The Universi ~
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Sir John Eliot Gardiner Conductor Stravinsky Symphony in Three Movements = 160 Andante—Interlude:Q L’Istesso Tempo— Con Moto Elgar in the South (Alassio), Op
Program OnE HundrEd TwEnTIETH SEASOn Chicago Symphony orchestra riccardo muti Music director Pierre Boulez Helen regenstein Conductor Emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, January 20, 2011, at 8:00 Saturday, January 22, 2011, at 8:00 Sir John Eliot gardiner Conductor Stravinsky Symphony in Three Movements = 160 Andante—Interlude:q L’istesso tempo— Con moto Elgar In the South (Alassio), Op. 50 IntErmISSIon Bartók Concerto for Orchestra Introduzione: Andante non troppo—Allegro vivace Giuoco delle coppie: Allegro scherzando Elegia: Andante non troppo Intermezzo interrotto: Allegretto Finale: Presto Steinway is the official piano of the Chicago Symphony Orchestra. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. CommEntS by PHILLIP HuSCHEr Igor Stravinsky Born June 18, 1882, Oranienbaum, Russia. Died April 6, 1971, New York City. Symphony in three movements o composer has given us more Stravinsky is again playing word Nperspectives on a “symphony” games. (And, perhaps, as has than Stravinsky. He wrote a sym- been suggested, he used the term phony at the very beginning of his partly to placate his publisher, who career (it’s his op. 1), but Stravinsky reminded him, after the score was quickly became famous as the finished, that he had been com- composer of three ballet scores missioned to write a symphony.) (Petrushka, The Firebird, and The Rite Then, at last, a true symphony: in of Spring), and he spent the next few 1938, Mrs. Robert Woods Bliss, years composing for the theater and together with Mrs. -
Jean-Guihen Queyras Violoncello
JEAN-GUIHEN QUEYRAS VIOLONCELLO Biography Curiosity, diversity and a firm focus on the music itself characterize the artistic work of Jean- Guihen Queyras. Whether on stage or on record, one experiences an artist dedicated completely and passionately to the music, whose humble and quite unpretentious treatment of the score reflects its clear, undistorted essence. The inner motivations of composer, performer and audience must all be in tune with one another in order to bring about an outstanding concert experience: Jean-Guihen Queyras learnt this interpretative approach from Pierre Boulez, with whom he established a long artistic partnership. This philosophy, alongside a flawless technique and a clear, engaging tone, also shapes Jean-Guihen Queyras’ approach to every performance and his absolute commitment to the music itself. His approaches to early music – as in his collaborations with the Freiburg Baroque Orchestra and the Akademie für Alte Musik Berlin – and to contemporary music are equally thorough. He has given world premieres of works by, among others, Ivan Fedele, Gilbert Amy, Bruno Mantovani, Michael Jarrell, Johannes-Maria Staud, Thomas Larcher and Tristan Murail. Conducted by the composer, he recorded Peter Eötvös’ Cello Concerto to mark his 70th birthday in November 2014. Jean-Guihen Queyras was a founding member of the Arcanto Quartet and forms a celebrated trio with Isabelle Faust and Alexander Melnikov; the latter is, alongside Alexandre Tharaud, a regular accompanist. He has also collaborated with zarb specialists Bijan and Keyvan Chemirani on a Mediterranean programme. The versatility in his music-making has led to many concert halls, festivals and orchestras inviting Jean-Guihen to be Artist in Residence, including the Concertgebouw Amsterdam and the Festival d’Aix-en-Provence, Vredenburg Utrecht, De Bijloke Ghent and the Orchestre Philharmonique de Strasbourg. -
Stravinsky, Tempo, and Le Sacre Erica Heisler Buxbaum
