Harry Sparnaay
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Cuarteto De Cuerdas Buenos Aires
Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. CUARTETO DE CUERDAS BUENOS AIRES Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. En junio de 1984, cuatro instrumen Buenos Aires, le otorgaron el Premio tistas de la Orquesta Filarmónica de al "Mejor Conju nto Argentino". Buenos Aires, decidieron formar un En 1988, el Cuarteto de Cuerdas cuarteto de cuerdas, para compen Buenos Aires, realizó la grabación sar la falta de una agrupación de de los cuartetos de Juan José Cas este género en la ciudad de Buenos tro y Constantino Gaito. Aires, además de concretar así una necesidad personal de realización En 1989, actuó en el Teatro Colón artística. para el aniversario de Radio Clá sica, en el Teatro "El Círculo" de Desde su debut, en noviembre de Rosario y en el ciclo de conciertos 1984, el cuarteto actuó en los prin del S.O.D.R.E. de Montevideo (Uru cipales ciclos del Mozarteum Argen guay). También realizó conciertos y tino y Amigos de la Música. clases didácticas, con el auspicio de la firma Zanella S.A. en Rosario, Invitados por la Secretaría de Cul en San Juan, Córdoba, Bahía Blanca, tura de la Nación y por el Mozarteum Tucumán, Santa Rosa, La Plata yen Argentino, actuó en Salta, Tierra del el Teatro Presidente Alvear de Bue Fuego, Olavarría, Tandil, Bolívar, nos Aires. Jujuy, Catamarca y Cataratas del Iguazú. Obtuvo, también en ese año, el Pre mio Konex (Diploma de Honor). El Centro de Divulgación Musical de la Municipalidad de Buenos Aires, le Durante 1990, el conjunto tiene pro encomendó la presentación del ciclo gramada una gira latinoamericana y completo de los Cuartetos del Opus la realización, en Buenos Aires, de 76 de Haydn. -
RFO Geschiedenis 1993
RFO Geschiedenis 1993 Ombuiging en reorganisatie Minister d’Ancona van WVC (foto) presenteerde op 19 februari 1993 haar plannen aan de Tweede Kamer met betrekking tot de Nederlandse orkesten en de opera. Zij stelde voor om niet de door NOS/NOB voorgestelde 10 miljoen, maar de door haar eerder gevraagde 5 miljoen te bezuinigen op het budget van het MCO. Het Muziekcentrum van het NOB kreeg bovendien een jarenlange garantie voor het resterende budget van 52,5 miljoen gulden per jaar, verzelfstandiging van het Muziekcentrum in een stichting, een verbeterde huisvesting en een organisatorisch en artistiek verantwoorder relatie met Radio 4. Artistiek directeur en chef-dirigent Edo de Waart was onder de omstandigheden nog redelijk tevreden over het ministeriële besluit: “Inleveren en inkrimpen doet altijd pijn, maar er is geen sprake van collectief ontslag. De musici kunnen zich de komende jaren volledig concentreren op de muziek en voor het eerst kan een meerjarenbeleid ook werkelijk worden uitgevoerd.” Op 24 maart 1993 ging de Tweede Kamer akkoord met het plan van de minister. Vanaf 1 januari 1994 zou de ombuiging tot stand komen via een ingrijpende efficiency-operatie. Binnen vijf jaar moest een geleidelijke uitbreiding van het RFO van 98 naar 108 formatieplaatsen plaatsvinden, alsmede een inkrimping van het Radio Symfonie Orkest naar 84 musici. Met deze reorganisatie moest de omlegging van 5 miljoen uit het MCO-budget ten gunste van het CoBo-Fonds t.b.v. filmproducties worden gerealiseerd. Rob Overman wordt de nieuwe manager van het RFO “Ik ben een terrier”, introduceerde drs. Rob Overman zichzelf in het eerste nummer van RFO-Informeel, het blad van en voor leden van het Radio Filharmonisch Orkest (dat in november 1992 zou verschijnen). -
David Amitin
