DOCSLIB.ORG

January–April 2014/ Vol.XIV / No.1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

THE BOHUSLAV MARTINŮ FOUNDATION THE BOHUSLAV MARTINŮ INSTITUTE THE INTERNATIONAL MARTINŮ CIRCLE MR martinů in oxford january–april 2014 / vol.XIV / no.1 jakub hrůša on martinů martinů in prague & basel mirandolina in ostrava essay on the ballet the strangler events / news review martinůinoxford contents / MARK TODD used in my recent performance with the OU Sinfonietta, has an impact on performances of The chapel of Exeter College of Oxford University works by composers such as Martinů, writing 3 was the venue for an enterprising concert on in the earlier part of the 20th century. Players FESTIVALS / OPERAS the evening of Thursday 5 December 2013 who are now steeped in what we surmise to be organised by a group of students, the Oxford 17th and 18th century norms may bring these University Sinfonietta. The programme was idiomatic approaches to their playing of contem - designed to display the qualities of the harpsi - porary works, so as performers it could be argued 4 chord in different periods, and for the concert that we are now challenged with playing these HARRY HALBREICH the OU Sinfonietta had arranged the participation pieces authentically. LUCIE BERNÁ of Jane Chapman, harpsichordist based at the ‘On the flip side, I feel that as harpsichordists Royal College of Music and London and other today, we have a wide range of approaches to JAKUB HRŮŠA ON MARTINŮ places, a pupil of Ruth Dyson and Ton Koopman choose from, and that new interpretations keep and recently described by the Metro newspaper music alive and fresh. Rather than trying to as ‘the hippest harpsichordist around.’ The first religiously recreate the past, be it recent history – 5 half of the concert included solo and concerto 1935 – in the case of Martinů Harpsichord works by J. S. Bach. In the second half Martinů’s Concerto, or music from 300 years ago, this fusion Concerto for Harpsichord and Small Orchestra, of styles can be quite liberating, and may bring H 246, was the main work, followed by a short out latent musical possibilities, of which the 6 BOHUSLAV MARTINŮ DAYS 2013 solo piece by Ligeti. composer hadn’t even been consciously aware. IVAN ŠTRAUS ROBERT SIMON JIŘÍ TEML 8 19TH MARTINŮ FESTTAGE BASEL SEVERIN KOLB y Jane Chapman 10 Ed Whitehead > MARTINŮ: THE STRANGLER & the Oxford University LUCIE DERCSENYIOVÁ Sinfonietta The contrasts between the two halves of the ‘Martinů writes copious dynamic markings 13 programme were fascinating as well as instruc - throughout the concerto, which would be hard MARTINŮ: ARIANE / PART II tive. The young players threw themselves into to realise literally on any kind of harpsichord, PAVEL SÝKORA their tasks, clearly directed by their student so a player has to use all their skill and imagi - conductor, Ed Whitehead. There have not been so nation to help convey their musical intention. many opportunities for British audiences to hear The balance of orchestra, piano and harpsichord the work since the premiere by Lionel Salter shows Martinů’s ingenuity as a composer, creating 15 in the 1950s, so it’s wonderful to have had two real integration of musical texture, whilst still MIRANDOLINA IN OSTRAVA performances in recent months, a broadcast from allowing the harpsichord to have a clear identity Maida Vale by Mahan Esfahani and the BBC and pres ence. It’s a shame that the Concerto is PETR VEBER Symphony Orchestra conducted by Jiří Bělohlávek only for hire direct from the publishers. It should and this Oxford one by Jane Chapman and the be in all music college libraries, and available Oxford University Sinfonietta conducted by Ed to buy!’ 16 Whitehead, particularly notable for the fun all the Following the success of the performance performers found in the piece and the enjoyment in Exeter College chapel, Jane Chapman MARTINŮ ON WAGNER / PART II they appeared to have in putting it across to the and two members of the OU Sinfonietta will audience, with no compromise on accuracy. be including more Martinů in a concert to be After the concert Jane Chapman commented given on 24 May 2014 in the Holywell Music 19 on factors she had been considering in preparing Room, Oxford, dating from 1748 and said to be for the performance: the oldest room specifically built for musical PUBLICATION ‘Historically informed ideas of performance performance in Europe. The work will be NEW AUTOGRAPHS practice, such as approaches to touch, articulation Promenades, H 274 with Jaymee Coonjobeeharry and the subtle use of rhythm, have taken hold on the flute and violinist Makoto Nakata, who had since the 1970s. The switch from playing the performed Bach solo lines beautifully in the first revival harpsichord with multiple pedals for half of the Exeter College concert. ❚ changing registration, to historic copies such as my own Blanchet dating from the 18th century, 2 | martinůrevue12014 19 June 2014 > Smetana House, Litomyšl highlights The Strangler, H 317 PRAGUE SPRING MUSIC FESTIVAL 2014 Balet of National Theatre Ostrava www.festival.cz 25 June 2014 13 May 2014 > Litomyšl State Castle – 2nd Courtyard > Rudolfinum, Prague Czech Rhapsody, H 118 Prague Spring International Music Competition, Czech Philharmonic Choir Brno, Prague Symphony final round, OBOE Orchestra FOK, Rastislav Štúr (Conductor) Concerto for Oboe and Small Orchestra, H 353 Prague Chamber Orchestra, Petr Louženský (Conductor) 6 July 2014 > Litomyšl State Castle – 2nd Courtyard 21 May 2014 Thunderbolt P-47, H 309 > Municipal House, Prague Czech Sinfonietta, Radek Baborák ( Conductor) Intermezzo, H 330 Moravian Philharmonic Olomouc, MARTINŮ FEST 2014 Petr Vronský (Conductor) POLIČKA 24 May 2014 The 17th annual > St Agnes' Convent, Prague 16–25 May 2014 Martinů Voices – Tribute to Jan Novák www.policka.org Czech Madrigals, H 278 Lukáš Vasilek (Choirmaster) 26 May 2014 > Rudolfinum, Prague Sonata No. 3, H 303 The Miracles of Mary, H 236 Julia Fischer (Violin), Milana Černjavska (Piano) 9+10 May 2014 © prague spring – malý ivan > Gulbenkian Centre, School of Drama, Music and Screen, 27 May 2014 University of Hull, Great Britain > Rudolfinum, Prague Robert Cheesmond (Director), Alexander Clark (Conductor), String Quartet No. 5, H 268 English translation: Pavel Drábek Julia Fischer Quartet: Alexander Sitkovetsky (Violin), Andreas Janke The Soldier and the Dancer, H 162 (Violin), Nils Mönkmeyer (Viola), 2+24 April, 13+23+27 May 2014 Benjamin Nyffenegger (Violoncello) > The Theatre of J.K.Tyl, Pilsen – Grand Theatre, CZ 31 May 2014 www.djkt-plzen.cz/en/ > Prague Academy of Music Tomáš Pilař (Director), Petr Kofroň (Conductor) Julia Fischer La revue de cuisine, H 161 Czech Nonet, Adam Ježek (Piano), Marek Zvolánek (Trumpet) Mirandolina, H 346 24 April, 4+18 May, 6 July 2014 1 June 2014 > Stadttheater Giessen, Germany > St Agnes' Convent, Prague www.stadttheater-giessen.de Piano Trio in D minor, H 327 Michael Hofstetter (Conductor) Trio Martinů SMETANA’S LITOMYŠL Juliette, H 253 > Theater Bremen, Germany www.smetanovalitomysl.cz www.theaterbremen.de 13 June 2014 29 March 2014 / Premiere > Litomyšl State Castle – 2nd Courtyard additional performances: 3, 8, 11, 19, 27 April 2014, Selection of arias from Czech operas, choruses and scenes 4, 7, 10, 16, 18, 24 May 2014, including Mirandolina, H 346 Clemens Heil (Conductor), Orchestra, chorus and ballet of the Opera Ensemble John Fulljames (Director) of the National Theatre in Prague Robert Jindra (Conductor) martinůrevue12014 | 3 [IMC FOUNDING MEMBERS) imc corner harry halbreich / LUCIE BERNÁ The fruits of Halbreich’s immense diligence and The name Harry Halbreich is known to everyone energy include extensive catalogues of the works who has ever taken an interest in Bohuslav of Olivier Messiaen, Arthur Honegger and Bohuslav Martinů’s music. Encountering this Martinů Martinů. The first edition of the Martinů catalogue, connoisseur is always a great experience because Bohuslav Martinů Werkverzeichnis, Dokumentation of the simply amazing eloquence with which und Biographie, was published back in 1968 in Halbreich speaks about Martinů’s works. He has Zurich by Atlantis Verlag. The second, extended and an uncanny ability to render in a few evocative revised version, Bohuslav Martinů Werkverzeichnis sentences the defining characteristics of a given und Biographie, was published by Schott in Mainz piece, and this gift extends to his discussions of in 2006 and prepared in close collaboration with the composer’s music in general. the Bohuslav Martinů Institute in Prague from Harry Halbreich with Lucie Berná, 2004 © david port The musicologist and pedagogue Harry Halbreich 2002. Harry Halbreich regularly visited the Czech was born on 9 February 1931 in Berlin. He studied capital, had numerous discussions with Aleš with Arthur Honegger and later on Olivier Messiaen Březina and subsequently added to the catalogue often studied sources in the extensive Paul Sacher at the Paris Conservatoire. In the 1970s, he taught the latest Martinů-related findings (also on the Stiftung archives in Basel. music analysis at the Royal Conservatory in Mons, basis of autographs deposited in the Polička The Bohuslav Martinů Revue wishes Harry Belgium. He worked on numerous radio broadcasts archives). Halbreich all the very best on his 83rd birthday, and co-founded the Belgian music magazine Even though Harry Halbreich was not lucky which he celebrated in February. We wish him good Crescendo, for which he has been major contributor, enough to meet the composer in person, he health and continued joy with Martinů’s music, and he has collaborated with the Kuhmo Festival. frequently visited his widow Madame Charlotte which Harry Halbreich is able to describe in a truly Halbreich primarily focuses on Czech (Bohuslav Martinů in Vieux Moulin, where he began working singular manner: Martinů and Leoš Janáček), English, Spanish, on the first edition of the Bohuslav Martinů “The Sixth Symphony, an entirely unexpected, French and Finnish music, as well as 20th-century catalogue. Until recently, Harry Halbreich owned exceptional piece, ushers in Martinů’s final creative music in general.
Recommended publications
  • A Midsummer Night's Dream

