This Month's Highlights Release Date - Friday 30Th November 2018
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Rezension Für: Deutsches Symphonie-Orchester Berlin
Rezension für: Deutsches Symphonie-Orchester Berlin Edition Friedrich Gulda – The early RIAS recordings Ludwig van Beethoven | Claude Debussy | Maurice Ravel | Frédéric Chopin | Sergei Prokofiev | Wolfgang Amadeus Mozart 4CD aud 21.404 Radio Stephansdom CD des Tages, 04.09.2009 ( - 2009.09.04) Aufnahmen, die zwischen 1950 und 1959 entstanden. Glasklar, "gespitzter Ton" und... Full review text restrained for copyright reasons. Neue Musikzeitung 9/2009 (Andreas Kolb - 2009.09.01) Konzertprogramm im Wandel Konzertprogramm im Wandel Full review text restrained for copyright reasons. Piano News September/Oktober 2009, 5/2009 (Carsten Dürer - 2009.09.01) Friedrich Guldas frühe RIAS-Aufnahmen Friedrich Guldas frühe RIAS-Aufnahmen Full review text restrained for copyright reasons. page 1 / 388 »audite« Ludger Böckenhoff • Tel.: +49 (0)5231-870320 • Fax: +49 (0)5231-870321 • [email protected] • www.audite.de DeutschlandRadio Kultur - Radiofeuilleton CD der Woche, 14.09.2009 (Wilfried Bestehorn, Oliver Schwesig - 2009.09.14) In einem Gemeinschaftsprojekt zwischen dem Label "audite" und Deutschlandradio Kultur werden seit Jahren einmalige Aufnahmen aus den RIAS-Archiven auf CD herausgebracht. Inzwischen sind bereits 40 CD's erschienen mit Aufnahmen von Furtwängler und Fricsay, von Elisabeth Schwarzkopf, Dietrich Fischer-Dieskau u. v. a. Die jüngste Produktion dieser Reihe "The Early RIAS-Recordings" enthält bisher unveröffentlichte Aufnahmen von Friedrich Gulda, die zwischen 1950 und 1959 entstanden. Die Einspielungen von Beethoven, Debussy, Ravel und Chopin zeigen den jungen Pianisten an der Schwelle zu internationalem Ruhm. Die Meinung unserer Musikkritiker: Eine repräsentative Auswahl bisher unveröffentlichter Aufnahmen, die aber bereits alle Namen enthält, die für Guldas späteres Repertoire bedeutend werden sollten: Mozart, Beethoven, Debussy, Ravel, Chopin. -
Compact Discs by 20Th Century Composers Recent Releases - Spring 2020
Compact Discs by 20th Century Composers Recent Releases - Spring 2020 Compact Discs Adams, John Luther, 1953- Become Desert. 1 CDs 1 DVDs $19.98 Brooklyn, NY: Cantaloupe ©2019 CA 21148 2 713746314828 Ludovic Morlot conducts the Seattle Symphony. Includes one CD, and one video disc with a 5.1 surround sound mix. http://www.tfront.com/p-476866-become-desert.aspx Canticles of The Holy Wind. $16.98 Brooklyn, NY: Cantaloupe ©2017 CA 21131 2 713746313128 http://www.tfront.com/p-472325-canticles-of-the-holy-wind.aspx Adams, John, 1947- John Adams Album / Kent Nagano. $13.98 New York: Decca Records ©2019 DCA B003108502 2 028948349388 Contents: Common Tones in Simple Time -- 1. First Movement -- 2. the Anfortas Wound -- 3. Meister Eckhardt and Quackie -- Short Ride in a Fast Machine. Nagano conducts the Orchestre Symphonique de Montreal. http://www.tfront.com/p-482024-john-adams-album-kent-nagano.aspx Ades, Thomas, 1971- Colette [Original Motion Picture Soundtrack]. $14.98 Lake Shore Records ©2019 LKSO 35352 2 780163535228 Music from the film starring Keira Knightley. http://www.tfront.com/p-476302-colette-[original-motion-picture-soundtrack].aspx Agnew, Roy, 1891-1944. Piano Music / Stephanie McCallum, Piano. $18.98 London: Toccata Classics ©2019 TOCC 0496 5060113444967 Piano music by the early 20th century Australian composer. http://www.tfront.com/p-481657-piano-music-stephanie-mccallum-piano.aspx Aharonian, Coriun, 1940-2017. Carta. $18.98 Wien: Wergo Records ©2019 WER 7374 2 4010228737424 The music of the late Uruguayan composer is performed by Ensemble Aventure and SWF-Sinfonieorchester Baden-Baden. http://www.tfront.com/p-483640-carta.aspx Ahmas, Harri, 1957- Organ Music / Jan Lehtola, Organ. -
