DOCSLIB.ORG

Violin Wizard Enrico Onofri Makes Tafelmusik Debut the Tempestuous Violin February 7 to 12, 2019

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Violin Wizard Enrico Onofri Makes Tafelmusik Debut the Tempestuous Violin February 7 to 12, 2019 Violin wizard Enrico Onofri makes Tafelmusik debut The Tempestuous Violin February 7 to 12, 2019 “Onofri is a man of both steel and deep sensitivity, and one marvels at his reserve and discipline in displaying his virtuosity. It is fascinating to watch him play.” —Seen and Heard International Toronto, January 18, 2019 … “Is there anything more powerful than music?” asks Enrico Onofri. The charismatic baroque violinist, opera conductor, and former concertmaster of Il Giardino Armonico makes his Tafelmusik debut with The Tempestuous Violin, February 7 to 10 at Jeanne Lamon Hall, Trinity-St. Paul’s Centre, and February 12 at George Weston Recital Hall, Toronto Centre for the Arts. Complete details are available at tafelmusik.org. Onofri and Music Director Elisa Citterio appear as soloists in a program that explores innovation and turbulence, whether evoked through man-made conflicts such as battles, or Mother Nature’s own tempests. Composers of the first half of the 17th century started to favour a more direct, emotional approach and experimented with new forms, such as the sonata and concerto. Vivaldi took the experimentation one step further with his exhilarating L’Estro armonico, which forever changed how concertos were composed. Works by Castello, Gabrieli, Kaspberger, Scheidt, Locke, Corelli, and Vivaldi shape this thrilling program, which includes five Tafelmusik premieres. “I’m looking forward to sharing the Tafelmusik stage with my friend and colleague Enrico Onofri. In addition to being an astonishing violin virtuoso and an amazing conductor, he is one of the most encouraging and inspiring teachers I have ever encountered. It gives me great pleasure to introduce Enrico to Toronto audiences,” said Elisa Citterio. Audience members are invited to join Tafelmusik violinist Chris Verrette for a free pre-concert chat one hour before each performance. Enrico Onofri presents a masterclass on Saturday, February 9, 2:30 to 4:30 pm at Jeanne Lamon Hall. Open to the public, free admission with a suggested donation of $10. ABOUT ENRICO ONOFRI Enrico Onofri’s career began with an invitation from Jordi Savall to be concertmaster of La Capella Real when he was still a student. He soon found himself working with Concentus Musicus Wien and Concerto Italiano. From 1987–2010 he was concertmaster and soloist of Il Giardino Armonico. In 2002 he took up conducting/directing, which has brought him great acclaim and invitations from orchestras and opera houses such as Akademie für Alte Musik, Festival Strings Lucerne, Haydn Philharmonie, Kammerorchesterbasel, Bochumer Symphoniker, Maggio Musicale Fiorentino, Opéra de Lyon, Pomo d’Oro, Vienna Chamber Orchestra, Divino Sospiro, Orquesta Barroca de Sevilla, EUBO, and others. He founded Imaginarium Ensemble. He has performed in the most famous halls, alongside artists such as Nikolaus Harnoncourt, Gustav Leonhardt, Christophe Coin, Cecilia Bartoli, and Katia and Marielle Labèque. His recordings have been awarded prestigious prizes. Enrico has taught baroque violin at Conservatorio Scarlatti in Palermo since 1999, and gives masterclasses worldwide. ABOUT TAFELMUSIK Led by Music Director Elisa Citterio, Tafelmusik Baroque Orchestra and Chamber Choir is one of the world’s leading period ensembles and Canada’s most-toured orchestra. Tafelmusik engages Toronto audiences with an annual season of more than 80 concerts in diverse venues across the city, as well as national and international audiences through an extensive schedule of tours and