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FOR IMMEDIATE RELEASE Volume One of the Frederick Delius
FOR IMMEDIATE RELEASE Volume One of the Frederick Delius Songbook to be Released in the United States this September ASHFORD, CONNECTICUT (August 22, 2011) – In honor of the 150th anniversary of the birth of the great English composer Frederick Delius (1862-1934), The Complete Delius Songbook – Volume 1 will be released as a CD in the U.S. on September 13, 2011. This is the first volume in a two-volume series that will comprise the first-ever complete recording of all 61 surviving songs of Frederick Delius for voice and piano. This recording features baritone Mark Stone accompanied by Stephen Barlow on piano. Michael Maglaras of 217 Records is Executive Producer. Produced and released first in the United Kingdom on July 18, 2011 on the Stone Records label, and produced in association with 217 Records, this eventual two-volume journey through the Delius songbook will be a delight to listeners everywhere. Pictured: Stephen Barlow and Mark Stone. “We at 217 Records cannot imagine a finer exponent of the English art song than baritone Mark Stone. That he possesses a superb instrument is clear to everyone who knows his work. But he is also a singer of rare intelligence and refinement, and this recording bears his unmistakable stamp,” said Michael Maglaras. “Stephen Barlow is the logical successor to Gerald Moore. He is a great English pianist who brings not only gracious support to this undertaking, but helps create, in every song, an immediate sense of both the drama and the deeper meaning of Delius’s work.” Volume 1, which includes first-time recordings of five of these songs, features all of Delius’s songs to English and Norwegian texts, the latter being sung in English translation. -
In Concert AUGUST–SEPTEMBER 2012
ABOUT THE MUSIC GRIEG CONCERTO /IN CONCERT AUGUST–SEPTEMBER 2012 GRIEG CONCERTO 30 AUGUST–1 SEPTEMBER STEPHEN HOUGH PLAYS TCHAIKOVSKY 14, 15 AND 17 SEPTEMBER TCHAIKOVSKY’S PATHÉTIQUE 20–22 SEPTEMBER ENIGMA VARIATIONS 28 SEPTEMBER MEET YOUR MSO MUSICIANS: SYLVIA HOSKING AND MICHAEL PISANI PIERS LANE VISITS GRIEG’S BIRTHPLACE STEPHEN HOUGH ON TCHAIKOVSKY’S PIANO CONCERTO NO.2 SIR ANDREW DAVIS HAILS THE NEW HAMER HALL twitter.com/melbsymphony facebook.com/melbournesymphony IMAGE: SIR ANDREW Davis CONDUCTING THE MELBOURNE SYMPHONY ORCHESTRA Download our free app 1 from the MSO website. www.mso.com.au/msolearn THE SPONSORS PRINCIPAL PARTNER MSO AMBASSADOR Geoffrey Rush GOVERNMENT PARTNERS MAESTRO PARTNER CONCERTMASTER PARTNERS MSO POPS SERIES REGIONAL TOURING PRESENTING PARTNER PARTNER ASSOCIATE PARTNERS SUPPORTING PARTNERS MONASH SERIES PARTNER SUPPLIERS Kent Moving and Storage Quince’s Scenicruisers Melbourne Brass and Woodwind Nose to Tail WELCOME Ashton Raggatt McDougall, has (I urge you to read his reflections been reported all over the world. on Grieg’s Concerto on page 16) and Stephen Hough, and The program of music by Grieg conductors Andrew Litton and and his friend and champion HY Christopher Seaman, the last of Percy Grainger that I have the whom will be joined by two of the privilege to conduct from August finest brass soloists in the world, otograp 29 to September 1 will be a H P Radovan Vlatkovic (horn) and wonderful opportunity for you to ta S Øystein Baadsvik (tuba), for our O experience all the richness our C special Town Hall concert at the A “new” hall has to offer. -
Download Booklet
