DOCSLIB.ORG

Universal Edition

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Universal Edition UE_NL_4_2004_engl1.qxd 04.08.2004 16:07 Seite 1 05 La Biennale di Venezia. No ‘universal exhibition of music’ without UE, 1 première, 10 concerts. 17 Sir Harrison. 70th birthday cele- bration for Harrison Birtwistle in London continues: with the Birtwistle Games. 29 First don't forget to stuff your faces ... "Mahagonny” celebrates 75 years of scandal and success. 30 Schreker. Out of Copyright. Copyright ends, interest grows. Full worklist inside! Arvo Pärt Honoured academically - Featured prominently - Listened to worldwide - Æstonishing Arvo newsletter 04/04 • autumn 2004 UE_NL_4_2004_engl1.qxd 04.08.2004 16:07 Seite 2 Content NEWS Board of Directors — 4 UE Website — 4 FESTIVALS La Biennale di Venezia — 5 - 6 Settembre Musica Torino — 7 - 9 Zaterdag Matinee, Degenerate Music — 10 - 11 Lucerne Festival — 12 - 13 Klangspuren Schwaz — 14 - 15 COMPOSERS Birtwistle — 16 - 17 Pärt — 18 Halffter — 19 Baltakas — 20 Boulez — 21 Berio — 22 Rihm — 23 Sawer — 24 Mahler / Schnyder — 25 Panufnik — 25 Wilson — 26 Haas — 27 Stockhausen — 28 Sotelo — 28 Weill — 29 Schreker — 30 Janacek — 31 Schönberg — 31 2 UE_NL_4_2004_engl1.qxd 04.08.2004 16:07 Seite 3 Dear readers, you are holding in your hands the first issue of the new-look UE Newsletter. Since 1996, we've been updating you four times a year on our composers and information on our current publishing activities. Universal Edition's Newsletter and REDISCOVERIES website support and reinforce the Foerster - 32 partnership between music-ma- Braunfels - 32 kers, performing arts organisations and UE. REVIEWS Baltakas - 33 In addition to the already familiar Cerha - 33 sections, each Newsletter will now Staud - 34 contain an appendix with a work- Dallapiccola - 34 list of a particular composer's oeuvre. The present, autumn issue ANNIVERSARIES — 36 - 37 (September to November 2004) fe- atures the yet-to-be-rediscovered WORLD PREMIERES — 38 - 39 and already revived works of Franz Schreker. NEW RELEASES — 40 - 41 We hope that our new, reader- NEW ON CD + DVD — 42 - 43 friendly Newsletter will continue to stimulate your curiosity about WORKLIST UE composers. Schreker — 44 - 46 The Editors 3 content 04/2004 UE_NL_4_2004_engl1.qxd 04.08.2004 16:08 Seite 4 WWW.UNIVERSALEDITION.COM Even more service at the UE Website BOARD OF DIRECTORS Who runs Universal Edition's website, www.universaledition.com, has Universal grown into an indispensable infor- mational tool for our customers, Edition? and it is constantly being impro- ved, expanded and updated. A click on Company, Composers, Since 1 January 2004, management News, Sheet music, Hire material, of Universal Edition has been in the Licenses or Performances should hands of four people: serve to answer almost any question you might have. And our Johann Juranek (Managing Board user-friendly UE-Shop, launched in Chairman), Astrid Koblanck February 2004, helps you order all (author relations, copyright mat- the products in the UE catalogue ters, licensing, hire material), online, all over the world! Hans Musser (finance, distribution, marketing) and Robert Thompson (catalogue development, publis- hing, promotion). The headquarters of UE are in Vien- na, with two further offices in Lon- don and New York. A network of representation agreements with publishing partners guarantees worldwide market presence. 