critically acclaimed recordings. The Tafelmusik Chamber Choir, under the direction of Ivars Taurins, was formed in 1981 to complement the Orchestra. Tafelmusik also seeks to transport audiences to the baroque and classical periods through adventurous cross-cultural collaborations, on stage with Toronto's Opera Atelier, and underground at its Haus Musik series. The orchestra’s musicians share their knowledge and experience through artist training initiatives such as the Tafelmusik Baroque Summer and Winter Institutes. Tafelmusik's catalogue of award-winning recordings on the SONY, CBC Records, Analekta, and Tafelmusik Media labels have garnered nine JUNO Awards and numerous other recording prizes. Jeanne Lamon continues her association with Tafelmusik as Music Director Emerita. 2018/19 SEASON PARTNERS Tafelmusik wishes to thank the following for their generous support: BMO Financial Group, TD Bank Group, RBC Foundation, Hal Jackman Foundation, KPMG, Great-West Life, London Life and Canada Life, Catherine and Maxwell Meighen Foundation, Whitmer Trudel Charitable Foundation, The Estate of Lawrence Ballon, Tom Bogart & Kathy Tamaki, The Pluralism Fund, Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council, Classical 96.3 FM, NOW Magazine, and Wholenote Magazine. Tafelmusik is a proud partner of the Bloor St. Culture Corridor. LISTING INFORMATION Tafelmusik Baroque Orchestra presents The Tempestuous Violin Enrico Onofri, guest director and violin soloist Thu Feb 7 to Sat Feb 9 at 8 pm Sun Feb 10 at 3:30 pm Jeanne Lamon Hall, Trinity-St. Paul’s Centre, 427 Bloor Street W. Tues Feb 12 at 8 pm George Weston Recital Hall, Toronto Centre for the Arts, 5040 Yonge St Regular & 65+: From $39 | Youth (18 and under) - $30 |Tafelscene (19-35 yrs)- $30, best available seating, only available through Tafelscene email list sign-up Tafelmusik Box Office: (416) 964-6337 Website: tafelmusik.org Social Media: Facebook | Twitter | Instagram |YouTube | Spotify Media contact: Luisa Trisi, Big Picture Communications, 416 456-0499 [email protected] | 427 Bloor Street West, Toronto, ON M5S 1X7 .
Load more

Recommended publications
  • Christophe Coin Violoncello (Alessandro Gagliano, Ca
    Christophe Coin violoncello (Alessandro Gagliano, ca. 1720, on loan from the Fonds Instrumental Français) Petr Skalka violoncello (Joseph Guarnerius, filius Andreae, Cremona 1701) Felix Knecht violoncello (workshop of Carlo Antonio Testore, Milano, mid 18th century) [tracks 14-16] Markus Hünninger harpsichord (Thomas Friedemann Steiner, Basel 1992, after Gujon) 5 A production of the Schola Cantorum Basiliensis - Hochschule für Alte Musik Recorded in the Église de Malbosc (Ardèche, France), on 2-6 July 2013 Engineered and produced by Manuel Mohino Photographs: Susanna Drescher Executive producer & editorial director ( scb ): Thomas Drescher All texts and translations © 2014 Schola Cantorum Basiliensis Design: valentiniglesias.com Executive producer & editorial director (Gloss a/ note 1 music): Carlos Céster Editorial assistance: María Díaz © 2014 note 1 music gmbh Christophe Coin Martin Berteau (1708-1771) Airs * Sonatas & airs for violoncello 18 Amoroso 1:12 19 Air Gratieux 1:06 20 Menuet Gratieux 0:55 21 Air Gay 0:41 22 Air Gratieux 1:38 5 Sonata iv (F major) Sonata v (E flat major) 23 Cantabile 2:57 24 Allegro ma non troppo 3:29 25 Andantino. Pianissimo 4:00 26 [Tempo di Minuetto] 1:32 27 Amoroso* 1:07 28 [Tempo di Minuetto da capo] 0:41 1 Grave 2:31 2 Moderato 2:31 3 Aria. Amoroso 3:20 4 Air Gratieux* 1:28 29 Air Gay* 1:03 Sonata i (D major) 5 Spirituoso 2:14 6 Vivace 2:32 7 Grave 1:55 8 Allegro assai 2:20 Sources: Martin Berteau: Sonate da camera a violoncello solo col basso continuo , op. 1, Paris (1748), 2.
    [Show full text]
  • Doing Without Thinking?
