ICMA Nomination List 2018 by Categories
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Matthias Theodor Vogt, Ulf Großmann (Text) Unter Mitwirkung Von Andreas Herrmann (Materialien)
i Matthias Theodor Vogt, Ulf Großmann (Text) unter Mitwirkung von Andreas Herrmann (Materialien) Szenarien-Entwicklung in der Haushaltsplanung der Stadt Pforzheim für das Südwestdeutsche Kammerorchester Pforzheim (SWDKO) Edition kulturelle Infrastruktur ii Edition kulturelle Infrastruktur Inhaltsverzeichnis 0. VERZEICHNIS der im Anhang abgedruckten Dokumente zum Südwestdeutschen Kammerorchester Pforzheim......................................................................... iii 1. ANALYSE .....................................................................................................1 1.1. Haushaltslage........................................................................................1 1.2. Namensgebung......................................................................................3 1.3. Künstlerische Stellung ............................................................................7 1.4. Wirtschaftlichkeit ...................................................................................9 1.5. Das Format Kammerorchester ............................................................... 14 1.6. Ausland .............................................................................................. 15 2. U LTRA VIRES............................................................................................. 17 2.1 Rechtsk onformität................................................................................ 17 2.2 Rechtslage ......................................................................................... -
Piano; Trio for Violin, Horn & Piano) Eric Huebner (Piano); Yuki Numata Resnick (Violin); Adam Unsworth (Horn) New Focus Recordings, Fcr 269, 2020
Désordre (Etudes pour Piano; Trio for violin, horn & piano) Eric Huebner (piano); Yuki Numata Resnick (violin); Adam Unsworth (horn) New focus Recordings, fcr 269, 2020 Kodály & Ligeti: Cello Works Hellen Weiß (Violin); Gabriel Schwabe (Violoncello) Naxos, NX 4202, 2020 Ligeti – Concertos (Concerto for piano and orchestra, Concerto for cello and orchestra, Chamber Concerto for 13 instrumentalists, Melodien) Joonas Ahonen (piano); Christian Poltéra (violoncello); BIT20 Ensemble; Baldur Brönnimann (conductor) BIS-2209 SACD, 2016 LIGETI – Les Siècles Live : Six Bagatelles, Kammerkonzert, Dix pièces pour quintette à vent Les Siècles; François-Xavier Roth (conductor) Musicales Actes Sud, 2016 musica viva vol. 22: Ligeti · Murail · Benjamin (Lontano) Pierre-Laurent Aimard (piano); Bavarian Radio Symphony Orchestra; George Benjamin, (conductor) NEOS, 11422, 2016 Shai Wosner: Haydn · Ligeti, Concertos & Capriccios (Capriccios Nos. 1 and 2) Shai Wosner (piano); Danish National Symphony Orchestra; Nicolas Collon (conductor) Onyx Classics, ONYX4174, 2016 Bartók | Ligeti, Concerto for piano and orchestra, Concerto for cello and orchestra, Concerto for violin and orchestra Hidéki Nagano (piano); Pierre Strauch (violoncello); Jeanne-Marie Conquer (violin); Ensemble intercontemporain; Matthias Pintscher (conductor) Alpha, 217, 2015 Chorwerk (Négy Lakodalmi Tánc; Nonsense Madrigals; Lux æterna) Noël Akchoté (electric guitar) Noël Akchoté Downloads, GLC-2, 2015 Rameau | Ligeti (Musica Ricercata) Cathy Krier (piano) Avi-Music – 8553308, 2014 Zürcher Bläserquintett: -
PROGRAM NOTES Franz Liszt Piano Concerto No. 2 in a Major
