Annual Brochure 2013

Total Page:16

File Type:pdf, Size:1020Kb

Annual Brochure 2013 www.ecma-music.com www.ecma-music.com EUROPEAN CHAMBER MUSIC ACADEMY content 04 Patronage 05 Partners 2012/2013 06 Vision – mission – Facts 08 Partners 16 Extraordinary partners 18 Ensembles 21 Alumni 22 Contact Ensembles 26 Contact aspirants-Ensembles 28 Competition results 33 Attendance List 35 Tutors 37 Cd-releases 2012 38 Events 40 Association EuropEan ChambEr musiC aCadEmy 3 www.ecma-music.com PATRONAGE PARTNERS PatronaGe Partners 2012/2013 Honorary President of ecMa: active Partners: pierre boulez aUstria mdw – universität für musik und darstellende Kunst Wien France Conservatoire national supérieur de musique et de danse de paris shmuel ashkenasi ITALY scuola di musica di Fiesole – Fondazione onlus Elena bashkirova LitHUania Lietuvos muzikos ir teatro akademija Vilinius bruno Canino norWaY norges musikkhøgskole oslo piero Farulli (1920- 2012) UK royal northern College of music manchester david Geringas bruno Giuranna FinLanD sibelius akatemia (presently inactive) hans Werner henze (1926-2012) heinz holliger seppo Kimanen extraorDinarY Partners: Gidon Kremer aUstria Europäisches Kulturforum Großraming oleg maisenberg FinLanD Kuhmo Chamber music Festival arto noras France Festival pablo Casals Eiji oue Krzysztof penderecki heinrich schiff institUtions WitH stronG cooPERATION interests: salvatore sciarrino cHina shanghai Conservatory of music Christian Tetzlaff GerManY Hochschule für musik und Theater münchen tHe netHerLanDs Koninklijk Konservatorium The hague tHe netHerLanDs Nederlandse strijkKwartet academie JaPan affinis arts Foundation © IRÈNE_ZANDEL 4 EuropEan ChambEr musiC aCadEmy EuropEan ChambEr musiC aCadEmy 5 vision – Mission – fACTS vision – Mission – fACTS vision ecMa has a vision: the „ecMa-spirit“ with its approach to music and musicmaking ought to become a „matter of course“ for musicians and audiences alike. By constantly re-evaluating our cultural heritage‘s treasures and developing new creative potentials in interpretation and research ecMa wants to contribute to a society and a future worth living in ... Mission ecMa – european chamber Music academy – is recognized as the number one „talent laboratory“ of european chamber music ensembles. ecMa is dedicated to promoting young, aspiring, elite ensembles and hence to promoting the tradition and development of european chamber music. it has charitable status and its activities are non-profit-making. Facts ecMa was founded in 2004 on the initiative of Hatto Beyerle. it is an association of european music universities, conservatoires and festivals in the field of chamber music, which are together providing an ongoing training for chamber music en sembles. Within this program the partner institutions host regular sessions (duration of one week/seven per year). renowned tutors work inten sively with the ensembles who receive impulses for their artistic work as well as through lectures and focus work shops in, for example, cultural history and historical performance, practise and philosophy. Besides exploring the importance and impact of cultural knowledge such as rhetoric or the greek verses for a profound understanding of european music ecMa also engages in research projects in various fields collaborating with academic partners. Furthermore ecMa naturally develops new networks by bringing together people from different backgrounds and cultures. © IRÈNE_ZANDEL 6 EuropEan ChambEr musiC aCadEmy EuropEan ChambEr musiC aCadEmy 7 PARTNERS PARTNERS MDW – Universität Für MUsiK conservatoire nationaL sUPérieUr UnD DarsteLLenDe KUnst Wien – aUstria De MUsiqUe et De Danse De Paris – France address: address: Joseph haydn institut für Kammermusik und spezialensembles