Rezensionen Für
Rezensionen für Edition Ferenc Fricsay (IV) – P. I. Tchaikovsky: Piano Concerto No. 2 & F. Liszt: Piano Concerto No. 1 aud 95.499 4022143954992 Audiophile Audition December 2008 (Gary Lemco - 2008.12.21) A truly happy discovery for the connoisseur, these inscriptions, one live (the... Full review text restrained for copyright reasons. CD Compact Marzo 2009 (Emili Blasco - 2009.03.01) Audite Edición Ferenc Fricsay Audite Edición Ferenc Fricsay Full review text restrained for copyright reasons. Die Tonkunst Juli 2013 (Tobias Pfleger - 2013.07.01) Edition Ferenc Fricsay – Werke von Haydn, Mozart, Beethoven, Rossini, Bizet, Brahms, Strauß, Verdi, Bartók u. a. Edition Ferenc Fricsay – Werke von Haydn, Mozart, Beethoven, Rossini, Bizet, Brahms, Strauß, Verdi, Bartók u. a. Full review text restrained for copyright reasons. page 1 / 7 »audite« Ludger Böckenhoff • Tel.: +49 (0)5231-870320 • Fax: +49 (0)5231-870321 • [email protected] • www.audite.de Fanfare Issue 32:5 (May/June 2009) (Lynn René Bayley - 2009.05.01) Pairing Romantic pianist Cherkassky and post-modern conductor Fricsay doesn’t even seem, on paper, like a good idea, let alone a recipe for success. As a pupil of Josef Hoffman and a representative of an older school that believed in impromptu changes to one’s performance approach, Cherkassky rode for 70 years on a wing and a prayer, while Fricsay came from the school of rehearse-exactly-as-you-play. Moreover, Cherkassky’s rhythmic and emotional freedom also seemed at odds with Fricsay’s insistence on written tempos and rhythms. The reason Deutsche Grammophon didn’t release the 1951 recording of the Tchaikovsky appears to be that someone at the label was disappointed by the sound of the orchestra. -
2017–18 Season Week 21 Mozart Widmann Strauss
2017–18 season andris nelsons music director week 21 mozart widmann strauss Season Sponsors seiji ozawa music director laureate bernard haitink conductor emeritus supporting sponsorlead sponsor supporting sponsorlead thomas adès artistic partner Better Health, Brighter Future There is more that we can do to help improve people’s lives. Driven by passion to realize this goal, Takeda has been providing society with innovative medicines since our foundation in 1781. Today, we tackle diverse healthcare issues around the world, from prevention to care and cure, but our ambition remains the same: to find new solutions that make a positive difference, and deliver better medicines that help as many people as we can, as soon as we can. With our breadth of expertise and our collective wisdom and experience, Takeda will always be committed to improving the Takeda Pharmaceutical Company Limited future of healthcare. www.takeda.com Takeda is proud to support the Boston Symphony Orchestra Table of Contents | Week 21 7 bso news 1 5 on display in symphony hall 16 bso music director andris nelsons 18 the boston symphony orchestra 22 this week’s program Notes on the Program 24 The Program in Brief… 25 Wolfgang Amadè Mozart 31 Jörg Widmann 39 Richard Strauss 53 To Read and Hear More… Guest Artists 59 Yo-Yo Ma 61 Steven Ansell 64 sponsors and donors 88 future programs 90 symphony hall exit plan 9 1 symphony hall information the friday preview on march 30 is given by bso associate director of program publications robert kirzinger. program copyright ©2018 Boston Symphony Orchestra, Inc. -