    Doing without thinking? Processes of decision-making in period instrument performance Daniel Bangert B.Mus. (Hons), A.Mus.A. A thesis submitted to the University of New South Wales in fulfilment of the requirements for the degree Doctor of Philosophy 2012 http://doi.org/10.4225/53/58bca28d2a79a THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Bangert First name: Daniel Other name/s: Abbreviation for degree as given in the University calendar: PhD School: Arts and Media Faculty: Arts and Social Sciences Title: Doing without thinking? Processes of decision-making in period instrument performance Abstract 350 words maximum: The performance of a musical work involves making many decisions about the notated score. This study explores the nature and role of intuitive and deliberate processes of musical decision-making in period instrument performance of solo Baroque string music. This research uses dual process theories of cognition as a conceptual framework to examine issues of Baroque performance practice and interpretation. A threefold approach to data collection was employed. In the first study, semi-structured interviews were conducted with leading Baroque violinists and cellists, focusing on the solo works of J.S. Bach. A high proportion of deliberate decision-making was found (60% overall) although this varied considerably between individuals. Performers described their interpretation of these pieces as being influenced by various factors and provided insights into how elements of the interpretative process such as intuition are experienced and defined. The participants in the second study were Baroque violinists of varying levels of expertise who were asked to sight-read, practise and perform a short piece of unfamiliar solo Baroque violin music.
    [Show full text]
  • LBW: Public-2
    Chav compositor composicao Ano Detalhes duração Intérpretes ? Cembalo nach A. Vivaldi * Abel, Carl Fried Sonate für Viola da Gamb 1723-1 5'10 Veronika Hampe - Gambe Abel, K.F. Sonate für Viola da Gamb 1723-1 Abel, K.F. Sonate K 176 für Gitarren 1723-1 Moderato; 6'50 D.E. Lovell - Synth. Cantabile; Vivace Abel, K.F. Sonate K 176 für Gitarren 1723-1 Moderato; 6'50 D.E. Lovell - Synth. Cantabile; Vivace Adson, J. Aria für Flöte und BC 2'00 (P) 1969 Discos beverly LTDA conjunto musikantiga de são paulo Adson, J. Courtly masquino ayres 3 1590-1 5'06 (P) 1968 rozenblit conjunto musikantiga de são paulo Alain, Jehan 2 Stücke für Orgel 1911-1 Marie-Claire Alain Albéniz, I. Danzas españolas Op.37 1860-1 2-Tango; 2' Nr. ?? Tango 3-Malagueña Nr. 2: Pepe und Celin Romero - Gitarre Nr. 3: Pepe und Celin Romero - Gitarre Albéniz, I. Estudio sem luz 1860-1 3' Albéniz, I. Suite Española Op. 47 1860-1 Für Orchester 37'16 5. Asturias gesetzt von Rafael Frühbeck de Burgos 1. Granada (Serenata); 2. Cataluna (Curranda); 3. Sevilla; 4. Cádiz (Saeta); 5. Astúrias (arr. A. Segovia) (Leyenda); 6.Aragon (Fantasia); 7.Castilla (Sequidillas); 8. Cuba (Nocturno) Chav compositor composicao Ano Detalhes duração Intérpretes Orchesterzusatz: 8. Cordoba Nr. 1 Granada: Pepe und Celin Romero - Gitarre Nr. 1 Granada (5'20) : Julien Bream - Gitarre (P) 1968 DECCA Reihenfolge: 7, 5, 6, 4, 3, 1, 2, 8 New Philharmonia Rafael Frühbeck de Burgos Albicastro, H. Concerto Op. 7 Nr. 6 F-Du 1659-1 9'20 Süsdwestdeutsches Kammerorchester Pforzheim Leitung: Paul Angerer Albinoni, T.