Conservatoire national superieur de musique et de danse de paris anton-von-Webern-platz 1 209 avenue Jean Jaurès 1030 Vienna/austria 75019 paris/France artistic Director: artistic Director: Johannes Meissl Bruno Mantovani [email protected] [email protected] orGanisation: orGanisation: Bibiane eitzenberger & Jutta Heidenreich Gretchen amussen [email protected] bibiane Eitzenberger Tél + 33 1 40 40 45 79 [email protected] Fax + 33 1 40 40 46 51 Tel: +43 1 711 55 3002 Jutta heidenreich [email protected] 8 EuropEan ChambEr musiC aCadEmy EuropEan ChambEr musiC aCadEmy 9 PARTNERS PARTNERS scUoLa Di MUsica Di FiesoLe – FonDazione onLUs – ITALY LietUvos MUziKos ir teatro aKaDeMiJa – LitHUania address: address: Via delle Fontanelle, 24 Lietuvos muzikos ir teatro akademija 50014 san domenico di Fiesole (Fi) Gedimino pr. 42 www.scuolamusica.fiesole.fi.it LT-01110 Vilnius www.lmta.lt artistic Director: antonello Farulli artistic Director: [email protected], [email protected] Dalia Balsyte [email protected] orGanisation: Hollie Grey & Maria Grazia Martelli orGanisation: Kristina valentoniene & rima rimsaite hollie Grey [email protected] Kristina Valentoniene Tel: +39 055 5978532 [email protected] Fax: +39 055 599686 rima rimšaite˙ maria Grazia martelli Tel: +370 5 2124967 Tel: +39 055 5978529 Fax: +370 5 2120093 Fax: +39 055 599686 [email protected] [email protected] [email protected] 10 EuropEan ChambEr musiC aCadEmy EuropEan ChambEr musiC aCadEmy 11 PARTNERS PARTNERS roYaL nortHern coLLeGe oF MUsic – norGes MUsiKKHØGsKoLe– norWaY UniteD KinGDoM address: address: slemdalsveien 11 College of music no-0302 oslo/norway 124 oxford road www.nmh.no/english manchester m13 9rd, uK www.rncm.ac.uk rector: eirik Birkeland [email protected] artistic Director: Petr Prause [email protected] artistic Director: are sandbakken [email protected] orGanisation: Melanie smith [email protected] orGanisation: Tel: +44 161 907 5463 Ellen Haldar-Krøvel [email protected] Tel: +47 23 36 70 75 12 EuropEan ChambEr musiC aCadEmy EuropEan ChambEr musiC aCadEmy 13 PARTNERS isaFestival siBeLiUs aKateMia HeLsinKi August 11– 25, 2013 (inactive MeMBer) – FinLanD address: sibelius academy helsinki boX 86 00251 helsinki/ Finland www.siba.fi www.facebook.com/sibeliusacademy INTER NATIONAL LAUREATES Trio Gaspard Meta 4 Minetti Quartett Apollon Musagete Arcadia Quartet Quatuor Zaide Photo: Lukas Beck www.isa-music.org 14 EuropEan ChambEr musiC aCadEmy isamusic.org PARTNERS PARTNERS extraorDinarY Partners FestivaL PaBLo casaLs – France Festival pablo Casals eUroPäiscHes KULtUrForUM bp. 24, F – 66502 prades Cedex GrossraMinG – aUstria Michel Lethiec in co-operation with mdw – universität für musik und darstellende Kunst Wien [email protected] artistic Director: sonia ritlewski Hatto Beyerle [email protected] [email protected] Tel +49 15122373077 orGanisation: sHanGHai conservatorY oF MUsic – cHina europäisches Kulturforum Großraming Dir. siegfried schörkhuber Fenyang road 20 [email protected] 200031 shanghai, China http://shcmusic.edu.cn/ PresiDent: xu shu-Ya KUHMo cHaMBer MUsic FestivaL – FinLanD artistic Director: Jensen Horn-sin Lam Torikatu 39 [email protected] Fi-88900 Kuhmo Tel: +358 8 652 0936 niny Lam Fax: +358 8 652 1961 [email protected] [email protected] www.kuhmofestival.fi artistic Director: aFFinis arts FoUnDation – JaPan Vladimir mendelssohn [email protected] 20-5 Toranum 1-chome [email protected] minato-ku Tokyo 105-0001, Japan www.affinis.or.jp PLanninG Division: Kumiko ozaki [email protected] Tel: +8135532-1424 Fax: +81-3-5532-1425 16 EuropEan ChambEr musiC aCadEmy EuropEan ChambEr musiC aCadEmy 17 ENSEMBLES ecMa enseMBLes since 2012/13 Giocoso quartett (Germany/romania) quartetto Lyskamm (italy) Don qvixote (spain) since 2011/12 trio Fortvio (Lithuania) trio