DOCSLIB.ORG

30 Let Glasbe 30 Years of Music

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
30 Let Glasbe 30 Years of Music 30. SLOVENSKI GLASBENI DNEVI THE 30TH SLOVENIAN MUSIC DAYS Ljubljana 13.–17. 3. 2015 30 LET GLASBE 30 YEARS OF MUSIC 30. Slovenski glasbeni dnevi 30th Slovenian Music Days 2015 SLOVENSKI GLASBENI DNEVI – 30 let Glasbe SLOVENIAN MUSIC DAYS – 30 years of Music Ljubljana 13.–17. 3. 2015 Koncerti, delavnica in drugi dogodki Concerts, workshop and other events Mednarodni muzikološki simpozij International Musicological Symposium Programski odbor 30. Slovenskih glasbenih dnevov: Programme Committee of the 30th Slovenian Music Days: Zunanji člani / External Members: Damjan Damjanovič, Nenad Firšt, dr. Primož Kuret, dr. Jernej Weiss, Patrik Greblo, Maja Kojc, Matej Venier, Snježana Drevenšek Festival Ljubljana / Ljubljana Festival: Darko Brlek Organizacija / Organisation: FESTIVAL LJUBLJANA Trg francoske revolucije 1 1000 Ljubljana, Slovenija Tel. / Phone: +386 1 / 241 60 00 Faks / Fax: +386 1 / 241 60 37 [email protected] www.ljubljanafestival.si Umetniški vodja in direktor / Artistic and Managing Director DARKO BRLEK Vodja muzikološkega simpozija / Head of the Musicological Symposium Prof. dr. PRIMOŽ KURET VSEBINA / CONTENTS UREDNIKOVO POROČILO ...................................................................................................16 UVODNI NAGOVOR .............................................................................................................17 PRIMOŽ KURET OB TRIDESETIH SLOVENSKIH GLASBENIH DNEVIH ........................................................18 JERNEJ WEISS TRI DESETLETJA MUZIKOLOšKEGA SIMPOZIJA SLOVENSKIH GLASBENIH DNEVOV ...............................................................................................................................21 NATAšA CIGOJ KRSTULOVIć PRVI SLOVENSKI GLASBENI FESTIVAL (1932) – PRVA AFIRMACIJA SLOVENSKE GLASBE? .............................................................................................................................28 FRANC KRIŽNAR FILHARMONIČNA DRUŽBA V LUČI JUBILEJNE-250. SEZONE SLOVENSKE FILHARMONIJE UPRAVNIKA LUCIJANA MARIJE šKERJANCA ........................................37 HELMUT LOOS ZUR MUSIKANSCHAUUNG DES LIEDERKOMPONISTEN JUSTUS HERMANN WETZEL (1879–1973) ..........................................................................................................49 LUBA KIJANOVSKA, MICHAEL SCHWED GEGENWÄRTIGE FESTE FÜR MODERNE MUSIK IN DER UKRAINE ALS DER WEG ZU EUROPÄISCHEN KÜNSTLERISCHEN INTEGRATION .........................................56 FRANZ METZ FASZINATION SÜDOSTEUROPÄISCHE MUSIKFORSCHUNG. WECHSELBEZIEHUNGEN ZWISCHEN DER REGIONALEN UND UNIVERSELLEN MUSIKHISTORIOGRAPHIE ..................................................................................................67 NIALL O’LOUGHLIN THE RECENT DEVELOPMENT OF THE SLOVENE MUSICAL AVANT-GARDE ..................77 LUIGI VERDI CAN THE SAME MUSIC BE WRITTEN BY DIFFERENT COMPOSERS? A STRANGE CASE: VITTORIO GNECCHI’S CASSANDRA VERSUS RICHARD STRAUSS’S ELEKTRA .........................................................................................................92 EDO šKULJ GALLUS NA SLOVENSKIH GLASBENIH DNEVIH ...............................................................96 HARTMUT KRONES DIE DARSTELLUNG DER LIEBE IN DEN WELTLICHEN VOKALWERKEN VON JACOBUS GALLUS ............................................................................................................103 FRIEDHELM BRUSNIAK JACOBUS HANDL-GALLUS AUS SICHT DER CHORPÄDAGOGIK ..................................119 FRANK SCHNEIDER HISTORISCHE ZEIT ALS GEGENSTAND KOMPOSITORISCHER DARSTELLUNG ..........126 IVAN FLORJANC BALTAZAR IZ MOZIRJA MEERSBURšKI / BALTHASSER PRASPERGIJ MERSPURGEñ – NEZNANI GLASBENI TEORETIK ...........................................................132 DARJA KOTER GLASBENIK IN TEHNIK LADISLAV ROPAS – OD IZDELOVANJA KLAVIRJA DO JADRALNEGA LETALA ......................................................................................................146 LUISA ANTONI PAVLE MERKÙ, NJEGOVA POSEBNA IN SAMOSVOJA POT MED ITALIJO IN JUGOSLAVIJO (PREJ) TER SLOVENIJO (POTEM) ............................................................155 LEON STEFANIJA PROSTOR IN ČAS V GLASBI UROšA ROJKA ..................................................................160 NADA BEZIć PRISOTNOST SLOVENSKE GLASBE IN UMETNIKOV NA FESTIVALIH NA HRVAšKEM PO OSAMOSVOJITVI HRVAšKE (1991–2013) ..............................................167 PETER ANDRASCHKE KOMPOSITIONSPROZESS UND ANALYSE: ARNOLD SCHÖNBERGS MELODRAM NACHT OP. 21 NR. 8 ....................................................................................180 ANDREJ MISSON OB TRIDESETLETNICI, KRATEK PREGLED MINULE TRETJINE STOLETJA ZBOROVSTVA NA SLOVENSKEM .....................................................................................196 MICHAEL WALTER MATERIALITÄTEN DER MUSIKGESCHICHTE: DIE REISEN VON SÄNGERN UND KOMPONISTEN .................................................................................................................217 GABRIELE JONTÉ GUSTAV MAHLER IN AMSTERDAM..................................................................................226 TJAšA RIBIZEL PREGLED IZVEDENIH SKLADB V 30 LETIH SLOVENSKIH GLASBENIH DNI ..................233 GLASBENI DOGODKI / MUSIC EVENTS 13. marec March 13th 18.00 Predkoncertni pogovor / Pre-concert discussion Moderator: Primož Trdan Sodelujejo / Attended: Vito Žuraj, skladatelj / composer Roland Diry, direktor / chief manager Ensemble Modern 19.30 Cankarjev dom, Gallusova dvorana / Cankarjev dom, Gallus hall Otvoritveni koncert 30. Slovenskih glasbenih dni Opening Concert of the 30th Slovenian Music Days Simfonični orkester RTV Slovenija / The RTV Slovenia Symphony Orchestra Ensemble Modern Dirigent / Conductor: Johannes Kalitzke Na sporedu / Programme Vito Žuraj (1979): Runaround za trobilni kvartet in instrumentalne skupine / Runaround for brass quartet and instrumental groups (2014)* Arnold Schönberg (1874-1951): Pet orkestrskih skladb op.16, izvirna verzija za veliki orkester / Five pieces for orchestra, op.16, original version for full orchestra (1909) Arnold Schönberg: Pet orkestrskih skladb op.16, skladateljeva priredba za komorni orkester (1920) / Five pieces for orchestra op.16, composer's adaptation for chamber orchestra (1920) Vito Žuraj: Changeover za instrumentalne skupine in simfonični orkester / Changeover, for instrumental groups and symphony orchestra (2011)* *Slovenska krstna izvedba / Slovenian premiere Promocija knjige Musica et artes (ur. J. Vinkler in J. Weiss) / Promotion of the book Musica et artes (editors: J. Vinkler and J. Weiss) 9 14. marec March 14 th 19.30 Slovenska filharmonija, dvorana Marjana Kozine / Slovenian Philharmonic, Marjan Kozina Hall NU PUJTE, PUJTE VSI LJUDJE! SLOVENSKA SAKRALNA GLASBA / SLOVENIAN SACRAL MUSIC Slovenski komorni zbor / Slovenian chamber choir Dirigentka / Conductor: Helena Fojkar Zupančič Solisti / Soloists: Monika Fele, Mateja Langus, Katarina Lenarčič, sopran / soprano Darja Vevoda, alt / alto Martin Logar, Gašper Banovec, tenor / tenor Matevž Kink, bariton / baritone Matija Bizjan, Tadej Osvald, bas / bass Igor škerjanc, violončelo continuo / cello continuo Tomaž Sevšek šramel, orgle / organ Orkester Slovenske filharmonije / Slovenian Philharmonic Orchestra Na sporedu / Programme Harm. / Accord. Ivan Florjanc (1950): Predigra in koral – Praeambulum, koralna fuga in koral Nu pujte, pujte vsi ljudje (2001/2005) / Prelude and chorale – Praeambulum, chorale fugue and chorale Nu pujte, pujte vsi ljudje (2001/2005) (Prva slovenska z notami