without Voice(s) / Obras para conjunto y cámara sin voces +44 (0) 20 7054 7200 N [email protected] Art Direction, Design 28 Works
[Show full text]
Boston Symphony Orchestra Concert Programs, Season 118, 1998-1999
BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Bernard Haitink, Principal Guest Conductor One Hundred and Eighteenth Season, 1998-99 PRELUDE CONCERT III ^ Thursday, January 21, at 6 COMMUNITY CHAMBER CONCERT II Sunday, January 24, at 3, at the Museum of Afro American History, Boston The Community Chamber Concerts are supported by State Street Bank. CHAMBER MUSIC TEA III Friday, January 29, at 2:30 LUCY SHELTON, soprano NANCY BRACKEN, violin FENWICK SMITH, flute EDWARD GAZOULEAS, viola FRANK EPSTEIN, percussion CAROL PROCTER, cello ANN HOBSON PILOT, harp ANDERSON Vocalise for violin and harp (1980) THOMSON Five Phrases from Song of Solomon, for soprano and percussion Thou that dwellest in the gardens Return, O, Shulamite! O, my dove I am my beloved's By night on my bed LUCY SHELTON, soprano WILLIAMS "Adolescence/' for soprano, flute, and cello, from Seven for Luck (1998) Ms. SHELTON ROUSSEL Serenade, Opus 30, for flute, harp, violin, viola, and cello Allegro Andante Presto GINASTERA Cantos del Tucuman (1938), for soprano, flute, violin, harp, and percussion Yo naci en el valle Solita su alma Vida, vidita, vidala, vidalita Algarrobo, algarrobal Ms SHELTON HM Weeks 13/14 TNf mm NOTES Thomas Jefferson Anderson was born August 17, 1928, in Coatesville, Pennsylva- nia. He was the first black composer-in-residence at the Atlanta Symphony Orches- tra, holding that post from 1969 to 1971. He then served as chairman of the music department at Tufts University in Somerville, MA, from 1972 to 1980. As with many American composers of his generation, jazz was a big influence, and Anderson toured with a jazz band in his youth.
[Show full text]
Anthony Di Bonaventura Aurora Natola-Ginastera
_ THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN Anthony di Bonaventura Pianist Aurora Natola-Ginastera Cellist SUNDAY AFTERNOON, OCTOBER 18, 1981, AT 4:00 RACKHAM AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Sonata in D major, K. 576 MOZART Allegro Adagio Allegretto Piano Sonata No. 1 (1952) . ALBERTO GINASTERA Allegro marcato Presto misterioso Adagio molto appassionato Ruvido ed ostinato INTERMISSION Suite No. 3 in C major for unaccompanied cello . BACH Praeludium Bouree I Allemande Bouree II Courante Gigue Sarabande Sonata No. 1, Op. 49, for Cello and Piano (1979) GINASTERA Allegro deciso Adagio passionate Presto momoroso allegro con fuoco Mr. di Bonaventura: Columbia, RCA, Connoisseur Society, and Sine Qua Non Records. Ninth Concert of the 103rd Season Sixth Annual Debut & Encore Series About the Artists We are privileged to have Alberto Ginastera, Argentina's leading composer, in our audience today for the first of two concerts featuring his music (see further information below) during his visit to the U-M campus. The world premiere of his Second Piano Sonata originally scheduled for this afternoon, has been rescheduled, thus giving concertgoers the opportunity to hear both Ginastera piano sonatas No. 1 this afternoon, and the new Sonata No. 2 in January. Anthony di Bonaventura will return to Ann Arbor to give this premiere on Friday, January 29 at 8:00 p.m. in Rackham Auditorium. Immediately following the performance, the pianist will conduct a master class for U-M School of Music students. All are invited to attend the premiere and the master class, both of which will be free and open to the public.
[Show full text]
Ginastera US 9/20/06 10:31 AM Page 8
557582 bk Ginastera US 9/20/06 10:31 AM Page 8 Gisèle Ben-Dor A formidable and incandescent presence on the podium, conductor Gisèle Ben-Dor has won high critical acclaim GINASTERA for her appearances as guest conductor with major orchestras and opera houses throughout the world and as Music Director of the Santa Barbara (CA) Symphony, of which she became Conductor Laureate in 2006. Although she is a master conductor of the established classics, as a Uruguayan by birth and upbringing she is a particularly persuasive Panambí • Estancia champion of Latin American music, notably the works of Ginastera, Revueltas, Piazzolla, and Luis Bacalov, and is widely regarded as one of the world’s most dedicated and idiomatic exponents of this repertoire on account of her many recordings and festivals. In demand internationally, Gisèle Ben-Dor has worked with the Rotterdam (Complete Ballets) Philharmonic, Bern Symphony, Brabant Symphony, Jerusalem Symphony, Orchestre de Cannes as well as others in France, Israel and the United States. She has led the New York Philharmonic, London Symphony, London Luis Gaeta, Narrator/Bass-baritone Philharmonic, English Chamber Orchestra, BBC NOW, Los Angeles Philharmonic, Boston Pops, New World Symphony, Israel Philharmonic, Israel Chamber Orchestra, Helsinki Philharmonic, Houston Symphony, Minnesota Orchestra and Orchestre de la Suisse Romande among many others in the United States, Europe, Australia, and London Symphony Orchestra • Gisèle Ben-Dor Latin America. A former associate conductor of the New York Philharmonic, Gisèle Ben-Dor returned to the Philharmonic in 1999 to substitute for Daniele Gatti in a programme of Mahler and Beethoven, without a rehearsal or scores (a feat which she had accomplished earlier by stepping in at the last minute for Kurt Masur).
[Show full text]