DOCSLIB.ORG

Baltic Folk Tour 2017

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Baltic Folk Tour 2017 Baltic Folk Tour 2017 Baltic Sea Philharmonic Welcome We are delighted to welcome you to ‘Baltic Folk’, our second tour of 2017. On this tour of Sweden, Germany and Italy, we bring you music from Russia and Estonia. The beauty of great music, like the greatest legends, stories and folktales, lies in its universality. It speaks from the heart to all of us, no matter which country we are from. The masterpieces by Stravinsky and Rachmaninoff that you will hear tonight are Russian to the core, but everyone can relate to their themes and emotions – from the tale of love, magic and transformation that inspired Stravinsky’s The Firebird, to the melancholy and passionate drama of Rachmaninoff’s Second Piano Concerto. Similarly, you do not have to share the religious convictions of Arvo Pärt, the third composer in our ‘Baltic Folk’ programme, to be deeply affected by his emotionally profound music. As an orchestra of musicians from the ten nations of the Baltic Sea region, bringing people together is in our nature. And the universal music we play means we can connect more strongly with each other, and with you, our audience. The folk-influenced music in our concerts certainly speaks to us from the heart, and we hope our performance will touch you just as deeply. Our spark We fire up imaginations through inspirational performances Come with us on a musical adventure through a world of magic, passion and spirituality Our flow 06 We connect people to the environment, and to each other Explore our 2017 ‘Waterworks’ tour, which is inspired by water‘s power to connect communities across the world 28 14 Our impulse We challenge ideas of what an orchestra should be Discover Kristjan Järvi‘s vision for the Baltic Sea Philharmonic, and meet our 22 musicians and soloist Our strength We stand for unity in a historically divided region Follow our journey from pioneering youth orchestra to international movement for solidarity our spark Nostalgia, longing, a yearning for warmth and light, for rebirth and transformation – these are the emotional currents of ‘Baltic Folk’ Fires from the east Discover a sparkling world of legend, drama and passion on our Russian-focused musical adventure For this ‘Baltic Folk’ tour, we look to the Kristjan Järvi, Founding Conductor and east of the Baltic Sea region, to Estonia, Music Director of the Baltic Sea Philharmonic, and especially to Russia. In Stravinsky’s likens the music of Swansong to a village folktale-inspired The Firebird and waltz: ‘Sometimes this waltz is slightly bitter, Rachmaninoff’s Piano Concerto No. 2, at other times nostalgic, but in the end it turns the perfect location for our first concert. we present two of the best-loved orchestral into something very hopeful, in its yearning The Baltic Sea Philharmonic has always works of the early 20th century, both of for warmth and light.’ For Kristjan, this sense been sensitive to the environment, and on which reveal their Russian essence in of longing and transformation is paralleled, in Gotland, with its picturesque beaches, contrasting ways. In the ballet that launched music of an altogether more epic and exotic lakes and rocky outcrops, it’s impossible his international career as a composer, style, in The Firebird. not to feel deeply connected to nature. Stravinsky dazzles us with brilliant colours, A UNESCO World Heritage site, Visby is the vitality of Russian folk music, and the The Baltic Sea Philharmonic performs The one of the best-preserved medieval cities magic of the mythical Firebird. And in one Firebird in its 1945 orchestral suite version, in northern Europe. It’s also where the idea of the most romantic piano concertos ever and makes a daring shift from convention for the Baltic Sea Youth Philharmonic was written, Rachmaninoff bares his soul in by playing the work entirely from memory. memory is all about chemistry and born ten years ago in a concert of a project dramatic music rich in Slavic melancholy. Kristjan sees this approach as an evolution communication,’ he says. ‘It should feel like orchestra called the Baltic Youth Orchestra. in how musicians express themselves the players are improvising music that they So Visby is part of our history too. We begin our ‘Baltic Folk’ programme in as artists. ‘Performing The Firebird from have known for a long time.’ the altogether different sound world of Arvo ‘Performing The Firebird from Pärt, the celebrated Estonian composer Joining the orchestra to perform memory is all about chemistry whose music is both deeply spiritual and Rachmaninoff’s Second Piano Concerto, and communication’ emotionally direct. His contemplative, a work that Kristjan calls ‘the most hymn-like Swansong is an orchestration of nostalgic, the most Russian-themed In Germany we make a return visit to an earlier choral composition, ‘Littlemore concerto ever’, is the 15-year-old Russian Wiesbaden to perform in the prestigious Tractus’, in which Pärt set words from a pianist Alexander Malofeev, one of the Rheingau Music Festival. And our tour ends sermon that the influential theologian John most exciting talents of his generation. in Merano, northern Italy, where we have Henry Newman preached in 1843 in the Kristjan says of his new collaborator: the honour of opening the Merano Music English village of Littlemore. ‘Alexander is already a rising star in Russia Festival. We’re delighted that these two and has been acclaimed by some of the festivals are welcoming us back after our country’s greatest musicians. I am pleased previous appearances, at Wiesbaden in that we can introduce him to a wider 2014, and Merano in 2011. international audience.’ As we return to familiar places and festivals, ‘Baltic Folk’ takes the orchestra to three we look forward to seeing old friends and countries: Sweden, Germany and Italy. making many new ones, and to transporting Visby, on the beautiful Swedish island you all across the Baltic with our folk- of Gotland, is a special place for us, and inspired music from the east. our spark 08 09 Baltic Folk Tour Baltic Sea Philharmonic Kristjan Järvi Alexander Malofeev Arvo Pärt (1935) August 2017 Swansong (Littlemore Tractus) for orchestra 19 August 2017, 7.00 pm Visby (Congress Hall Wisby Strand, Sergei Rachmaninoff Island of Gotland), (1873 – 1943) Sweden Piano Concerto No. 2 in C minor Op. 18 20 August 2017, 7.00 pm Rheingau Music Festival, Igor Stravinsky (1882 – 1971) Wiesbaden (Kursaal), The Firebird (1945) Germany 23 August 2017, 8.30 pm Merano Music Festival, Merano (Kursaal), Italy our spark 10 11 Listening Guide With Rachmaninoff’s melancholic melodies and Stravinsky’s fiery colours, our programme is full of fascinating contrasts The ‘Baltic Folk’ programme focuses on The failure of Sergei Rachmaninoff’s Russia, which established a gateway First Symphony in 1897 cast the to the Baltic Sea in 1703 when Tsar Russian composer into deep depression, Peter the Great founded the port city of and the 24-year-old composed almost St. Petersburg. From that point on, the nothing for the next three years. Only after influence of Europe on the tsar’s court being treated by the psychotherapist and grew continuously and trade with the hypnotist Nikolai Dahl did Rachmaninoff’s neighbouring states thrived. However, there confidence return. Thus the composer were also repeated military conflicts. Both dedicated his next great work, his Piano Russian composers on the programme – Concerto No. 2 in C minor, to his doctor. Sergei Rachmaninoff and Igor Stravinsky – left their homeland after the socialist Rachmaninoff initially presented only two revolutions in the early 20th century, before movements, the second and the third, at calling card and was a triumph wherever orchestral splendour. The Russian ballerina later emigrating to the United States, where a benefit concert in December 1900. The it was performed around the world, and Tamara Karsavina, the Russian dancer they became renowned musicians. positive reviews strengthened his resolve remains popular to this day. The intensity and choreographer Michel Fokine and the to write the famous first movement, with of the elegiac, dark music, the sparks of stage set depicting the enchanted garden ‘Baltic Folk’ begins, however, with the its immediately captivating, balladesque inspiration and the imaginative, dreamy where golden apples grow on trees were Estonian composer Arvo Pärt, who was character. This movement’s melancholic character are fascinating. particularly impressive. a musical individualist even during his strings melody, which is inserted into the education at the conservatory in Tallinn. ascending chimes of the opening piano Igor Stravinsky was amused by The concert hall gained access to the After an early avant-garde compositional chords, became synonymous with Slavic the way the Russian melancholy of music in the form of three orchestral suites phase, his study of medieval music and noir. The soloist in the concerto often plays Rachmaninoff was fashionably exploited. that were produced later on, of which the religion later led to a peaceful and tonal the accompanying figures, and the piano He had a completely different vision of Baltic Sea Philharmonic has chosen the last language. In 1980 Pärt emigrated to Vienna part is completely interwoven with the the archaic vitality of his homeland, which version from 1945. It is a piece the players and then Berlin, quickly becoming a cult orchestra, giving the composition a highly he left forever in 1914, initially moving know so well that they perform it without musical figure. He only returned to his organic character. Despite the enormous to Switzerland and then to France in sheet music. The musical contrasts in the homeland in 2008. The orchestral piece technical demands, it is hardly a purely 1920. Back in 1909, at the age of 27, he suite are enormous, especially between the Swansong, which was premiered in 2014 virtuoso piece.
