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Gp 3.Qxt 7/27/15 8:56 AM Page 1
08-09 Ancient Music_Gp 3.qxt 7/27/15 8:56 AM Page 1 Sunday Afternoon, August 9, 2015, at 3:00 m a r Academy of Ancient Music M|M g Edward Gardner , Conductor o r Alina Ibragimova , Violin P e ALL-MENDELSSOHN PROGRAM h The Hebrides (“Fingal’s Cave”) (1830/32) T Violin Concerto in E minor (1844) Allegro molto appassionato— Andante— Allegretto non troppo—Allegro molto vivace Ms. Ibragimova will perform Mendelssohn’s cadenza. Intermission Symphony No. 3 in A minor (“Scottish”) (1842) Andante con moto—Allegro un poco agitato Vivace non troppo Adagio Allegro vivacissimo—Allegro maestoso assai M|M Mostly Mozart debut Please make certain all your electronic devices are switched off. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Alice Tully Hall , Starr Theater Adrienne Arsht Stage 08-09 Ancient Music_Gp 3.qxt 7/27/15 8:56 AM Page 2 Mostly Mozart Festival The Mostly Mozart Festival is made possible by Sarah Billinghurst Solomon and Howard Solomon, Rita E. and Gustave M. Hauser, Chris and Bruce Crawford, The Fan Fox and Leslie R. Samuels Foundation, Inc., Charles E. Culpeper Foundation, S.H. and Helen R. Scheuer Family Foundation, and Friends of Mostly Mozart. Public support is provided by the New York State Council on the Arts. Artist Catering provided by Zabar’s and zabars.com MetLife is the National Sponsor of Lincoln Center United Airlines is a Supporter of Lincoln Center WABC-TV is a Supporter of Lincoln Center “Summer at Lincoln Center” is supported by Diet Pepsi Time Out New York is a Media Partner of Summer at Lincoln Center UPCOMING MOSTLY MOZART FESTIVAL EVENTS: Tuesday and Thursday Evenings, August 11 and 13, at 7:30 Saturday Afternoon, August 15, at 3:00 in the David H. -
Alina Ibragimova Cédric Tiberghien Beethoven
Alina Ibragimova Cédric Tiberghien Beethoven Violin Sonatas – 3 Alina Ibragimova violin DDD WHLive0045 C 2011 The Wigmore Hall Trust Cédric Tiberghien piano P 2011 The Wigmore Hall Trust Made & Printed in England Recorded live at Wigmore Hall, London All rights reserved. 25 May 2010 Unauthorized copying, hiring, lending, public performance and broadcasting prohibited. LC 14458 Wigmore Hall 36 Wigmore Street Ludwig Van BeethoVen London W1U 2BP www.wigmore-hall.org.uk John Gilhooly Director Violin Sonatas – 3 The Wigmore Hall Trust Reg. Charity No. 1024838 01 Violin Sonata in A major Op. 30 No. 1 22.00 04 Violin Sonata in E flat major Op. 12 No. 3 19.05 07 Violin Sonata in A major ‘Kreutzer’ Op. 47 37.30 Total time: 78.56 ‘Smiling faces, furious applause: that’s how this series ended’ (The Times) WHLive0045 Alina Ibragimova violin Made & Printed in England Cédric Tiberghien piano Recorded live at Wigmore Hall, London, on 25 May 2010 Ludwig Van BeethoVen Violin Sonatas – 3 Violin Sonata in A major Op. 30 No. 1 22.00 01 Allegro 06.48 02 Adagio molto espressivo 07.15 03 Allegretto con variazioni 07.33 Violin Sonata in E flat major Op. 12 No. 3 19.05 04 Allegro con spirito 07.57 05 Adagio con molta espressione 06.31 06 Allegro molto 04.22 Violin Sonata in A major ‘Kreutzer’ Op. 47 37.30 07 Adagio sostenuto – Presto 13.38 08 Andante con variazioni 15.16 09 Presto 08.47 Total time: 78.56 b0045 RPM.qxd 02-03-2011 11:46 Page 2 BEETHOVEN VIOLIN SONATAS – VOLUME 3 This disc contains many wonders, but even the the sonata for which Op. -
JAMES RODHES “Instrumental”
JAMES RODHES “Instrumental” James Rhodes, el enfant terrible de la música clásica. “En mis conciertos hablo de las piezas que interpreto, cuento por qué las he elegido, qué importancia tienen para mí y en qué contexto se compusieron”. Así explica James Rhodes como son sus recitales en el prólogo de su libro Instrumental. Memorias de música, medicina y locura (7ª edición, más de 75.000 ejemplares vendidos), con el que ha obtenido un enorme e inesperado éxito en todo el mundo. Además de tocar y contextualizar las obras que interpreta, el pianista británico también cuenta sobre el escenario, entre piezas de Bach, Chopin, Rachmaninov, Schubert o Beethoven, la historia de su vida y como la