OperaManager.com - David Amitin DAVID AMITIN Criculum Vitae 1 OperaManager.com - David Amitin BIOGRAPHY David Amitin was born in Buenos Aires, Argentina. He studied violin with Ljerko Spiller and harmony with Guillermo Graetzer. Followed acting and directing courses wirh Augusto Fernandes and Carlos Gandolfo. He has lived in England between 1971 and 1978, where he developed his apprenticeship in theatre direction and opera regie, and presented his first stagings. He assisted to workshops run by Lee Strasberg, Luca Ronconi, Marcel Marechal and Geoffrey Reeves. In the opera field, he followed rehearsals of productions by Giorgio Strehler, Luca Ronconi, Johannes Schaaf, Benno Besson and John Copley. From 1980 onwards he has been working in Buenos Aires where he staged many prose- theatre and opera productions, and developed his work as teacher of acting and directing. From 1990 onwards he started to present his work in Europe (Germany, Belgium, Austria). 2 OperaManager.com - David Amitin He is presently living in Madrid. Both in Europe and Southamerica David Amitin alternates his activities between prose theatre, opera and drama tuition. Reviewers have stressed his versatility which allows him to pass from one field to another, and have emphasized the uniqueness of his work, both in the choice of texts a wide arch running from Büchner to Melville, including Ibsen, Strindberg , Dostoievsky and Beckett- as well as the originality of his approach and the unconventional style of his theatre language. His work has been characterized by the search for new expressive paths, appealing to the extremes of the actor´s imagery, to the reformulation of the acting space and the break up with realism as an access to a new poetry of the theatrical discourse. -
Expanding Horizons: the International Avant-Garde, 1962-75
452 ROBYNN STILWELL Joplin, Janis. 'Me and Bobby McGee' (Columbia, 1971) i_ /Mercedes Benz' (Columbia, 1971) 17- Llttle Richard. 'Lucille' (Specialty, 1957) 'Tutti Frutti' (Specialty, 1955) Lynn, Loretta. 'The Pili' (MCA, 1975) Expanding horizons: the International 'You Ain't Woman Enough to Take My Man' (MCA, 1966) avant-garde, 1962-75 'Your Squaw Is On the Warpath' (Decca, 1969) The Marvelettes. 'Picase Mr. Postman' (Motown, 1961) RICHARD TOOP Matchbox Twenty. 'Damn' (Atlantic, 1996) Nelson, Ricky. 'Helio, Mary Lou' (Imperial, 1958) 'Traveling Man' (Imperial, 1959) Phair, Liz. 'Happy'(live, 1996) Darmstadt after Steinecke Pickett, Wilson. 'In the Midnight Hour' (Atlantic, 1965) Presley, Elvis. 'Hound Dog' (RCA, 1956) When Wolfgang Steinecke - the originator of the Darmstadt Ferienkurse - The Ravens. 'Rock All Night Long' (Mercury, 1948) died at the end of 1961, much of the increasingly fragüe spirit of collegial- Redding, Otis. 'Dock of the Bay' (Stax, 1968) ity within the Cologne/Darmstadt-centred avant-garde died with him. Boulez 'Mr. Pitiful' (Stax, 1964) and Stockhausen in particular were already fiercely competitive, and when in 'Respect'(Stax, 1965) 1960 Steinecke had assigned direction of the Darmstadt composition course Simón and Garfunkel. 'A Simple Desultory Philippic' (Columbia, 1967) to Boulez, Stockhausen had pointedly stayed away.1 Cage's work and sig- Sinatra, Frank. In the Wee SmallHoun (Capítol, 1954) Songsfor Swinging Lovers (Capítol, 1955) nificance was a constant source of acrimonious debate, and Nono's bitter Surfaris. 'Wipe Out' (Decca, 1963) opposition to himz was one reason for the Italian composer being marginal- The Temptations. 'Papa Was a Rolling Stone' (Motown, 1972) ized by the Cologne inner circle as a structuralist reactionary. -
Javier Weintraub Cv Ingles
JAVIER WEINTRAUB Argentine versatile violinist started his studies at the age of 8 at the National Conservatory “López Buchardo” in Buenos Aires, from which he received the degree of National Professor of Music specialized in Violin. His teachers were Cristina Monasterolo, Ljerko Spiller and Rafael Gintoli. He took part in many chamber and symphonic orchestras as Orquesta de Cámara Crescendo, Orquesta Sinfónica Juvenil de Radio Nacional, Orquesta Sinfónica Franco-Argentina, Orchestre de Chambre de Lyon in France, Orquesta de Cámara Scherzo. Javier performed widely as a soloist, playing many of the most well-known pieces from the violin repertoire, like the Mendelssohn violin concertos, Tchaikovsky, Vivaldi’s Four Seasons, Bach concertos, etc. In 1996 he obtains through public contest his currently position as first violin at National Orchestra of Argentine Music Juan de Dios Filiberto. From that moment, he started an intense activity as a Tango violinist, performing concerts with many important groups in the Buenos Aires