Load more

Recommended publications
  • One Day When Women Can Demand Anything
    MARCH | 2007 | issue # 03 www.passportmagazine.ru Paradigm Shift for doing buSiness in russia iStanbul through russian eyeS one day when women can demand anything contents. Publisher’s Letter 2 reaL esTaTe wine & dine The bottom Line New international dimension Thomas Koessler 36-37 Foreign Passport holders to Moscow’s leading residential realtor 26 A Very Special 8th of March Recipe should read this! 4 for the Ladies 38 Editor’s Choice 6 Novikov’s latest creation stimulates What’s On in Moscow in February 8-9 palate 39 Moscow Museums and Galleries 10 Kids ‘n’ Culture 11 Venues 11 Cover sTory Serviced Apartments grow in number and variety as an alternative to Moscow Hotels 28-29 feaTure Asian Fusion Match 40-43 Asian Fusion 44 CommuniTy Toys for Nostalgia 50 One day when women Postcard from Belarus 50 can demand anything 12-15 Mac vs PC (Or Soar with the Eagles) 51 business Community listing 52 Leaders & Changes 16 Distribution list 53 Paradigm Shift for doing business ouT & abouT in Russia 17-19 Forum to highlight Russia-Singapore business ties 20 From the primordial religion of the great arT hisTory mother to sacred contemporary The silver age of russian art in the oriental art 30-31 pre-soviet period 21 Fighting Fit 32 TraveL performing arT Johnnie Walker Black Label Black Ball 54 Dancing the night away 54 CERBA & Russo-British joint meeting 55 IWC Evening of Excellence raises cash for charity 55 The LasT word Istanbul through russian eyes 22-25 80 Years Young 34-35 Eric Kraus 56 PASSPORT | MARCH | 2007 | issue # 03 .letter from the
    [Show full text]
  • 'Waterworks' Tour Programme
    WaterworksTour 2017 Baltic Sea Philharmonic Welcome We are delighted to welcome you to our ‘Waterworks’ tour. We thrive on making connections – with you our audiences, and with our fellow artists. And there is nothing that connects every one of us more than water. It is the essence of all life, and for us in the Baltic Sea Philharmonic, it is also the engine of our region, shaping our environment, and linking all the home countries of our players. On this tour we celebrate these elemental connections, and we also honour the American composer Philip Glass in his 80th birthday year. Such celebrations call for a truly special concert experience and we are excited to introduce with this tour a ground-breaking spectacle that fuses music, fashion, lighting design, visual art and choreography. We hope you will be thrilled by what you see, moved by what you hear, and inspired, like us, to seek out a deeper connection to different countries and cultures, and to the natural world that we all depend on. Source The origin of ‘Waterworks’ lies in how nature connects all of us Find out about this tour’s inspiration, our concert schedule and the music you will Sea Change 06 be hearing We are transforming the concert experience Step into a new world of light, sound, visual art and fashion, as we shake up performance conventions 28 14 Wave Riders Our dynamic leader and performers are inspiring the next generation Discover Kristjan Järvi’s vision for the Baltic Sea Philharmonic, and meet our soloist and 22 musicians Flow Bringing people together is our constant motivation Follow our journey from pioneering youth orchestra to international movement for unity 04 05 Source From the Baltic to the Amazon Let the music of ‘Waterworks’ take you on an inspirational journey From its earliest days, the Baltic Sea The music represents how we are from school concerts for more than 7,000 Philharmonic has always been uniting this region, but are also connected to the teenage pupils, some of whom may people.
