Toronto Symphony Orchestra Sir Andrew Davis, Interim Artistic Director

Total Page:16

File Type:pdf, Size:1020Kb

Toronto Symphony Orchestra Sir Andrew Davis, Interim Artistic Director Toronto Symphony Orchestra Sir Andrew Davis, Interim Artistic Director Wednesday, October 24, 2018 at 8:00pm Thursday, October 25, 2018 at 8:00pm Saturday, October 27, 2018 at 8:00pm Sunday, October 28, 2018 at 3:00pm George Weston Recital Hall Andrey Boreyko, conductor Alina Ibragimova, violin Nikolai Korndorf The Smile of Maud Lewis Felix Mendelssohn Violin Concerto in E Minor, Op. 64 I. Allegro molto appassionato – II. Andante – III. Allegretto non troppo – Allegro molto vivace Intermission Piotr Ilyich Tchaikovsky Suite from The Sleeping Beauty, Op.66a (selected by M. Pletnev) Introduction No. 1 Marche No. 15 Coda No. 2 Scene dansante No. 18 Entr’acte No. 4 Final No. 19 Entr’acte No. 5 Scene No. 20 Finale No. 6 Valse No. 8 Pas d’action – Adagio The Three at the Weston Series performances are generously supported by Margaret and Jim Fleck. OCTOBER 24, 25, 27 & 28, 2018 35 ABOUT THE WORKS Nikolai Korndorf The Smile of Maud Lewis Born: Moscow, Russia, January 23, 1947 14 min Died: Vancouver, Canada, May 30, 2001 Composed: 1998 Commissioned by the CBC, and premièred co-founded the Association of Contemporary on June 15, 2000, by the CBC Radio Orchestra Music in Russia, with such leading Soviet under Mario Bernardi in Vancouver, The Smile of composers as Sofia Gubaidulina and Alfred Maud Lewis was among Nikolai Korndorf’s final Schnittke among its members. In 1991, during compositions. In a program note, recorded by the dissolution of the Soviet Union, Korndorf Don Anderson and published on the Canadian and his family moved to Burnaby, British Music Centre website, Korndorf explained that Columbia, where he continued to be active as he took as his inspiration his discovery of the a composer and educator. work, personality, and artistry of the celebrated Korndorf had an encyclopedic knowledge of Canadian painter Maud Lewis (1903–1970): Western classical music, which he brought “I was most impressed by three things. First, I to bear in his compositions through, as he was fascinated by her art: simple, ingenuous, described, “an attempt to synthesize elements of but very cordial, open-hearted, moving, gentle different styles and trends, sometimes opposite and full of light. Second, I was struck by the to each other.” Ultimately, his stated aim was circumstances of her very hard and unhappy “to create monumentalism and sound colour,” life. …But in spite of that, her art was full of through rigorous developmental processes. belief in love and it inhales optimism and light. This piece begins with the violins imitating East And the third thing, I was enchanted by her Coast fiddle tunes, a sonic reference to the rural smile. In spite of her specific facial features— Nova Scotia life that was the subject of Lewis’s she did not have the lower jaw—her smile vibrant paintings. Various motifs are slowly was full of gentleness and affability. …Maud introduced and developed through repetition— Lewis’s smile, and her art alike, showed that most notably, a pastoral melody, first played by she possessed a lofty, beautiful and rich soul, the piccolo, then flute, and later, an expansive, and therefore I called my piece this name. somewhat melancholy theme presented by …It was one of the most important cultural the clarinet and French horn. Thickening of experiences since my moving to Canada. ” contrapuntal texture, mode changes, and Born in Moscow, Korndorf studied volume, build in intensity, ultimately reaching composition at the city’s famed Conservatory, a climax. A joyful new tune emerges, piped by where he eventually taught musicology, recorder, and then the sparkling sounds of the theory, composition, and conducting from celeste bring the work to an ethereal close. 