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Avant Première Catalogue 2018 Lists UNITEL’S New Productions of 2017 Plus New Additions to the Catalogue
CATALOGUE 2018 This Avant Première catalogue 2018 lists UNITEL’s new productions of 2017 plus new additions to the catalogue. For a complete list of more than 2.000 UNITEL productions and the Avant Première catalogues of 2015–2017 please visit www.unitel.de FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CATALOGUE 2018 Unitel GmbH & Co. KG Gruenwalder Weg 28D 82041 Oberhaching/Munich, Germany CEO: Jan Mojto Editorial team: Franziska Pascher, Dr. Martina Kliem, Arthur Intelmann Layout: Manuel Messner/luebbeke.com All information is not contractual and subject to change without prior notice. All trademarks used herein are the property of their respective owners. Date of Print: February 2018 © UNITEL 2018 All rights reserved Front cover: Alicia Amatriain & Friedemann Vogel in John Cranko’s “Onegin” / Photo: Stuttgart Ballet ON THE OCCASION OF HIS 100TH BIRTHDAY UNITEL CELEBRATES LEONARD BERNSTEIN 1918 – 1990 Leonard Bernstein, a long-time exclusive artist of Unitel, was America’s ambassador to the world of music. -
Commemorative Concert the Suntory Music Award
Commemorative Concert of the Suntory Music Award Suntory Foundation for Arts ●Abbreviations picc Piccolo p-p Prepared piano S Soprano fl Flute org Organ Ms Mezzo-soprano A-fl Alto flute cemb Cembalo, Harpsichord A Alto fl.trv Flauto traverso, Baroque flute cimb Cimbalom T Tenor ob Oboe cel Celesta Br Baritone obd’a Oboe d’amore harm Harmonium Bs Bass e.hrn English horn, cor anglais ond.m Ondes Martenot b-sop Boy soprano cl Clarinet acc Accordion F-chor Female chorus B-cl Bass Clarinet E-k Electric Keyboard M-chor Male chorus fg Bassoon, Fagot synth Synthesizer Mix-chor Mixed chorus c.fg Contrabassoon, Contrafagot electro Electro acoustic music C-chor Children chorus rec Recorder mar Marimba n Narrator hrn Horn xylo Xylophone vo Vocal or Voice tp Trumpet vib Vibraphone cond Conductor tb Trombone h-b Handbell orch Orchestra sax Saxophone timp Timpani brass Brass ensemble euph Euphonium perc Percussion wind Wind ensemble tub Tuba hichi Hichiriki b. … Baroque … vn Violin ryu Ryuteki Elec… Electric… va Viola shaku Shakuhachi str. … String … vc Violoncello shino Shinobue ch. … Chamber… cb Contrabass shami Shamisen, Sangen ch-orch Chamber Orchestra viol Violone 17-gen Jushichi-gen-so …ens … Ensemble g Guitar 20-gen Niju-gen-so …tri … Trio hp Harp 25-gen Nijugo-gen-so …qu … Quartet banj Banjo …qt … Quintet mand Mandolin …ins … Instruments p Piano J-ins Japanese instruments ● Titles in italics : Works commissioned by the Suntory Foudation for Arts Commemorative Concert of the Suntory Music Award Awardees and concert details, commissioned works 1974 In Celebration of the 5thAnniversary of Torii Music Award Ⅰ Organ Committee of International Christian University 6 Aug. -
Akira Kurosawa: IKURU 1952 140 Minutes
October 9, 2007 (XV:7) Akira Kurosawa: IKURU 1952 140 minutes Directed by Akira Kurosawa Written by Shinobu Hashimoto, Akira Kurosawa, Hideo Oguni Produced by Sojiro Motoki Original Music by Fumio Hayasaka Cinematography by Asakazu Nakai Takashi Shimura...Kanji Watanabe Shinichi Himori...Kimura Haruo Tanaka...Sakai Minoru Chiaki...Noguchi Miki Odagiri...Toyo Odagiri, employee Bokuzen Hidari...Ohara Minosuke Yamada...Subordinate Clerk Saito Seiji Miyaguchi...Yakuza Boss Kamatari Fujiwara...Sub-Section Chief Ono Daisuke Katô...Yakuza Makoto Kobori...Kiichi Watanabe, Kanji's Brother Miki Hayashi...Second Yakuza Nobuo Kaneko...Mitsuo Watanabe, Kanji's son Fuyuki Murakami...Newspaperman Nobuo Nakamura...Deputy Mayor Hirayoshi Aono...Newspaperman Atsushi Watanabe...Patient Junpei Natsuki...Hand-Washing Cancer Patient Isao Kimura...Intern Toranosuke Ogawa...Park Section Chief Masao Shimizu...Doctor Akira Sera...Worker in General Affairs Yûnosuke Itô...Novelist