PROGRAM NOTES by Phillip Huscher Franz Liszt Born October 22, 1811, Raiding, Hungary. Died July 31, 1886, Bayreuth, Germany. Piano Concerto No. 2 in A Major Liszt composed this concerto in 1839 and revised it often, beginning in 1849. It was first performed on January 7, 1857, in Weimar, by Hans von Bronsart, with the composer conducting. The first American performance was given in Boston on October 5, 1870, by Anna Mehlig, with Theodore Thomas, who later founded the Chicago Symphony, conducting his own orchestra. The orchestra consists of three flutes and piccolo, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones and tuba, timpani, cymbals, and strings. Performance time is approximately twenty-two minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Liszt’s Second Piano Concerto were given at the Auditorium Theatre on March 1 and 2, 1901, with Leopold Godowsky as soloist and Theodore Thomas conducting. Our most recent subscription concert performances were given at Orchestra Hall on March 19, 20, and 21, 2009, with Jean-Yves Thibaudet as soloist and Jaap van Zweden conducting. The Orchestra first performed this concerto at the Ravinia Festival on August 4, 1945, with Leon Fleisher as soloist and Leonard Bernstein conducting, and most recently on July 3, 1996, with Misha Dichter as soloist and Hermann Michael conducting. Liszt is music’s misunderstood genius. The greatest pianist of his time, he often has been caricatured as a mad, intemperate virtuoso and as a shameless and -
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IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Philharmonie Luxembourg Salle de Concerts Grande-Duchesse Joséphine-Charlotte Saison 2008/09 1 Partenaires d’événements: Nous remercions nos partenaires qui en Partenaires de programmes: associant leur image à la Philharmonie et en soutenant sa programmation, permettent sa diversité et l’accès à un public plus large. pour «Jeunes publics» pour «Backstage» Partenaires média: Partenaires officiels: 2 Sommaire / Inhalt / Content IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Philharmonie Luxembourg Jazz, World & Easy listening Orchestre Philharmonique du Luxembourg Cycle Philharmonique I 140 Salle de Concerts Grande-Duchesse Jazz & beyond 66 Cycle Philharmonique II 142 Joséphine-Charlotte – Saison 2008/09 Autour du monde 74 Amis de l’Orchestre Philharmonique du Ciné-Concerts 80 Luxembourg 144 Bienvenue / Willkommen / Welcome 4 Pops 84 Chill at the Phil 88 Solistes Européens, Luxembourg 146 European Music Academy, Schengen 150 Soirées de Luxembourg 152 IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Orchestre Special «Les Musiciens» – Orchestre de Chambre du Luxembourg 154 Grands orchestres 16 Luxembourg Festival 94 Grands solistes 20 Musiques d’aujourd’hui 96 L’Orchestral 24 On the border -
Proper Names
PROPER NAMES Acca 820 Aurunci 318 Achaeans 266 Ausoniae 41; Ausonii 253 Acheron 23 Achilles 9f., 14-28, 438; and Hector's Bacchus, and music 737 corpse 72-7; and Patroclus 42-58; Bellipotens 8 Achilles and ritual slaughter 82; death Bitias 396 anticipated 43, 45f., 54 Butes 690 Acoetes 30 Aconteus 612 Calydon 270 Adriatic, names for 405 Camilla 432; biography 535-96; name Aeneas 2; account of earlier events 113, 543; tomb 594; guilt 586; death 114; ancestry of 305; bonus I 06; 794-835; place of, in book xi, xiif. bound to kill Tu. 178f.; burial and corpse 892; vanity of 782 Aen. I 08 -19; commander 2-4, Caphereus 260 14 -28, 36; conflict of duties 94; Casmilla 543 deification of 125; Diomedes and Aen. Catillus 640 243-95; diplomacy of I 09; and des Chloreus 768 tiny 232; Evander and Aen. 152; Chromis 675 fama and arma of 124; father 184; Cicero 122-32 fights Tu. 434; good king I 06; Cloelia 535-96 Hector and Aen. 289; imperator 79, Clytius 666 446; just 126; magnanimity of 127; Coras 465; 604 mementoes of Dido 72-7; mourner Cybelo 768 39f., 42 58, 34; feeling for Pallas 36; Cyclopes 263 returns to narrative 904; victorious Cyrene 535-96 4; warrior 126; warrior hero 282fi; weeps 29, 41 Dardanidis 353 Aethon 89 Dardanium 472 Agamemnon 266ff. Demophoon 675 Amasenus 547 Dercennus 850 Amaster 673 Diana 535-96, 537, 591; vengeance of Amazon 648 857 Amazones Threiciae 659 Dido and cloaks given to A en. 72-7; Amazons 535-96, 571, Appx. -