music scene such as El Arranque, Decarísimo, Osvaldo Piro’s nonet, Fernando Marzan’s sextet, Weintraub-Greco duet, among others. He took part in important Tango shows such as Rojo Tango at the Faena Hotel, Tango Dance Premiun, presented in 60 different cities in Japan and “Los Ojos de la Traición” - a Tango Opera presented at the Auditorium at Hotel Sheraton, co-directed by Verónica Vidán and co-written with Fausto Lomba. Between 1997 and 2013 Javier toured the United States, Japan, Spain, Germany, Switzerland, England, Italy, France, Sweden, Holland, Finland, Venezuela, Chile, Colombia, Vietnam and Cuba, among other countries, presenting Argentine music to the foremost music halls of those countries. -
Bekkers Piano Guitar Duo
Bekkers Piano Guitar Duo Robert Bekkers, guitar Anne Ku, piano 2 November 2010 George Frideric Handel Arrival of the Queen of Sheba* (1685 – 1759) Augustin Barrios-Mangore El Ultimo Tremolo (1885 – 1944) Gijs van Dijk (b. 1954) Abstract and Dance (2007) Antonio Vivaldi Winter from the Four Seasons* (1678-1741) Anne Ku (b. 1964) Adieu to a Piano (2005) Opus 13 (2005) Manuel de Falla Danse Espagnole from La Vida Breve (1876-1946) Johann Nepomuk Hummel Grand Potpourri National (1778-1837) and Mauro Giuliani (1781-1829) * arranged by Robert Bekkers Duo CD “Summer” released in 2010, for sale – over 70 minutes of music recorded in the Netherlands: • Hummel: Potpourri • Vivaldi: Summer from the Four Seasons • Torroba: Sonatina • Rodrigo: Fantasia para un Gentilhombre • Giuliani: Polonaise from Variationen Opus 113 (65) Program Notes “Arrival of the Queen of Sheba” comes from Handel’s oratorio Solomon which was written in 1748 and premiered a year later in London. The libretto is based on biblical stories of the wise King Solomon. The Queen of Sheba visits King Solomon in the third act. “The Arrival of the Queen of Sheba” was originally scored for flutes, violins, violas, cellos, and basses. “Abstract and Dance” is a kind of rendered piece. The first movement develops in the direction of twelve tone music which suddenly changes into a stylized Spanish dance in the second part. Born in Delft, Gijs van Dijk studied composition and music theory with Tristan Keuris at the Hilversum and Utrecht Conservatory. He works as a composer, an improvising musician, a classical & jazz guitar player and teacher in Amsterdam. -
C.V. De Carlos Gálvez Taroncher Copia
CURRICULUM VITAE CARLOS GÁLVEZ TARONCHER (Valencia, 15-10-1976) Ibarrolaburu enparantza 2, 2. esk. 20120 Hernani (Gipuzkoa) Tel.: 644 203 601 [email protected] PERFIL El interés de Carlos por el clarinete bajo despertó gracias a la influencia de su hermano Miguel, compositor. Después de realizar los estudios de clarinete en Madrid, se trasladó a Ámsterdam donde se especializó en clarinete bajo con Harry Sparnaay y obtuvo los títulos de Bachelor y Master (2ª Fase) en dicha disciplina. Durante los últimos 25 años, Carlos ha trabajado con los más prestigiosos ensembles, grupos de cámara y orquestas europeas. También ha estrenado numerosas obras como solista, entre ellas, en estrecha colaboración y bajo la supervisión del propio Pierre Boulez, el estreno mundial de la versión para clarinete bajo de Dialogue de l´ombre double. Ha participado, así mismo, en una de las últimas grabaciones supervisadas por el maestro György Ligeti para la casa discográfica Teldec, en colaboración con el ASKO/ Schoenberg Ensemble de Ámsterdam. Y en 2004 fue invitado por el Nieuw Ensemble para estrenar la polémica ópera Shadowtime de Brian Ferneyhough en Munich, París, Bochum, New York y Londres. Este trabajo directo con compositores y grupos de vanguardia y su consiguiente filosofía, hacen que las herramientas de enseñanza de Carlos sean únicas y así se ha demostrado en su experiencia docente. Residió en Ámsterdam entre 1995 y 2018, año en el que se traslada a Hernani, Gipuzkoa. FORMACIÓN 2001-2005: Estudios de clarinete bajo con H. Sparnaay en el Conservatorio de Ámsterdam (Master-2ª Fase). 1995-2000: Estudios de clarinete bajo con H. -
International Computer Music Conference (ICMC/SMC)