Michael Pelzel Gravity’S Rainbow 2
Michael Pelzel Gravity’s Rainbow 2 Michael Pelzel 3 Michael Pelzel: Gravity’s Rainbow 4 1. Mysterious Anjuna Bell (2016) 18:47 für Ensemble und Kammerorchester Ensemble ascolta und Stuttgarter Kammerorchester, Peter Rundel (Leitung) 2. Carnaticaphobia (2017) 16:18 für Perkussion, Klavier und Violoncello ensemble recherche 3. Gravity’s Rainbow (2016) 21:00 für CLEX (Kontrabassklarinette extended) und Orchester Ernesto Molinari (CLEX), Basel Sinfonietta, Peter Rundel (Leitung) 4. „Alf“-Sonata (2014) 08:25 5 für Violine und Horn Jetpack Bellerive: Noëlle-Anne Darbellay (Violine) und Samuel Stoll (Horn) Danse diabolique (2016) für Bläser, Harfe, Orgel, Klavier und Schlagzeug WDR Sinfonieorchester, Bas Wiegers (Leitung) 5. I. Introduction 03:28 6. II. Danse diabolique 08:25 Gesamtspieldauer 76:26 Im Sog des Klangstroms 6 Ein Klang, so überwältigend reich und vielfältig, dass er das Ensemble, das ihn hervorbringt, geradezu transzendiert. Eine Fülle an Farben, die ans Maß- lose grenzt. Ein Gewimmel von Gestalten, das die Ohren überfordert. Ein Ganzes, das weit mehr ist als seine Teile, doch ohne diese zu verschlucken. Solcherart mögen die ersten Eindrücke sein, die man von der Musik Michael Pelzels empfängt. Viel (und vieles zugleich) geschieht in ihr, und wer sie unbefangen hört, wird sich von ihr geradezu aufgesogen fühlen, hinein- gestoßen ins Klanggeschehen und zunächst einmal aller refl exiven Distanz beraubt. Tatsächlich hat diese Musik in der Üppigkeit ihrer Mittel etwas Dionysisches, Anarchisch-Ungebundenes – was freilich keineswegs einen Verzicht auf planvolle Strukturierung und kompositorisches Kalkül bedeutet. Ganz im Gegenteil: Die erste Lektion allen Kunstmachens, dass der ästhe- tische Schein von Freiheit gerade nicht aus einer völligen Freiheit des Ge- staltens resultiert, ist selbstverständlich auch Michael Pelzel geläufi g. -
16.12. at 20:00 Musiikkitalo Hannu Lintu Carolin Widmann Lotta
16.12. at 20:00 Musiikkitalo Hannu Lintu conductor Carolin Widmann violin Lotta Emanuelsson presenter Karl Amadeus Hartmann: Concerto funebre 1. Introduktion. Largo 1 2. Adagio 3. Allegro di molto 4. Choral. Langsamer Marsch Veli-Matti Puumala: Tear Einojuhani Rautavaara: Symphony No. 2 1. Quasi grave 2. Vivace 3. Largo 4. Presto Karl Amadeus Hartmann: Concerto funebre for violin and strings The dominant strains of 20th century mu- God”, a hymn sung by supporters of Jan sic crossbred in the slight output of Karl Hus, a leading 15th-century figure in the Amadeus Hartmann (1905–1963). In the rise against Catholicism, also symbolised 1920s, he heeded the call of futurism, Hartmann’s own position in the Third Dadaism and jazz, but later confessed to Reich. being a successor to the second Viennese The funeral march in the closing move- School and Anton Webern. His moder- ment is the same Russian revolutionary nism counterbalanced his humanistic at- song as that used by Shostakovich in the titude to life. slow movement of his Symphony No. 11 From 1933 until