    A Midsummer Night's Dream

    Monday 25, Wednesday 27 February, Friday 1, Monday 4 March, 7pm Silk Street Theatre A Midsummer Night’s Dream by Benjamin Britten Dominic Wheeler conductor Martin Lloyd-Evans director Ruari Murchison designer Mark Jonathan lighting designer Guildhall School of Music & Drama Guildhall School Movement Founded in 1880 by the Opera Course and Dance City of London Corporation Victoria Newlyn Head of Opera Caitlin Fretwell Chairman of the Board of Governors Studies Walsh Vivienne Littlechild Dominic Wheeler Combat Principal Resident Producer Jonathan Leverett Lynne Williams Martin Lloyd-Evans Language Coaches Vice-Principal and Director of Music Coaches Emma Abbate Jonathan Vaughan Lionel Friend Florence Daguerre Alex Ingram de Hureaux Anthony Legge Matteo Dalle Fratte Please visit our website at gsmd.ac.uk (guest) Aurelia Jonvaux Michael Lloyd Johanna Mayr Elizabeth Marcus Norbert Meyn Linnhe Robertson Emanuele Moris Peter Robinson Lada Valešova Stephen Rose Elizabeth Rowe Opera Department Susanna Stranders Manager Jonathan Papp (guest) Steven Gietzen Drama Guildhall School Martin Lloyd-Evans Vocal Studies Victoria Newlyn Department Simon Cole Head of Vocal Studies Armin Zanner Deputy Head of The Guildhall School Vocal Studies is part of Culture Mile: culturemile.london Samantha Malk The Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation A Midsummer Night’s Dream Music by Benjamin Britten Libretto adapted from Shakespeare by Benjamin Britten and Peter Pears
  • Thomas D. Svatos and Twentieth-Century Czech Critical Culture