Gaspard (uK/albania/Greece/south Korea) trio Karénine (France) T E T since 2010/11 OCOSO-QUAR I streeton trio (australia) © G GIOCOSO-QUARTET WU string quartet (uK) QUARTETTO LYSKAMM ecMa asPirant-enseMBLes airis quartet (poland) Pacific quartet vienna (austria/ hungary/switzerland/Taiwan) trio Metral (France) trio Dehapy (norway/Lithuania) zelkova quartett (uK) ecMa reLATED-enseMBLes Han quartet (China) © IRENE ZANDEL 18 EuropEan ChambEr musiC aCadEmy EuropEan ChambEr musiC aCadEmy 19 ALUMNI ecMa aLUMni apollon Musagète quartett, poland – www.apollon-musagete.com/ arcadia quartet, romania – www.arcadiaquartet.com/ Berolina trio, poland/Germany – www.berolina-trio.de/ Boulanger trio, Germany – www.boulangertrio.de/ cuarteto arriaga, Germany – www.cuartetoarriaga.com/ cuarteto quiroga, spain – cuartetoquiroga.com/ Galatea quartett, switzerland – www.galatea-quartet.com/ Kamus quartett, Finland – www.kamusquartet.com/ Meta4, Finland – www.meta4.fi/ FARRUS I ©JORD Minetti quartett, austria – www.minettiquartett.at/ DON QVIXOTE TRIO FORTVIO Paul Klee trio, France – paulkleetrio.com/ quartetto di cremona, italy – www.quartettodicremona.it/ quatuor Girard, France – www.quatuorgirard.com/ quatuor zaïde, France – quatuorzaide.com/ trio atanassov, France – www.trio-atanassov.com/ trio chausson, France – www.triochausson.com/ trio image, Germany – www.trioimage.eu/ trio Métabole, France – www.matthieu-stefanelli.com/ MA. Z A R AS T AU T Y V © I 20 EuropEan ChambEr musiC aCadEmy EuropEan ChambEr musiC aCadEmy 21 CONTACT ENSEMBLES XXXX CONTACT ecMa-enseMBLes Giocoso qUartet (Germany/romania) [email protected] sebastian Casleanu, Teofil Justin Todica, violins adrian stanciu, viola alexandru-Florin spatarelu, violoncello qUartetto LYsKaMM (Germany/italy) [email protected] annedore oberborbeck, Clara Franziska schötensack, violins Francesca piccioni, viola Giorgio Cascati, violoncello qvixote qUartet
Recommended publications
  • O Du Mein Österreich: Patriotic Music and Multinational Identity in The
    O du mein Österreich: Patriotic Music and Multinational Identity in the Austro-Hungarian Empire by Jason Stephen Heilman Department of Music Duke University Date: _______________________ Approved: ______________________________ Bryan R. Gilliam, Supervisor ______________________________ Scott Lindroth ______________________________ James Rolleston ______________________________ Malachi Hacohen Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2009 ABSTRACT O du mein Österreich: Patriotic Music and Multinational Identity in the Austro-Hungarian Empire by Jason Stephen Heilman Department of Music Duke University Date: _______________________ Approved: ______________________________ Bryan R. Gilliam, Supervisor ______________________________ Scott Lindroth ______________________________ James Rolleston ______________________________ Malachi Hacohen An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2009 Copyright by Jason Stephen Heilman 2009 Abstract As a multinational state with a population that spoke eleven different languages, the Austro-Hungarian Empire was considered an anachronism during the age of heightened nationalism leading up to the First World War. This situation has made the search for a single Austro-Hungarian identity so difficult that many historians have declared it impossible. Yet the Dual Monarchy possessed one potentially unifying cultural aspect that has long been critically neglected: the extensive repertoire of marches and patriotic music performed by the military bands of the Imperial and Royal Austro- Hungarian Army. This Militärmusik actively blended idioms representing the various nationalist musics from around the empire in an attempt to reflect and even celebrate its multinational makeup.