4 news UE_NL_4_2004_engl1.qxd 04.08.2004 16:09 Seite 5 with composers being offered the orchestra as an instrument. Eight ensembles will be performing in total 20 concerts. The prestigious, festive opening concert on 14 Oct- ober in the newly renovated hall of the Teatro La Fenice will feature the Italian première of Arvo Pärt's Como cierva sedienta for soprano and orchestra, with Bernhard Kon- tarsky conducting the Orchestra del Teatro La Fenice and soprano soloist Patricia Rozario. This will be followed by an impressive series of LA BIENNALE DI VENEZIA territorial premières of works from the UE catalogue: ‘Universal exhi- Johannes Maria Staud's Black bition of music’ Moon (14th), Beat Furrer's nuun (14th), Harrison Birtwistle's Endless Parade (19th), Vykintas Baltakas' The Venice Biennale has always Poussla (20th), David Sawer's Piano been a showcase of excellence. The Concerto (21st), Luciano Berio's 2004 Biennale concludes with the Stanze (22nd), Wolfgang Rihm's La 48th International Festival of Con- lugube gondola (23rd), and Georg temporary Music (14-23 October Friedrich Haas' Wer wenn ich 2004). Giorgio Battistelli (photo), schriee, hörte mich... (14th). Finally, artistic director of this year's Bien- Licht/ung, commissioned from Ian nale, has selected works by 55 com- Wilson by the Biennale, will receive posers from 26 countries for per- its world première on 17 October. formance. Battistelli, a composer of Johannes Debus will conduct the international repute, has moulded Orchestra dell'Arena di Verona. the festival into a kind of universal Information: exhibition of the music of our times www.labiennale.org 5 biennale di venezia 1753_04_UE_Ins_tom 04/08/2004 17/22 tom Seite 1 FONDAZIONE TEATRO LA FENICE DI VENEZIA 2004 14/23 VENEZIA OTTOBRE VENEZIALAMUSICAILMONDO DIRETTORE GIORGIO BATTISTELLI gio. 14 ottobre - ore 18.00 mer. 20 ottobre - ore 21.00 Teatro Malibran Teatro Malibran KLANGFORUM WIEN ORCHESTRA DELLA TOSCANA MUSICHE DI G. F. HAAS, J. M. STAUD, B. FURRER MUSICHE DI J. L. HERVÉ, I. FEDELE Y. MARESZ, V. BALTAKAS gio. 14 ottobre - ore 20.00 Teatro La Fenice gio. 21 ottobre - ore 21.00 ORCHESTRA E CORO Teatro Malibran DEL TEATRO LA FENICE ORCHESTRA DELL’ARENA MUSICHE DI A. PÄRT, O. NEUWIRTH, L. NONO DI VERONA MUSICHE DI F. INCARDONA, P. FURLANI gio. 14 ottobre - ore 22.30 D. SAWER, I. NILSSON Sala Rossi (Teatro La Fenice) KLANGFORUM WIEN ven. 22 ottobre - ore 18.00 MUSICHE DI S. SCIARRINO Teatro Piccolo Arsenale ORCHESTRA SINFONICA ven. 15 ottobre - ore 20.00 CONTEMPORANEA DEL FRIULI VENEZIA GIULIA INTERNAZIONALE Teatro Malibran MUSICHE DI J. GOMELSKAYA, I. ZEBELJAN ORQUESTA DE LA COMUNIDAD E. SAMMOUTIS, N. KODJABASHIA DE MADRID ven. 22 ottobre - ore 20.00 MUSICHE DI J.M. SÁNCHEZ-VERDÙ, G. ERKOREKA F. ROMITELLI, L. DE PABLO Teatro alle Tese ORCHESTRA SINFONICA sab. 16 ottobre - ore 20.00 NAZIONALE DELLA RAI Teatro Malibran MUSICHE DI S. BELLON, K. SAARIAHO, L. BERIO ORQUESTA DE LA COMUNIDAD DE MADRID ven. 22 ottobre - ore 23.00 MUSICHE DI A. POSADAS, H. KYBURZ, F. GUERRERO Capannone del Petrolchimico, Marghera MUSICA MARTUX_M / PAN SONIC dom. 17 ottobre - ore 20.00 CONCERTI DI MUSICA ELETTRONICA Teatro Malibran FESTIVAL DI sab. 23 ottobre - ore 18.00 ORCHESTRA DELL’ARENA Teatro Piccolo Arsenale DI VERONA ASKO ENSEMBLE MUSICHE DI M. PINTSCHER, I. WILSON, R. VACCA, H.W. HENZE MUSICHE DI M. VAN DER AA, P.VIR lun. 18 ottobre - ore 20.00 L. FRANCESCONI, G. LIGETI Teatro Piccolo Arsenale sab. 23 ottobre - ore 20.00 ORCHESTRA SINFONICA Teatro Malibran DEL FRIULI VENEZIA GIULIA ORCHESTRA DEL TEATRO LA FENICE MUSICHE DI S. SOLOVIC, V. TARNOPOLSKY, K. GLOWICKA, A. PEÇI MUSICHE DI M. LINDBERG, W. RIHM, T. DUN, F. TAMURA mar. 19 ottobre - ore 21.00 sab. 23 ottobre - ore 23.00 Teatro Malibran Capannone del Petrolchimico, Marghera ORCHESTRA DELLA TOSCANA MASS / FRAME / RICHIE HAWTIN MUSICHE DI B. DEAN, H. BIRTWISTLE, G. VERRANDO, M. A. TURNAGE CONCERTI DI MUSICA ELETTRONICA 48 WWW.LABIENNALE.ORG UE_NL_4_2004_engl1.qxd 04.08.2004 16:09 Seite 7 SETTEMBRE MUSICA Optical illusions in Turin Over the past few years, Enzo This collaboration over several Restagno and Roman Vlad have months also offered the opportuni- succeeded in focussing the atten- ty to produce a book on Arvo Pärt, tion of the musical world on Turin which Enzo Restagno will present during the month of September. on 7 Sep. It is based on an