    [Show full text]
  • Tezfiatipnal "
    tezfiatipnal" THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN Borodin Quartet MIKHAIL KOPELMAN, Violinist DMITRI SHEBALIN, Violist ANDREI ABRAMENKOV, Violinist VALENTIN BERLINSKY, Cellist SUNDAY AFTERNOON, FEBRUARY 25, 1990, AT 4:00 RACKHAM AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Quartet No. 2 in F major, Op. 92 .............................. PROKOFIEV Allegro sostenuto Adagio, poco piu animate, tempo 1 Allegro, andante molto, tempo 1 Quartet No. 3 (1984) .......................................... SCHNITTKE Andante Agitato Pesante INTERMISSION Quartet in B-flat major, Op. 130, with Grosse Fuge, Op. 133 ...... BEETHOVEN Adagio, ma non troppo; allegro Presto Andante con moto, ma non troppo Alia danza tedesca: allegro assai Cavatina: adagio molto espressivo Finale: Grosse Fuge The Borodin Quartet is represented exclusively in North America by Mariedi Anders Artists Management, Inc., San Francisco. Cameras and recording devices are not allowed in the auditorium. Halls Cough Tablets, courtesy of Warner Lambert Company, are available in the lobby. Twenty-eighth Concert of the lllth Season Twenty-seventh Annual Chamber Arts Series PROGRAM NOTES Quartet No. 2 in F major, Op. 92 ........................ SERGEI PROKOFIEV (1891-1953) Sergei Prokofiev, born in Sontsovka, in the Ekaterinoslav district of the Ukraine, began piano lessons at age three with his mother, who also encouraged him to compose. It soon became clear that the child was musically precocious, writing his first piano piece at age five and playing the easier Beethoven sonatas at age nine. He continued training in Moscow, studying piano with Reinhold Gliere, and in 1904, entered the St. Petersburg Conservatory where he studied harmony and counterpoint with Anatoly Lyadov, orchestration with Rimsky- Korsakov, and conducting with Alexander Tcherepnin.
    [Show full text]
  • SAINT PETERSBURG AEC Annual Congress 2012 and General Assembly
    SAINT PETERSBURG AEC Annual Congress 2012 and General Assembly 1 AEC Pop and Jazz Platform! Lille 2012 1 With the support of: www.asimut.com The AEC would also like to express deep gratitude to the Rector of the St Petersburg State Conservatory Mikhail Gantvarg, and his team composed of Dmitry Chasovitin, Anna Opochinskaya , Regina Glazunova, Vladislav Norkin and Arina Shvarenok for their support in organizing the AEC Annual Congress and General Assembly 2012 in St Petersburg. The AEC team would also like to express special thanks to the members of the AEC Congress Committee: Hubert Eiholzer (Chair), John Wallace and Eirik Birkeland, for preparing and organising the Thematic Day of the Congress. 2 3 Table of Contents Programme ........................................................................................................................................ 6 Music Introductions ..................................................................................................................... 12 Concert Programme ..................................................................................................................... 12 AEC Thematic Day on Artistic Integrity ................................................................................. 14 Part I: Plenary Sessions .......................................................................................................................... 14 Part II: Parallel Breakout Sessions ...................................................................................................