    [Show full text]
  • Lost Generation.” Two Recent Del Sol Quartet Recordings Focus on Their Little-Known Chamber Music
    American Masterpieces Chamber Music Americans in Paris Like Hemingway and Fitzgerald, composers Marc Blitzstein and George Antheil were a part of the 1920s “Lost Generation.” Two recent Del Sol Quartet recordings focus on their little-known chamber music. by James M. Keller “ ou are all a lost generation,” Generation” conveyed the idea that these Gertrude Stein remarked to literary Americans abroad were left to chart Y Ernest Hemingway, who then their own paths without the compasses of turned around and used that sentence as the preceding generation, since the values an epigraph to close his 1926 novel The and expectations that had shaped their Sun Also Rises. upbringings—the rules that governed Later, in his posthumously published their lives—had changed fundamentally memoir, A Moveable Feast, Hemingway through the Great War’s horror. elaborated that Stein had not invented the We are less likely to find the term Lost locution “Lost Generation” but rather merely Generation applied to the American expa- adopted it after a garage proprietor had triate composers of that decade. In fact, used the words to scold an employee who young composers were also very likely to showed insufficient enthusiasm in repairing flee the United States for Europe during the ignition in her Model-T Ford. Not the 1920s and early ’30s, to the extent that withstanding its grease-stained origins, one-way tickets on transatlantic steamers the phrase lingered in the language as a seem to feature in the biographies of most descriptor for the brigade of American art- American composers who came of age at ists who spent time in Europe during the that moment.
    [Show full text]
  • Kronos Quartet
    CAL PERFORMANCES PRESENTS Sunday, April 6, 2014, 7pm Hertz Hall CAL PERFORMANCES :89;–:89< ARTIST IN RESIDENCE Kronos Quartet David Harrington, violin John Sherba, violin Hank Dutt, viola Sunny Yang, cello Brian H. Scott, lighting supervisor Scott Fraser, sound engineer Brian Mohr, technical associate PROGRAM Prelude to a Black Hole Byzantine Chant Eternal Memory to the Virtuous † (arr. Aleksandra Vrebalov) Igor Stravinsky (1882–1971) Three Pieces for String Quartet (1914) Dance Eccentric Canticle Geeshie Wiley Last Kind Words † (arr. Jacob Garchik) Tanburi Cemil Bey (1873–1916) Eviç Taksim † (arr. Stephen Prutsman) Maurice Ravel (1875–1937) Trois beaux oiseaux du Paradis† (1914–1915) (arr. JJ Hollingsworth) Traditional Smyrneiko Minore † (arr. Jacob Garchik) PLAYBILL CAL PERFORMANCES PRESENTS Anton Webern (1883–1945) Six Bagatelles, Op. 9 (1911–1913) Mäßig Leicht bewegt Ziemlich fließend Sehr langsam Äußerst langsam Fließend Charles Ives (1874–1954) They Are There! Fighting for the People’s New Free World (1917) Serge Rachmaninoff ( 1873–1943 ) Nunc Dimittis, from All-Night Vigil † (1915 ) (arr. Kronos) Beyond Zero: 9@9<–9@9? * A new work for quartet with film World premi ère Aleksandra Vrebalov (b. 1970 ), composer Bill Morrison (b. 1965 ), filmmaker David Harrington and Drew Cameron, creative consultants Janet Cowperthwaite, producer Kronos Performing Arts Association, production management Played without pause * Written for Kronos † Arranged for Kronos Beyond Zero: 1914–1918 , with music by Aleksandra Vrebalov and film by Bill Morrison, is supported, in part, by an award to the Kronos Performing Arts Association from the National Endowment for the Arts. Art Works. Additional funding for the project is provided by The MAP Fund, supported by the Doris Duke Charitable Foundation and the Andrew W.