extensi- Restagno and Vlad are the creative ve conversation with Restagno du- minds behind the Settembre Musi- ring the summer of 2003, and also ca festival, which surpasses all contains several important contri- other Italian music festivals in butions by reputable Pärt experts terms of diverse cultural origins, (including Leopold Brauneiss, Paul styles and historical periods - view- Hillier, Jordi Savall, Armin Brunner ed more closely, the festival appe- and Helga de la Motte). ars as an optical illusion, offering not a diffuse image but a cleverly Over the course of seven concerts conceived, harmonious concept ca- (6 - 12 September 2004), the major pable of offering almost any music works of Pärt's most recent period lover something surprising or de- will be heard; several of these will lectable. be receiving their first performan- ces in Italy: The traditional emphasis of the fe- Lamentate, In Principio, Wall- stival is on contemporary music, fahrtslied, and Most Holy Mother of with a composer at its centre God. whose oeuvre receives representa- tive treatment. In 2004, this com- poser is Arvo Pärt. Enzo Restagno involved Pärt closely in the festi- val's programming. Numerous per- formers requested by the compo- ser (Hilliard Ensemble, Tõnu Kaljuste, Estonian Philharmonic Chamber Choir, Paul Hillier, Xenia Ensemble, etc.) will be appearing. 7 settembre musica 1753_04_UE_Ins_tom 04/08/2004 17/22 tom Seite 2 Arvoto know Pärt the music of September 6-12, 2004 six free concerts and a panel with the composer Orchestra Sinfonica Nazionale della Rai Tallin Chamber Orchestra Estonian Philharmonic Chamber Choir Hilliard Ensemble Xenia Ensemble Tõnu Kaljuste Paul Hillier Momo Kodama Te Deum Miserere Stabat Mater De profundis Lamentate Sinfonia n. 1 In principio Kanon Pokajanen .... torino settembre musica info phone +39.011.4424777 • www.comune.torino.it/settembremusica UE_NL_4_2004_engl1.qxd 04.08.2004 16:09 Seite 9 Settembre Musica will be holding a Gruber will visit the city as part of memorial concert on 25 September its Dreigroschenoper Tour (subse- to commemorate Luciano Berio,a quent performances in Rimini, Gü- friend of the festival for several tersloh, Essen and Vienna). years whose work was often at its This concert performance of Die centre.
Load more

Recommended publications
  • Preface and Acknowledgments
    PREFACE AND ACKNOWLEDGMENTS This book is the extended form of six public lectures delivered in the Ernest Bloch Lecture Series from September 18 to October 23, 1989, in the Department of Music at the University of California at Berkeley. To my regret, the presentation of this expanded version, which for the most part I had finished by the end of 1992, is somewhat overdue, but not without good reason. For an American publication I found that I could not help but produce, if I may say so, a magnum opus, a summary of three decades of Bartók studies, thereby offering grateful, if belated, thanks to the University of California and to my colleagues and students at Berkeley. It was proba- bly the happiest time of my life: I had the honor not only of presenting the music of Béla Bartók but also, at a turning point in Bartók studies, of outlining the tasks awaiting future research on his oeuvre before the most resonant, expert audience I have ever met outside of my country, Hungary—the homeland of Bartók. Coming half a century after the death of the composer, this is the first book dedicated to the study of Bartók's compositional process to be based on the com- plete existing primary source material. Therefore, a great many things need to be accomplished simultaneously: a description of the sources (chapter 3) as well as the first reliable list of manuscripts (in the appendix); an extensive discussion of Bar- tók's sketches and drafts (chapters 4 and 7); an introduction to auxiliary research fields as for instance in paper studies (chapter 6).