1972 to 1991. He was an active champion of contemporary music; in the 1980s, he Program note by Hannah Chan-Hartley 36 TORONTO SYMPHONY ORCHESTRA Felix Mendelssohn Violin Concerto in E Minor, Op. 64 Born: Hamburg, Germany, February 3, 1809 28 min Died: Leipzig, Germany, November 4, 1847 Composed: 1844 Mendelssohn wrote two violin concertos. One while the violin provides the bass, a sustained was his very first concerto, a Mozartean work for tone on its lowest open string, G. The violin violin and strings composed when he was 13. The then takes the theme, and spins it out with other, this one, was his very last orchestral work, increasing ardour. The concise development composed in the summer of 1844, on holiday section, both turbulent and mournful, near Frankfurt. The première, on March 13, 1845, leads directly into the solo cadenza, which in Leipzig, featured the violinist Ferdinand David, Mendelssohn, unconventionally, puts just to whom the work was dedicated. before the recapitulation. The recapitulation is shortened but intensified, the coda stormy. Though often regarded as a “conservative” Romantic, Mendelssohn wrote innovative A short but striking transition leads into the concertos that influenced many later slow movement, which is simple in form but composers. In his two piano concertos from profoundly expressive. The principal theme the 1830s, he dispensed with the Classical is noble and (in the best sense) sentimental, separation of solo and orchestra; instead, he with the directness of popular song, and the had the two forces cooperate from the start violin develops it, through the whole range of in presenting and developing ideas. And he the instrument, in several minutes of unbroken asked that all three movements be played melody. The middle of the movement, with without breaks, sometimes with connecting its own theme, is darker, more agitated, and transitions. By the mid-1840s, this model dissonant, and even more intensely expressive; of concerto form was second nature for when the opening theme returns (now in a Mendelssohn, and, in the Violin Concerto, he richer setting), it has the effect of a balm. handled it with new ease and imagination. The scherzo-like finale is pure fairy music— He even incorporated a cyclical element: the the Mendelssohn of A Midsummer Night’s searching Allegretto non troppo that introduces Dream. The first theme scampers and flutters; the finale unmistakably recalls the mood of the second is all tongue-in-cheek pomp, the first movement, and even its first theme. like a fairy’s wedding march. The scoring is The first movement’s soaring, passionate main enchanting, and the two main themes are theme follows a mere three beats of quiet, developed ingeniously in an atmosphere of throbbing vamp in the orchestra, and is then unrelenting high spirits, though, in the bustling developed at length. The poignant second coda, the music also attains real nobility. theme, in a major key, is strikingly scored: a clarinet (above the flutes) takes the melody Program note by Kevin Bazzana OCTOBER 24, 25, 27 & 28, 2018 37 ABOUT THE WORKS Piotr Ilyich Tchaikovsky Suite from The Sleeping Beauty, Op. 66a (selected by M. Pletnev) Born: Kamsko-Votkinsk, Russia, May 7, 1840 48 min Died: St. Petersburg, Russia, November 6, 1893 Composed: 1888–1889 Of Tchaikovsky’s three monumental theatrical piano of Tchaikovsky’s ballets (The Nutcracker dance pieces, Swan Lake (1877), The Sleeping is the other) by Russian pianist, conductor, and Beauty, and The Nutcracker (1892), The composer Mikhail Pletnev, a personal friend Sleeping Beauty is performed less often than of tonight’s conductor, Andrey Boreyko, under the other two, but many authorities, including whose baton this version was premièred. Igor Stravinsky, consider it his finest orchestral (Pletnev’s virtuosic piano arrangement of the achievement in the form. It was commissioned