    [Show full text]
  • Beethoven String Quartets--Budapest Quartet (1940- 1950) Added to the National Registry: 2003 Essay by David W
    Beethoven String Quartets--Budapest Quartet (1940- 1950) Added to the National Registry: 2003 Essay by David W. Barber (guest post)* The Budapest Quartet If Haydn is often called the “father of the string quartet” (just as, prolific progenitor, he’s also often called the “father of the symphony”), it’s Beethoven we should credit as the one--a loving uncle, perhaps--who raised the string quartet from its infancy and brought it into the world to its full maturity. In addition to his nine epic symphonies, five piano concertos, 32 piano sonatas and a raft of other music (including a humorous “duet for obbligato eyeglasses”), Beethoven composed 16 string quartets over the course of his career, beginning with the first set of six, Op. 18, written between 1798 and 1800, and ending with the so-called “late quartets” written in 1824 to 1827, Op. 127- 135, which many consider to be among his finest works of musical expression. Ludwig van Beethoven (1770-1827) was born in Bonn, Germany, in a little house on Bonngasse. His family soon moved to a bigger house not far away on Rheingasse. (For years, tourists flocked to the Rheingasse house, took pictures and told everybody they’d seen Beethoven’s birthplace. They hadn’t.) Like Mozart before him, Beethoven was a musical prodigy who had begun playing and even composing at an early age. For his first piano lessons, he was so small that he had to stand on the piano bench just to reach the keys. His father, like Mozart’s father and eager to exploit his gifts, showed him off as a prodigy, even telling everyone the boy was two years younger so he would appear even more talented.
    [Show full text]
  • Hemingway Newsletter Publication of the Hemingway Society | No
    theHemingway newsletter Publication of The Hemingway Society | No. 72 | 2020 Out of the Airport and into the Zoom Society to Host Free Webinar Series July 17-19 as Summer Substitute for Wyoming/ Montana Conference Postponed to 2021 Due to As a summer substitute for the Wyoming/Montana conference (now Global Pandemic postponed to July 18-24, 2021), the Society will offer a three-day, three- panel webinar this July 17-19, 2020—which just happens to be the fortieth anniversary of the Thompson Island founding of the Society. ooking back only three months later, a compromised immune system, for concerns of my own. When the CDC the agenda for the Valentine’s Day example, or anyone over sixty-five—didn’t started issuing travel advisories in late meeting of the Hemingway Society’s feel comfortable with air travel? Could February, and when the first death on U.S. Lboard may seem like a relic from a more an international member on the program soil was reported, I took it seriously. On innocent item. Items up for discussion beam in electronically through Skype or March 2 I went out and bought everything include updates on the Wyoming/Montana Zoom to present a paper if they decided an on the Ready.gov disaster preparedness conference that was then six months international flight was risky? What on-site checklist, including six weeks’ worth of away, soliciting proposals for the 2022 precautions would be taken to make sure toilet paper, non-perishable foods, OTC conference (to be held abroad), raising conferees wouldn’t infect each other? medicine, dog food, etc.