    Thomas D. Svatos and Twentieth-Century Czech Critical Culture

    ex tempore A Journal of Compositional and Theoretical Research in Music Vol. XIV/2, Spring / Summer 2009 _________________________ A Clash over Julietta: the Martinů/Nejedlý Political Conflict - Thomas D. Svatos and Twentieth-Century Czech Critical Culture Dialectic in Miniature: Arnold Schoenberg‟s - Matthew Greenbaum Sechs Kleine Klavierstücke Opus 19 Stravinsky's Bayka (1915-16): Prose or Poetry? - Marina Lupishko Pitch Structures in Reginald Smith Brindle’s -Sundar Subramanian El Polifemo de Oro Rhythmic Cells and Organic Development: - Jean-Louis Leleu The Function of Harmonic Fields in Movement IIIb of Livre pour quatuor by Pierre Boulez Analytical Diptych: Boulez Anthèmes / Berio Sequenza XI - John MacKay co-editors: George Arasimowicz, California State University, Dominguez Hills John MacKay, West Springfield, MA associate editors: Per Broman, Bowling Green University Jeffrey Brukman, Rhodes University, RSA John Cole, Elisabeth University of Music, JAP Angela Ida de Benedictis, University of Pavia, IT Paolo Dal Molin, Université Paul Verlaine de Metz, FR Alfred Fisher, Queen‟s University, CAN Cynthia Folio, Temple University Gerry Gabel, Texas Christian University Tomas Henriques, Universidade Nova de Lisboa, POR Timothy Johnson, Ithaca College David Lidov, York University, CAN Marina Lupishko, le Havre, FRA Eva Mantzourani, Canterbury Christchurch Univ, UK Christoph Neidhöfer, McGill University, CAN Paul Paccione, Western Illinois University Robert Rollin, Youngstown State University Roger Savage, UCLA Stuart Smith, University of Maryland Thomas Svatos, Eastern Mediterranean Univ, TRNC André Villeneuve UQAM, CAN Svatos/A Clash over Julietta 1 A Clash over Julietta: The Martinů/Nejedlý Political Conflict and Twentieth-Century Czech Critical Culture Thomas D. Svatos We know and honor our Smetana, but that he must have been a Bolshevik, this is a bit out of hand.
  • Teaching Post-Tonal Music to Twenty-First- Century Students Author(S): Miguel A

    Teaching Post-Tonal Music to Twenty-First- Century Students Author(S): Miguel A

    Department of Music Theory, Jacobs School of Music, Indiana University A Pedagogical and Psychological Challenge: Teaching Post-Tonal Music to Twenty-First- Century Students Author(s): Miguel A. Roig-Francolí Source: Indiana Theory Review, Vol. 33, No. 1-2 (Summer 2017), pp. 36-68 Published by: Indiana University Press on behalf of the Department of Music Theory, Jacobs School of Music, Indiana University Stable URL: https://www.jstor.org/stable/10.2979/inditheorevi.33.1-2.02 Accessed: 03-09-2018 01:27 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Indiana University Press, Department of Music Theory, Jacobs School of Music, Indiana University are collaborating with JSTOR to digitize, preserve and extend access to Indiana Theory Review This content downloaded from 129.74.250.206 on Mon, 03 Sep 2018 01:27:00 UTC All use subject to https://about.jstor.org/terms A Pedagogical and Psychological Challenge: Teaching Post-Tonal Music to Twenty-First-Century Students Miguel A. Roig-Francolí University of Cincinnati ost-tonal music has a pr problem among young musicians, and many not-so-young ones. Anyone who has recently taught a course on the theory and analysis of post-tonal music to a general Pmusic student population mostly made up of performers, be it at the undergraduate or master’s level, will probably immediately understand what the title of this article refers to.
  • 000000018 1.Pdf