objavljena pesem / First Slovenian song published with notes) Adam Bohorič (1520-1598): Ena otročja pejsen Ta celi catehismus (harm. / accord.Ivan Florjanc): Sledni človik, ki je živ Jakob Petelin Gallus (1550-1591): Pater Noster, OM 1/69 Janez Krstnik Dolar (1621-1673): Nisi Dominus – Ps 127 Jakob Frančišek Zupan (1734-1810): Te Deum laudamus Ivan Florjanc: Marija, Mati ljubljena / Mary, Mother of love (Besedilo / Text: Andrej Praprotnik) Gregor Rihar (1796-1863): Zveličar nam je rojen zdaj / Our Saviour is Born (Besedilo / Text: Blaž Potočnik) p. Hugolin Sattner (1851-1934): Marija, če gledam tvoj mili obraz / Mary, if I look at your gentle face (Besedilo / Text: s. Elizabeta Kremžar) Emil Hrochreiter (1871-1938): Smeji se maj / May Smiles France Kimovec (1878-1964): Ti sam, Gospod / You Alone, Lord (Besedilo / Text: Gregorij Pečjak) Stanko Premrl (1880-1965): Zdrava Marija Jožef Klemenčič (1892-1969): Poglejte dušo, grob odprt / Look Souls, an Open Grave (Besedilo / Text: Anton Martin Slomšek) Slavko Osterc (1895-1941): Očenaš / Our Father ( Priredba besedila / Arranged text: Rajko Nahtigal) Alojzij Mav (1898-1977): Tiste dni, Raz 14, 13 / Those Days, Revelation 14, 13 Matija Tomc (1899-1986): Ave, Jezus / Ave, Jesus (Besedilo / Text: Gregor Mali) 10 Primož Ramovš (1921-1999): Otče naš / Our Father Uroš Krek (1922-2008): Desiderium exulis, Ps 42 Maks Strmčnik (1948): Kristus Kralj vseh večnih časov / Christ, King of All Eternity (Besedilo / Text: Venčeslav Bele) Andrej Misson (1960): Ave Maris stella Ambrož Čopi (1973): Ave Maria Damijan Močnik (1967): Sacra religio (Besedilo / Text: A. M. Slomšek) 15. marec March 15th 11.00 Slovenska filharmonija, dvorana Marjana Kozine / Slovenian Philharmonic, Marjan Kozina Hall STARO IN NOVEJšE / OLD AND NEWER Komorni godalni orkester Slovenske filharmonije / The Slovenian Philharmonic String Chamber Orchestra Na sporedu / Programme Janez Krstnik Dolar (1621-1673): Baletti à 5 František Josef Benedikt Dusík (1765 – 1817): Simphonia Grande in G, št.2 / Symphony
Load more

Recommended publications
  • Introduction to Life and Output of Johann Baptist Schiedermayr1
    Kwartalnik Młodych Muzykologów UJ No. 37 (2/2018), pp. 63–100 DOI 10.4467/23537094KMMUJ.18.022.9166 www.ejournals.eu/kmmuj Jolanta Bujas Jagiellonian University in Kraków Introduction to Life and Output of Johann Baptist Schiedermayr1 Abstract Although nowadays the output of Johann Baptist Schiedermayr is almost completely forgotten, in the 19th century the composer was widely re­ cognized as an author of both sacred and secular music. His compositions were performed mostly in Central Europe, but it should be underlined that the preserved manuscripts display an impressive area in which he must have been known. There are thousands preserved sources that confirm his popularity in the past; therefore, it is disturbing as well as intriguing that Schiedermayr is usually overlooked by scholars investigating music of the early 19th century. In my paper, I present life of the composer, in­ cluding existing literature that concerns this topic, and I make an attempt to reconstruct his output as hitherto no one have done it. It appears that 1 The article was written based on the fragment of the BA thesis titled Johann Baptist Schiedermayr—“Requiem in E flat major”. Analysis and critical edition, written under the guidance of dr Maciej Jochymczyk and defended at the Jagiellonian University in July 2017. In the following article its biographic part has been pre- sented. 63 Kwartalnik Młodych Muzykologów UJ, No. 37 (2/2018) Johann Baptist Schiedermayr was well­educated and played a crucial role in the musical life of Linz at his time. Besides his achievements as a musician, conductor and teacher, he composed a vast variety of musical pieces, although he focused mostly on church music.