Performance Practice Review Volume 1 Article 6 Number 1 Spring/Fall Stravinsky, Tempo, and Le Sacre Erica Heisler Buxbaum Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Musicology Commons, Music Performance Commons, and the Music Practice Commons Buxbaum, Erica Heisler (1988) "Stravinsky, Tempo, and Le Sacre," Performance Practice Review: Vol. 1: No. 1, Article 6. DOI: 10.5642/ perfpr.198801.01.6 Available at: http://scholarship.claremont.edu/ppr/vol1/iss1/6 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Stravinsky, Tempo, and Le sacre Erica Heisler Buxbaum Performing the works of Igor Stravinsky precisely as he intended would appear to be an uncomplicated matter: Stravinsky notated his scores in great detail, conducted recorded performances of many of his works, and wrote commentaries that contain a great deal of specific performance information. Stravinsky's recordings and published statements, however, raise as many questions as they answer about the determination of tempo and the documentary value of recordings. Like Wagner, Stravinsky believed that the establishment of the proper tempo for a work was crucial and declared that "a piece of mine can survive almost anything but wrong or uncertain tempo." Stravinsky notated his tempi precisely with both Italian words and metronome markings and asserted on many occasions that the primary value of his recordings was that they demonstrated the proper tempi for his works. -
A Listening Guide for the Indispensable Composers by Anthony Tommasini
A Listening Guide for The Indispensable Composers by Anthony Tommasini 1 The Indispensable Composers: A Personal Guide Anthony Tommasini A listening guide INTRODUCTION: The Greatness Complex Bach, Mass in B Minor I: Kyrie I begin the book with my recollection of being about thirteen and putting on a recording of Bach’s Mass in B Minor for the first time. I remember being immediately struck by the austere intensity of the opening choral singing of the word “Kyrie.” But I also remember feeling surprised by a melodic/harmonic shift in the opening moments that didn’t do what I thought it would. I guess I was already a musician wanting to know more, to know why the music was the way it was. Here’s the grave, stirring performance of the Kyrie from the 1952 recording I listened to, with Herbert von Karajan conducting the Vienna Philharmonic. Though, as I grew to realize, it’s a very old-school approach to Bach. Herbert von Karajan, conductor; Vienna Philharmonic (12:17) Today I much prefer more vibrant and transparent accounts, like this great performance from Philippe Herreweghe’s 1996 recording with the chorus and orchestra of the Collegium Vocale, which is almost three minutes shorter. Philippe Herreweghe, conductor; Collegium Vocale Gent (9:29) Grieg, “Shepherd Boy” Arthur Rubinstein, piano Album: “Rubinstein Plays Grieg” (3:26) As a child I loved “Rubinstein Plays Grieg,” an album featuring the great pianist Arthur Rubinstein playing piano works by Grieg, including several selections from the composer’s volumes of short, imaginative “Lyrical Pieces.” My favorite was “The Shepherd Boy,” a wistful piece with an intense middle section. -
Pierre Boulez Rituel
PROGRAM NOTES by Phillip Huscher Pierre Boulez Born March 26, 1925, Montbrison, France. Currently resides in Paris, France. Rituel (In memoriam Bruno Maderna) Boulez composed this work in 1974 and 1975, and conducted the first performance on April 2, 1975, in London. The score calls for three flutes and two alto flutes, three oboes and english horn, three clarinets, E- flat clarinet and bass clarinet, alto saxophone, four bassoons, six horns, four trumpets, four trombones, six violins, two violas, two cellos, and a percussion battery consisting of tablas, japanese bells, woodblocks, japanese woodblock, maracas, tambourine, sizzle cymbal, turkish cymbal, chinese cymbal, cow bells, snare drums (with and without snares), guiros, bongo, claves, maracas-tubes, triangles, hand drums, castanets, temple blocks, tom-toms, log drum, conga, gongs, and tam-tams. Performance time is approximately twenty- five minutes. Bruno Maderna died on November 13, 1973. For many years he had been a close friend of Pierre Boulez (and a true friend of all those involved in new music activities) and a treasured colleague; like Boulez, he had made his mark both as a composer and as a conductor. “In fact, to get any real idea of what he was like as a person,” Boulez wrote at the time of his death, “the conductor and the composer must be taken together; for Maderna was a practical person, equally close to music whether he was performing or composing.” In 1974 Boulez began Rituel as a memorial piece in honor of Maderna. (In the catalog of his works, Rituel follows . explosante-fixe . ., composed in 1971 as a homage to Stravinsky.) The score was completed and performed in 1975. -