    000000018 1.Pdf

    THE BOHUSLAV MARTINŮ FOUNDATION THE BOHUSLAV MARTINŮ INSTITUTE THE INTERNATIONAL MARTINŮ CIRCLE INTERVIEW WITH CONDUCTOR JIŘÍ BĚLOHLÁVEK martinůJANUARY—APRILrevue 2010 VOL.X NO. FESTIVAL IN BASEL 2009 1 MARTINŮ EVENTS IN LONDON MARTINŮ RECORDINGS ķ IN THE GERMAN RADIO ARCHIVES contents 3 Martinů Revisited Highlights 4 news —Anna Fárová Dies —Zdeněk Mácal’s Gift 5 International Martinů Circle 6 festivals —The Fruit of Diligent and Relentless Activity CHRISTINE FIVIAN 8 interview …with Jiří Bělohlávek ALEŠ BŘEZINA 9 Liturgical Mass in Prague MILAN ČERNÝ 10 News from Polička LUCIE JIRGLOVÁ UP 0121-2 11 special series —List of Martinů’s Works VIII 12 research —Martinů Treasures in the German Radio Archives GREGORY TERIAN 13 review —Martinů in Scotland GREGORY TERIAN 14 review —Czech Festival in London UP 0123-2 UP 0126-2 PATRICK LAMBERT 16 festivals —Bohuslav Martinů Days 2009 PETR VEBER 17 news / conference 18 events 19 news UP 0106-2 UP 0122-2 UP 0116-2 —New CDs, Publications ARCODIVA Jaromírova 48, 128 00 Praha 2, Czech Republic tel.: +420 223 006 934, +420 777 687 797 • fax: +420 223 006 935 e-mail: [email protected] ķ highlights IN 2010 TOO WE ARE CELEBRATING a momentous anniversary – 120 years since the birth of Bohuslav Martinů (8 December 1890, Polička). Numerous ensembles and music organisations have included Martinů works in their 2010 repertoire. We will keep you up to date on this page with the most significant events. MORE INFORMATION > www.martinu.cz > www.czechmusic.org ‹vFESTIVALS—› The 65th Prague Spring The 65th PRAGUE SPRING INTERNATIONAL MUSIC FESTIVAL International Music Festival Prague, 12 May—4 June 2010 Prague / 12 May—4 June 2010 www.festival.cz 15 May 2010, 11.00 am > Martinů Hall, Lichtenštejn Palace Scherzo, H.
  • Developing the Young Dramatic Soprano Voice Ages 15-22 Is Approved in Partial Fulfillment of the Requirements for the Degree Of

    Developing the Young Dramatic Soprano Voice Ages 15-22 Is Approved in Partial Fulfillment of the Requirements for the Degree Of

    DEVELOPING THE YOUNG DRAMATIC SOPRANO VOICE AGES 15-22 By Monica Ariane Williams Bachelor of Arts – Vocal Arts University of Southern California 1993 Master of Music – Vocal Arts University of Southern California 1995 A dissertation submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas December 2020 Copyright 2021 Monica Ariane Williams All Rights Reserved Dissertation Approval The Graduate College The University of Nevada, Las Vegas November 30, 2020 This dissertation prepared by Monica Ariane Williams entitled Developing the Young Dramatic Soprano Voice Ages 15-22 is approved in partial fulfillment of the requirements for the degree of Doctor of Musical Arts School of Music Alfonse Anderson, DMA. Kathryn Hausbeck Korgan, Ph.D. Examination Committee Chair Graduate College Dean Linda Lister, DMA. Examination Committee Member David Weiller, MM. Examination Committee Member Dean Gronemeier, DMA, JD. Examination Committee Member Joe Bynum, MFA. Graduate College Faculty Representative ii ABSTRACT This doctoral dissertation provides information on how to develop the young dramatic soprano, specifically through more concentrated focus on the breath. Proper breathing is considered the single most important skill a singer will learn, but its methodology continues to mystify multitudes of singers and voice teachers. Voice professionals often write treatises with a chapter or two devoted to breathing, whose explanations are extremely varied, complex or vague. Young dramatic sopranos, whose voices are unwieldy and take longer to develop are at a particular disadvantage for absorbing a solid vocal technique. First, a description, classification and brief history of the young dramatic soprano is discussed along with a retracing of breath methodologies relevant to the young dramatic soprano’s development.
  • BOHUSLAVMARTINU the International Martinů Circle