PROGRAMME NOTE While America’s culture of performance VIOLIN CONCERTOS inevitably turned to Europe for its models, it ROY HARRIS • JOHN ADAMS Among the enduring transformations that gradually gathered strands of American identity coursed through the United States in the – complete with works by native musicians – to decades following the Civil War, one stands set alongside classics by Handel, Mozart and proud in the history of the nation’s musical life. Beethoven and more recent scores from It concerns what the scholar and critic Joseph the Old World. The New York-born composer Horowitz calls the “culture of performance”, Edward MacDowell, for instance, directed his Concerto for Violin and Orchestra (1949) Roy Harris (1898-1979) the creation of civic institutions devoted to thoroughly European training in France and 1 Section One [8.46] the making of music and the rise of a new Germany to the intentional cultivation of a 2 Section Two [9.53] generation of American musicians determined distinct brand of musical nationalism, “a 3 Section Three [6.05] to build their own traditions of ‘classical music which should be American”, as he 4 Section Four [3.24] music’. The process was already in train put it. The nature of what ‘American’ meant, before the war in many east coast cities, as so often with debates about cultural Concerto for Violin & Orchestra (1993) John Adams (b. 1947) where orchestral and choral societies arose identity, varied according to perspective. Many 5 I – [15.51] to meet the needs of a growing middle-class Americans at -
Maurizio Pollini
REVISTA DE MÚSICA Año XX - Nº 196 - Abril 2005 - 6,30 DOSIER Don Quijote y la música Nº 196 - Abril 2005 SCHERZO ENTREVISTA Miguel Sánchez ENCUENTROS Ofelia Sala ACTUALIDAD Maurizio Pollini ANIVERSARIO Karl Amadeus Hartmann 9778402 134807 9100 6 AÑO XX Nº 196 Abril 2005 6,30 € 2 OPINIÓN Don Quijote y los libros de caballerías CON NOMBRE Arturo Reverter 118 PROPIO Un singular encuentro 6 Maurizio Pollini entre Falla y Cervantes Yvan Nommick 122 Carmelo di Gennaro La discoteca del hidalgo 10 AGENDA Juan Manuel Viana 126 18 ACTUALIDAD ENCUENTROS NACIONAL Ofelia Sala “Espero no perder nunca la 44 ACTUALIDAD capacidad de ilusionarme” 132 INTERNACIONAL Rafael Banús Irusta 60 ENTREVISTA ANIVERSARIO Miguel Sánchez Karl Amadeus Hartmann “No podríamos sentir la música Francisco Ramos 138 sin el concierto” EDUCACIÓN Juan Antonio Llorente Pedro Sarmiento 140 64 Discos del mes EL CANTAR DE LOS CANTARES SCHERZO DISCOS Arturo Reverter 142 65 Sumario JAZZ Pablo Sanz 144 DOSIER 113 Don Quijote y la música LIBROS 146 114 Música para unos papeles LA GUÍA 148 y cartapacios CONTRAPUNTO Alfonso de Vicente Norman Lebrecht 152 Colaboran en este número: Javier Alfaya, Daniel Álvarez Vázquez, Julio Andrade Malde, David Armendáriz Moreno, Rafael Banús Irusta, Alfredo Brotons Muñoz, José Antonio Cantón, José Luis Carles, Jacobo Cortines, Carmelo Di Gennaro, Giacomo Di Vittorio, Fernando Fraga, Joaquín García, José Antonio García y García, Mario Gerteis, José Guerrero Martín, Fernando Herrero, Leopoldo Hontañón, Bernd Hoppe, Paul Korenhof, Norman Lebrecht, Juan -
Sound out Loud Ensemble New Arts Venture Challenge Grant Proposal
Sound Out Loud Ensemble New Arts Venture Challenge Grant Proposal April 5, 2016 Satoko Hayami DMA Candidate in Collaborative Piano, School of Music Executive Summary History and Makeup of Sound Out Loud Sound Out Loud (SOL) is a new music ensemble that recently launched in Madison. SOL is comprised of 7 forwardlooking, classically trained musicians, which includes 2 pianists, 1 percussionist, 1 flutist, 1 clarinetist, 1 violinist and 1 cellist. The group is lead by pianists Satoko Hayami and Kyle Johnson, a percussionist Garrett Mendelow. Mission SOL’s mission is to create a growing circle of musicians and audiences to share the excitement of the innovative, contemporary language of newly/recently composed classical music through a series of creative concerts and presentations primarily in the city of Madison. SOL also commissions works of young upcoming composers to enrich the repertoire of the genre. SOL believes that progressive new classical music expands the audience’s existing perspectives of music, and therefore further enhances their appreciation toward music in general. SOL also understands that new music’s relatable contemporary language helps the audience reconnect with conventional classical music, as inherited by contemporary classical music. Through commitment to contemporary classical music, SOL’s hope is to cultivate a sense of freedom toward classical music as well as toward other aspects of life, without the limitation of a conventional concept of music. Method SOL thrives to present highenergy performances of dynamic programs which are intellectually and emotionally inspirational for a wide array of audiences (including both classical music lovers and non classical music lovers). -