Ichirô Chiba...Policeman Kumeko Urabe...Tatsu Watanabe, Kiichi's Wife Akira Tani...Bar Owner Kin Sugai...Housewife Yoko Kajima...Worker in Sewage Section Eiko Miyoshi...Housewife Haruko Toyama Fumiko Honma...Housewife Mie...Woman in Dance Hall Yatsuko Tanami...Bar Hostess Sachio Sakai...Yakuza Yoshie Minami...The Maid Toshiyuki Ichimura...Pianist Kyôko Seki...Kazue Watanabe, Mitsuo's wife Harue Kuramoto...Dancer Kusuo Abe...City Assemblyman Lasa Saya...Stripper Tomoo Nagai...Newspaperman (as Tomo Nagai) AKIRA KUROSAWA (23 March 1910, Omori, Tokyo, Japan—6 September 1998, Setagaya, Tokyo, -
Martina Filjak – Biography
Martina Filjak – biography ”Martina Filjak revealed herself to be a premium class pianist'' Süddeutsche Zeitung “' Brilliant , sensitive and imaginative playing with resourcefulness of technique and naturalness of musicality ...a striking individuality ...a pianist to watch'' The New York Times One of the most exciting artists to emerge in recent years, Martina Filjak is garnering international praise for her poetic passion and technical mastery at the keyboard as well as for her charismatic personality and magnetic stage presence. Martina Filjak came to international attention by winning the Gold Medal, the 1st prize and the Beethoven prize at the Cleveland International Piano Competition in 2009, which brought her numerous engagements in the United States and internationally. Prior to that, she won 1st prizes at the Maria Canals Piano Competition (Barcelona) and the Viotti Piano Competition (Vercelli), and was a laureate at the Busoni Piano Competition. The 18-19 season kicked off with a performance of the 2nd Piano Concerto by Brahms alongside the Staatskapelle Halle at the Music Festival in Chorin, Germany and continues with a series of concerto performances that include collaborations with Orquesta Filarmónica de Bogotá and Diego Naser, the New West Symphony and Fawzi Haimor, the Norddeutsche Philharmonie Rostock and Nicholas Milton, the Colorado Springs Philharmonic and Josep Caballé Domenech, the Filarmònica de Málaga and Guillermo Garcia Calvo, the Capella Aquileia and Paul Goodwin, the Orquesta Filarmónica de Buenos Aires at the Teatro Colon and Manuel Hernández Silva, the Torino Philharmonic and the Zagreb Soloists, various chamber music performances as well as a recital tour in Latin America. Martina Filjak’s latest CD has been released in 2016 on Solo Musica (distributed by Sony Music) with works by Bach, Schumann and Scriabin. -
ASIAN SYMPHONIES a Discography of Cds and Lps Prepared By
ASIAN SYMPHONIES A Discography Of CDs And LPs Prepared by Michael Herman Edited by Stephen Ellis KOMEI ABE (1911-2006, JAPAN) Born in Hiroshima. He studied the cello with Heinrich Werkmeister at the Tokyo Music School and then studied German-style harmony and counterpoint with Klaus Pringsheim, a pupil of Gustav Mahler, as well as conducting with Joseph Rosenstock. Later, he was appointed music director of the Imperial Orchestra in Tokyo, and the musicians who played under him broadened his knowledge of traditional Japanese Music. He then taught at Kyoto's Elizabeth Music School and Municipal College of the Arts. He composed a significant body of orchestral, chamber and vocal music, including a Symphony No. 2 (1960) and Piccolo Sinfonia for String Orchestra (1984). Symphony No. 1 (1957) Dmitry Yablonsky/Russian National Philharmonic ( + Sinfonietta and Divertimento) NAXOS 8.557987 (2007) Sinfonietta for Orchestra (1964) Dmitry Yablonsky/Russian National Philharmonic ( + Sinfonietta and Divertimento) NAXOS 8.557987 (2007) NICANOR ABELARDO (1896-1934, PHILIPPINES) Born in San Miguel, Bulacan. He studied at the University of the Philippines Diliman Conservatory of Music, taking courses under Guy Fraser Harrison and Robert Schofield. He became head of the composition department of the conservatory in 1923. He later studied at the Chicago Musical College in 1931 under Wesley LaViolette. He composed orchestral and chamber works but is best-known for his songs. Sinfonietta for Strings (1932) Ramon Santos/Philippine Philharmonic Orchestra UNIVERSITY OF THE PHILIPPINES PRESS (2004) YASUSHI AKUTAGAWA (1925-1989, JAPAN) He was born in the Tabata section of Tokyo. He was taught composition by Kunihiko Hashimoto and Akira Ifukube at the Tokyo Conservatory of Music. -