    [Show full text]
  • Hemingway Newsletter Publication of the Hemingway Society | No
    theHemingway newsletter Publication of The Hemingway Society | No. 71 | 2019 A Year After the Epic Paris 2018 Conference, the Hemingway Society Prepares to Go into the Great Wide Open: Complete Wyoming/ Montana 2020 Coverage ne year after 518 scholars and fans gathered in Paris for the largest-ever Hemingway Society Oconference, plans are firmly in place for what will go down as one of the most unique gatherings in the organization’s forty-year history. The XIX International Hemingway “Up the river were the two peaks of Pilot and Index, Conference, “A Place to Write, Writing where we would hunt mountain-sheep later in the month, Place,” will be held July 19-25, 2020, in two venues: from July 19-22 in Sheridan, and you sat in the sun and marvelled at the formal clean- Wyoming, and July 23-25 in Cooke City, lined shape mountains can have at a distance.…” Montana. July 23 will be a partial travel day with an opportunity to stop for lunch —Ernest Hemingway, “The Clark’s Fork Valley, at the Buffalo Bill Center of theW est in Wyoming,” Vogue (February 1939) Cody, Wyoming, just east of Yellowstone National Park, before an official welcoming enthusiasm from Laramie to Cheyenne extravaganza that evening in Cooke City. cabin in the Big Horns where A Farewell up to Jackson and over to Sheridan. This is not the first Hemingway to Arms was completed or the L Bar T They’ve built the local infrastructure conference with split destinations. In Ranch where To Have and Have Not was network needed to host an international 2006 the society met first in Malaga, labored over in 1936 are now molehills, conference.
    [Show full text]
  • Quatuor Danel Marc Danel & Gilles Millet – Violin Vlad Bogdanas – Viola Yovan Markovitch – Violoncello
    QUATUOR DANEL MARC DANEL & GILLES MILLET – VIOLIN VLAD BOGDANAS – VIOLA YOVAN MARKOVITCH – VIOLONCELLO The Quatuor Danel was founded in 1991 and has been at the forefront of the international music scene ever since, with important concert performances worldwide and a row of groundbreaking CD recordings. The quartet is famous for their bold, concentrated interpretations of the string quartet cycles of Haydn, Beethoven, Schubert, Shostakovich, and Weinberg. Their lively and fresh vision on the traditional quartet repertoire has delivered them subsequent praise from public and press. The other part of their force lies in the collaboration with major contemporary composers such as Wolfgang Rihm, Helmut Lachenmann, Sofia Gubaidulina, Pascal Dusapin, Wolfgang Rihm, Jorg Widmann and Bruno Mantovani. Russian composers have a special place in the Quatuor Danel’s repertoire. They have championed all string quartets by Shostakovich and recorded the complete cycle for Fuga Libera in 2005. This box-set was recently re-issued by Alpha and still counts as one of the benchmark interpretations of Shostakovich’ quartets. The Danel were the first quartet to record the other great string quartet cycle of the twentieth century: the 17 quartets by Mieczysław Weinberg. Their performance in Manchester and Utrecht was the first time ever live interpretation of the complete Weinberg cycle worldwide. For the two seasons to come the quartet will be presenting complete Weinberg cycles in Amsterdam, London, Japan and Paris for the centenary of Weinberg’s date of birth. Education is also at the heart of the activities of the Quatuor Danel. An essential part of their mission is to pass on their knowledge, their experience and the musical heritage they received from their own mentors: members of the Amadeus and Borodin Quartets, Fyodor Druzhinin, Pierre Penassou, Walter Levin and Hugh Maguire.