suite, performed by him, can be found in the by Ivan Vsevolozhsky, director of the Imperial Philips Classics 1998 anthology Great Pianists Theatres in St. Petersburg, who wanted to stage of the 20th Century.) it in the style of Louis XIV, “with melodies in the This suite includes nine sections from the ballet spirit of Lully, Bach, Rameau and such-like.” score. The first three (numbered 1, 2, and 4) The première at the Mariinsky Theatre in are all drawn from the ballet’s Prologue, The St. Petersburg on January 15, 1890, was met Baptism of Aurora, interpolating a dance scene with indifference by public and press—too cool between the opening processional and the and sophisticated, too “French” for their taste. famous showdown between the evil Carabos The tide of opinion turned quickly, though; and the Lilac Fairy. We then leap forward to within a year, The Sleeping Beauty’s popularity Aurora’s 16th birthday celebration. had soared. Sections No. 5 and 6 are a foreboding contrast: Well before then, Tchaikovsky had raised with the ballet’s Scene des tricoteuses (Knitting his principal music publisher, Pyotr Jurgenson, Women) and the Grande valse villageoise (a.k.a. the idea of creating a Sleeping Beauty concert The Garland Waltz). The Coda (No.15) then suite. Having done so, though, he couldn’t decide bridges 100 years to act II, scene I, where we what to leave out. It was several years after his meet Prince Florimund out hunting. death that a five-movement suite was published Act II, scene II is the narrative climax of the as Op. 66a (TH 234). ballet, Tchaikovsky at his dramatic orchestral Performed by the TSO in 2003, the 20-minute best. Three consecutive sections (No. 18, 19, 20) version is sturdy enough. But not only does of the original score take us from Florimund’s this 48-minute version have a more nuanced vision of Aurora (end of act II), through his arrival emotional through-line, it also has an at the Castle of Sleep, to the magical awakening interestingly circuitous genesis of its own. It that is the story’s dramatic climax. started life as one of two transcriptions for Program note by David S.
Recommended publications
  • Gp 3.Qxt 7/27/15 8:56 AM Page 1
    08-09 Ancient Music_Gp 3.qxt 7/27/15 8:56 AM Page 1 Sunday Afternoon, August 9, 2015, at 3:00 m a r Academy of Ancient Music M|M g Edward Gardner , Conductor o r Alina Ibragimova , Violin P e ALL-MENDELSSOHN PROGRAM h The Hebrides (“Fingal’s Cave”) (1830/32) T Violin Concerto in E minor (1844) Allegro molto appassionato— Andante— Allegretto non troppo—Allegro molto vivace Ms. Ibragimova will perform Mendelssohn’s cadenza. Intermission Symphony No. 3 in A minor (“Scottish”) (1842) Andante con moto—Allegro un poco agitato Vivace non troppo Adagio Allegro vivacissimo—Allegro maestoso assai M|M Mostly Mozart debut Please make certain all your electronic devices are switched off. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Alice Tully Hall , Starr Theater Adrienne Arsht Stage 08-09 Ancient Music_Gp 3.qxt 7/27/15 8:56 AM Page 2 Mostly Mozart Festival The Mostly Mozart Festival is made possible by Sarah Billinghurst Solomon and Howard Solomon, Rita E. and Gustave M. Hauser, Chris and Bruce Crawford, The Fan Fox and Leslie R. Samuels Foundation, Inc., Charles E. Culpeper Foundation, S.H. and Helen R. Scheuer Family Foundation, and Friends of Mostly Mozart. Public support is provided by the New York State Council on the Arts. Artist Catering provided by Zabar’s and zabars.com MetLife is the National Sponsor of Lincoln Center United Airlines is a Supporter of Lincoln Center WABC-TV is a Supporter of Lincoln Center “Summer at Lincoln Center” is supported by Diet Pepsi Time Out New York is a Media Partner of Summer at Lincoln Center UPCOMING MOSTLY MOZART FESTIVAL EVENTS: Tuesday and Thursday Evenings, August 11 and 13, at 7:30 Saturday Afternoon, August 15, at 3:00 in the David H.