    [Show full text]
  • View Becomes New." Anton Webern to Arnold Schoenberg, November, 25, 1927
    J & J LUBRANO MUSIC ANTIQUARIANS Catalogue 74 The Collection of Jacob Lateiner Part VI ARNOLD SCHOENBERG 1874-1951 ALBAN BERG 1885-1935 ANTON WEBERN 1883-1945 6 Waterford Way, Syosset NY 11791 USA Telephone 561-922-2192 [email protected] www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). To avoid disappointment, we suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory numbers of desired items in the SEARCH box at the upper left of our homepage. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. An 8.625% sales tax will be added to the invoices of New York State residents. International customers are asked to kindly remit in U.S. funds (drawn on a U.S. bank), by international money order, by electronic funds transfer (EFT) or automated clearing house (ACH) payment, inclusive of all bank charges. If remitting by EFT, please send payment to: TD Bank, N.A., Wilmington, DE ABA 0311-0126-6, SWIFT NRTHUS33, Account 4282381923 If remitting by ACH, please send payment to: TD Bank, 6340 Northern Boulevard, East Norwich, NY 11732 USA ABA 026013673, Account 4282381923 All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full. Fine Items & Collections Purchased Please visit our website at www.lubranomusic.com where you will find full descriptions and illustrations of all items Members Antiquarians Booksellers’ Association of America International League of Antiquarian Booksellers Professional Autograph Dealers’ Association Music Library Association American Musicological Society Society of Dance History Scholars &c.
    [Show full text]
  • LE MONDE Mort De Christophe Desjardins, Un Alto Pour La Musique De Tous Les Temps
    LE MONDE Mort de Christophe Desjardins, un alto pour la musique de tous les temps L’instrumentiste français, soliste à l’Ensemble intercontemporain durant deux décennies et interprète privilégié des plus grands compositeurs, est mort jeudi à 57 ans. Par Marie-Aude Roux Publié le 15 février 2020 Il avait su faire de son instrument une arme de création massive : l’altiste Christophe Desjardins, bien connu des mélomanes amis de la musique contemporaine, est mort à Paris jeudi 13 février des suites d’un cancer. Il avait 57 ans. L’un de ses enregistrements maîtres restera le somptueux récital réalisé pour Aeon, Alto/Multiples, en 2010, dix-sept pièces en 2 CD, dont le premier rassemble des grands solos (d’Hindemith à Elliott Carter) qui ont jalonné le XXe siècle, le second regroupant des œuvres en lien avec un répertoire plus ancien ou réclamant le procédé du re-recording afin de démultiplier son instrument – ainsi, le trio Ockeghem-Maderna, le quatuor de Wolfgang Rihm ou le septuor Messagesquisse de Boulez, dont il a créé en 2000 la version pour sept altos. Christophe Desjardins naît à Caen (Calvados) le 24 avril 1962. Il commence la musique très jeune et étudie d’abord le piano, avant de découvrir l’alto à 10 ans, dont le côté mystérieux le séduit. Il entre au Conservatoire national supérieur de musique de Paris en 1982 dans les classes de Serge Collot pour l’alto, de Geneviève Joy (femme d’Henri Dutilleux) pour la musique de chambre. Muni d’un Premier Prix à l’unanimité l’année suivante (1983), il se perfectionne à la Hochschule der Künste (actuelle Universität der Künste) de Berlin auprès de Bruno Giuranna.
    [Show full text]
  • INFORMATION to USERS This Manuscript Has Been Reproduced
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 THE COMPLETED SYMPHONIC COMPOSITIONS OF ALEXANDER ZEMLINSKY DISSERTATION Volume I Presented in Partial Fulfillment of the Requirement for the Degree Doctor of Philosophy In the Graduate School of The Ohio State University By Robert L.