5414939997211.Pdf
Johannes Brahms (1833 – 1897) .............................................................................................. 2 Jean-Frédéric Neuburger piano Andrea Hill mezzo-soprano Quatuor Modigliani quatuor à cordes Quintette pour piano et cordes en fa mineur opus 34 1 - Allegro non troppo 14'44 2 - Andante, un poco adagio 8'36 3 - Scherzo (Allegro) 7'18 4 - Finale (Poco sostenuto – Allegro non troppo – Presto non troppo) 10'00 Zwei Gesänge (Deux Chants) pour mezzo-soprano, alto et piano opus 91 5 - Gestillte Sehnsucht 6'35 6 - Geistliches Wiegenlied 5'48 Durée totale : 53' 3 Visages de la musique de chambre Brahms. Déjà auteur du op. 18, le jeune Brahms compose alors un quintette avec deux violoncelles, qu’il adresse à Clara Schumann et Vingt ans - 1864, 1884 - séparent ces deux partitions majeures de à Joseph Joachim, ses plus chers amis, premiers lecteurs et critiques. Brahms. Dru et dense, le sonne comme un concerto de chambre L’une déchiffrant au piano, l’autre organisant une répétition avec aux amples dimensions. Subtilement polyphoniques, d’une rare l’effectif requis, jugent l’œuvre magnifique mais discutent sa vêture intensité expressive, les op. 91 assemblent deux tempos modérés de instrumentale. Nécessiterait-elle l’apport d’un piano, de l’orchestre ? quelque sonate en trio à deux altos.Formidablement doué, Johannes Brahms, qui fait une confiance absolue à ses deux conseillers, détruit Brahms (1833-1897) ne s’est pas contenté de ses capacités naturelles. son quintette à cordes et le convertit en , partition à laquelle il restera A force de ténacité, l’enfant démuni de Hambourg s’est trouvé en toujours très attaché. Avec le concours de Carl Tausig, il inaugure mesure de se produire en public à dix ans et de bénéficier ainsi des sans grand succès la sonate en avril 1864 à Vienne, à la faveur d’un conseils d’Eduard Marxsen, le meilleur professeur de la métropole concert de la Singakademie dont il est l’éphémère directeur. -
The Politics and Aesthetics of Haunting in 1950S Japan
The Politics and Aesthetics of Haunting in 1950s Japan by Darcy Gauthier A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Centre for Comparative Literature University of Toronto © Copyright by Darcy Gauthier, 2020 The Politics and Aesthetics of Haunting Darcy Gauthier Doctor of Philosophy Centre for Comparative Literature University of Toronto 2020 Abstract This thesis examines the politics and aesthetics of haunting in 1950s Japan. A distinct historical conjuncture separate from the social upheaval of the immediate postwar as well as the overt politicization of the 1960s, the 1950s is characterized by a narrative of national rebuilding and return that marginalized discrepant experiences of the present—producing a disjointedness that I articulate as a form of ‘haunting.’ In order to develop this, I turn to two triptychs of creators (two writers, two filmmakers, two composers) who collaborated to document the ‘haunted’ reality of 1950s Japan: Marguerite Duras, Alain Resnais, and Giovanni Fusco; and Abe Kōbō, Teshigahara Hiroshi, and Takemitsu Tōru. Collectively, these artists articulate a crisis where concrete lived experiences did not correspond with national narratives of recovery and the economic, social, and political modes of structuring that regulated people’s lives. Their fiction and theory attempted to bring this crisis into focus by representing the ghostly estrangement of modern subjects and also by theorizing alternative methods of historicization following a logic of ‘haunting,’ one that challenged the accepted reality—the taken-for-grantedness—of celebratory narratives of postwar life. ii Acknowledgments Without the support and inspiration from various individuals and institutions I would not have been able to complete this dissertation. -