    [Show full text]
  • Alina Ibragimova Cédric Tiberghien Beethoven
    Alina Ibragimova Cédric Tiberghien Beethoven Violin Sonatas – 3 Alina Ibragimova violin DDD WHLive0045 C 2011 The Wigmore Hall Trust Cédric Tiberghien piano P 2011 The Wigmore Hall Trust Made & Printed in England Recorded live at Wigmore Hall, London All rights reserved. 25 May 2010 Unauthorized copying, hiring, lending, public performance and broadcasting prohibited. LC 14458 Wigmore Hall 36 Wigmore Street Ludwig Van BeethoVen London W1U 2BP www.wigmore-hall.org.uk John Gilhooly Director Violin Sonatas – 3 The Wigmore Hall Trust Reg. Charity No. 1024838 01 Violin Sonata in A major Op. 30 No. 1 22.00 04 Violin Sonata in E flat major Op. 12 No. 3 19.05 07 Violin Sonata in A major ‘Kreutzer’ Op. 47 37.30 Total time: 78.56 ‘Smiling faces, furious applause: that’s how this series ended’ (The Times) WHLive0045 Alina Ibragimova violin Made & Printed in England Cédric Tiberghien piano Recorded live at Wigmore Hall, London, on 25 May 2010 Ludwig Van BeethoVen Violin Sonatas – 3 Violin Sonata in A major Op. 30 No. 1 22.00 01 Allegro 06.48 02 Adagio molto espressivo 07.15 03 Allegretto con variazioni 07.33 Violin Sonata in E flat major Op. 12 No. 3 19.05 04 Allegro con spirito 07.57 05 Adagio con molta espressione 06.31 06 Allegro molto 04.22 Violin Sonata in A major ‘Kreutzer’ Op. 47 37.30 07 Adagio sostenuto – Presto 13.38 08 Andante con variazioni 15.16 09 Presto 08.47 Total time: 78.56 b0045 RPM.qxd 02-03-2011 11:46 Page 2 BEETHOVEN VIOLIN SONATAS – VOLUME 3 This disc contains many wonders, but even the the sonata for which Op.
    [Show full text]
  • Program Note to File
    Abstract Title of Dissertation : Dance Based Music on Piano You Sang Kim, Doctor of Musical Art, 2015 Dissertation dirented by: Professor Larissa Dedova School of Music, Piano Division According to the Merriam-Webster dictionary, the definition of dance is “to move your body in a way that goes with the rhythm and style of music that is being played.” 1 As you can see in that definition, these two important ways of expressing human feelings, music and dance, are very closely related. Countless pieces of music have been composed for dance, and are still being composed. It is impossible and useless to count how many kinds of dances exist in the world. Different kinds of dances have been developed according to their purposes, cultures, 1 Merriam-Webster Dictionary. “Dance.” http://www.merriam-webster.com/dictionary/dance rhythm and tempo. For this reason, the field of dance-related music necessarily expanded significantly. A great deal of dance music has been written for orchestras, small ensembles, or vocals. Along with them, keyboard music also has a huge repertoire of dance pieces. For example, one of the most famous form in Baroque period was suites. Suites usually include 5 or more dance movements in the same key, such as Minuet, Allemende, Courant, Sarabande, Gigue, Bourree, Gavotte, Passepied, and so on. Nationalistic dances like waltz, polonaise, mazurka, and tarantella, were wonderful sources for composers like Chopin, Brahms, and Tchaikovsky. Dance-based movements were used for Mozart and Beethoven’s piano sonatas, chamber works and concertos. Composers have routinely traveled around the world to collect folk and dance tunes from places they visit.
    [Show full text]
  • NIKOLAI KORNDORF: a BRIEF INTRODUCTION by Martin Anderson Nikolai Korndorf Had a Clear Image of What Kind of a Composer He Was
    Explore Unknown Music with the Toccata Discovery Club Since you’re reading this booklet, you’re obviously someone who likes to explore music more widely than the mainstream offerings of most other labels allow. Toccata Classics was set up explicitly to release recordings of music – from the Renaissance to the present day – that the microphones have been ignoring. How often have you heard a piece of music you didn’t know and wondered why it hadn’t been recorded before? Well, Toccata Classics aims to bring this kind of neglected treasure to the public waiting for the chance to hear it – from the major musical centres and from less-well-known cultures in northern and eastern Europe, from all the Americas, and from further afield: basically, if it’s good music and it hasn’t yet been recorded, Toccata Classics will be exploring it. To link label and listener directly we have launched the Toccata Discovery Club, which brings its members substantial discounts on all Toccata Classics recordings, whether CDs or downloads, and also on the range of pioneering books on music published by its sister company, Toccata Press. A modest annual membership fee brings you two free CDs when you join (so you are saving from the start) and opens up the entire Toccata Classics catalogue to you, both new recordings and existing releases. Frequent special offers bring further discounts. If you are interested in joining, please visit the Toccata Classics website at www.toccataclassics.com and click on the ‘Discovery Club’ tab for more details. 8 TOCC 0128 Korndorf.indd 1 26/03/2012 17:30 NIKOLAI KORNDORF: A BRIEF INTRODUCTION by Martin Anderson Nikolai Korndorf had a clear image of what kind of a composer he was.