    BOHUSLAVMARTINU the International Martinů Circle

    BOHUSLAV MARTINU ° The Bohuslav Martinů Foundation The Bohuslav Martinů Institute The International Martinů Circle SEPTEMBER—DECEMBER 2006 / VOL. VI / NO.3 Remembering Pierre Fournier Obituaries / Memoirs Bohuslav Martinů Foundation Medal 2006 Interview with Zaidee Parkinson NEWS & EVENTS NEW CDs ts– Conten VOL. VI / NO.3 SEPTEMBER—DECEMBER 2006 e WelcomE d Interview —VARIOUS WITH ZAIDEE PARKINSON —NEW SCORE • BARBARA RENTON —INTERNATIONAL MARTINŮ CIRCLE HistorY h ResearcH r THE UNREALIZED WORLD REMEMBERING PREMIERE PIERRE FOURNIER • GABRIELE JONTÉ • GREGORY TERIAN, ZUZANA RŮŽIČKOVÁ Obituaries j ResearcH t SCEPTICAL INTELLECTUALISM VIKTOR KALABIS MEETS MARTINŮ’S ARIANE DR EMANUEL VLČEK • GABRIELE JONTÉ — EVENTS y MemoirS JOSÉ SEREBRIER ; News REMEMBERS u Various —MARTINŮ ABOUT MOZART —A TESTIMONY OF A TIME ALMOST FORGOTTEN i MemoirS MY FRIEND BOHUSLAV MARTINŮ • RUDOLF FIRKUŠNÝ —AN EVENING WITH MARTINŮ • BARBARA ALWEIS o ReporT BOHUSLAV MARTINŮ FOUNDATION MEDAL 2006 • ALEŠ BŘEZINA s ConcertS y Charlotte & Bohuslav Martinů, Polička, 1935 © PBM me– b Welco THE BOHUSLAV MARTINŮ VARIOUS INTERNATIONAL NEWSLETTER is published by the Bohuslav Martinů Foundation in collaboration MARTINŮ CIRCLE with the Bohuslav Martinů Institute in Prague SEMINARS IN PRAGUE AND BRATISLAVA ON 26 SEPTEMBER a seminar on Bohuslav Martinů’s work took place in the Small Hall MEMBERSHIP EDITORS of the Slovak Philharmonic Orchestra. It consisted of a lecture and a visual presentation AND SUBSCRIPTION Zoja Seyčková documented by live music examples performed by members of the Academy of INFORMATION Jindra Havlíčková Chamber Music 2006. Specifically, it concerned the compositions Les Rondes (H. 200), YEARLY SUBSCRIPTION TRANSLATION Quartet for Oboe,Violin,Violoncello and Piano (H. 315), as well as Divertimento for Two Recorders (H.
  • BOHUSLAV MARTINŮ JAROSLAV MIHULE / 2008 František Martinů, Colored Drawing from a Scrapbook

    BOHUSLAV MARTINŮ JAROSLAV MIHULE / 2008 František Martinů, Colored Drawing from a Scrapbook

    A POCKET GUIDE TO THE LIFE AND WORK OF BOHUSLAV MARTINŮ JAROSLAV MIHULE / 2008 František Martinů, colored drawing from a scrapbook 1 FROM POLIČKA TO PRAGUE 1890 — 1922 2 On The Polička Tower 1.1 Bohuslav came into the world in a tiny room on the gallery of the church tower where his father, Ferdinand Martinů, apart from being a shoemaker, also carried out a unique job as the tower- keeper, bell-ringer and watchman. Polička - St. James´ Church and the Bastion “On December 8th, the crow brought us a male, a boy, and on Dec. 14th 1.2 A Loving Family he was baptized as It was the mother who energetically took charge of the whole family. She was Bohuslav Jan.” the paragon of order and discipline: strict, pious – a Roman Catholic, naturally, as (The composer’s father were most inhabitants of this hilly region. made this entry in the Of course, she loved all of her children. With Ferdinand Martinů she had fi ve; and family chronicle.) the youngest and probably the most coddled was Bohuslav, born to the accom- paniment of the festive ringing of all the bells, as the town celebrated on that day the holiday of the Immaculate Conception of the Virgin Mary. To be born high above the ground, almost within the reach of the sky, seemed in itself to promise an exceptional life ahead. Also his brother František and his sister Marie had their own special talents. František graduated from art school and made use of his artistic skills above all 3 as a restorer and conservator of church art objects in his homeland as well as abroad.
  • BMN 2002/2.Indd