    [Show full text]
  • Die Seejungfrau Zemlinsky
    Zemlinsky Die Seejungfrau NETHERLANDS PHILHARMONIC ORCHESTRA MARC ALBRECHT Cover image: derived from Salted Earth (2017), cling to them. Has Zemlinsky’s time come? photo series by Sophie Gabrielle and Coby Baker Little mermaid in a fin-de-siècle https://www.sophiegabriellephoto.com garment Or is the question now beside the point? http://www.cobybaker.com In that Romantic vein, the Lyric Symphony ‘I have always thought and still believe remains Zemlinsky’s ‘masterpiece’: frequently that he was a great composer. Maybe performed, recorded, and esteemed. His his time will come earlier than we think.’ operas are now staged more often, at least Arnold Schoenberg was far from given to in Germany. In that same 1949 sketch, Alexander von Zemlinsky (1871-1942) exaggerated claims for ‘greatness’, yet he Schoenberg praised Zemlinsky the opera could hardly have been more emphatic in composer extravagantly, saying he knew the case of his friend, brother-in-law, mentor, not one ‘composer after Wagner who could Die Seejungfrau (Antony Beaumont edition 2013) advocate, interpreter, and, of course, fellow satisfy the demands of the theatre with Fantasy in three movements for large orchestra, after a fairy-tale by Andersen composer, Alexander Zemlinsky. Ten years better musical substance than he. His ideas, later, in 1959, another, still more exacting his forms, his sonorities, and every turn of the 1 I. Sehr mäßig bewegt 15. 56 modernist critic, Theodor W. Adorno, wrote music sprang directly from the action, from 2 II. Sehr bewegt, rauschend 17. 06 in surprisingly glowing terms. Zemlinsky the scenery, and from the singers’ voices with 3 III.
    [Show full text]
  • CHAN 3029 Book Cover.Qxd 24/7/07 4:32 Pm Page 1
    CHAN 3029 book cover.qxd 24/7/07 4:32 pm Page 1 CHAN 3029 CHANDOS O PERA I N ENGLISH Sir Charles Mackerras PETE MOOES FOUNDATION CHAN 3029 BOOK.qxd 24/7/07 4:46 pm Page 2 Leosˇ Janácˇek (1854–1928) Osud (Fate) Opera in three acts Libretto by Leosˇ Janácˇek and Fedora Bartosˇová English translation by Rodney Blumer AKG Míla Valková .............................................................................................................. Helen Field Zˇ ivn´y, a composer .............................................................................................. Philip Langridge Míla’s mother ...................................................................................................... Kathryn Harries Act I A poet, A student .................................................................................................... Peter Bronder Dr Suda ........................................................................................................................Stuart Kale First lady .............................................................................................................. Christine Teare Second lady ........................................................................................................ Elizabeth Gaskell Old Slovak woman ................................................................................................ Dorothy Hood Major’s wife .............................................................................................................. Mary Davies Councillor’s wife...................................................................................................
    [Show full text]
  • The Correspondence Between Arnold Schoenberg and Universal Edition
    The Correspondence between Arnold Schoenberg and Universal Edition Katharina Bleier Wissenschaftszentrum Arnold Schönberg Universität für Musik und darstellende Kunst Wien Therese Muxeneder Arnold Schönberg Center, Wien ‘[…] publishers and authors cannot remain friends in the long run.’1 The first curator of Schoenberg’s archival legacy was the composer himself: throughout his life he remained an archivally gifted and visionary collector, the guardian of what is now considered an unparalleled heritage in the musical history of the last century. Its spectrum, ranging from compositions and philosophical-political, musical-aesthetic and literary-political writings, to paintings and drawings and finally to the invention of objects, illuminates a personality who as both man and artist resisted to the end the tendency to conform, a personality worth discovering not only for the indelible signature he left upon the music of his century. The Arnold Schönberg Center, established in 1998 in Vienna, is a unique repository of Schoenberg’s archival legacy2 and a cultural institution that is open to the public. The Schoenberg archive is one of the most renowned and comprehensive collections of works by a twentieth-century composer and promotes a broad spectrum of research. In addition to the archive, exhibition and concert facilities, the Center also houses the Arnold Schönberg Research Center (Wissenschaftszentrum Arnold Schönberg, Institut für Musikalische Stilforschung of the Universität für Musik und darstellende Kunst Wien). 19 ARCHIVAL NOTES Sources and Research from the Institute of Music, No. 1 (2016) © Fondazione Giorgio Cini, Venezia ISBN 9788896445136 | ISSN 2499‒832X KATHARINA BLEIER – THERESE MUXENEDER Activities at the Research Center are focused on the Viennese School, particularly in its role as a group that had a lasting influence on twentieth- century music throughout the world.