    [Show full text]
  • Orquestra Gulbenkian Fabien Gabel Alina Ibragimova
    Orquestra Gulbenkian Fabien Gabel Alina Ibragimova 13 OUTUBRO 2016 QUINTA 21:00h — Grande Auditório 14 OUTUBRO 2016 SEXTA 19:00h — Grande Auditório 21:30h — Grande Auditório Solistas da Orquestra Gulbenkian benjamin ealovega © alina ibragimova GULBENKIAN.PT/MUSICA mecenas principal gulbenkian música mecenas mecenas mecenas mecenas mecenas estágios gulbenkian para orquestra música de câmara concertos de domingo ciclo piano coro gulbenkian Sociedade de Advogados, SP RL 13 DE OUTUBRO Orquestra Gulbenkian QUINTA 21.00h — Grande Auditório 14 DE OUTUBRO SEXTA 19.00h — Grande Auditório Orquestra Gulbenkian Fabien Gabel Maestro Alina Ibragimova Violino Dmitri Chostakovitch Concerto para Violino e Orquestra n.º 1, em Lá menor, op. 77 Nocturne: Moderato Scherzo: Allegro Passacaglia: Andante – Cadenza Burlesque: Allegro con brio – Presto intervalo Piotr Ilitch Tchaikovsky Sinfonia n.º 5, em Mi menor, op. 64 Andante – Allegro con anima Andante cantabile, con alcuna licenza Valse: Allegro moderato Finale: Andante maestoso – Allegro vivace Duração total prevista: c. 1h 50 min. Intervalo de 20 min. 03 14 DE OUTUBRO SEXTA Solistas da Orquestra 21.30h — Grande Auditório Gulbenkian Amália Tortajada Flauta Jordi Rodriguez Violino Christopher Hooley Viola Raquel Reis Violoncelo Wolfgang Amadeus Mozart Quarteto com Flauta n.º 1, em Ré maior, K. 285 Allegro Adagio Rondeau Quarteto com Flauta n.º 2, em Sol maior, K. 285a Andante Tempo di menuetto Quarteto com Flauta n.º 3, em Dó maior, K. 285b Allegro Andantino Duração total prevista: c. 50’ Concerto sem intervalo 04 Dmitri Chostakovitch São Petersburgo, 25 de setembro de 1906 Moscovo, 9 de agosto de 1975 Concerto para Violino e Orquestra n.º 1, em Lá menor, op.
    [Show full text]
  • 4 Behind the Scenes Playing in Rep 6 Your Latest School News and Stories
    The Guildhall School Magazine Spring/ Summer 2016 4 Behind the Scenes 26 The Interview Playing in Rep Athole Still 6 Your latest School 30 Then & Now news and stories Debbie Wiseman PLAY32 Class Notes 35 In Memoriam Sir George Martin 12 Guildhall to the World New York, New York 14 My Legacy Gift Kevin Webb 16 Where art meets business 22 Doctor in the House 38 A Day in the Life Philip Venables Sara Lee Editorial Group Welcome to the latest edition of PLAY Short Courses Deputy Head of Development (Alumni & Supporter Relations) Recently, I spent two days meeting with current students who Rachel Dyson 2016 had applied to be involved in our Easter telephone appeal. I Head of External Affairs Jo Hutchinson asked them all the same questions and their responses, regardless of subject or level of study, were astonishingly consistent and Head of Development Summer Arts Camp Duncan Barker often quite touching. New Summer Arts Camp for 11-14 years (in association with the Barbican) Marketing & Communications Officer When asked ‘Why did you choose to study at Guildhall?’, many Drama Summer School Rosanna Chianta students spoke of loving the ‘easy-going’, ‘friendly’, ‘progressive’ Acting in Shakespeare & Contemporary Theatre Writer & Editorial Consultant Acting in Musical Theatre environment at Guildhall; how they felt at home as soon as Nicola Sinclair Drama Summer School for 16-17 years they walked in for an open day, an audition or to visit a friend Art Direction & Design who was here before them. They talked of the collaborative Music Summer School Pentagram New Brass and Percussion Week Jessie Earle opportunities that arise from the combination of conservatoire Advanced Saxophone and drama school, and from the School’s partnerships with New Advanced Viola and Performance Health Contact external organisations such as the LSO, the Barbican and the New Advanced Oboe New Oboe and Cor Anglais Artistry Email Royal Opera House.