the end of the Second (1957). World War, Hartmann disassociated him- The four movements of the concer- self from the events of Nazi Germany. He to follow one another without a break. In completed his Concerto funebre in the ear- the 15-bar introduction, the solo violin pre- ly stages of the war, calling it Musik der sents the chorale theme with an orches- Trauer (Music of Mourning), but in 1959 tral accompaniment. The second move- revised it and renamed it Concerto fune- ment steeps itself in the tragedy as the 2 bre (‘Funeral Concerto’). -
City Research Online
City Research Online City, University of London Institutional Repository Citation: Pace, I. (2014). Book Review: Music in Germany Since 1968 by Alastair Williams. Tempo (London, 1939): a quarterly review of modern music, 68(268), pp. 116-121. doi: 10.1017/S0040298213001940 This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/4732/ Link to published version: http://dx.doi.org/10.1017/S0040298213001940 Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Tempo 68 (268) 1–5 © 2014 Cambridge University Press 1 1 2 3 4 books 5 6 7 Music in Germany Since 1968 by Alastair Williams. Constructing Musicology;1 Williams does not 8 Cambridge: Cambridge University Press, 2013. match the dialectical oppositions within the 9 £60.00. field of enquiry with much of a dialectical sens- 10 ibility of his own. The result is a ‘history’ 11 Musicology has faced many challenges in recent which is in large measure a study of two ‘great 12 decades, including critiques of canons and the men’, Lachenmann and Wolfgang Rihm, with 13 exclusive focus upon ‘great composers’ and other composers and issues viewed relative to 14 autonomous ‘works’, the centrality of Western their work and world-view. -
The Digital Concert Hall
Welcome to the Digital Concert Hall he time has finally come! Four years have Emmanuelle Haïm, the singers Marlis Petersen passed since the Berliner Philharmoniker – the orchestra’s Artist in Residence – Diana T elected Kirill Petrenko as their future chief Damrau, Elīna Garanča, Anja Kampe and Julia conductor. Since then, the orchestra and con- Lezhneva, plus the instrumentalists Isabelle ductor have given many exciting concerts, fuel- Faust, Janine Jansen, Alice Sara Ott and Anna ling anticipation of a new beginning. “Strauss Vinnitskaya. Yet another focus should be like this you encounter once in a decade – if mentioned: the extraordinary opportunities to you’re lucky,” as the London Times wrote about hear members of the Berliner Philharmoniker their Don Juan together. as protagonists in solo concertos. With the 2019/2020 season, the partnership We invite you to accompany the Berliner officially starts. It is a spectacular opening with Philharmoniker as they enter the Petrenko era. Beethoven’s Ninth Symphony, whose over- Look forward to getting to know the orchestra whelmingly joyful finale is perfect for the festive again, with fresh inspiration and new per- occasion. Just one day later, the work can be spectives, and in concerts full of energy and heard once again at an open-air concert in vibrancy. front of the Brandenburg Gate, to welcome the people of Berlin. Further highlights with Kirill Petrenko follow: the New Year’s Eve concert, www.digital-concert-hall.com featuring works by Gershwin and Bernstein, a concert together with Daniel Barenboim as the soloist, Mahler’s Sixth Symphony, Beethoven’s Fidelio at the Baden-Baden Easter Festival and in Berlin, and – for the European concert – the first appearance by the Berliner Philharmoniker in Israel for 26 years. -