Cso at the Movies 2014/15 Series Concludes with Silent Film Classic, Metropolis
For Immediate Release: Press Contacts: May 8, 2015 Eileen Chambers, 312-294-3092 Rachelle Roe, 312-294-3090 Photos Available By Request [email protected] CSO AT THE MOVIES 2014/15 SERIES CONCLUDES WITH SILENT FILM CLASSIC, METROPOLIS May 29 at 8 p.m. CHICAGO—The Chicago Symphony Orchestra’s 2014/15 CSO at the Movies series concludes with a screening of Fritz Lang’s silent film Metropolis on Friday, May 29 at 8 p.m. The Chicago Symphony Orchestra (CSO), led by conductor Cristian Măcelaru, will accompany Giorgio Moroder’s abridged version of the film with a live performance of a score compiled by John Goberman and that includes music by Schoenberg, Grieg and Bartók. Fritz Lang’s genre-defining science fiction film debuted in 1927 and has since been restored and rereleased all over the world. The film is set in a futuristic city whose citizens, divided into two classes, find that their conflicts are mediated by an unexpected source. Film critic Roger Ebert described Metropolis as doing “what many great films do, creating a time, place and characters so striking that they become part of our arsenal of images for imagining the world… and the result is one of those films without which many others cannot be fully appreciated.” Because of its production as a silent film, the score for Metropolis is reinvented with each screening of the film. The CSO will use the score compiled by TV and film producer John Goberman, the creator of the Emmy Award-winning show Live from Lincoln Center. Goberman’s compiled score for Metropolis includes sections of Schoenberg’s Transfigured Night and two of the composer’s chamber symphonies, Bartok’s String Quartet No. -
Digital Concert Hall Where We Play Just for You
www.digital-concert-hall.com DIGITAL CONCERT HALL WHERE WE PLAY JUST FOR YOU PROGRAMME 2016/2017 Streaming Partner TRUE-TO-LIFE SOUND THE DIGITAL CONCERT HALL AND INTERNET INITIATIVE JAPAN In the Digital Concert Hall, fast online access is com- Internet Initiative Japan Inc. is one of the world’s lea- bined with uncompromisingly high quality. Together ding service providers of high-resolution data stream- with its new streaming partner, Internet Initiative Japan ing. With its expertise and its excellent network Inc., these standards will also be maintained in the infrastructure, the company is an ideal partner to pro- future. The first joint project is a high-resolution audio vide online audiences with the best possible access platform which will allow music from the Berliner Phil- to the music of the Berliner Philharmoniker. harmoniker Recordings label to be played in studio quality in the Digital Concert Hall: as vivid and authen- www.digital-concert-hall.com tic as in real life. www.iij.ad.jp/en PROGRAMME 2016/2017 1 WELCOME TO THE DIGITAL CONCERT HALL In the Digital Concert Hall, you always have Another highlight is a guest appearance the best seat in the house: seven days a by Kirill Petrenko, chief conductor designate week, twenty-four hours a day. Our archive of the Berliner Philharmoniker, with Mozart’s holds over 1,000 works from all musical eras “Haffner” Symphony and Tchaikovsky’s for you to watch – from five decades of con- “Pathétique”. Opera fans are also catered for certs, from the Karajan era to today. when Simon Rattle presents concert perfor- mances of Ligeti’s Le Grand Macabre and The live broadcasts of the 2016/2017 Puccini’s Tosca. -
Digital Concert Hall