    [Show full text]
  • The Narrative Mood of Jean Rhys' Quartet Octavio R
    The Narrative Mood of Jean Rhys' Quartet Octavio R. González ariel: A Review of International English Literature, Volume 49, Number 1, January 2018, pp. 107-141 (Article) Published by Johns Hopkins University Press DOI: https://doi.org/10.1353/ari.2018.0004 For additional information about this article https://muse.jhu.edu/article/686336 Access provided by Wellesley College Library (21 Mar 2018 12:03 GMT) ariel: a review of international english literature Vol. 49 No. 1 Pages 107–141 Copyright © 2018 Johns Hopkins University Press and the University of Calgary Perspectives The Narrative Mood of Jean Rhys’ Quartet Octavio R. González Abstract: This article evaluates the application of dominant insti- tutional discourses, such as psychoanalysis, in the interpretation of literary fiction. I take up the case of Jean Rhys and her 1929 novel Quartet. Both author and novel have been analyzed through the concept of masochism, as creating masochistic characters or a masochistic aesthetic. But what do we mean when we classify or “diagnose” authors of literature or fictional characters as in the case of Rhys’ and Quartet’s protagonist? Against this mode of read- ing, I argue that Rhys’ novel asks us, in various ways, to under- stand it on its own terms, suggesting a mode that I call immanent reading. It enjoins the reader to understand rather than to classify the famously problematic Rhys “heroine.” Ultimately, Quartet foregrounds the instability of moral and social positions, im- plicitly arguing against what it calls the “mania for classification” employed by the novel’s antagonists. Quartet cautions against di- agnostic interpretations by dramatizing scenes of hypothetical fo- calization, emphasizing the modal nature of reality, and providing the novel with its characteristically shadowy mood.
    [Show full text]
  • MUSIC CRUISES 2019 RHINE World-Class Performances on Board and on Land
    MUSIC CRUISES 2019 RHINE World-class performances on board and on land Our AMADEUS team has carefully designed impressive concert programs both on board and ashore. Reserve your spot for exclusive encounters with internationally acclaimed artists in intimate settings. The relaxing ambience on board is a perfect backdrop for this unique opportunity to get to know the musicians personally and start uplifting conversations. A select repertoire with pieces from top classical composers in history promises a rich music experience. Enjoy private concerts in unique venues, such as the St. Thomas Church in Strasbourg, the House of Beethoven in Bonn, the splendid Mozarteum in Salzburg, Duna Palace in Budapest and impressive Melk Abbey in the Wachau valley. OUR ONBOARD MUSIC EXPERT An expert in music hosts this themed week and offers special insight and engaging introductions on featured composers and pieces, prior to the musical performances. Austrian born, Antonella Placheta studied piano at the Innsbruck Conservatory for ten years. She continued her studies at the University of Innsbruck, where she concentrated on history and philosophy. After her studies she was able to combine her love of history with her love of music and the arts. In addition to her work as a historian and organizer of various cultural events, Antonella moderates concerts and music events and is active as a state-licensed tourist guide. Since 2015, she has been the director of the women‘s choir ”Sono”. As a music and cultural expert, she accompanies travel groups and cruises throughout Europe and is happy to share her knowledge and her enthusiasm for music with our national and international guests.
    [Show full text]
  • Brentano String Quartet Sunday, March 31, 2019 3:00 Pm
    Brentano String Quartet Sunday, March 31, 2019 3:00 pm A collaboration with the University of Iowa String Quartet Residency Program Photo © Jürgen Frank 2018/2019 SEASON Great Artists. Great Audiences. Hancher Performances. BRENTANO STRING QUARTET MARK STEINBERG Violin SERENA CANIN Violin MISHA AMORY Viola NINA LEE Cello Sunday, March 31, 2019, at 3:00 pm Hancher Auditorium, The University of Iowa A collaboration with the University of Iowa String Quartet Residency Program Quartet in C Major, Op. 20, No. 2 (“Sun”) Joseph Haydn (1732–1809) I. Moderato II. Capriccio: Adagio III. Menuetto: Allegretto IV. Fuga a quattro Soggetti: Allegro String Quartet No. 2 Béla Bartók (1881–1945) I. Moderato II. Allegro molto capriccioso III. Lento INTERMISSION Quartet in E-flat Major, Op. 44, No. 3 Felix Mendelssohn (1809–1847) I. Allegro vivace II. Scherzo: Assai leggiero vivace III. Adagio non troppo IV. Molto allegro con fuoco The Brentano String Quartet appears by arrangement with David Rowe Artists davidroweartists.com 3 Photo © Jürgen Frank © Jürgen Photo EVENT SPONSORS GENERAL HANCHER PARTNERS HANCHER CIRCLE DONORS HANCHER'S 2018/2019 SEASON IS DEDICATED TO THE MEMORY OF DICK AND MARY JO STANLEY 4 Photo © Jürgen Frank © Jürgen Photo Imagine the Power in Partnership Craig Vander Leest, CFP® Senior Investment Consultant Doug Wenzel, CIMA® Senior Investment Consultant The Schmidt, Vander Leest and Wenzel Group 319-365-3397 svlwgroup.com Certi ed Financial Planner Board of Standards Inc. owns the certi cation marks CFP®, CERTIFIED FINANCIAL PLANNER™ and federally registered in the U.S., which it awards to individuals who successfully complete CFP Board’s initial and ongoing certi cation requirement.