Vicent Alberola Cv
VICENT ALBEROLA CLARINET PROFESSOR Academic record His studies were done with Walter Boeykens at the Royal Conservatory of Antwerp, Belgium, and at the same time with George Pieterson (Royal Concertgebouw Orchestra) and Larry Combs (Chicago Symphony Orchestra). Professional experience Founder of the Alberola MMCV Valencia, Professor at the ESMAR Higher Music Degree School and guest conductor at the Perm Opera, Russia. At the same time, he is also the first clarinet of the Mahler Chamber Orchestra, World Orchestra for Peace (WOP) and Les Dissonances de Paris. Alberola was for more than 20 years the first clarinet of the Madrid Opera and the Galician Symphony. During the last decade he has been the first guest clarinet with the Vicent Alberola Royal Concertgebow Orchestra, New York Philarmonic Orchestra, Lucerne Festival Orchestra, Mahler Chamber Orchestra, Orchester Les He studied with Walter Boeykens at the Royal Conservatory of Antwerp, Dissonances and the MMCK Tokyo Orchestra, groups with which he has Belgium, and with George Pieterson had the opportunity to perform the great repertoire. symphonic under and Larry Combs. the baton of teachers such as Claudio Abbado, Mariss Jansons, Valery Gergiev, Riccardo Muti, Daniele Gatti, Daniel Harding, Andris Nelsons, He has played with orchestras such as Royal Concertgebow Orchestra, Gustavo Dudamel, Alan Gilbert and Nicola Luisotti, among others. New York Philarmonic Orchestra, Lucerne Festival Orchestra, Mahler In 2003 he was appointed conductor of the Young Orchestra of the Chamber Orchestra, Orchester Les Madrid Opera and in 2007 conductor of the Young Orchestra of Soria. Dissonances and the MMCK Tokyo Vicent Alberola has directed the following operas at the Teatro Real de Orchestra. -
Focus 2020 Pioneering Women Composers of the 20Th Century
Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers. -
MASTERS of the PAST / NEWLY DISCOVERED Simon Ferdinand LECHLEITNER (XVIII C.) : Litaniae De Corde Jesu (1734) Jacek SZCZUROWSKI
DUX 1175 / 2015 _______________________________________________________________________________________ MASTERS OF THE PAST / NEWLY DISCOVERED Simon Ferdinand LECHLEITNER (XVIII c.) : Litaniae de Corde Jesu (1734) Jacek SZCZUROWSKI (1716-1773) : Litaniae in D Just CASPAR (1717-1760) : O Jesu mi dilecte *** The Early Music Ensemble DILETTO Marta Wróblewska – soprano solo, Jan Mędrala – alto solo, Maciej Gocman – tenor solo, Piotr Zawistowski – bass solo, Małgorzata Trojanowska – soprano, Sławomit Bronk – alto Piotr Szewczyk – tenor, Przemysław Kummer – bass Tomasz Ślusarczyk – clarino I, Michał Tyrański – clarino II, Paweł Polak – violin (concertmaster) Anna Polak – violin, Radosław Koper – viola basso continuo: Tomasz Frycz – cello, Rafał Makarski – double-bass, Krzysztof Garstka – positive organ Anna MONIUSZKO – conductor _______________________________________________________________________________________________ DUX Małgorzata Polańska & Lech Tołwiński ul. Morskie Oko 2, 02-511 Warszawa tel./fax (48 22) 849-11-31, (48 22) 849-18-59 e-mail: [email protected], www.dux.pl Aleksandra Kitka-Coutellier – International Relations kitka@dux Among the numerous religious congregations which made a significant contribution to the development of musical life in the former Republic of Poland, pride of place goes to the Piarists. Originally a teachers’ congregation founded by Saint Joseph Calasanctius (1556-1648) in Rome in 1617, it was approved as a religious order, whose members professed solemn vows (Ordo Clericorum Regularium Pauperum Matris Dei Scholarum -