música le ha ayudado a superar los numerosos obstáculos que se ha ido encontrando por el camino. James Rhodes es un enamorado de la música clásica. Carismático, visceral y muy talentoso, Rhodes asegura que Bach (y especialmente “Las variaciones Goldberg”) le han salvado la vida. Y no exagera. A sus 40 años se ha convertido en uno de los principales divulgadores de la música clásica en el mundo, gracias a sus giras y conciertos en todo tipo de festivales y salas, y varios documentales sobre su figura filmados con la complicidad de cadenas de televisión británicas. James Rhodes, ofrece un enfoque diferente al abordar la música clásica sobre el escenario, interactuando con el público, compartiendo emociones y opiniones sobre la música y sobre los grandes compositores que interpreta. Reverenciado por la crítica británica por su particular estilo de stand up, Rhodes aporta un toque muy personal a cada una de sus actuaciones. -
The Causes of the Civil War
THE CAUSES OF THE CIVIL WAR: A NEWSPAPER ANALYSIS by DIANNE M. BRAGG WM. DAVID SLOAN, COMMITTEE CHAIR GEORGE RABLE MEG LAMME KARLA K. GOWER CHRIS ROBERTS A DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the College of Communication and Information Sciences in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2013 Copyright Dianne Marie Bragg 2013 ALL RIGHTS RESERVED ABSTRACT This dissertation examines antebellum newspaper content in an attempt to add to the historical understanding of the causes of the Civil War. Numerous historians have studied the Civil War and its causes, but this study will use only newspapers to examine what they can show about the causes that eventually led the country to war. Newspapers have long chronicled events in American history, and they offer valuable information about the issues and concerns of their communities. This study begins with an overview of the newspaper coverage of the tariff and territorial issues that began to divide the country in the early decades of the 1800s. The study then moves from the Wilmot Proviso in 1846 to Lincoln’s election in 1860, a period in which sectionalism and disunion increasingly appeared on newspaper pages and the lines of disagreement between the North and the South hardened. The primary sources used in this study were a diverse sampling of articles from newspapers around the country and includes representation from both southern and northern newspapers. Studying these antebellum newspapers offers insight into the political, social, and economic concerns of the day, which can give an indication of how the sectional differences in these areas became so divisive. -
Orquestra Gulbenkian Fabien Gabel Alina Ibragimova
Orquestra Gulbenkian Fabien Gabel Alina Ibragimova 13 OUTUBRO 2016 QUINTA 21:00h — Grande Auditório 14 OUTUBRO 2016 SEXTA 19:00h — Grande Auditório 21:30h — Grande Auditório Solistas da Orquestra Gulbenkian benjamin ealovega © alina ibragimova GULBENKIAN.PT/MUSICA mecenas principal gulbenkian música mecenas mecenas mecenas mecenas mecenas estágios gulbenkian para orquestra música de câmara concertos de domingo ciclo piano coro gulbenkian Sociedade de Advogados, SP RL 13 DE OUTUBRO Orquestra Gulbenkian QUINTA 21.00h — Grande Auditório 14 DE OUTUBRO SEXTA 19.00h — Grande Auditório Orquestra Gulbenkian Fabien Gabel Maestro Alina Ibragimova Violino Dmitri Chostakovitch Concerto para Violino e Orquestra n.º 1, em Lá menor, op. 77 Nocturne: Moderato Scherzo: Allegro Passacaglia: Andante – Cadenza Burlesque: Allegro con brio – Presto intervalo Piotr Ilitch Tchaikovsky Sinfonia n.º 5, em Mi menor, op. 64 Andante – Allegro con anima Andante cantabile, con alcuna licenza Valse: Allegro moderato Finale: Andante maestoso – Allegro vivace Duração total prevista: c. 1h 50 min. Intervalo de 20 min. 03 14 DE OUTUBRO SEXTA Solistas da Orquestra 21.30h — Grande Auditório Gulbenkian Amália Tortajada Flauta Jordi Rodriguez Violino Christopher Hooley Viola Raquel Reis Violoncelo Wolfgang Amadeus Mozart Quarteto com Flauta n.º 1, em Ré maior, K. 285 Allegro Adagio Rondeau Quarteto com Flauta n.º 2, em Sol maior, K. 285a Andante Tempo di menuetto Quarteto com Flauta n.º 3, em Dó maior, K. 285b Allegro Andantino Duração total prevista: c. 50’ Concerto sem intervalo 04 Dmitri Chostakovitch São Petersburgo, 25 de setembro de 1906 Moscovo, 9 de agosto de 1975 Concerto para Violino e Orquestra n.º 1, em Lá menor, op. -