    [Show full text]
  • Igor Tchetuev, Piano
    IGOR TCHETUEV, PIANO Igor Tchetuev was born in Sebastopol (Ukraine) in 1980 and won at the age of 14 the Grand Prix of the International Vladimir Krainev Young Pianists Competition (Ukraine); he currently works with Maestro Krainev. In 1998, at age 18, he was the First Prize Laureate of the Ninth Arthur Rubinstein International Piano Master Competition, and was also voted "Audience Favourite". 2009/10/11 Igor Tchetuev is the guest of Orchestre National de France at the Théâtre des Champs Elysées (July 2010, Tchaikovsky 1/Neeme Järvi), Luxembourg Philharmonic (Tchaikovsky 1/Günter Herbig), Moscow State Symphony Orchestra (Rachmaninov 2 & Paganini Rhapsody/Pavel Kogan), Mariinsky Theatre accompanying Ferruccio Furlanetto, on tour in Great Britain, Orchestre National de Lille (Prokofiev 3/Paul Mann), Orchestre National de Montpellier (Prokofiev 1/Yaron Traub), Moscow Virtuosi (Mozart Concert“Jeunehomme”/Vladimir Spivakov and Maxim Vengerov), Symphony Orchestra of the National Philharmonic of Ukraine on tour in Switzerland, in Korea of Euro-Asian Philharmonic. He gives numerous recitals in France and Europe amongst which, his fourth recital in Wigmore Hall, a recital at the Saint Petersburg Philharmony, Festival de Menton, Husum Festival in Germany, at the Festival de Colmar, Chopin Festival Paris, Lisztomania Festival, the Montpellier Festival, Lille Piano Festival, Nohant Festival, and plays at the Amsterdam Concertgebouw, etc… Igor Tchetuev has recently performed as piano soloist with Orchestre National de France, Mariinsky Orchestra, WDR
    [Show full text]
  • 5902547016153.Pdf
    Niniejsze nagranie powstało na potrzeby przewodu doktorskiego Anny Czaickiej-Jaklewicz, w którym część opisową stanowiła rozprawa: „Michał Spisak jako jeden z najwybitniejszych przedstawicieli neoklasycyzmu w Polsce na przykładzie wybranych utworów solowych i kameralnych”. The present recording was performed for the needs of the doctoral dissertation process of Anna Czaicka-Jaklewicz, in which the descriptive part was the dissertation “Michał Spisak as One of the Most Outstanding Representatives of Neoclassicism in Poland on the Example of Selected Solo and Chamber Works.” Ⓒ DUX, DUX 1615, 2020 NAGRANIE ZREALIZOWANO W SALI KONCERTOWEJ AKADEMII MUZYCZNEJ IM. KAROLA SZYMANOWSKIEGO W KATOWICACH 8, 15 STYCZNIA ORAZ 17 LUTEGO 2017 ROKU. RECORDED AT THE CONCERT HALL OF THE KAROL SZYMANOWSKI ACADEMY OF MUSIC IN KATOWICE, 8TH, 15TH JANUARY & 17TH FEBRUARY, 2017. GRZEGORZ STEC REŻYSERIA NAGRANIA, MONTAŻ, MASTERING | RECORDING SUPERVISION & SOUND ENGINEERING, EDITING, MASTERING ŻANETA PNIEWSKA TŁUMACZENIA | TRANSLATIONS MICHAŁ SZOSTAKOWSKI MONTAŻ, MASTERING | EDITING, MASTERING RAFAŁ DYMERSKI PROJEKT GRAFICZNY, SKŁAD | GRAPHIC DESIGN, PAGE LAYOUT MARCIN TARGOŃSKI REDAKCJA | EDITOR DUX RECORDING PRODUCERS MORSKIE OKO 2, 02-511 WARSAW, POLAND | WWW.DUX.PL, E-MAIL: [email protected] Michał Spisak (1914–1965) PIANO SOLO AND CHAMBER MUSIC Anna CZAICKA-JAKLEWICZ fortepian | piano Adam MOKRUS skrzypce | violin Łukasz TREPCZYŃSKI fortepian | piano Twórczość Spisaka, poza znakomitością rzemiosła, odznacza się prawdziwą krystalicznością, żywotnością, a często i humorem. Muzyka ta jest przekonywująca, logiczna, pozbawiona gadul- stwa. [...] Jego wybitna twórczość stanowi w historii muzyki ważne ogniwo wielkiego łańcucha. Grażyna Bacewicz (1909–1969) Spisak był artystą doskonałym, kompletnym, nie w sensie szukania oryginalności za wszelką cenę, ale poprzez odrębność i indywidualność swego stylu. Jego myśl twórcza, mimo iż wyrażała się w sposób ogólnie przyjęty przez epokę, miała swój indywidualny charakter, co wypływało z tego, kim był ten człowiek.