    [Show full text]
  • Jeudi 28 Avril Solistes De L'ensemble
    Roch-Olivier Maistre, Président du Conseil d’administration Laurent Bayle, Directeur général Jeudi 28 avril Solistes de l’ensemble intercontemporain Jeudi 28 avril 28 Jeudi | Dans le cadre du cycle L’œuvre ouverte Du mardi 19 au samedi 30 avril Vous avez la possibilité de consulter les notes de programme en ligne, 2 jours avant chaque concert, à l’adresse suivante : www.citedelamusique.fr Solistes de l’ensemble intercontemporain intercontemporain Solistes de l’ensemble Cycle L’œuvre ouverte Libres explorateurs de tous les possibles, laissant venir ce qui doit venir : de Cage au free-jazz en passant par la caméra ixe d’Andy Warhol, bien des artistes ont tenté de saisir l’ouvert. C’est justement Andy Warhol qui est au centre du premier concert de ce cycle. L’artiste expérimental Scanner, alias Robin Rimbaud, travaille sur la voix de Warhol issue de ses interviews. Il fait émerger des espaces vides, des hésitations et des respirations nécessaires à la construction – parfois à partir d’un simple « euh » – d’un univers sonore. Des images projetées accompagnent cette performance, donnant à voir l’expression warholienne de l’ennui et sa fascination du détail. Quant à Dean & Britta, issus du groupe de rock indépendant Luna, ils inventent une bande-son pour les screen tests auxquels Warhol soumettait ses visiteurs, connus ou anonymes : le résultat de deux minutes quarante était ensuite projeté au ralenti ain d’en obtenir quatre. Le pianiste Cecil Taylor a révolutionné le jazz en libérant l’improvisation des conventions en vigueur : il est, avec Ornette Coleman, l’un des créateurs du free-jazz.
    [Show full text]
  • Dossier De Presse Luigi Nono
    FESTIVAL D’AUTOMNE À PARIS 4 septembre – 31 décembre | 43 e édition DOSSIER DE PRESSE LUIGI NONO Service de presse : Christine Delterme, Carole Willemot Assistant : Maxime Cheung Tél : 01 53 45 17 13 | Fax : 01 53 45 17 01 [email protected] [email protected] [email protected] Festival d’Automne à Paris | 156, rue de Rivoli – 75001 Paris Renseignements et réservations : 01 53 45 17 17 | www.festival-automne.com DOSSIER DE PRESSE MUSIQUE – FESTIVAL D’AUTOMNE À PARIS 2014 – PAGE 2 EDITORIAL Un “portrait” consacré au compositeur vénitien Luigi Nono (1924-1990) Il est temps de revenir sur la musique de Luigi Nono. Depuis plus de dix ans, ses grandes œuvres n’ont pas été jouées à Paris. Développé au cours des automnes 2014 et 2015, ce “portrait” de Luigi Nono permettra d’écouter des œuvres d’orchestre et de musique de chambre (avec l’ajout de live-electronics pour celles de la dernière période), rares au concert, et dont certaines en création française. L’attention portée à la voix, en soliste ou en chœur, et la manifes - tation de son engagement politique dans ses œuvres constituent les deux axes sur lesquels se déploie ce cycle. Dans les années 1960 et 1970, Luigi Nono, membre du Parti communiste italien, organise en effet des concerts dans les usines et rencontre, au cours de nombreux voyages, les militants des mouvements révolutionnaires apparaissant en Algérie, à Cuba, au Pérou, au Chili, au Vietnam et ailleurs. Ces rencontres fournissent la matière aux deux opéras de cette période, Intolleranza 1960 et Al gran carico d’amore – ce dernier, créé avec le metteur en scène Youri Liou - bimov.