4 Behind the Scenes Playing in Rep 6 Your Latest School News and Stories
The Guildhall School Magazine Spring/ Summer 2016 4 Behind the Scenes 26 The Interview Playing in Rep Athole Still 6 Your latest School 30 Then & Now news and stories Debbie Wiseman PLAY32 Class Notes 35 In Memoriam Sir George Martin 12 Guildhall to the World New York, New York 14 My Legacy Gift Kevin Webb 16 Where art meets business 22 Doctor in the House 38 A Day in the Life Philip Venables Sara Lee Editorial Group Welcome to the latest edition of PLAY Short Courses Deputy Head of Development (Alumni & Supporter Relations) Recently, I spent two days meeting with current students who Rachel Dyson 2016 had applied to be involved in our Easter telephone appeal. I Head of External Affairs Jo Hutchinson asked them all the same questions and their responses, regardless of subject or level of study, were astonishingly consistent and Head of Development Summer Arts Camp Duncan Barker often quite touching. New Summer Arts Camp for 11-14 years (in association with the Barbican) Marketing & Communications Officer When asked ‘Why did you choose to study at Guildhall?’, many Drama Summer School Rosanna Chianta students spoke of loving the ‘easy-going’, ‘friendly’, ‘progressive’ Acting in Shakespeare & Contemporary Theatre Writer & Editorial Consultant Acting in Musical Theatre environment at Guildhall; how they felt at home as soon as Nicola Sinclair Drama Summer School for 16-17 years they walked in for an open day, an audition or to visit a friend Art Direction & Design who was here before them. They talked of the collaborative Music Summer School Pentagram New Brass and Percussion Week Jessie Earle opportunities that arise from the combination of conservatoire Advanced Saxophone and drama school, and from the School’s partnerships with New Advanced Viola and Performance Health Contact external organisations such as the LSO, the Barbican and the New Advanced Oboe New Oboe and Cor Anglais Artistry Email Royal Opera House. -
Amaryllis Fleming Concert Hall Maxim Vengerov Conductor Roberto Ruisi Violin Maria Gîlicel Violin Line Faber Violin RCM Symphony Orchestra
ORCHESTRAL MASTERCLASS WITH MAXIM VENGEROV Thursday 28 June 2018 7pm | Amaryllis Fleming Concert Hall Maxim Vengerov conductor Roberto Ruisi violin Maria Gîlicel violin Line Faber violin RCM Symphony Orchestra ORCHESTRAL MASTERCLASS WITH MAXIM VENGEROV Thursday 28 June 2018, 7pm | Amaryllis Fleming Concert Hall Maxim Vengerov conductor Roberto Ruisi violin (movement i) Maria Gîlicel violin (movement ii) Line Faber violin (movement iii) RCM Symphony Orchestra Beethoven Violin Concerto in D major op 61 (1770–1827) i Allegro ma non troppo INTERVAL ii Larghetto iii Rondo. Allegro RCM Polonsky Visiting Professor of Violin Maxim Vengerov returns to the College for another highly anticipated masterclass. One of the greats of the repertoire, RCM violinists and the RCM Symphony Orchestra explore Beethoven’s Violin Concerto. This masterclass will be live streamed to www.rcm.ac.uk/live. Beethoven Violin Concerto in D major op 61 Although Beethoven completed only one concerto for violin, he certainly began work on another. All that survives of the earlier attempt is the opening section of a first movement in C major, but the condition of manuscript is such that it is entirely possible that the rest once existed, but has since been lost. The fragment probably dates from the early 1790s and reveals a confident treatment of the soloist, and a penchant for the upper reaches of the instrument’s range that anticipates one of the notable features of the masterpiece that was to follow more than a decade later. The exact circumstances of the D major Concerto’s commissioning are not known, but it was evidently written for Franz Clement, a very distinguished Viennese conductor (notably at the Theater an der Wien) and violinist. -