    [Show full text]
  • Dissertationes Rerum Oeconomicarum Universitatis Tartuensis 8 Dissertationes Rerum Oeconomicarum Universitatis Tartuensis 8
    DISSERTATIONES RERUM OECONOMICARUM UNIVERSITATIS TARTUENSIS 8 DISSERTATIONES RERUM OECONOMICARUM UNIVERSITATIS TARTUENSIS 8 THE INTERNATIONALIZATION OF FOREIGN-OWNED ENTERPRISES IN ESTONIA: AN EXTENDED NETWORK PERSPECTIVE TIIA VISSAK The Faculty of Economics and Business Administration, the University of Tartu, Estonia This dissertation is accepted for the defense of the degree of Doctor of Philosophy (in Economics) on April 16th 2003 by the Council of the Faculty of Economics and Business Administration, the University of Tartu. Supervisor: Professor Janno Reiljan (PhD), University of Tartu, Estonia Opponents: Professor Jan-Åke Törnroos (PhD), Åbo Akademi University, Finland Erik Terk (PhD), Director of the Estonian Institute for Futures Studies The public defense of the dissertation is on June 18th 2003 at 14.00 in room B306, Narva Rd. 4, Oeconomicum, the University of Tartu. The publication of this dissertation is granted by the Faculty of Economics and Business Administration, the University of Tartu. © Tiia Vissak, 2003 Tartu Ülikooli Kirjastus www.tyk.ut.ee Tellimus nr 279 TABLE OF CONTENTS THE LIST OF AUTHOR’S PUBLICATIONS AND CONFERENCE PRESENTATIONS ....................................................................................... 7 INTRODUCTION ......................................................................................... 10 1. THE THEORETICAL CONTEXT OF THE INTERNATIONA- LIZATION OF FOREIGN-OWNED FIRMS .......................................... 17 1.1. The models of pre-network internationalization..............................
    [Show full text]
  • Annual Report 2000
    Annual Report 2000 Contents Hartwall vision and mission 2 Information for shareholders 3 Summery of operations in 2000 5 Stock Exchange Bulletins 7 Brewing Industry Statistics 11 Managing Director’s Review 12 Trend in business operations in Finland Summary 15 A look at our line of business in Finland 16 Hartwall in Finland 19 Exports and duty-free 23 Hartwall and environment 26 Baltic Beverages Holding 29 The Financial Statement Summary 43 Board of Director’s report of operations 2000 44 Profit and Loss Account 50 Balance Sheet 51 Statement of changes in financial position 52 Financing risks and their management 53 Notes to the financial statements 54 Accounting policy 61 Key indicators for the Group 63 Share-issue adjusted indicators 64 Proposal for the distribution of profit 65 Auditor’s Report 65 Hartwall Group Year 2000 reported in four-month periods 66 Profit-sharing fund 67 Analyst contacts 67 Information on Hartwall Plc’s shares 68 Hartwall Plc’s Articles of Association 70 Corporate Governance 72 Board of Directors 73 Executive Committee of Hartwall Plc 74 Parent company, subsidiaries and associated companies and their management 75 Contact information 76 1 The Hartwall Group in a nutshell I Established in 1836. I Finland’s leading manufacturer of brewery and soft drink products. I The associated company Baltic Beverages Holding AB (BBH) was set up in 1991. BBH is jointly owned by Hartwall and the Danish company Carlsberg Breweries A/S. I Hartwall was listed on Helsinki Exchanges on 1 July 1994. I Three factories in Finland (Helsinki, Lahti,Tornio) and one spring water bottling plant (Karijoki).