    [Show full text]
  • Pdf May 2010, "Dvoinaia Pererabotka Otkhodov V Sovetskoi [3] ‘New Beginnings
    Advances in Social Science, Education and Humanities Research, volume 368 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019) Multifaceted Creativity: Legacy of Alexander Ivashkin Based on Archival Materials and Publications Elena Artamonova Doctor of Philosophy University of Central Lancashire Preston, United Kingdom E-mail: [email protected] Abstract—Professor Alexander Vasilievich Ivashkin (1948- numerous successful international academic and research 2014) was one of the internationally eminent musicians and projects, symposia and competitions, concerts and festivals. researchers at the turn of the most recent century. His From 1999 until his death in 2014, as the Head of the Centre dedication, willpower and wisdom in pioneering the music of for Russian Music at Goldsmiths, he generated and promoted his contemporaries as a performer and academic were the interdisciplinary events based on research and archival driving force behind his numerous successful international collections. The Centre was bursting with concert and accomplishments. This paper focuses on Ivashkin’s profound research life, vivacity and activities of high calibre attracting knowledge of twentieth-century music and contemporary international attention and interest among students and analysis in a crossover of cultural-philosophical contexts, scholars, professionals and music lovers, thus bringing together with his rare ability to combine everything in cultural dialogue across generations and boarders to the retrospect and make his own conclusions. His understanding of inner meaning and symbolism bring new conceptions to wider world. His prolific collaborations, including with the Russian music, when the irrational becomes a new stimulus for London Philharmonic Orchestra, the Southbank Centre, the rational ideas. The discussion of these subjects relies heavily on BBC Symphony Orchestra, the Barbican Centre and unpublished archival and little-explored publications of Wigmore Hall, St.
    [Show full text]
  • Amaryllis Fleming Concert Hall Maxim Vengerov Conductor Roberto Ruisi Violin Maria Gîlicel Violin Line Faber Violin RCM Symphony Orchestra
    ORCHESTRAL MASTERCLASS WITH MAXIM VENGEROV Thursday 28 June 2018 7pm | Amaryllis Fleming Concert Hall Maxim Vengerov conductor Roberto Ruisi violin Maria Gîlicel violin Line Faber violin RCM Symphony Orchestra ORCHESTRAL MASTERCLASS WITH MAXIM VENGEROV Thursday 28 June 2018, 7pm | Amaryllis Fleming Concert Hall Maxim Vengerov conductor Roberto Ruisi violin (movement i) Maria Gîlicel violin (movement ii) Line Faber violin (movement iii) RCM Symphony Orchestra Beethoven Violin Concerto in D major op 61 (1770–1827) i Allegro ma non troppo INTERVAL ii Larghetto iii Rondo. Allegro RCM Polonsky Visiting Professor of Violin Maxim Vengerov returns to the College for another highly anticipated masterclass. One of the greats of the repertoire, RCM violinists and the RCM Symphony Orchestra explore Beethoven’s Violin Concerto. This masterclass will be live streamed to www.rcm.ac.uk/live. Beethoven Violin Concerto in D major op 61 Although Beethoven completed only one concerto for violin, he certainly began work on another. All that survives of the earlier attempt is the opening section of a first movement in C major, but the condition of manuscript is such that it is entirely possible that the rest once existed, but has since been lost. The fragment probably dates from the early 1790s and reveals a confident treatment of the soloist, and a penchant for the upper reaches of the instrument’s range that anticipates one of the notable features of the masterpiece that was to follow more than a decade later. The exact circumstances of the D major Concerto’s commissioning are not known, but it was evidently written for Franz Clement, a very distinguished Viennese conductor (notably at the Theater an der Wien) and violinist.