Divine Art Recordings Group Reviews Portfolio
PIANO SONATAS Ludwig van Beethoven (1770-1827) Piano Sonata No. 27 in E minor, Op. 90 13:08 1 I. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck 6:03 2 II. Nicht zu geschwind und sehr singbar vorzutragen 7:05 Alexander Scriabin (1872-1915) 3 Piano Sonata No. 10, Op. 70 12:57 Sergei Prokofiev (1891-1953) Piano Sonata No. 2 in D minor, Op. 14 20:55 4 I. Allegro non troppo — più mosso — tempo primo 6:34 5 II. Scherzo: Allegro marcato 2:32 6 III. Andante 6:11 7 IV. Vivace — moderato — vivace 5:37 bonus tracks: Claude Debussy (1862-1918) Estampes 16:00 8 I. Pagodes 6:27 9 II. La soirée dans Grenade 5:18 10 III. Jardins sous la pluie 4:14 total playing time: 63:01 NATALIA ANDREEVA piano The Music I recorded these piano sonatas and “Estampes” at different stages of my life. It was a long journey: practicing, performing, teaching and doing the research… all helped me to create my own mental pictures and images of these piano masterpieces. Beethoven: Piano Sonata No. 27 in E minor,Op. 90 “Why do I write? What I have in my heart must come out; and that is why I compose.” Those are famous words of the composer.1 There is a 4-5 year gap between Beethoven’s Piano Sonata Op. 81a (completed in 1809) and Op. 90, composed in 1814. The Canadian pianist Anton Kuetri (who has recorded Beethoven’s complete Piano Sonatas) wrote: “For four years Beethoven wrote no sonatas, symphonies or string quartets. -
Deutsche Nationalbibliografie
Deutsche Nationalbibliografie Reihe T Musiktonträgerverzeichnis Monatliches Verzeichnis Jahrgang: 2010 T 05 Stand: 19. Mai 2010 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main, Berlin) 2010 ISSN 1613-8945 urn:nbn:de:101-ReiheT05_2010-1 2 Hinweise Die Deutsche Nationalbibliografie erfasst eingesandte Pflichtexemplare in Deutschland veröffentlichter Medienwerke, aber auch im Ausland veröffentlichte deutschsprachige Medienwerke, Übersetzungen deutschsprachiger Medienwerke in andere Sprachen und fremdsprachige Medienwerke über Deutschland im Original. Grundlage für die Anzeige ist das Gesetz über die Deutsche Nationalbibliothek (DNBG) vom 22. Juni 2006 (BGBl. I, S. 1338). Monografien und Periodika (Zeitschriften, zeitschriftenartige Reihen und Loseblattausgaben) werden in ihren unterschiedlichen Erscheinungsformen (z.B. Papierausgabe, Mikroform, Diaserie, AV-Medium, elektronische Offline-Publikationen, Arbeitstransparentsammlung oder Tonträger) angezeigt. Alle verzeichneten Titel enthalten einen Link zur Anzeige im Portalkatalog der Deutschen Nationalbibliothek und alle vorhandenen URLs z.B. von Inhaltsverzeichnissen sind als Link hinterlegt. Die Titelanzeigen der Musiktonträger in Reihe T sind, wie Katalogisierung, Regeln für Musikalien und Musikton-trä- auf der Sachgruppenübersicht angegeben, entsprechend ger (RAK-Musik)“ unter Einbeziehung der „International der Dewey-Dezimalklassifikation (DDC) gegliedert, wo- Standard Bibliographic Description for Printed Music – bei tiefere Ebenen mit bis zu sechs Stellen berücksichtigt ISBD -
Carolin Widmann Wolfgang Rihm Jean Barraqué Morton