    [Show full text]
  • Members Flyer
    We don’t think of competitions as the end of the European Union of Music Competitions for Youth learning process : for us, they’re the beginning. Trimburgstraße 2/V · 81249 München · Germany Tel : +49 89 87 10 02 42 www.emcy.org [email protected] EMCY is a non-profit organisation which is based and registered in Munich (Germany) and run by ARE YOU INTERESTED an international board and office IN COLLABORATING ? BECOMING A MEMBER ? SUPPPORTING EMCY´S WORK? GET IN CONTACT ! www.emcy.org INTER-NATIONAL net_works+ October 2016 www.emcy.org EMCY NATIONAL MEMBER COMPETITIONS EMCY INTERNATIONAL MEMBER COMPETITIONS EMCY is the European Union of Music Competitions for Youth: a network of national and international music competitions for young people across Europe. PIANO SPAIN, San Sebastián UK, SWITZERLAND (2017), San Sebástian City International VARIOUS PLACES Founded in Brussels in 1970 to develop, coordinate and nurture a system of music competitions, we CZECH REPUBLIC, Pilsen Piano Competition Menuhin Competition AUSTRIA LITHUANIA PORTUGAL Smetana International Piano cover countries of all Europe. Every year thousands of musicians under the age of twenty-five take Österreichische National Balys Dvarionas Piano Prémio Jovens Músicos Competition UKRAINE, Kiev part in our competitions and our projects reach audiences across the continent. Jugendmusikwettbewerbe: and String Competition International Competition for Young VARIOUS DENMARK, Aarhus prima la musica SLOVAKIA Pianists in Memory of Vladimir BULGARIA, Sofia Aarhus International Piano As a European network, EMCY represents music competitions the world over and keeps its members podium.jazz.pop.rock… LUXEMBURG EMCY Slovakia Horowitz International Competition Competition connected, enabling them to share educational, practical and musical know-how.
    [Show full text]
  • Press Release
    Press Release Baltic Sea Philharmonic and Estonian fashion brandhouse Baltika Group launch innovative collaboration ● Baltika’s largest brand Monton creates new concert clothing for orchestra’s ‘Waterworks’ tour ● Styling reflects water theme of tour programme ● Clothing innovation forms part of cutting-edge concert show fusing music, fashion, light, visual art and sound design ● Baltika Group and Baltic Sea Philharmonic plan long-term partnership Berlin/Tallinn, 5 May 2017. The Baltic Sea Philharmonic will debut a fresh, distinctive look on its upcoming ‘Waterworks’ tour thanks to an innovative partnership with Estonian fashion brandhouse Baltika Group. Designers at Monton, the largest of Baltika’s five international brands, have created new concert clothing for the players of the Baltic Sea Philharmonic and Music Director Kristjan Järvi. The stylish new outfits will be revealed for the first time at the orchestra’s concerts in Hattingen, Germany, and Copenhagen and Aarhus in Denmark, from 5 to 9 May. They have been specially designed to reflect the water theme of the programme, with shades of blue, white and grey replacing the traditional all-black uniformity of formal concert attire. A revolution in performance The break with concert clothing conventions is part of the bold new presentation concept that the Baltic Sea Philharmonic is pioneering on the ‘Waterworks’ tour – an innovative concert experience that fuses music, fashion, light, visual art and sound design. Kristjan Järvi says: ‘The sense of unity that we want to achieve between
    [Show full text]
  • Études D'exécution Transcendante Dinara Klinton, Piano