Alexander Briger: What Makes a Conductor Is Personality
Alexander Briger: What Makes a Conductor is Personality The Australian conductor tells us about growing up in a musical clan, founding the Australian World Orchestra, and reducing the work load to better enjoy performances and time with his young family. by Jo Litson, 16 May 2019 The Australian conductor tells us about growing up in a musical clan, founding the Australian World Orchestra, and reducing the work load to better enjoy performances and time with his young family. Was there lots of music around you when you were growing up? Yeah, a lot. My mother was a ballet dancer. My uncle Alastair [Mackerras] who lived downstairs was the Headmaster of Sydney Grammar, and he would drive me to school. He was a classical music fanatic. He owned thousands and thousands of CDs, from A to Z, and he was so methodical about it. So, I learnt a hell of a lot of music. Alexander Briger. Photo © Cameron Grayson What instrument did you play? I played violin but I didn’t really take it all that seriously, I have to say. I was much more into aeroplanes, that sort of thing. My uncle was Charles Mackerras, although I didn’t really know him well, he didn’t live here. He would come home to conduct the Sydney Symphony or the opera occasionally. I remember when I was 12, I was taken to a concert that he gave, Mahler’s Fourth Symphony with the Sydney Symphony, and that was the first concert that I was allowed to go to. I remember just being completely blown away by it and that’s when I started to take music very seriously and to think about conducting. -
N E W S R E L E A
N E W S R E L E A S E Contacts: Michael Hogue 215.545.5451 x26 [email protected] FOR IMMEDIATE RELEASE DATE: November 14, 2016 The Chamber Orchestra of Philadelphia (COP) announces the appointment of Stephen Tavani as Concertmaster and Matthew Cohen as Section Violist. COP will feature the music of Rossini, Gounod, and new works by NJ native Raphael Fusco and star French-Lebanese pianist and composer Rami Khalifé. intersect series opens with a polystylistic exploration of exoticism in music - a collaboration between COP Music Director Dirk Brossé, Singer/Songwriter Andrew Lipke, and Rami Khalifé. A founding resident company of The Kimmel Center for the Performing Arts, The Chamber Orchestra of Philadelphia (COP) will perform music by Rossini and Gounod, premiere a new arrangement by New Jersey composer, Raphael Fusco and present the U.S. premiere of Stories for piano and orchestra by French-Lebanese pianist and rising-star composer Rami Khalifé. Raphael Fusco is no stranger to COP, having premiered Alternate Routes with saxophonist BranfordMarsalis and the Chamber Orchestra on Marsalis’ “Well-Tempered” tour during COP’s 2014/2015 season. “All the instruments share the original solo saxophone line,” Fusco explains about the newly arranged work, “resulting in a concerto for chamber orchestra.” Star Lebanese pianist, Rami Khalifé, described as “positively brand new” and “musician of extreme caliber” by the Daily Star (Lebanon), is making his Chamber Orchestra debut with the American Premiere of his work Stories for piano and orchestra. Khalifé describes Stories as “a series of soundscapes that stand alone just as resolutely as they bind together. -
Mozart and Brahms I Contents Welcome 1