6/05/09 17:45 Page 1 Biographie Les œuvres de Luciano Berio sont édi - Peter Eötvös, Michael Schonwandt, Né à Oneglia, le 24 octobre 1925, tées par Suvini Zerboni / Milan et Uni - Jonathan Nott, Heinz Holliger et Stefan Luciano Berio est initié à la musique versal / Vienne Asbury. par son grand-père et son père, tous En août 2008, à Londres, elle participe deux organistes et compositeurs. À la Luciano Berio aux Proms’ de la BBC au Royal Albert suite d’une blessure à la main, il au Festival d’Automne à Paris Hall, sous la direction de George Ben - 1977 : Coro (Théâtre de la ville) renonce à une carrière de concertiste, jamin, puis crée, en septembre, un 1979 : Opera (Théâtre Nanterre-Aman - France Musique partenaire se destine à la composition et entre diers) concerto de violon de Wolfgang Rihm au Conservatoire Giuseppe-Verdi de 1984 : Passaggio ; A-Ronne (Théâtre avec l’Orchestre du Gewandhaus dirigé Milan. Dès 1952, il se rend aux États- du Châtelet) par Riccardo Chailly. du Festival d’Automne 1989 : Canticum novissimi testamenti CAROLIN WIDMANN Unis, où il étudie à Tanglewood avec Outre les œuvres que Wolfgang Rihm, (Théâtre du Châtelet) Dallapiccola et assiste à New York au 1990 : Coro (Théâtre des Champs-Élysées) Matthias Pintscher et Jörg Widmann premier concert américain de musique 1991 : Quartetto (Opéra de Paris) ont composées pour elle, Carolin Wid - électronique. Au cours des années cin - 1992 : Canticum novissimi testamenti, mann interprète, avec la soprano Sa - quante, Berio rencontre aussi Boulez, Calmo, Ofanim (Opéra de Paris) lome Kammer, les Kafka-Fragmente Kagel, Pousseur, Stockhausen, avec 1995 : O King , Duetti (Théâtre du Châtelet) de György Kurt ág et joue les œuvres 1997 : Alternatim (Cité de la musique) s t r A qui il s’imprègne de musique sérielle, pour violon de George Benjamin, Sal - & WOLFGANG RIHM 1999 : Outis (Théâtre du Châtelet) c i d s l i u b avant d’enseigner à Darmstadt jus - vatore Sciarrino, Pierre Boulez. -
2015/16 Season Preview and Appeal
2015/16 SEASON PREVIEW AND APPEAL SEASON PREVIEW 2015/16 01 THANK YOU WELCOME THE WIGMORE HALL TRUST WOULD LIKE TO ACKNOWLEDGE AND THANK THE FOLLOWING INDIVIDUALS AND ORGANISATIONS FOR THEIR GENEROUS SUPPORT THROUGHOUT THE 2014/15 SEASON: HONORARY PATRONS DONORS AND SPONSORS Audiences and artists have been coming together at Wigmore Hall for Aubrey Adams Mr Eric Abraham* Charles Green Rothschild André and Rosalie Hoffmann Neville and Nicola Abraham Barbara and Michael Gwinnell Ruth Rothbarth* nearly 115 years. In its intimate and welcoming environment, enthralling Sir Ralph Kohn FRS and Lady Kohn Elaine Adair Mr and Mrs Rex Harbour* The Rubinstein Circle performances of supreme musical works are experienced with a unique Mr and Mrs Paul Morgan Tony and Marion Allen* Haringey Music Service The Sainer Charity The Andor Charitable Trust Havering Music School The Sampimon Trust immediacy. As we look forward to the 2015/16 Season, the Hall is SEASON PATRONS David and Jacqueline Ansell* The Headley Trust Louise Scheuer Aubrey Adams* Arts Council England The Henry C Hoare Charitable Trust Julia Schottlander* delighted to present some of the greatest artists in the world today, as well American Friends of Wigmore Hall Anthony Austin Nicholas Hodgson Richard Sennett and Saskia Sassen* Karl Otto Bonnier* The Austin & Hope Pilkington Trust André and Rosalie Hoffmann The Shoresh Charitable Trust as talented emerging artists who explore repertoire with skill, curiosity and Cockayne‡ Ben Baglio and Richard Wilson Peter and Carol Honey* Sir Martin and