    BMN 2002/2.Indd

    Bohuslav Martinů May – August 2002 Always Slightly off Center An Interview with Christopher Hogwood When the Fairies Learned to Walk Feuilleton on The Three Wishes in Augsburg Second The Wonderful Flights issue It Was a Dream for Me to Have a Piece by Martinů Jiří Tancibudek and Concerto for Oboe and Small Orchestra 25 Years of the Martinů Quartet Bats in the Belfry The Film Victims and Murderers Martinů News and Events The International Bohuslav Martinů Society The Bohuslav Martinů Institute CONTENTS WELCOME Karel Van Eycken ....................................... 3 BOHUSLAV MARTINŮ SOCIETIES AROUND THE WORLD .................................. 3 ALWAYS SLIGHTLY OFF CENTER Christopher Hogwood interviewed by Aleš Březina ..................................... 4 - 6 REVIEW Sandra Bergmannová ................................. 7 WHEN THE FAIRIES LEARNED TO WALK Feuilleton on The Three Wishes in Augsburg Jörn Peter Hiekel .......................................8 BATS IN THE BELFRY The Film Victims and Murderers Patrick Lambert ........................................ 9 MARTINŮ EVENTS 2002 ........................10 - 11 THE WONDERFUL FLIGHTS Gregory Terian .........................................12 THE CZECH RHAPSODY IN A NEW GARB Adam Klemens .........................................13 25 YEARS OF THE MARTINŮ QUARTET Eva Vítová, Jana Honzíková ........................14 “MARTINŮ WAS A GREAT MUSICIAN, UNFORGETTABLE…” Announcement about Margrit Weber ............15 IT WAS A DREAM FOR ME TO HAVE A PIECE BY MARTINŮ Jiří Tancibudek and Concerto
  • Downloaded From

    Downloaded From

    BÄRENREITER URTEXT offering the best CZECHMUSIC of Czech music BÄRENREITER URTEXT is a seal of quality assigned only to scholarly-critical editions. It guarantees that the musical text represents the current state of research, prepared in accordance with clearly defined editorial guidelines. Bärenreiter Urtext: the last word in authentic text — the musicians’ choice. Your Music Dealer SPA 314 SPA SALES CATALOGUE 2021 /2022 Bärenreiter Praha • Praha Bärenreiter Bärenreiter Praha | www.baerenreiter.cz | [email protected] | www.baerenreiter.com BÄRENREITER URTEXT Other Bärenreiter Catalogues THE MUSICIAN ' S CHOICE Bärenreiter – Bärenreiter – The Programme 2019/2020 Das Programm 2018/2019 SPA 480 (Eng) SPA 478 (Ger) Bärenreiter's bestsellers for The most comprehensive piano, organ, strings, winds, catalogue for all solo chamber ensembles, and solo instruments, chamber music voice. It also lists study and and solo voice. Vocal scores orchestral scores, facsimiles and study scores are also and reprints, as well as books included. on music. Bärenreiter – Bärenreiter – Bärenreiter Music for Piano 2019/2020 Music for Organ Music for Organ 2014/2015 SPA 233 (Eng) 2014/2015 SPA 238 (Eng) Bärenreiter's complete Urtext Bärenreiter's Urtext programme for piano as well programme for organ as well as all educational titles and as collections and series. collections for solo and piano You will also find jazz works, four hands. Chamber music transcriptions, works for with piano is also listed. Your Music Dealer: organ and voice, as well as a selection of contemporary music. Bärenreiter-Verlag · 34111 Kassel · Germany · www.baerenreiter.com · SPA 238 MARTINŮ B Ä R E N R E I T E R U R T E X T Bärenreiter – Bärenreiter – Music for Strings 2018/2019 Choral Music 2018/2019 Nonet č.
  • TOC 0249 CD Booklet.Indd

    TOC 0249 CD Booklet.Indd

    BOHUSLAV MARTINŮ: EARLY ORCHESTRAL WORKS, VOLUME TWO by Michael Crump In 1906 a promising young Czech violinist called Bohuslav Martinů lef his home town of Polička and began life as a student at the Conservatoire in Prague. His studies were made possible largely afer an appeal in his local newspaper raised the necessary funds. Doubtless he had every intention of rewarding the trust thus placed in him by graduating with full honours, but the cultural life of the Czech capital proved to be irresistibly distracting. Te performances at the National Teatre, in particular, drew him like a magnet night afer night, usually in the company of his friend and fellow-student Stanislav Novák. His devotion to the theatre unfortunately led to the neglect of his violin studies and his eventual expulsion from the Conservatoire in 1910, but by this time he was already well aware that his future lay in composition, not performance. He stayed on in Prague, supported by modest fnancial support from his parents, and his love-afair with the National Teatre continued unabated. Novák later wrote a short reminiscence of his friend, giving details of his musical sympathies at this time of his life: He was free, nobody bothered him with counterpoint, he could attend rehearsals of the Philharmonic and read all day, he could compose whatever and however he liked and in the evening he would have to get himself to the theatre at any price. At this time he would never miss a single performance of Smetana’s operas, nor of Rusalka or Te Jacobin.
  • Season Catalog 19-20 .Pdf