The Films of Kenji Mizoguchi: Authorship and Vernacular Style
The Films of Kenji Mizoguchi: Authorship and Vernacular Style Paul Spicer This thesis is submitted in partial fulfilment of the requirements of the award of the degree of Doctor of Philosophy of the University of Portsmouth October 2011 Contents Declaration i List of Figures ii Notes on Translation v Acknowledgements vii Dedication ix Introduction 1 Chapter One – Ideas of Language 34 Chapter Two – Ideas of Authorship 76 Chapter Three – Mizoguchi and Mise en Scène 119 Chapter Four – Ideas of Spectatorship 162 Chapter Five – Mizoguchi and Melodrama 195 Chapter Six – Mizoguchi and Theatre 247 Conclusion 288 Bibliography 308 Select Filmography 319 Mizoguchi Filmography 321 Appendix One: Interview with Oshima Kinue 328 Appendix Two: Interview with Sawato Midori 336 Appendix Three: Interview with Saso Tsutomu 349 Appendix Four: Omoukotonado: Edo Jocho no Eigaka Sonohoka: (My Thoughts: Creating Edo Culture in Film) by Director Kenji Mizoguchi. Nikkatsu Magazine June 1926 374 Appendix Five: Kanji Readings of Key Figures 378 Declaration Whilst registered as a candidate for the above degree, I have not been registered for any other research award. The results and conclusions embodied in this thesis are the work of the named candidate and have not been submitted for any other academic award. i List of Figures Chapter One Figure 1, p.56. Naniwa Ereji (1936). Mizoguchi's Fallen Women: Eclipse Series 13 (2008) [DVD]. New York: Criterion. Figure 2, p.57. Naniwa Ereji (1936). Mizoguchi's Fallen Women: Eclipse Series 13 (2008) [DVD]. New York: Criterion Figure 3, p.58. Naniwa Ereji (1936). Mizoguchi's Fallen Women: Eclipse Series 13 (2008) [DVD]. -
4. Modernist Reception of Japanese and Indian Traditional Music Between 1910 and 1945: Delage, Cowell, Mitsukuri, and Hayasaka
82 Musical Composition in the Context of Globalization lies the basic problem of musical localism as a whole: on the one hand, composing as an act of cultural or intercultural positioning seems more plausible the more specific it becomes, and the more precisely art takes certain local traditions seriously, with all their implications, and draws comprehensive compositional conclusions from them. On the other hand, such a rigorous re- striction of the musical-idiomatic “listening field” – as becomes very clear in Tan Dun’s Nine Songs – risks approaching imitation, a culture-specific onesidedness and – in an international context – a flirtation with one’s own exoticism: self-exoticization.186 In this context, however, it should be noted that since 1986, Tan Dun’s works have been produced in the United States and are primarily aimed at Western audiences – even though they have been no less successful in China – and that Guo Wenjing’s and Qu Xiaosong’s larger works in the 1990s have likewise been predominantly performed in Europe and the USA. This paradox makes it clear once again that musical traditions – art music and local music genres – are in a constant process of transformation and do not produce immutable “authentic objects,” so that any compositional action inevitably decontextualizes such traditions. Every musical or compositional act will therefore operate, consciously or unconsciously, within this tension field – whether concrete local traditions are explicitly addressed or not. Both extremes that can be deduced from this are problematic: the notion of an “absolute authenticity” of local music, which must not be touched by art music, as well as the image of a “hypercultural” super- market that music creators can freely navigate. -
Spring‘20 Dear Colleagues!