The Fukushima Project for Child Composers: an Interview with Dai Fujikura at Muschildren'17
ÍMPAR Online journal for artistic research in music Vol. 2, Nº 1, 2018 Music for and by children, p. 63-71 ISSN 2184-1993 The Fukushima project for child composers: An interview with Dai Fujikura at Muschildren’17: Sara Carvalho1, INET-md, Departamento de Comunicação e Arte, Universidade de Aveiro, Portugal Filipe Lopes CIPEM/INET-md, uniMAD; Escola Superior de Media Artes e Design do Instituto Politécnico do Porto, Portugal Aoife Hiney INET-md, Departamento de Comunicação e Arte, Universidade de Aveiro, Portugal Abstract: In November 2017, the international conference Musichildren’17, which took place at the Department of Communication and Art of the University of Aveiro (UA), organised by members of the University of Aveiro’s branch of the research centre INET-md (Instituto de Etnomusicologia – Centro de Estudos em Música e Dança), welcomed the Japanese composer and educator Dai Fujikura as a keynote speaker. Dai Fujikura was interviewed by Sara Carvalho and Filipe Lopes in relation to the project with which he is involved in Japan, namely a composition project for children in Fukushima, Japan. The following interview discusses Dai Fujikura’s own work as a composer and his experiences with the Fukushima project for child composers. Keywords: Dai Fujikura; composition; experimental music; music education; child composers Introduction In November 2017, the international conference Musichildren’17, which took place at the Department of Communication and Art of the University of Aveiro (UA) and was organised by members of the University of Aveiro’s branch of the research centre INET-md (Instituto de Etnomusicologia – Centro de Estudos em Música e Dança), welcomed the Japanese composer and educator Dai Fujikura as a keynote speaker. -
An Analysis and Performance Considerations for John
AN ANALYSIS AND PERFORMANCE CONSIDERATIONS FOR JOHN HARBISON’S CONCERTO FOR OBOE, CLARINET, AND STRINGS by KATHERINE BELVIN (Under the Direction of D. RAY MCCLELLAN) ABSTRACT John Harbison is an award-winning and prolific American composer. He has written for almost every conceivable genre of concert performance with styles ranging from jazz to pre-classical forms. The focus of this study, his Concerto for Oboe, Clarinet, and Strings, was premiered in 1985 as a product of a Consortium Commission awarded by the National Endowment of the Arts. The initial discussions for the composition were with oboist Sara Bloom and clarinetist David Shifrin. Harbison’s Concerto for Oboe, Clarinet, and Strings allows the clarinet to finally be introduced to the concerto grosso texture of the Baroque period, for which it was born too late. This document includes biographical information on John Harbison including his life and career, compositional style, and compositional output. It also contains a brief history of the Baroque concerto grosso and how it relates to the Harbison concerto. There is a detailed set-class analysis of each movement and information on performance considerations. The two performers as well as the composer were interviewed to discuss the commission, premieres, and theoretical/performance considerations for the concerto. INDEX WORDS: John Harbison, Concerto for Oboe, Clarinet, and Strings, clarinet concerto, oboe concerto, Baroque concerto grosso, analysis and performance AN ANALYSIS AND PERFORMANCE CONSIDERATIONS FOR JOHN HARBISON’S CONCERTO FOR OBOE, CLARINET, AND STRINGS by KATHERINE BELVIN B.M., Tennessee Technological University, 2004 M.M., University of Cincinnati, 2006 A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF MUSICAL ARTS ATHENS, GEORGIA 2009 © 2009 Katherine Belvin All Rights Reserved AN ANALYSIS AND PERFORMANCE CONSIDERATIONS FOR JOHN HARBISON’S CONCERTO FOR OBOE, CLARINET, AND STRINGS by KATHERINE BELVIN Major Professor: D. -