    [Show full text]
  • Quartet and When the Wicked
    MEASURE FOR MEASORE; QOARTET AND ItBEN THE WICKED MAN Martien Kappers-den Hollander In 1928 Jean Rhya published her first novel Postures (Quartet in later editions'fj which centered on a troubled year in her marriage to the Dutch journalist Jean Lengletl While they were living in Paris in 1924, Lenglet was arrested by French authorities ohi charge of petty mdsezzleoent, and subsequently convicted. As he was serving his sent^ in a prison outside Paris, Rhys was offered shelter in the home of her literary patron^ Ford Madox Ford and his common-law wife, the Australian painter Stella Bowen. The relationship developed into a ménage à trois that was to prove fatal to Rhys' marriage^ with Lenglet as well as to Ford's union with Bowen. Of the quartet made up by Rhys, Lenglet, Ford and Bowen, Ford Madox Ford is usuS. presented as the only member who did not publicize his view of the events so thinly disguised in Quartet. That novel, which focused on the plight of the adulterous wife, succeeded in 1932 by Barred, Lenglet's counterpart, which emphasized the point of vie%rl'ir; the cuckolded husband.^ Stella Bowen, in turn, discussed the affair from the angle of*^ condoning partner in her autobiography Drawn from Life (1941). While both Rhys and Lenglet can be said to have settled, in their fictions, a score of some kind with th»J other participants, Bowen's account strikes the reader as an attendit at fairness towar both Ford and his "girl"; Lenglet is dismissed as "an undesirable husband."^ Bowen herself emerges as sensible, generous and disinterested throughout.
    [Show full text]
  • Ernest Hemingway Critical Assessments of Major Writers Edited and with a New Introduction by Henry Claridge, University of Kent, UK
    Volume Set 4 Ernest Hemingway Critical Assessments of Major Writers Edited and with a new introduction by Henry Claridge, University of Kent, UK Few twentieth-century American writers have been as influential as Ernest Hemingway (1899–1961). Whilst contemporaries such as F. Scott Fitzgerald and William Faulkner may be as widely taught and studied as Hemingway, neither had an influence on other writers—or indeed, the cognate arts—as great as that of Hemingway. For example, the ‘hard-boiled’ school of detective fiction extending from the novels of Raymond Chandler and Dashiell Hammett to those of James Ellroy and Robert Parker is more or less inconceivable without Hemingway’s stylistic influence. Arguably, film noir is also Hemingwayesque in its laconic detachment. And quite independently of his creative writings, Hemingway’s life continues to exert a profound fascination for both student and the general reader. Hemingway was the subject of extensive enquiry before his death and since then he has generated interpretative and critical commentary on a vast and bewildering scale, in part aided by the continuing publication of works left unpublished at his death (most notably The Garden of Eden in 1987). The dizzying quantity (and variable quality) of Hemingway criticism makes it difficult to discriminate the useful from the tendentious, superficial, and otiose. That is why this new Routledge title is so urgently needed. In four volumes, the collection meets the need for an authoritative reference work to allow researchers and students to make sense of a vast literature and the continuing explosion in research output. Users will now be able easily and rapidly to locate the best and most influential critical scholarship, work that is otherwise often inaccessible or scattered throughout a variety of specialist journals and books.
    [Show full text]