    [Show full text]
  • Concerto Capriccioso Recorded Live at the Great Hall Of
    Concerto capriccioso recorded live at the Great Hall of Moscow Conservatoire, 21 November 2005 Recording engineer: Farida Uzbekova Triptych recorded live at the Lazaridis Theatre, Perimeter Institute, Waterloo, Canada, 1 December 2006 (courtesy of Marshall Arts Productions) Recording engineer: Ed Marshall, Marshall Arts Productions Passacaglia recorded at Studio One, Moscow Radio House, 3–6 August 2001 (courtesy of Megadisc Records) Recording engineer: Liubov Doronina Recordings remastered by Richard Black, Recording Rescue, London Booklet essays: Martin Anderson and Alexander Ivashkin Design and layout: Paul Brooks, Design and Print, Oxford Executive Producer: Martin Anderson TOCC 0128 © 2012, Toccata Classics, London P 2012, Toccata Classics, London Toccata Classics CDs can be ordered from our distributors around the world, a list of whom can be found at www.toccataclassics.com. If we have no representation in your country, please contact: Toccata Classics, 16 Dalkeith Court, Vincent Street, London SW1P 4HH, UK Tel: +44/0 207 821 5020 Fax: +44/0 207 834 5020 E-mail: [email protected] TOCC 0128 Korndorf.indd 1 05/04/2012 14:07 Anya Alexeyev has performed extensively in many countries across Europe as well as in the USA, Canada, Argentina, Malaysia and South Africa. She has performed many times in all of London’s NIKOLAI KORNDORF: A BRIEF INTRODUCTION major concert halls, as well as in such venues as the Philharmonie in Berlin, the Konzerthaus in by Martin Anderson Vienna, Teatro Colón in Buenos Aires, Herodes Atticus Theatre in Athens, Bridgewater Hall in Manchester, the Great Hall of the Moscow Conservatoire, Philharmonia Hall in St Petersburg, Nikolai Korndorf had a clear image of what kind of a composer he was.
    [Show full text]
  • Jansen/Maisky/ Argerich Trio Tuesday 6 February 2018 7.30Pm, Hall
    Jansen/Maisky/ Argerich Trio Tuesday 6 February 2018 7.30pm, Hall Beethoven Cello Sonata in G minor, Op 5 No 2 Shostakovich Piano Trio No 2 in E minor, Op 67 interval 20 minutes Schumann Violin Sonata No 1 in A minor, Op 105 Mendelssohn Piano Trio No 1 in D minor, Op 49 Janine Jansen violin Mischa Maisky cello Martha Argerich piano Adriano Heitman Adriano Part of Barbican Presents 2017–18 Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel. 020 3603 7930) Confectionery and merchandise including organic ice cream, quality chocolate, nuts and nibbles are available from the sales points in our foyers. Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. If anything limits your enjoyment please let us know The City of London during your visit. Additional feedback can be given Corporation is the founder and online, as well as via feedback forms or the pods principal funder of located around the foyers. the Barbican Centre Welcome Tonight we are delighted to welcome three friend Ivan Sollertinsky, an extraordinarily musicians so celebrated that they need no gifted man in many different fields. introduction. Martha Argerich and Mischa Maisky have been performing together We begin with Beethoven, and his Second for more than four decades, while Janine Cello Sonata, a work that is groundbreaking Jansen is a star of the younger generation. for treating string instrument and piano equally and which ranges from sheer Together they present two vastly different wit to high drama.