    Season Catalog 19-20 .Pdf

    CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI ZELL MUSIC DIRECTOR SYMPHONY CENTER PRESENTS 2019/20 The 10th Anniversary Season of Riccardo Muti as Music Director — Celebrating Beethoven’s 250th Birthday WELCOME | 2019/20 SEASON We should all become brothers and sisters—this is the message of Beethoven’s Ninth Symphony. For two hundred and fifty years, we have tried to find the secret behind the untouchable music of this divine architect and to comprehend the enormity of his timeless philosophical, spiritual and human message. The Chicago Symphony Orchestra and I invite you to explore the symphonies of Beethoven and the music of many other composers worth celebrating. With each performance, we strive to reach the ideal that is the triumph of beauty. RICCARDO MUTI “Riccardo Muti and the CSO took to the stage to reaffirm their current eminence among the world’s greatest musical ensembles.” CHICAGO SUN-TIMES SEASON HIGHLIGHTS 4 A Celebration of Beethoven’s 250th Birthday: Muti Conducts the Complete Beethoven Symphonies A Beethoven Piano Sonata Cycle 8 New & American Voices TABLE OF CONTENTS 10 Series at a Glance 12 Experience the Season 14 Season Calendar 42 Negaunee Music Institute 43 Support the CSO CENTER INSERT: Subscription Series Guide & Grid 2 CHICAGO SYMPHONY ORCHESTRA SYMPHONY CENTER PRESENTS CSO.ORG 312-294-3000 3 SEASON HIGHLIGHTS Beethoven’s 250th Birthday Celebration 2019 “Music should /20 strike fire from the heart of man.” ludwig van beethoven Muti Conducts the Complete Beethoven Symphonies Riccardo Muti conducts the nine iconic symphonies of Beethoven throughout the 2019/20 season. Each symphony stands as a pillar of the repertoire; collectively they represent the apex of artistic achievement, synthesizing all musical development that preceded them and creating a wake that would influence all music to follow.
  • Anna Nicole Composed by Mark-Anthony Turnage Libretto by Richard Thomas Directed by Richard Jones Conducted by Steven Sloane

    Anna Nicole Composed by Mark-Anthony Turnage Libretto by Richard Thomas Directed by Richard Jones Conducted by Steven Sloane

    BAM 2013 Next Wave Festival #AnnaNicole Brooklyn Academy of Music New York City Opera Alan H. Fishman, Charles R. Wall, Chairman of the Board Chairman of the Board William I. Campbell, George Steel, Vice Chairman of the Board General Manager and Artistic Director Adam E. Max, Vice Chairman of the Board Jayce Ogren Music Director Karen Brooks Hopkins, President Joseph V. Melillo, present Executive Producer Anna Nicole Composed by Mark-Anthony Turnage Libretto by Richard Thomas Directed by Richard Jones Conducted by Steven Sloane BAM Howard Gilman Opera House Sep 17, 19, 21, 24, 25, 27 & 28 at 7:30pm Approximate running time: two hours and 30 minutes including one intermission Anna Nicole was commissioned by the Royal Opera House, Covent Garden, London and premiered there in February 2011 Set design by Miriam Buether Costume design by Nicky Gillibrand Leadership support for opera at BAM provided by: Lighting design by Mimi Jordan Sherin & D.M. Wood The Andrew W. Mellon Foundation Choreography by Aletta Collins The Peter Jay Sharp Foundation Stage director Richard Gerard Jones Stavros Niarchos Foundation Supertitles by Richard Thomas Major support provided by Chorus master Bruce Stasyna Aashish & Dinyar Devitre Musical preparation Myra Huang, Susanna Stranders, Lynn Baker, Saffron Chung Additional support for opera at BAM provided by The Francena T. Harrison Foundation Trust Production stage manager Emma Turner Stage managers Samantha Greene, Jenny Lazar New York City Opera’s Leadership support for Assistant stage director Mike Phillips Anna Nicole provided by: Additional casting by Telsey + Company, Tiffany Little John H. and Penelope P. Biggs Canfield, CSA Areté Foundation, Edward E.