    Franz Liszt Études d’exécution transcendante Dinara Klinton, Piano Franz Liszt Études d’exécution transcendante Dinara Klinton, Piano Franz Liszt (1811–1886) Études d’exécution transcendante, S. 139 (1851) 01 No. 1 Preludio ........................................ (01'02) 02 No. 2 untitled – Molto vivace ........................... (02' 25) 03 No. 3 Paysage ......................................... (05' 07) 04 No. 4 Mazeppa ........................................ (07' 43) 05 No. 5 Feux follets. Irrlichter ............................ (03'40) 06 No. 6 Vision ........................................... (05'33) 07 No. 7 Eroica ........................................... (04' 49) 08 No. 8 Wilde Jagd ...................................... (05' 40) 09 No. 9 Ricordanza ...................................... (11' 11) 10 No. 10 untitled – Allegro agitato molto .................. (04' 57) 11 No. 11 Harmonies du soir .............................. (09' 25) 12 No. 12 Chasse-Neige ................................... (05' 42) Total Time ................................................ (67'21) A Note to the Historical Origins of “Études d’exécution transcendante” Franz Liszt’s Études d’exécution transcendante are the crowning achievement of a crea- tive process that lasted a quarter of a century. Liszt was just 15 years old when he composed his first book of studies, the Études en douze exercises Op. 1, S. 136, dedicated to his teacher Carl Czerny, generally regarded as the father of modern piano technique. Inspired by the number of preludes and fugues in Johann Sebastian Bach’s The Well-Tempered Clavier, Liszt originally envisaged a compendium of 48 studies in every major and minor key, de- signed to embrace all aspects of piano technique. The project was well underway when an insatiable wanderlust took hold and so began his years of travel, most extensively through Switzerland and Italy. When Liszt finally revisited his original etudes, he transformed them until “they were no longer recognizable” into the twelve Grandes Études S.
    [Show full text]
  • Cello Concerto (1990)
    RUSSIAN, SOVIET & POST-SOVIET CONCERTOS A Discography of CDs and LPs Prepared by Michael Herman Edited by Stephen Ellis Composers A-G RUSTAM ABDULLAYEV (b. 1947, UZBEKISTAN) Born in Khorezm. He studied composition at the Tashkent Conservatory with Rumil Vildanov and Boris Zeidman. He later became a professor of composition and orchestration of the State Conservatory of Uzbekistan as well as chairman of the Composers' Union of Uzbekistan. He has composed prolifically in most genres including opera, orchestral, chamber and vocal works. He has completed 4 additional Concertos for Piano (1991, 1993, 1994, 1995) as well as a Violin Concerto (2009). Piano Concerto No. 1 (1972) Adiba Sharipova (piano)/Z. Khaknazirov/Uzbekistan State Symphony Orchestra ( + Zakirov: Piano Concerto and Yanov-Yanovsky: Piano Concertino) MELODIYA S10 20999 001 (LP) (1984) LEV ABELIOVICH (1912-1985, BELARUS) Born in Vilnius, Lithuania. He studied at the Warsaw Conservatory and then at the Minsk Conservatory where his composition teacher was Vasily Zolataryov. After graduation from the latter institution, he took further composition courses with Nikolai Miaskovsky at the Moscow Conservatory. He composed orchestral, vocal and chamber works. Piano Concerto in E minor (1976) Alexander Tutunov (piano)/ Marlan Carlson/Corvallis-Oregon State University Symphony Orchestra ( + Piano Trio, Aria for Viola and Piano and 10 Romances) ALTARUS 9058 (2003) Aria for Violin and Chamber Orchestra (1973) Mikhail Shtein (violin)/Alexander Polyanko/Minsk Chamber Orchestra ( + Vagner: Clarinet Concerto and Alkhimovich: Concerto Grosso No. 2) MELODIYA S10 27829 003 (LP) (1988) MusicWeb International Last updated: August 2020 Russian, Soviet & Post-Soviet Concertos A-G ISIDOR ACHRON (1891-1948) Piano Concerto No.
    [Show full text]