    [Show full text]
  • Alfred Schnittke Concerto Grosso No.1 Symphony No.9
    alfred schnittke Concerto grosso No.1 SHARON BEZALY FLUTE CHRISTOPHER COWIE OBOE Symphony No.9 CAPE PHILHARMONIC ORCHESTRA OWAIN ARWEL HUGHES CAPE PHILHARMONIC ORCHESTRA KAAPSE FILHARMONIESE ORKES I-okhestra yomculo yaseKoloni BIS-CD-1727 BIS-CD-1727_f-b.indd 1 09-05-18 16.16.53 BIS-CD-1727 Alf:booklet 11/5/09 12:58 Page 2 SCHNITTKE, Alfred (1934–98) Concerto grosso No. 1 (1977) (Sikorski) 27'13 Version for flute, oboe, harpsichord, prepared piano and string orchestra (1988) world première recording 1 I. Preludio. Andante 4'46 2 II. Toccata. Allegro 4'33 3 III. Recitativo. Lento 6'39 4 IV. Cadenza 2'11 5 V. Rondo. Agitato 6'45 6 VI. Postludio. Andante 2'13 Sharon Bezaly flute · Christopher Cowie oboe Grant Brasler harpsichord · Albert Combrink piano Symphony No. 9 (1997) (Sikorski) 33'19 Reconstruction by Alexander Raskatov (2006) 7 I. [Andante] 18'03 8 II. Moderato 7'57 9 III. Presto 7'01 TT: 61'24 Cape Philharmonic Orchestra Farida Bacharova leader Owain Arwel Hughes conductor 2 BIS-CD-1727 Alf:booklet 11/5/09 12:58 Page 3 lfred Schnittke (1934–98) needs very little introduction. His music has been performed countless times all around the world and recorded on A numerous compact discs released by different companies. His major com positions – nine symphonies, three operas, ballets, concertos, concerti grossi, sonatas for various instruments – have been heard on every continent. In Schnitt - ke’s music we find a mixture of old and new styles, of modern, post-modern, clas sical and baroque ideas. It reflects a very complex, peculiar and fragile men - tality of the late twentieth century.
    [Show full text]
  • Mikhail Pletnev a Difficult Birth Peter Ilyich Tchaikovsky (1840 – 1893) Symphony No
    Peter Ilyich Tchaikovsky SYMPHONY NO1. IN G MINOR, OP.13 SLAVONIC MARCH, OP.31 HYBRID MUL TICHANNEL RUSSIAN NATIONAL ORCHESTRA Mikhail Pletnev A difficult birth Peter Ilyich Tchaikovsky (1840 – 1893) Symphony No. 1 in G Minor, Op. 13 (1866, revised 1874) he genre of the symphony played a cal characteristics met, by contrast, with “Winter Daydreams” Tmajor role throughout the creative life euphoric approval from a wide-ranging of Pyotr Tchaikovsky. He composed his first audience. After all, especially in German- 1 Daydreams on a winter journey – Allegro tranquillo 13. 19 symphony at the age of 26, and his sixth and speaking countries, his music was unjustly 2 Land of desolation, land of mists – Adagio cantabile ma non tanto 11. 43 last symphony – the Pathétique – in 1893, stamped as follows: “Beware! Sensitive, 3 Scherzo – Allegro scherzando giocoso 7. 23 the year in which he died. Whereas his three sloppy sentiment!”. But Tchaikovsky abso- 4 Finale – Andante lugubre - Allegro moderato - Allegro maestoso – last symphonies have remained an integral lutely did not want to get involved in an part of the concert repertoire, performances academic game with empty notes. And Andante lugubre - Allegro vivo 13. 14 of his first three symphonies are still quite rightly so. rare. Unfairly so, as they are unique indi- One certainly cannot accuse (1876) 5 Marche Slave (Slavonic March), Op. 31 9.15 vidual works, artistic expressions of a high Tchaikovsky of having taken an easy path quality. Tchaikovsky defined the symphony in life. After all, the law graduate gave up Russian National Orchestra as “the most lyrical of musical forms.
    [Show full text]