Spring‘20 Dear colleagues! Many thanks to all of you for following our activities and enjoying our Artists‘ and Projects‘ brochure! 2019 ended on a sad note with Mariss Jansons passing away. We will always remember him full of gratitude and admiration as the wonderful artist, musician, friend and human being he was. Looking ahead we face a very special year for Raab & Böhm: 2020 marks our 50th Anniversary – 50 years full of music for which we are deeply grateful to all our artists, partners, supporters, employees and which make us indeed feel proud! A year in which we will look back at compelling moments in the company’s history, but also ahead, always under our motto „Music matters“. Stay tuned and explore all our exciting projects such as opening the 100-year-edition of Salzburg Festival with Mirga Gražinytė-Tyla and her CBSO, touring Russia with four different orchestras, presenting more than 150 touring concerts all over Europe, supporting our artists in reaching new heights and much more! Looking forward to an exciting year together! With kind regards, Nora & the RBArtists Team New signings @rbartists The renowned British conductor, Ivor Bolton has joined R&B for general management. Chamber Orchestra Vienna – Former Chief Conductor of Mozarteum Orchestra Salzburg, Ivor is currently Chief Berlin releases first DG CD Conductor of Sinfonieorchester Basel and Music Director of Teatro Real Madrid. @DGclassics © Ben Wright 00289 483 8489 D Raab & Böhm expands its management territory for long-time client Gautier Capuçon. La Cetra With immediate Barockensemble DENIS MATSUEV effect we also & Vocal Ensemble SHOSTAKOVICH � SCHNITTKE � LUTOSŁAWSKI represent the Basel meets KAMMERORCHESTER WIEN � BERLIN � GÁBOR TARKÖVI French cellist in Mozart Germany, in addition to Austria and The Swiss Ensemble Eastern Europe. -
Recordings of Alkan's Works Piano Solo
Recordings of Alkan’s works Version: 17 Julyl 2021 Works are grouped as follows: Piano solo; Piano à quatre mains; Piano à pédalier ou orgue; Musique de chamber; Musique symphonique; Vocal music. Works are ordered within each group by opus number, with works without opus number at the end. Recent additions to the catalogue (2014 onwards) are shown in green text Entries with the symbol link to an image of the CD cover Piano solo opus 1: Variations pour piano sur un • Laurent Martin [Marco Polo, 8.223657 (1994)] thème de Steibelt opus 2: Les Omnibus, variations • John Kersey [Romantic Discovery Recordings, CD 8 (2005)] pour piano opus 3: Il était un p'tit homme, • John Kersey [Romantic Discovery Recordings, CD 8 (2005); rondoletto pour piano Romantic Discovery Recordings, RDR30 (2010)] opus 5: † 'Largo al factotum della città', air du Barbier de Seville arrangé en rondo brillant pour piano opus 10: 2e Concerto da camera Complete arrangé pour piano seul Allegro moderato Adagio 1o Movimento opus 12 : Rondeau chromatique • Osamu Nakamura [Epic/Sony, ESCK 8001 (1989)] pour piano • Laurent Martin (rec 1992) [Marco Polo 8.223657 (1994)] Recordings of Alkan’s works (©Alkan Society) Version 17 Julyl 2021 Page 1 of 49 opus 12 : Trois Improvisations dans Complete • Osamu Nakamura [Epic/Sony, ESCK 8001 (1989)] le style brillant pour piano, 1er Livre • Robert Rivard [Symposium (UK) 1057 (cass) (1988)] de Caprices • Laurent Martin (rec 1990) [Marco Polo 8.223500 (1993)] • 'Michael Nanasakov' (Junichi Nanasawa, produced with computer and Yamaha Disklavier) [Nanasawa Articulates JNCD-1009 (2001)] 1. Prestissimo 2. Allegretto 3. -
STRAY DOG/NORA INU (1949) 122 Min
OCTOB ER 4, 2005:X I.6 AKIRA KUROSAWA (23 March 1910, Omori, Tokyo, Japan — 6 September 1998, Setagaya, Tokyo, stroke) wrote or cowrote nearly all 31 of the films he directed and edited several of them as well. Some of them are: Ame Agaru/After the Rain) 1993, Yume/Dreams) 1990, Ran 1985, Kagemusha 1980, Dodesukaden 1970, Yojimbo 1961 (remade in 1964 as Per un pugno di dollari and in 1996 as Last Man Standing), Kakushi toride no san akunin 1958 (remade in 1977 as Star Wars), Kumonosu jo/Throne of Blood) 1957 (based on Macbeth), Shichinin no samurai/Seven Samurai) 1954 (remade as The Magnificent Seven), Ikiru 1952, and STRAY DOG/NORA INU (1949) 122 min. Rashomon 1950 (remade as The Outrage). Kurosawa received three Academy Toshirô Mifune...Det. Murakami Awards: best foreign language picture for Rashomon and Dersu Uzala, and a Takashi Shimura...Det. Sato Lifetime Achievement Award (1990). He received a nomination for best director for Keiko Awaji...Harumi Namaki, showgirl Ran. Eiko Miyoshi...Harumi's mother Noriko Sengoku...Girl For much of his career Kurosawa was appreciated far more in the West than in Japan. Fumiko Honma...Wooden Tub Shop woman Zhang Yimou (director of Red Sorghum and Raise the Red Lantern) wrote that Reikichi Kawamura Kurosawa was accused “of making films for foreigners' consumption. In the 1950s, Eijirô Tono Rashomon was criticized as exposing Japan's ignorance and backwardness to the Yasushi Nagata outside world – a charge that now seems absurd. In China, I have faced the same Katsuhei Matsumoto scoldings, and I use Kurosawa as a shield.” He directed his first film in 1943 but says Isao Kimura...Yusa Drunken Angel in 1948 was really his first film because that was the first one he Minoru Chiaki...Girlie Show director made without official interference.