Digital Concert Hall Streaming Partner of the Digital Concert Hall 21/22 season Where we play just for you Welcome to the Digital Concert Hall The Berliner Philharmoniker and chief The coming season also promises reward- conductor Kirill Petrenko welcome you to ing discoveries, including music by unjustly the 2021/22 season! Full of anticipation at forgotten composers from the first third the prospect of intensive musical encoun- of the 20th century. Rued Langgaard and ters with esteemed guests and fascinat- Leone Sinigaglia belong to the “Lost ing discoveries – but especially with you. Generation” that forms a connecting link Austro-German music from the Classi- between late Romanticism and the music cal period to late Romanticism is one facet that followed the Second World War. of Kirill Petrenko’s artistic collaboration In addition to rediscoveries, the with the orchestra. He continues this pro- season offers encounters with the latest grammatic course with works by Mozart, contemporary music. World premieres by Beethoven, Schubert, Mendelssohn, Olga Neuwirth and Erkki-Sven Tüür reflect Brahms and Strauss. Long-time compan- our diverse musical environment. Artist ions like Herbert Blomstedt, Sir John Eliot in Residence Patricia Kopatchinskaja is Gardiner, Janine Jansen and Sir András also one of the most exciting artists of our Schiff also devote themselves to this core time. The violinist has the ability to capti- repertoire. Semyon Bychkov, Zubin Mehta vate her audiences, even in challenging and Gustavo Dudamel will each conduct works, with enthusiastic playing, technical a Mahler symphony, and Philippe Jordan brilliance and insatiable curiosity. returns to the Berliner Philharmoniker Numerous debuts will arouse your after a long absence. -
Michael Tilson Thomas Named Judge Widney Professor of Music at the University of Southern California
4/6/14 9:45 PM Web Version | Contact Media Reps | Find Experts Like Tweet Forward Michael Tilson Thomas Named Judge Widney Professor of Music at the University of Southern California CONTACT: Allison Engel 213/740-1927 [email protected] Michael Tilson Thomas, one of the world’s most prominent musicians and a two-time alumnus of the USC Thornton School of Music (’67 and MM ’76), has been named a Judge Widney Professor of Music at USC. The appointment, which takes effect in Fall 2015, will give USC Thornton students the chance to work directly with Thomas through mentorship and other educational opportunities that will further enhance their developing careers. "Michael Tilson Thomas stands among USC's most distinguished alumni, and our students will benefit tremendously from his exceptional experience and expertise," said USC President C. L. Max Nikias. "Given his longstanding and illustrious career, he is a singular role model, particularly for our students at USC Thornton. In becoming a Judge Widney Professor, he joins a select group of distinguished individuals, including Frank Gehry, Dana Gioia and General David Petraeus, all of whom have graciously agreed to serve as mentors for our talented students." Robert Cutietta, dean of USC Thornton, said: “We are thrilled to welcome Michael Tilson Thomas back to campus. It is so meaningful that one of our outstanding alumni has such fond memories of his time at USC that he has decided to give back and impact today’s students.” “I have always been honored to be a part of the USC family,” said Thomas. -
Journal of the Conductors Guild
Journal of the Conductors Guild Volume 32 2015-2016 19350 Magnolia Grove Square, #301 Leesburg, VA 20176 Phone: (646) 335-2032 E-mail: [email protected] Website: www.conductorsguild.org Jan Wilson, Executive Director Officers John Farrer, President John Gordon Ross, Treasurer Erin Freeman, Vice-President David Leibowitz, Secretary Christopher Blair, President-Elect Gordon Johnson, Past President Board of Directors Ira Abrams Brian Dowdy Jon C. Mitchell Marc-André Bougie Thomas Gamboa Philip Morehead Wesley J. Broadnax Silas Nathaniel Huff Kevin Purcell Jonathan Caldwell David Itkin Dominique Royem Rubén Capriles John Koshak Markand Thakar Mark Crim Paul Manz Emily Threinen John Devlin Jeffery Meyer Julius Williams Advisory Council James Allen Anderson Adrian Gnam Larry Newland Pierre Boulez (in memoriam) Michael Griffith Harlan D. Parker Emily Freeman Brown Samuel Jones Donald Portnoy Michael Charry Tonu Kalam Barbara Schubert Sandra Dackow Wes Kenney Gunther Schuller (in memoriam) Harold Farberman Daniel Lewis Leonard Slatkin Max Rudolf Award Winners Herbert Blomstedt Gustav Meier Jonathan Sternberg David M. Epstein Otto-Werner