    [Show full text]
  • Beethoven Aus Der Sicht Seiner Zeitgenossen in Tagebüchern, Briefen, Gedichten Und Erinnerungen
    Beethoven aus der Sicht seiner Zeitgenossen in Tagebüchern, Briefen, Gedichten und Erinnerungen Band 1 Adamberger – Kuffner Herausgegeben von Klaus Martin Kopitz und Rainer Cadenbach unter Mitarbeit von Oliver Korte und Nancy Tanneberger G. Henle Verlag · München BBBr_BandBr_Band 11.indb.indb 3 009.06.20099.06.2009 14:13:1914:13:19 UhrUhr In Erinnerung an Harry Goldschmidt (1910 –1986) Beethoven-Forschungsstelle an der Universität der Künste Berlin Leitung: Rainer Cadenbach (†) Wissenschaftliche Mitarbeit: Klaus Martin Kopitz Oliver Korte · Nancy Tanneberger Zusätzliche Recherchen: Rita Steblin · Juliane Seger Übersetzungen: Beate Angelika Kraus (Französisch) · Hélène Pintier (Französisch) Reinhold Giering-Jaensch (Schwedisch) · Marion Lyschik (Dänisch) Ivan Svašek (Tschechisch) · Alexa van ’t Hoff (Niederländisch) Józef Németh (Ungarisch) Korrektorat: Rebekka Hüttmann Register: Elias Freudenreich · Hemma Jäger · Henning Wehmeyer · Sandra Wiesner Gefördert mit Mitteln der Deutschen Forschungsgemeinschaft Weitere Unterstützung: Universität der Künste Berlin · Kulturfonds der VG Musikedition · Beethovenstiftung für Kunst und Kultur der Bundesstadt Bonn · Landschaftsverband Rheinland Alle Rechte, besonders der Übersetzung, vorbehalten © 2009 G. Henle Verlag, München Satz: Grafi k & Layout Professionell, München Druck: freiburger graphische betriebe, Freiburg i. Br. ISMN 979-02018-2616-5 · ISBN 978-3-87328-120-2 Printed in Germany BBBr_BandBr_Band 11.indb.indb 4 009.06.20099.06.2009 14:13:1914:13:19 UhrUhr Inhalt Band 1 Heinrich Börnstein
    [Show full text]
  • Saint-Lubin US 3/3/09 11:09 AM Page 5
    572019 bk Saint-Lubin US 3/3/09 11:09 AM Page 5 Anastasia Khitruk Elizaveta Kopelman Grammy nominated violinist Anastasia Khitruk was born in Elizaveta Kopelman was born into a family of musicians in Moscow into a musical and artistic family. After emigrating to Moscow, where she began her studies at the Central Music School the United States, she attended Mannes and the Juilliard with Dina Parachina. After moving to England, she continued her School, studying with Dora Schwartzberg, Zinaida Gilels and studies with Arnaldo Cohen at the Royal Northern College in Dorothy DeLay. After her orchestral de´but at the age of eight, Manchester, where she won numerous awards, including the Le´on de she went on to perform with orchestras and in recital Young Concert Artists Trust Competition in London. Since then, throughout Europe and the United States. A laureate of several she has appeared as a soloist throughout the United Kingdom, international competitions, including the Premio Paganini, she Europe, the United States, and South America, with appearances at SAINT- has appeared under the baton of conductors such as Hannu the Wigmore Hall, Barbican Centre, Queen Elizabeth Hall, Royal Lintu, Claude Bardon, Saulis Sondeckis, Dmitry Yablonsky, Festival Hall, Alice Tully Hall, and Bridgewater Hall. She has Mats Liljefors, and Constantine Orbelian. Her chamber music performed with such orchestras as the Iceland Symphony, London LUBIN career includes collaborations with pianists David Korevaar Chamber Orchestra, the London Philharmonic, and the New York and Valery Afanassiev, cellists Boris Andrianov and Sergey Chamber Symphony. Her active chamber music career includes Antonov, and violinists Mark Peskanov and Alexandre collaborations with the Leopold String Trio, Ying Quartet, Jupiter Brussilovsky.