    [Show full text]
  • A Walt Whitman Sampler LEON BOTSTEIN, Conductor
    Wednesday Evening, October 17, 2018, at 8:00 Isaac Stern Auditorium / Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00 presents A Walt Whitman Sampler LEON BOTSTEIN, Conductor OTHMAR SCHOECK Trommelschläge, Op. 26 BARD FESTIVAL CHORALE JAMES BAGWELL, Director KURT WEILL Four Walt Whitman Songs Beat! Beat! Drums! Oh Captain! My Captain! Come up from the Fields, Father Dirge for Two Veterans EDWARD NELSON, Baritone FRANZ SCHREKER Vom ewigen Leben (From Eternal Life) ANGEL BLUE, Soprano Intermission RALPH VAUGHAN A Sea Symphony (Symphony No. 1) WILLIAMS I. A Song for All Seas, All Ships II. On the Beach at Night Alone III. The Waves IV. The Explorers ANGEL BLUE, Soprano EDWARD NELSON, Baritone BARD FESTIVAL CHORALE JAMES BAGWELL, Director This performance is dedicated to the memory of Susana Meyer, long-time artistic consultant of the American Symphony Orchestra, respected colleague and friend. This evening’s concert will run approximately 2 hours and 20 minutes including one 20-minute intermission. This program has been made possible due in part to the Kurt Weill Foundation for Music, Inc., New York, NY. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. FROM THE Music Director Whitman and Democracy comprehend the English of Shakespeare by Leon Botstein or even Jane Austen without some reflection. (Indeed, even the space Among the most arguably difficult of between one generation and the next literary enterprises is the art of transla- can be daunting.) But this is because tion. Vladimir Nabokov was obsessed language is a living thing. There is a about the matter; his complicated and decided family resemblance over time controversial views on the processes of within a language, but the differences transferring the sensibilities evoked by in usage and meaning and in rhetoric one language to another have them- and significance are always developing.
    [Show full text]
  • Musikalien Aus Dem Schönberg-Nachlaß / Printed Music from Schönberg’S Legacy
    Musikalien aus dem Schönberg-Nachlaß / Printed music from Schönberg’s legacy 1. "110 Wiener Lieder Und Tänze."[Wiener Lieder Und Tänze], ed.//ed.//Vorwort Carl Michael Ziehrer, Rudolf Kronegger, and Vincenz Chiavacci. Wiener Musik, Leipzig: Lyra-Verlag, [19--?]. Notes: 'Enthaltend: Schätze der Wiener Volksmusik aus alter und neuer Zeit weiters Kompositionen von Ascher, Eysler, Fall, Lehar, Reinhardt, Stolz, Strauss und Behrer.'--t.p. Songs for voice and piano ; dances for piano solo. Introduction p. [3-4]: Die Wiener Volksmusik / von Vincenz Chiavacci. Includes index. Annotation on p. 49. 2. "Der Kanon: Ein Singbuch Für Alle."[Der Kanon], ed.//Forward Fritz Jode, and Herman Reichenbach. 9.-10. Tausend der Gesamtausg., verb. Aufl ed. Freiheit Und Heil, Wolfenbüttel: Georg Kallmeyer Verlag, 1932. Notes: Forward by Hermann Reichenbach ; afterword by Fritz Jode. Contains canons by many different composers, for 2 to 10 voices, both sacred and secular. Includes indexes. Includes indexes. Annotation on p. 353 3. "Excelsior: 100 Musikalische Erfolge."[Excelsior], Wien: Universal-Edition, [19--?]. Notes: Each volume contains 'Ernste Musik' and 'Heitere Musik' by various composers, written for or arranged for either voice and piano or piano alone. Certain pieces underlined in table of contents in each vol. Correction of accidental in v. 2 on p. 200. Volume numbers written in pen on covers. 4. "Opera Overtures." Hampton Miniature Arrow Scores, v. 10. New York: E. B. Marks Music Corp., 1943. Notes: Four miniature score pages reproduced on each page (i.e. 361 p. reproduced on 96 p.) Contents: Mignon / Thomas -- Merry wives of Windsor / Nicolai -- Hansel and Gretel / Humperdinck -- Russlan and Ludmilla / Glinka -- The bartered bride / Smetana -- Die Fledermaus ; The gipsy baron / Strauss.
    [Show full text]
  • Dossier De Presse
    DOSSIER DE PRESSE 1 SOMMAIRE Edito ............................................................................................ p.3 Calendrier ..................................................................................... p.4 Prélude au festival ........................................................................... p.5 Résidence Oscar Bianchi 2015 .............................................................. p.5 Installation «le son installé» ............................................................... p.6 Installation «72 Impulse» .................................................................. p.7 Installation «Fantômes» ..................................................................... p.8 Installation «D’ore et d’espace» ........................................................... p.10 Installation «Un orchestre de papier» .................................................... p.11 Installation «Apertures» ................................................................... p.12 Entre chou et loup ........................................................................... p.14 Visages ......................................................................................... p.15 Un temps fort autour de l’orgue contemporain ......................................... p.17 Kevin Bowyer (Ecosse), 6 novembre ....................................................... p.17 Kevin Bowyer (Ecosse), 7 novembre ....................................................... p.20 Incline .........................................................................................
    [Show full text]