Conference Program 40th International Computer Music Conference joint with the 11th Sound and Music Computing conference Music Technology Meets Philosophy: From digital echos to virtual ethos ICMC | SMC |2014 14-20 September 2014, Athens, Greece ICMC|SMC|2014 14-20 September 2014, Athens, Greece Programme of the ICMC | SMC | 2014 Conference 40th International Computer Music Conference joint with the 11th Sound and Music Computing conference Editor: Kostas Moschos PuBlished By: x The National anD KapoDistrian University of Athens Music Department anD Department of Informatics & Telecommunications Panepistimioupolis, Ilissia, GR-15784, Athens, Greece x The Institute for Research on Music & Acoustics http://www.iema.gr/ ADrianou 105, GR-10558, Athens, Greece IEMA ISBN: 978-960-7313-25-6 UOA ISBN: 978-960-466-133-6 Ξ^ĞƉƚĞŵďĞƌϮϬϭϰʹ All copyrights reserved 2 ICMC|SMC|2014 14-20 September 2014, Athens, Greece Contents Contents ..................................................................................................................................................... 3 Sponsors ..................................................................................................................................................... 4 Preface ....................................................................................................................................................... 5 Summer School ....................................................................................................................................... -
Olga Pinchuk (Lola Pinchuk)
Olga Pinchuk (Lola Pinchuk) Olga is an Argentinean violinist, born in Kazakhstan. She began to study music encouraged by her father and led by her mother, the cellist and pedagogue Tatiana Kachanova. Being three-years old, she began to study violin, successively learning from teachers Nina Nazimova, Lazar Bendersky, and Vera Nyezhentseva (in Ukraine). Later, she traveled to Argentina and, in Buenos Aires, she studied with maestro Szymsia Bajour; she currently optimizes her knowledge with maestro Oleg Pishenin. She graduated with high grades from the National Conservatory of Music of Buenos Aires "Carlos López Buchardo" (currently the UNA, National University of the Arts), with a title of Senior Professor in Music and as Graduate in Musical Arts, specialized in Violin. She has participated in major continuing education courses, with scholarships granted by the Alberto Lysy and the El Sonido y el Tiempo Internacional foundations, led by maestros Ljerko Spiller, José Luis Juri and Daniel Goldstein. She also participated in the Martha Argerich Festival of Buenos Aires, editions 2001 and 2002. She took part in several orchestral ensembles, some of them being: Teatro Colón Permanent Orchestra, Tango Orchestra of the city of Buenos Aires, Teatro Colón Philharmonic Orchestra, Provincial Center for Arts of the Teatro Argentino de La Plata Permanent Orchestra, La Plata Municipality Chamber Orchestra, Municipal Symphony Orchestra of Avellaneda, Teatro Colón Academic Orchestra, and Cámara Mayo Orchestra. She performed at the most important halls in Argentina and Brazil, as well as in cities of the United Kingdom and Germany. She recorded her first CD, that is completely focused on Argentinean music for violin and piano. -
A Tribute to Adolphe Sax 200 Years 1814 - 2014
A tribute to Adolphe Sax 200 years 1814 - 2014 1 2 DUTCH saXOPHONE FESTIVAL NEDERLANDS SAXOFOONFESTIVAL FOREWORD RAF DE KENICK 4 FOREWORD ANDREAS VAN ZOELEN 5 SUNDAY FEBRUARY 2ND 6 MONDAY FEBRUARY 3RD 7 TUESDAY FEBRUARY 4TH 10 WEDNESDAY FEBRUARY 5TH 12 THURSDAY FEBRUARY 6TH 14 FRIDAY FEBRUARY 7TH 16 satURDAY FEBRUARY 8TH 19 PROGRAM DUTCH SAXOPHONE FESTIVAL 24 With special thanks to our sponsors: Dutch Saxophone Festival Nederlands Saxofoon Festival A nation such as Belgium has, ever since it came into existence, had as a country... Think of the gap between the many musical genres this issues with the concept of “interconnection”. Wherever appropriate, man managed to bridge with his inventions. Quite impressive! Each and and perhaps notably wherever not appropriate, this