    [Show full text]
  • Forum Alte Musik Köln Christophe Coin Davit Melkonyan
    SONNTAG 11. OKTOBBER 2020 ST. URSULA FORUM ALTE MUSIK KÖLN SONNTAGSKONZERTE 17H m+k e.V. CHRISTOPHE COIN DAVIT MELKONYAN VIOLONCELLO „EUROPA-REISE MIT CELLO“ AUS DEM CONSERVATOIRE IN DIE WELT Ein Jahrhundert lang schon galt die Violine als das Instrument der Wahl für die Dar- stellung expressiver Melodien, rasanter Läufe und bizarrster Sprünge, da kam auch das Violoncello endlich zu Solo-Ehren. Zunächst waren es italienische Ausnahme- Musiker, die das virtuose Solospiel auf dem Violoncello um 1700 auch im Norden Euro- pas bekanntmachten. Im Laufe der nächsten Jahrzehnte übernahm da aber Frank- reich die Führung, das Land, in dem bislang die aristokratische Viola da gamba den Ton angegeben hatte. So mancher hervorragende Gambenspieler wechselte damals aufs Cello. Auf Verbindungen nach Frankreich – jetzt in die Klassen des nachrevolutionären Pariser Conservatoire – stoßen wir auch, wenn wir uns auf die Duo- und Solokom- positionen herausragender Cello-Virtuosen des 19. Jahrhunderts einlassen, die uns heute durch verschiedene europäische Musiklandschaften führen. Wir beginnen „vor der Haustür“. Bernhard Romberg, ge- boren in Dinklage, darf als eine der prägenden Gestalten unter den Cellisten dieser Zeit gelten. Er war ein Jugend- freund Ludwig van Beethovens – gemeinsam spielten sie in der kurkölnischen Hofkapelle in Bonn. Dann aber ent- wickelte sich Romberg zu einem der ersten reisenden Cello- virtuosen; seine Konzerttourneen führten ihn von Lissabon bis St. Petersburg und Moskau. Romberg unterrichtete von 1801 bis 1803 am Pariser Konservatorium und beeinflusste so die französische Celloschule. Vor allem aber war die deutsche Cellotradition durch ihn bestimmt: Er entwickel- te die Spieltechnik weiter und richtete das Instrument ent- sprechend ein. In seiner Violoncell-Schule, die 1839/40 er- schien, veranschaulicht er die Modifikationen an seinem Instrument in einer maßstabs- getreuen Zeichnung.
    [Show full text]
  • Cité De La M Usique
    Président du Conseil d’administration Jean-Philippe Billarant Directeur général Laurent Bayle Cité de la musique LES INSTRUMENTS DU MUSÉE II DE L’EXPOSITION AU CONCERT Du mardi 2 au samedi 6 mars 2004 Vous avez la possibilité de consulter les notes de programme en ligne, 2 jours avant chaque concert : www.cite-musique.fr Objets de fascination, les instruments historiques comptent parmi SOMMAIRE les traces qui nous permettent aujourd’hui de comprendre 5 MARDI 2 MARS - 20h une œuvre, un style, une époque, surtout lorsque l’on connaît Christophe Coin, arpeggione et violoncelle Patrick Cohen, piano les liens qui unissaient les compositeurs et leurs Erich Höbarth, violon « instruments-interprètes ». C’est pour éclairer cette intimité que le Musée de la musique Œuvres de Franz Schubert œuvre depuis plusieurs années à la connaissance et à la conservation des instruments de musique. 12 MERCREDI 3 MARS - 20h Il s’agit alors d’aller à la rencontre d’un objet, mais aussi – Sergio Azzolini, basson Christophe Coin, violoncelle et surtout – d’un son, d’une identité sonore, dont les Patrick Cohen, piano caractéristiques pourraient avoir une grande valeur pour Gilles Colliard, violon comprendre l’esthétique de chaque époque. Œuvres d’Étienne Ozi, Johann Schobert, Wolfgang Amadeus Mozart Conçue autour de la personnalité de Christophe Coin, 3 et Joseph Haydn cette série de concerts permet d’entendre pour la première fois certains instruments rares de nos collections dont les 21 JEUDI 4 MARS - 20h interprètes ont souhaité expérimenter les qualités musicales. Christophe Coin, violoncelles Ils seront associés aux instruments originaux qui vant-propos Patrick Cohen, pianos appartiennent aux musiciens ou à des collectionneurs privés.
    [Show full text]
  • Quatuor Mosaïques 1797, in Eisenstadt
    CAL PERFORMANCES PRESENTS PROGRAM NOTES Friday, April 13, 2012, 8pm Joseph Haydn (1732–1809) with gentleness, or touched sober steadfastness First Congregational Church Quartet in B-flat major, Op. 76, No.4, with vision.” “Sunrise” The six Op. 76 Quartets were written on commission from Count Joseph Erdödy, Composed in 1796–1797. Premiered September 28, scion of the Viennese family who had encour- Quatuor Mosaïques 1797, in Eisenstadt. aged Haydn’s work since at least 1776 and Erich Höbarth, violin whose members became important patrons Andrea Bischof, violin Haydn was universally acknowledged as the of Beethoven after his arrival in the capital in Anita Mitterer, viola greatest living composer upon his return to 1792. The Quartets were apparently ordered and Vienna in 1795 from his second London venture; begun by the end of 1796, because Haydn was Christophe Coin, cello he was 63. Though his international renown had able to play them at the piano for the Swedish been founded in large part upon the success of diplomat Frederik Samuel Silverstolpe the fol- his symphonies and keyboard sonatas, he repeat- lowing June. They were probably given their for- PROGRAM edly refused offers to compose further in those mal premiere on September 28, 1797, when they genres, and instead concentrated the creative were played for the visit of Archduke Joseph, energies of his later years upon the string quar- Viceroy of Hungary, to Eisenstadt, family seat of Joseph Haydn (1732–1809) Quartet in B-flat major, Op. 76, No. 4, tet and the vocal forms of Mass and oratorio. Haydn’s employer, Prince Nicholas Esterházy II.