Music to soothe your soul Mozartand Brahms 28 + 29 MAY 2021 CONCERT HALL, QPAC PROGRAM | MOZART AND BRAHMS I CONTENTS WELCOME 1 IF YOU'RE NEW TO THE ORCHESTRA 2 FOR YOUNGER EARS 4 DEFINTION OF TERMS 8 LISTENING GUIDE 10 ARTIST BIOGRAPHIES 14 SUPPORTING YOUR ORCHESTRA 24 MUSICIANS AND MANAGEMENT 26 II PROGRAM | MOZART AND BRAHMS WELCOME Today we are very privileged to welcome back to the QPAC stage one of the world's greatest oboists - Diana Doherty. The oboe is a notoriously tricky instrument with several parameters that make it hard to master, none more so than the temperamental double reed at the top. These are hand- made by the oboist from a weed similar to bamboo (Arundo Donax for those playing at home). There are but a handful of oboists in the world who are invited to perform as soloists outside of their country, and Diana is one of them. One of my first trips to see the Sydney Symphony Orchestra as a teenager was to witness Diana perform the Richard Strauss Oboe Concerto. I marvelled at her gloriously resonant oboe sound, especially as she was 37 weeks pregnant! Nearly a decade later I watched Diana premiere Ross Edwards' Oboe Concerto, dressed (as instructed by the composer) as a wild bird, whilst undertaking dance choreography. I can’t think of any other oboist in the world who can pull off these jaw-dropping feats. Today, Diana performs the most famous work from the oboe repertoire - Mozart's Oboe Concerto in C. Diana is one of those oboists who makes the instrument sound like a human voice, and I have no doubt that you will enjoy her breathtaking rendition of this charming yet virtuosic concerto. -
Now We Are 126! Highlights of Our 3 125Th Anniversary
Issue 5 School logo Sept 2006 Inside this issue: Recent Visits 2 Now We Are 126! Highlights of our 3 125th Anniversary Alumni profiles 4 School News 6 Recent News of 8 Former Students Messages from 9 Alumni Noticeboard 10 Fundraising 11 A lot can happen in 12 just one year In Memoriam 14 Forthcoming 16 Performances Kim Begley, Deborah Hawksley, Robert Hayward, Gweneth-Ann Jeffers, Ian Kennedy, Celeste Lazarenko, Louise Mott, Anne-Marie Owens, Rudolf Piernay, Sarah Redgwick, Tim Robinson, Victoria Simmons, Mark Stone, David Stout, Adrian Thompson and Julie Unwin (in alphabetical order) performing Serenade to Music by Ralph Vaughan Williams at the Guildhall on Founders’ Day, 27 September 2005 Since its founding in 1880, the Guildhall School has stood as a vibrant showcase for the City of London's commitment to education and the arts. To celebrate the School's 125th anniversary, an ambitious programme spanning 18 months of activity began in January 2005. British premières, international tours, special exhibits, key conferences, unique events and new publications have all played a part in the celebrations. The anniversary year has also seen a range of new and exciting partnerships, lectures and masterclasses, and several gala events have been hosted, featuring some of the Guildhall School's illustrious alumni. For details of the other highlights of the year, turn to page 3 Priority booking for members of the Guildhall Circle Members of the Guildhall Circle are able to book tickets, by post, prior to their going on sale to the public. Below are the priority booking dates for the Autumn productions (see back cover for further show information). -
EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES from The
EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES From the 19th Century To the Present A Discography Of CDs And LPs Prepared by Michael Herman Composers K-P MILOSLAV KABELÁČ (1908-1979, CZECH) Born in Prague. He studied composition at the Prague Conservatory under Karel Boleslav Jirák and conducting under Pavel Dedeček and at its Master School he studied the piano under Vilem Kurz. He then worked for Radio Prague as a conductor and one of its first music directors before becoming a professor of the Prague Conservatoy where he served for many years. He produced an extensive catalogue of orchestral, chamber, instrumental, vocal and choral works. Symphony No. 1 in D for Strings and Percussion, Op. 11 (1941–2) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 2, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 2 in C for Large Orchestra, Op. 15 (1942–6) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 3 in F major for Organ, Brass and Timpani, Op. 33 (1948-57) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 2, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Libor Pešek/Alena Veselá(organ)/Brass Harmonia ( + Kopelent: Il Canto Deli Augei and Fišer: 2 Piano Concerto) SUPRAPHON 1110 4144 (LP) (1988) Symphony No. 4 in A major, Op. 36 "Chamber" (1954-8) Marko Ivanovic/Czech Chamber Philharmonic Orchestra, Pardubice ( + Martin·: Oboe Concerto and Beethoven: Symphony No. 1) ARCO DIVA UP 0123 - 2 131 (2009) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos. -
BRITISH and COMMONWEALTH CONCERTOS from the NINETEENTH CENTURY to the PRESENT Sir Edward Elgar
BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Sir Edward Elgar (1857-1934) Born in Broadheath, Worcestershire, Elgar was the son of a music shop owner and received only private musical instruction. Despite this he is arguably England’s greatest composer some of whose orchestral music has traveled around the world more than any of his compatriots. In addition to the Conceros, his 3 Symphonies and Enigma Variations are his other orchestral masterpieces. His many other works for orchestra, including the Pomp and Circumstance Marches, Falstaff and Cockaigne Overture have been recorded numerous times. He was appointed Master of the King’s Musick in 1924. Piano Concerto (arranged by Robert Walker from sketches, drafts and recordings) (1913/2004) David Owen Norris (piano)/David Lloyd-Jones/BBC Concert Orchestra ( + Four Songs {orch. Haydn Wood}, Adieu, So Many True Princesses, Spanish Serenade, The Immortal Legions and Collins: Elegy in Memory of Edward Elgar) DUTTON EPOCH CDLX 7148 (2005) Violin Concerto in B minor, Op. 61 (1909-10) Salvatore Accardo (violin)/Richard Hickox/London Symphony Orchestra ( + Walton: Violin Concerto) BRILLIANT CLASSICS 9173 (2010) (original CD release: COLLINS CLASSICS COL 1338-2) (1992) Hugh Bean (violin)/Sir Charles Groves/Royal Liverpool Philharmonic Orchestra ( + Violin Sonata, Piano Quintet, String Quartet, Concert Allegro and Serenade) CLASSICS FOR PLEASURE CDCFP 585908-2 (2 CDs) (2004) (original LP release: HMV ASD2883) (1973) -
Państwowy Zespół Ludowy Pieśni I Tańca „Mazowsze"
Państwowy Zespół Ludowy Pieśni i Tańca „Mazowsze" https://www.mazowsze.waw.pl/pl/o-nas/aktualnosci/1530,Jerzy-Maksymiuk-Mistrzowskie-Interpretacje-sylwetki-art ystow.html 2021-09-25, 18:11 „Jerzy Maksymiuk – PróbaPróba OrkiestryOrkiestry zz MaestroMaestro PróbaPróba OrkiestryOrkiestry zz MaestroMaestro Mistrzowskie JerzymJerzym MaksymiukiemMaksymiukiem JerzymJerzym MaksymiukiemMaksymiukiem ii Interpretacje” JuliąJulią WrońskąWrońską – sylwetki artystów JerzyJerzy MaksymiukMaksymiuk JerzyJerzy MaksymiukMaksymiuk ii JuliaJulia WrońskaWrońska Jerzy Maksymiuk PróbaPróba orkiestryorkiestry symfonicznejsymfonicznej "Mazowsza""Mazowsza" JerzyJerzy MaksymiukMaksymiuk Urodził się 9 kwietnia 1936 roku w Grodnie. Studia wyższe ukończył z trzema dyplomami – z kompozycji (1962), fortepianu (1964) i dyrygentury (1969). Jest laureatem wielu konkursów muzycznych: Ogólnopolskiego Konkursu Pianistycznego im. Ignacego Jana Paderewskiego w Bydgoszczy (1961, I nagroda), Ogólnopolskiego Konkursu Improwizatorskiego w Katowicach (1962, I nagroda), Konkursu Kompozytorskiego im. Artura Malawskiego w Krakowie oraz Konkursu Kompozytorskiego im. Grzegorza Fitelberga w Katowicach. W 1972 stanął na czele zespołu wyłonionego z Warszawskiej Opery Kameralnej, który, od 1973 pod nazwą Polska Orkiestra Kameralna, zyskał międzynarodowy rozgłos. W 1973 rozpoczął współpracę z Wielką Orkiestrą Symfoniczną Polskiego Radia, z którą koncertował m.in. w Austrii, a w 1974 i 1976 – w Stanach Zjednoczonych. W latach 1975-77 stał na jej czele jako pierwszy dyrygent i kierownik artystyczny.