hiatus still causes every one who has admired his collection in one of many museums for politicians, policymakers and indeed the man in the street headaches. musical instruments, has been utterly fascinated by the fantasy world Understandably so, because if we subsequently analyse the factors that this personality managed to create. This week, we will have you savour a effectively interconnect the two parts of the country, the list proves to be small piece of this world, by means of a programme that will entice both a rather short one. wonderment and admiration. One of the things that does connect Belgium internally and moreover I hope you will all have a fantastic, fascinating and surprising Nederlands puts the country on the world map, is Antoine-Joseph Adolphe Sax’, Saxofoon Festival! who was born 200 years ago, invention. -
Disc A: Miniaturised Concertos (Total Duration 58:48)
disc A: Miniaturised Concertos (total duration 58:48) 1 Swimming with the Stone Book (Andrew Poppy) 15:43 Kate Halsall, Fumiko Miyachii: pianos F Andrew Poppy: keyboard Joel Bell: electric guitar F Ruth Goller: electric bass F Lucy Shaw: upright bass Robert Millett & Jeremy Barnett: percussion 2 Always again (Naomi Pinnock) 13:48 Kate Halsall, Fumiko Miyachi: pianos F Delia Stevens: percussion 3 Furor (Philip Cashian) 9:14 Kate Halsall, Fumiko Miyachi: pianos Ensemble Dark Inventions, conductor Chris Leedham 4 Hanging in the Balance (Colin Riley) 19:54 I Ritual Groove II Break, Tackle and Bowl III Scent of an Ending Kate Halsall, Fumiko Miyachi: pianos James Waterworth: electronics, sound design video track not on album: Katharine Norman: Making Place 16:15 Kate Halsall (pianos) Buy the download (£2.00 or $3.50) at http://www.divineartrecords.com/CD/makingplace.htm Stream video on YouTube at https://youtu.be/RZLwjCh6j5E in case of difficulty accessing video contact [email protected] disc B: Maché (total duration 39:39) 1 Maché 1 16:20 Duncan MacLeod: Cut, Strike, Grip, Throw * Kate Halsall, Fumiko Miyachi: keyboards F Duncan MacLeod: electronics Simon Vincent: Study No. 3 * Kate Halsall, Martin Butler:pianos F Simon Vincent: electronic soundtrack Joel Bell: bell-like * Kate Halsall, Martin Butler: pianos F Joel Bell: e.guitar Ryoko Akama: an.dt.wo * Kate Halsall, Fumiko Miyachi: pianos 2 Maché 2 5:38 Dominic Murcott: Time and Place* Kate Halsall: pianos F Sounds of Chatham Historic Dockyard recorded by Chris Lewis 3 Maché 3 12:45 -
Harry Sparnaay (1944-2017)
Harry Sparnaay (1944-2017) Op 12 december 2017 overleed de wereldwijd befaamde Ne- Harry, hij kwam bij me in mijn studio en demonstreerde onver- derlandse basklarinettist Harry Sparnaay op 73-jarige leeftijd. moeibaar wat er allemaal mogelijk was. Daaruit ontstond het Veel oud-studenten, componisten en collega’s hebben bijzon- eerste stuk, Momentum, voor klavecimbel, basklarinet en tape. dere herinneringen aan hem. Er volgde een vruchtbare samenwerking waarin zo’n tien nieuwe werken ontstonden met wisselende bezettingen. Wat mij vooral Een gedroomde rasmuzikant fascineerde aan de basklarinet was de ongelooflijk rijke dynami- Mijn vriendschap met Harry dateert al van voor de jaren 90, toen sche schakeringen en toonkleuren die mogelijk waren, tenminste ik Momentum voor klavecimbel en basklarinet componeerde. Er in de handen van zo iemand als Harry. Welke moeilijkheden ik werd al snel een duo met Annelie de Man (mijn echtgenote, een hem ook voor de voeten wierp, hij zei nooit: “Dit kan echt niet!” voortreffelijke klavecinist) en Harry geformeerd, het duo Double Kortom, een gedroomde rasmuzikant. Action. Voor dit duo ontstonden vele nieuwe stukken; een lijst Iedereen die het voorrecht had Harry te kennen, zal het met van werken is te zien in het fameuze boek over de basklarinet dat me eens zijn: hij was een unieke persoonlijkheid die we zeer Harry publiceerde: The bass clarinet: a personal history. Aanvanke- zullen missen. lijk had hij er niet veel zin in en zag op tegen het vele werk, maar Roderik de Man (componist) na veel aandringen wist ik hem over te halen zijn rijke ervaringen op te schrijven en was hij niet meer te stuiten.