Mueller Paul Vermel Donald Hunsberger Helmuth Rilling Daniel Lewis Gunther Schuller Thelma A. Robinson Award Winners Beatrice Jona Affron Carolyn Kuan Jamie Reeves Eric Bell Katherine Kilburn Laura Rexroth Miriam Burns Matilda Hofman Annunziata Tomaro Kevin Geraldi Octavio Más-Arocas Steven Martyn Zike Theodore Thomas Award Winners Claudio Abbado Frederick Fennell Robert Shaw Maurice Abravanel Bernard Haitink Leonard Slatkin Marin Alsop Margaret Hillis Esa-Pekka Salonen Leon Barzin James Levine Sir Georg Solti Leonard Bernstein Kurt Masur Michael Tilson Thomas Pierre Boulez Sir Simon Rattle David Zinman Sir Colin Davis Max Rudolf Journal of the Conductors Guild Volume 32 (2015-2016) Nathaniel F. -
Official Opening of the Pierre Boulez Hall in Berlin
Official Opening of the Pierre Boulez Hall in Berlin • opening weekend with two concerts at 18:00 on 4 March and at 11:00 on 5 March • German President Joachim Gauck, architect Frank Gehry and acoustician Yasuhisa Toyota among the invited guests on 4 March • broadcast on Arte Concert and ARD radio stations Photo © Volker Kreidler “We must, after all, extend our horizons to include new and unknown worlds as well as those to which we are accustomed.” Pierre Boulez After a four-year building programme that has gone entirely according to plan, Berlin’s new Pierre Boulez Hall will open with a gala concert under the direction of Daniel Barenboim. As honorary guest, German President Joachim Gauck is going to attend the opening concert on 4 March. The newly formed Boulez Ensemble will present works by Boulez, Schubert, Mozart, Jörg Widmann and Alban Berg. The Pierre Boulez Hall has been designed by American architect Frank Gehry and is a part of the Barenboim–Said Academy. Summoned into existence by Daniel Barenboim, the Academy began its teaching programme in the autumn of 2016. Located at the cultural heart of Berlin, the new concert hall has seating for 700 and offers a range of possibilities with its elliptical shape and flexible stage design. The hall’s acoustics are the responsibility of the Japanese acoustician Yasuhisa Toyota, who is well known for his expertise in this field. Both Frank Gehry and Yasuhisa Toyota have generously donated their services to the Barenboim–Said Academy and renounced any fee for their work. The opening concert’s programme is a reflection of Pierre Boulez’s inexhaustible musical inquisitiveness. -
Bernard Rands Cello Concerto No. 1
PROGRAM NOTES by Phillip Huscher Bernard Rands Born March 2, 1934, Sheffield, England. Currently resides in Boston, Massachusetts, and Chicago, Illinois. Cello Concerto No. 1 Rands composed this cello concerto in 1996, on a commission from the Boston Symphony Orchestra for the seventieth birthday of Mstislav Rostropovich, to whom it is dedicated. The first performances were given by Rostropovich and the Boston Symphony, with Seiji Ozawa conducting, on April 3, 4, and 5, 1997, at Symphony Hall in Boston. The orchestra consists of three flutes, two alto flutes and piccolo, two oboes and english horn, two clarinets and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones and tuba, two harps, piano, timpani, percussion (vibraphone, marimba, xylophone, glockenspiel, tubular bells, bongos, triangle, medium and large tam-tams, bass drum, almglocken), and strings. Performance time is approximately twenty-seven minutes. Concertos are often written for a particular performer. Sometimes that player is the composer himself, writing for his own instrument—Mozart, Beethoven, Liszt, Brahms, Bartók, and Stravinsky, for example, all composed piano concertos which they introduced themselves. Many concertos were written for virtuoso soloists—Brahms’s Violin Concerto was composed for Joseph Joachim and Elgar’s for Fritz Kreisler; Copland’s Clarinet Concerto was designed with Benny Goodman in mind; Ravel’s Left-Hand Piano Concerto was written on a commission from Paul Wittgenstein, who had lost his right arm in World War I. Like Britten’s Symphony for Cello and Orchestra and Shostakovich’s First Cello Concerto, this cello concerto by Bernard Rands was composed for Mstislav Rostropovich, one of the most formidable performers of our time.