Umviolinoabertoaopassado Eaopresentedamúsica
Periodicidade: Diário Temática: Cultura 2 Público Classe: Informação Geral Dimensão: 1151 cm Âmbito: Nacional Imagem: S/Cor 12112016 Tiragem: 51453 Página (s): 34 Um violinoabertoaopassado eaopresentedamúsica A virtuosa violinista russa Alina Ibragimova Artista em Associação do festival À Volta do Barroco chega à Casa da Música com três concertos o próximo já amanhã é a solo Sérgio C Andrade Está a chegar ao fim o Ano Rússia na Casa da Música E aquele que é o festival mais antigo da instituição À Volta do Barroco tem este país bem representado Ouvir se ão obras de Chostakovitch Dmitri Bortnianski Vasily Titov Alfred Schnittke e de compositores da corte de Catarina a Grande E o Porto vai receber pela primeiravez a visitada violinista Ali na Ibragimova de 31 anos a Artista em Associação do festival Além deser umagrandevirtuosa tem a característica notável de tocar tanto violino barroco como violino moderno diz António Jorge Pache co director artístico da Casa Alina Ibragimova vai actuar em metade dos seis concertos do pro grama À Volta do Barroco O primei ro ontem marcou o seu reencontro com o maestro titular da Orquestra Sinfónica do Porto OSPCM Baldur Brönimann noConcertoparaviolino Chostakovitche orquestra n º 1 de É umdosmaiores concertos para violino e orquestra jamais compos tos disse a violinistaaoPÚBLICOno final do ensaio dequinta feira É um concerto incrivelmente duro trata da política do sofrimento humano uma espécie de loucura mas tam bém fala de amor e de esperança Noconcerto quevai fazer amanhã a solo Ibragimova vai interpretar -
Beethoven Piano Concerto No. 4 Mendelssohn Double Concerto
BEETHOVEN INTRODUCTION sometimes very different approaches, but both allowing the dialogue between the soloists and PIANO CONCERTO NO. 4 Why the fourth Beethoven Piano Concerto? There orchestra to come through. We learnt so much MENDELSSOHN are so many recordings of this concerto that together and had a lot of fun. DOUBLE CONCERTO I admire, from Emil Gilels, Claudio Arrau and Wilhelm Kempf from one generation to Lars Vogt Recording this disc is a realisation of the and Leif Ove Andsnes to another. The simple many people who have supported me throughout answer is that I wanted to record something my musical years. I am so grateful that this that I enjoyed playing, and this concerto – has been achieved. Piano Concerto No. 4 in G Major, Op. 58 Ludwig van Beethoven one of my favourites – has always intrigued Min-Jung Kym 1 I. Allegro Moderato [19.38] me. The moment the piano opens with this 2 II. Andante con moto [4.51] passage almost from nowhere, the association 3 III. Rondo: Vivace [10.28] in the second movement of the tale of Orpheus taming the Furies at the gates to Hades to Concerto for Violin, Piano and String Orchestra in D Minor Felix Mendelssohn the jubilant Rondo third movement, I took to 4 I. Allegro [19.06] the concerto immediately when I first began 5 II. Adagio [9.48] studying it and I have travelled with the 6 III. Allegro molto [9.33] work having performed it several times over the years, and recently with the culmination of Total timings: [73.28] this recording. -
Now Would All Freudians Please Stand Aside Programme
now would all freudians please stand aside Programme BONUS CD Toccata, Adagio & Fugue in C major, BWV 564 J.S.Bach / F.Busoni (1866-1924) 1. Prelude [7.11] 1. Prelude No. 4 in E minor, Op. 28 F.Chopin (1810-1849) [2.41] 2. Intermezzo (Adagio) [6.58] 2. Etude No. 12 in C minor, Op. 25 F.Chopin (1810-1849) [2.40] 3. Fugue [5.29] Interview with James Rhodes Piano Sonata No. 30 in E major, Opus 109 L.V. Beethoven (1770-1827) 3. On the Toccata, Adagio & Fugue in C major [3.15] 4. Vivace ma non troppo: Adagio espressivo [4.34] 4. On the Piano Sonata No.30 in E major [4.04] 5. Prestissimo [2.23] 5. On the Partita No.6 in E minor * [3.20] 6. Gesangvoll, mit innigster Empfindung [14.57] 6. On the Adagio, from Concerto No.3 in D minor * [2.13] 7. On Recording [3.14] Partita No.6 in E minor, BWV 830 J.S.Bach (1685-1750) 7. Toccata [6.24] Total Timings [21.17] 8. Allemanda [3.12] 9. Corrente [4.41] Video - Live at the Roundhouse, London J.S.Bach / A.Marcello: Adagio [5.07] 10. Air [1.21] See page 11 for more information on playing the video 11. Sarabande [8.02] 12. Tempo di Gavotta [2.03] * Caution - Strong Language 13. Gigue [5.00] 14. Adagio, from Concerto No.3 in D minor, BWV 974 J.S.Bach / A.Marcello (1699-1747) [4.54] Total Timings [77.09] www.signumrecords.com Artist’s Note I feel particularly blessed to have been able to the summit of piano playing, Bach was theme and variations), it has been in my head choose to learn pieces of music for the simple the foundation of it and his respect and ever since I was a child. -
Meeting Madrid
2017: A Year of Round Numbers If we could travel to the future, we’d probably say that 2017 was the year of WorldPride, a celebration of equal rights which three million people are expected to attend. Because whoever you love, Madrid loves you. Just a mention of this year would be enough to relive the music festivals that await us: Mad Cool, Dcode and the Veranos de la Villa Festival which has already become a classic. Like a beautiful mirage, several of the season’s exhibitions would also appear: the Escher retrospective, which has marked the grand opening of Gaviria Palace as a cultural centre, and the show devoted to the Hispanic Society opening in early April at the Prado Museum. And it’s very likely that some of the theatre productions being performed for the first time will be consigned to posterity: Ushuaia by Alberto Conejero at Teatro Español and the adaptation of En la orilla by Rafael Chirbes at Centro Dramático Nacional. If we’ve chosen to use the term ‘probably’ rather than ‘definitely’ it’s because we don’t want to blow our own trumpet, but no one can deny that 2017 will be remembered in Madrid for its round numbers: the 10-year anniversary of Matadero Madrid; 15 for La Casa Encendida; 20 for PHotoEspaña and for the reopening of Teatro Real; 25 for the Reina Sofía and Thyssen-Bornemisza museums; 40 for Fernán Gómez Centro Cultural de la Villa and the Madrid Marathon; and the fourth centenary of Plaza Mayor, whose first stone was laid on 2 December 1617. -
Colours of the East
COLOURS MASTERPIECES OF THE PRESENT, OF THE SURROUNDED BY THE PAST. EAST Scheherazade by Sophie Gengembre Anderson Friday 4 August 7.30pm Federation Concert Hall Hobart MASTER 6 MASTER Marko Letonja conductor RIMSKY-KORSAKOV Alina Ibragimova violin Scheherazade Largo e maestoso – Lento – Allegro SCULTHORPE non troppo (The Sea and Sinbad’s Sun Music II Ship) Duration 6 mins Lento (The Story of the Kalender Prince) BARTÓK Andantino quasi allegretto (The Violin Concerto No 2 Young Prince and the Young Princess) Allegro non troppo Allegro molto – Vivo – Allegro non Andante tranquillo troppo e maestoso – Lento (Festival in Allegro molto Baghdad – The Sea – The Ship Goes Duration 36 mins to Pieces on a Rock Surmounted by a Bronze Warrior – Conclusion) INTERVAL Duration 47 mins Duration 20 mins This concert will end at approximately 9.40pm. 28120 Sponsored by Imaginative art in historic spaces. Unforgettable waterfront wining and dining. A gateway to southern Tasmania’s finest experiences. thehenryjones.com Tasmanian Symphony Orchestra concerts are broadcast and streamed throughout Only at The Henry Jones Art Hotel. Australia and around the world by ABC Classic FM. We would appreciate your cooperation in keeping coughing to a minimum. Please ensure that your mobile phone is switched off. 25 Hunter St Hobart Tasmania. (03) 6210 7700 STEPH HOUSTEIN 42 43 28120 HJAH_TSO_Ad_A5.indd 1 11/04/2016 4:52 pm Peter Sculthorpe (1929-2014) Sun Music II for the 1968 Australian Ballet production of the Sun Music ballet, with choreography by “A sun in me Robert Helpmann. When premièred later And a sun in heaven as a separate work, at a Sydney Symphony And beyond that, the immense sun behind Orchestra Prom concert on 22 February the sun” 1969, conducted by John Hopkins, it bore Marko Letonja Alina Ibragimova DH Lawrence Sun in Me the name Ketjak.