Riccardo Muti Conductor Michele Campanella Piano Eric Cutler Tenor Men of the Chicago Symphony Chorus Duain Wolfe Director Wagne
Program ONE huNdrEd TwENTy-FirST 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 Friday, September 30, 2011, at 8:00 Saturday, October 1, 2011, at 8:00 Tuesday, October 4, 2011, at 7:30 riccardo muti conductor michele Campanella piano Eric Cutler tenor men of the Chicago Symphony Chorus Duain Wolfe director Wagner Huldigungsmarsch Liszt Piano Concerto No. 1 in E-flat Major Allegro maestoso Quasi adagio— Allegretto vivace— Allegro marziale animato MiChElE CampanellA IntErmISSIon Liszt A Faust Symphony Faust: lento assai—Allegro impetuoso Gretchen: Andante soave Mephistopheles: Allegro vivace, ironico EriC CuTlEr MEN OF ThE Chicago SyMPhONy ChOruS This concert series is generously made possible by Mr. & Mrs. Dietrich M. Gross. The Chicago Symphony Orchestra thanks Mr. & Mrs. John Giura for their leadership support in partially sponsoring Friday evening’s performance. CSO Tuesday series concerts are sponsored by United Airlines. 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 ne hundred years ago, the Chicago Symphony paid tribute Oto the centenary of the birth of Franz Liszt with the pro- gram of music Riccardo Muti conducts this week to honor the bicentennial of the composer’s birth. Today, Liszt’s stature in the music world seems diminished—his music is not all that regularly performed, aside from a few works, such as the B minor piano sonata, that have never gone out of favor; and he is more a name in the history books than an indispensable part of our concert life. -
200 Anos De Franz Liszt: II. Transcrições E Experiências Harmônicas
200 anos de Franz Liszt: II. Transcrições e Experiências harmônicas Transcrições “Franz Liszt, am Flügel phantasieren”, pintura de 1840 de Josef Danhauser A metade da obra catalogada de Liszt (no total de quase 1000) são transcrições das obras de outros compositores para piano solo – como sinfonias, canções e obras camerísticas. Mas Liszt é o primeiro pianista a dar à transcrição um papel que vai muito além de uma “redução” funcional de podermos ver uma obra grandiosa resumida em duas claves, pois ele transforma a transcrição em uma verdadeira tradução da obra para uma nova linguagem, a linguagem do piano. São famosas as suas transcrições das sinfonias de Beethoven, mas há também a transcrição da Sinfonia “Fantástica” de Berlioz, do “Liebestod” do Tristão e Isolda de Wagner, de diversas canções de Schubert e até do Requiem de Mozart. O que chama a atenção nas transcrições não é apenas que elas acabaram contribuindo para a própria história da escrita pianística ao buscarem recursos que dessem conta de outras sonoridades, texturas e dimensões, mas também como Liszt concebia a transcrição como uma obra própria, que deveria se justificar independentemente da obra original e por isso demandava necessidades próprias, que ele poderia resolver com compassos totalmente novos. Como exemplo, compare-se a belíssima canção “Kriegers Ahnung” do ciclo Schwanengesang (1828) de Schubert: [audio:http://euterpe.blog.br/wp-content/uploads/2011/10/Schubert-Lieder-D-95 7-Schwanengesang-02.-Kriegers-Ahnung-D.-Fischer-Dieskau-G.- Moore-1957.mp3|titles=Schubert – Lieder D 957 ‘Schwanengesang’ – 02. Kriegers Ahnung (D. Fischer-Dieskau & G. Moore – 1957)] O libretto em alemão seguido de uma tradução em português pode ser acessado aqui.