    [Show full text]
  • Entre Ciel Et Terre Johann Georg Albrechtsberger
    Entre ciel et terre Johann Georg Albrechtsberger Quatuor Mosaïques Ensemble Baroque de Limoges Christophe Coin Albin Paulus, Jew’s harp PARENTHÈSES ENTRE CIEL ET TERRE JOHANN GEORG ALBRECHTSBERGER (1736 – 1809) Concerto per trombula e viola (da gamba), Divertimento a tre con viola, violoncello e violone, FA / F (1767) due violini, viola e basso con sordini, MI / E (1771) 10. Allegro moderato 03’23 1. Tempo moderato 05’10 11. Menuet 02’32 2. Adagio 05’25 12. Finale (presto) 02’30 3. Finale (tempo di menuet) 06’05 Pierre Franck : alto, Mathias Hornsteiner, Mittenwald, ca. 1760 Albin Paulus : trombula (guimbarde, jew’s harp, maultrommel, scaccia pensieri), Christophe Coin : violoncelle, Jacob Petz, Vils, 1796 Josef Jofen, Molln, 2003 – 2007 David Sinclair : violone, Johann Christoph Leidolff, Wien, 1729 Christophe Coin : viole de gambe alto, Anon., Bohême ?, fin 17e s. Ensemble Baroque de Limoges Andrés Gabetta : violon, Jean-Nicolas Lambert, Paris, ca. 1750 Sonata per due violini, due viole, due violoncelli (violone), ré / d (s.d.) Matyas Bartha : violon, id. 13. Adagio 03’29 Pierre Franck : alto, id. 14. Fuga 03’15 Denis Severin : violoncelle, id. David Sinclair : violone, Johann Christoph Leidolff, Wien, 1729 Ensemble Baroque de Limoges : sextuor de J.N. Lambert, Paris, ca. 1750 Margret Köll : harpe modèle Cousineau, fin 18e s., Beat Wolf, Schaffhausen, 1992 Andrés Gabetta, Matyas Bartha, Pierre Franck, Liana Mosca, Christophe Coin, Denis Severin, David Sinclair : violone, Johann Christoph Leidolff, Wien, 1729 Divertimento a tre con violino piccolo, violino secondo e viola, FA / F (1759) Andante ma non troppo 03’35 4. Partita per viola d’amore, flauto e violone, RÉ / D (1773) 5.
    [Show full text]
  • Quatuor Cambini‑Paris Projet De Résidence
    QUATUOR CAMBINI-PARIS PROJET DE RÉSIDENCE /// PRODUCTIONS & CONCERTS 2015, 2016, 2017 Le Concert de la Loge Olympique & Le Quatuor Cambini-Paris 7 rue Rameau, 75002 Paris - [email protected] +33 (0)6 88 83 53 94 www.logeolympique.fr & www.quatuorcambiniparis.com QUATUOR CAMBINI-PARIS QUATUOR CAMBINI-PARIS If there is one word to the Palazzetto Bru Zane in Venice, the Bruges Concertgebouw, describe these four young the Marble Palace of Saint Petersburg, the San Filippo Neri musicians it would be oratory in Bologna, the Opéra Comique, the Auditorium of the “passion”. First, a passion Louvre Museum, the Deauville Festival, the Sablé-sur-Sarthe for period instruments, Festival, and the Epau Festival. as members of the finest French ensembles, such as In 2015, the quartet debuts in USA at the Frick Collection in L’Orchestre des Champs- New York and the Phillips Collection in Washington DC. The Élysées, Les Talens Lyriques ensemble also performed in Canada, in Montreal at the Salle and Le Concert de la Loge Bourgie in the Fine-Arts Museum, as well as in Ottawa, Toronto Olympique. Second, a and Quebec. passion for researching beautiful, forgotten scores The musical scene occupied by the Cambini-Paris Quartet and playing them with great skill and care. Finally, a passion has been enriched by its work with other artists such as Alain for the quartet form, as the best way to express their musical Planès, Kristian Bezuidenhout, Nicolas Baldeyrou, Alain Meunier, harmony. Christophe Coin and Jérôme Pernoo. By choosing the name of Giuseppe Maria Cambini (1746-1825), IIn 2010 the quartet won the Discovery Golden Diapason a violinist and prolific composer who led a life of adventure, the Prize for its Hyacinthe Jadin’s record (Timpani) and in 2012, quartet bears witness to its interest in exploring the stylistic its recording of three of Félicien David’s quartets, a world variety of the classical romantic periods.
    [Show full text]
  • Quatuor Mosaïques Es Incomplete—Most Famously, the “Unfinished” a Motive from the Opening
    Cal Performances Presents Program Notes Wednesday, April 22, 2009, 8pm Franz Schubert (1797–1828) The dramatic opening phrase introduces an in- First Congregational Church String Quartet in C minor, D. 703, tensity and rhythmic drive that remains through- “Quartettsatz” (1820) out the movement, and it also provides musical material that is used and re-used throughout the Between 1818 and 1822, Schubert left several piec- piece. The ironic first theme in C minor is based on Quatuor Mosaïques es incomplete—most famously, the “Unfinished” a motive from the opening. It soon gives way to an Symphony No. 8 in B minor, but also three other expansive theme in A-flat major, the relative major Erich Höbarth, violin symphonies, an unfinished oratorio, and three un- of the tonic key. This theme, the first of the second Andrea Bischof, violin finished piano sonatas. The so-called “Quartettsatz” group, uses registral changes to great advantage Anita Mitterer, viola (quartet movement), written in December 1820, in the first violin and cello, while the inner voices was another such work. What remains of this provide an insistent motor rhythm. After a transi- Christophe Coin, cello string quartet is not only the first movement tion marked by repeated runs in the high range of Allegro, but also 41 measures of an Andante. Like the first violin, the final theme of the second group many details of Schubert’s life, the reasons for its closes in the exposition in the dominant key of lack of completion remain unclear. He might have G major. After a tumultuous development based PROGRAM been distracted by upheaval in his living situation.
    [Show full text]
  • Akademie Versailles International Masterclasses of French Baroque Music
    Akademie Versailles International Masterclasses of French Baroque Music 20–24 March 2019 Academy of Performing Arts, Music and Dance Faculty Lichtenstein Palace, Praha 1 LECTURERS: Chantal Santon-Jeffery – solo vocal performance, interpretation, ornamentation, chamber music Stéphanie Pfister – violin, chamber music Jana Semerádová – flauto traverso, chamber music Bruno Cocset – cello, chamber music Béatrice Martin – harpsichord, basso continuo, chamber music Deda Cristina Colonna – gesture, scenic aspects of performance, dance Benoît Dratwicki – rhetoric, declamation and pronunciation of the French language MASTERCLASS SYLLABUS AND OBJECTIVES: French vocal and instrumental music of the 18th century (e.g Rameau, Campra, Montéclair, Clérambault, Royer) VOCALISTS: - individual lessons of solo performance - individual lessons of gesture and scenic performance - individual lessons of declamation, rhetoric and pronunciation of old French - performance with accompaniment by an instrumental ensemble - Baroque dance basics - lectures by leading specialists in the field - performance by the lecturers - final performance by the participants - possibility of attendance as an auditor for the duration of the masterclass INSTRUMENTALISTS: - individual lessons - chamber music - Baroque dance basics and principles of Baroque dance interpretation - lectures by leading specialists in the field - performance by the lecturers - final performance by the participants - possibility of attendance as an auditor for the duration of the masterclasses The masterclasses
    [Show full text]
  • Jordi Savall Hespèrion
    tHE lANDOWSKA/RESTOUT fUND IN THE LIBRARY oF CONGRESS JORDI SAVALL AND HESPÈRION XXI THE MILLENARIAN VENICE: GATEWAY TO THE EAST Saturday, February 4, 2017 ~ 8:00 pm Coolidge Auditorium Library of Congress, Thomas Jefferson Building Established on April 17, 2006, the LANDOWSKA/RESTOUT MEMORIAL FUND supports the musical legacy of Wanda Landowska through concerts, commissions, acquisitions, exhibitions, lectures, publications, and maintenance of the Landowska Collection, including two Pleyel harpsichords. The harpsichord used this evening is an Italian-style harpsichord after GBC circa 1680 by Thomas & Barbara Wolf, The Plains, Virginia, 2015 Pre-concert Conversation with the Artists Whittall Pavilion, 6:30 pm (No tickets required) The artists appear with the support of the Departament de Cultura of the Generalitat de Catalunya, the Diputació de Barcelona and the Institut Ramon Llull Please request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 or [email protected]. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the concerts. Other events are open to all ages. • Please take note: Unauthorized use of photographic and sound recording equipment is strictly prohibited. Patrons are requested to turn off their cellular phones, alarm watches, and any other noise-making devices that would disrupt the performance. Reserved tickets not claimed by five minutes before the beginning of the event will be distributed to stand-by patrons.
    [Show full text]
  • Classical New Release
    harmonia mundi UK JULY 28 2014 Classical new release available July 28, call-off 18th July GRAMOPHONE EDITOR’S CHOICE RECORDING OF THE BBC MUSIC MAGAZINE, DISC OF THE MONTH MONTH BBC RADIO 3, CD OF THE WEEK , CD REVIEW Naive V5373 Handel Tamerlano / Sabata, Cencic, Minasi BBC MUSIC MAGAZINE, August, Instrumental Choice Wigmore Hall Live WHLIVE066 Mahan Esfahani GRAMOPHONE EDITOR’S CHOICE Delphian DCD34135 Handel The Triumph of Time & Truth Sophie Bevan, Mary Bevan, Ludus Baroque Early Music Today, June-Aug, EDITOR’S CHOICE ***** GLOSSA GCD921516 Handel Duetti da Camera “Fabio Bonizzoni’s recordings of Handel’s Italian cantatas are the finest on disc, and he brings the same light, speedy touch and acute insight to the duets … [here] it’s the entwined brilliance of Invernizzi and de Liso, the flash and sparkle of their voices in proximity, that is the disc’s keenest pleasure.” ALBUM OF THE WEEK, Sunday Times, 15th June Actes Sud ASM15 Stravinsky Rite, Petrouchka Les Siecles / François-Xavier Roth DISTRIBUTED LABELS: ACCENT RECORDS, ACTES SUD, AGOGIQUE, ALIA VOX, AMBRONAY, APARTE, ARTE VERUM, AUDITE, BEL AIR, THE CHOIR OF KINGS COLLEGE CAMBRIDGE, CONVIVIUM, CHRISTOPHORUS, CSO RESOUND, DELPHIAN, DUCALE, EDITION CLASSICS, EVIDENCE, FLORA, FRA MUSICA, GLOSSA, harmonia mundi, HAT[NOW]ART, LA DOLCE VOLTA, LES ARTS FLORISSANTS EDITIONS, LSO LIVE, MARIINSKY, MIRARE, MODE, MUSO, MYRIOS, NAÏVE, ONYX, OPELLA NOVA, ORFEO, PAN CLASSICS, PRADIZO, PARATY, PEARL, PHILHARMONIA BAROQUE, PHIL.HARMONIE, PRAGA DIGITALS, RADIO FRANCE, RAM, REAL COMPAÑIA ÓPERA DE CÁMARA, RCO LIVE, SFZ MUSIC, SIGNUM, STRADIVARIUS, UNITED ARCHIVES, WAHOO, WALHALL ETERNITY, WERGO, WIGMORE HALL LIVE, WINTER & WINTER, YSAYE RELEASE DATE 28TH JULY 2014 Sacrifices CARISSIMI: Historia di Jepthe CHARPENTIER: Sacrifiium Abrahae, Le Reniement de Saint Pierre H424 BROSSARD: Symphonies pour le Graduel [SDB228, 229], Sonate en trio [SDB221] La Nuova Musica David Bates David Bates leads La Nuova Musica in 'Sacrifices', a programme of intensely dramatic oratorios from the mid Baroque.
    [Show full text]