    [Show full text]
  • English Translation of the German by Tom Hammond
    Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p.
    [Show full text]
  • The University of Chicago Objects of Veneration
    THE UNIVERSITY OF CHICAGO OBJECTS OF VENERATION: MUSIC AND MATERIALITY IN THE COMPOSER-CULTS OF GERMANY AND AUSTRIA, 1870-1930 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY ABIGAIL FINE CHICAGO, ILLINOIS AUGUST 2017 © Copyright Abigail Fine 2017 All rights reserved ii TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES.................................................................. v LIST OF FIGURES.......................................................................................... vi LIST OF TABLES............................................................................................ ix ACKNOWLEDGEMENTS............................................................................. x ABSTRACT....................................................................................................... xiii INTRODUCTION........................................................................................................ 1 CHAPTER 1: Beethoven’s Death and the Physiognomy of Late Style Introduction..................................................................................................... 41 Part I: Material Reception Beethoven’s (Death) Mask............................................................................. 50 The Cult of the Face........................................................................................ 67 Part II: Musical Reception Musical Physiognomies...............................................................................
    [Show full text]
  • Premio Corso Salani 2015
    il principale appuntamento italiano con il cinema dell’Europa centro orientale un progetto di Alpe Adria Cinema Alpe Adria Cinema 26a edizione piazza Duca degli Abruzzi 3 sala Tripcovich / teatro Miela 34132 Trieste / Italia 16-22 gennaio 2015 tel. +39 040 34 76 076 fax +39 040 66 23 38 [email protected] con il patrocinio di www.triesteflmfestival.it Comune di Trieste twitter.com/TriesteFilmFest Direzione Generale per il Cinema – facebook.com/TriesteFilmFest Ministero dei Beni e delle Attività Culturali e del Turismo con il contributo di Regione Autonoma Friuli Venezia Giulia Creative Europe – MEDIA Programme CEI – Central European Initiative Provincia di Trieste Comune di Trieste Direzione Generale per il Cinema – Ministero dei Beni e delle Attività Culturali e del Turismo CCIAA – Camera di Commercio di Trieste con il sostegno di Lux Film Prize Istituto Polacco – Roma con la collaborazione di Fondazione Teatro Lirico Giuseppe Verdi – Trieste Fondo Audiovisivo FVG Associazione Casa del Cinema di Trieste La Cappella Underground FVG Film Commission Eye on Films Associazione Culturale Mattador Associazione Corso Salani Centro Ceco di Milano media partner mymovies.it media coverage by Sky Arte HD direzione artistica promozione, coordinamento volontari biglietteria Annamaria Percavassi e direzione di sala Rossella Mestroni, Alessandra Lama Fabrizio Grosoli Patrizia Pepi Gioffrè desk accrediti presidente comunicazione, progetto grafco Ambra De Nobili organizzazione generale immagine coordinata e allestimenti Cristina Sain Claimax -immagina.organizza.comunica-
    [Show full text]
  • Masterarbeit / Master´S Thesis
    MASTERARBEIT / MASTER´S THESIS Titel der Masterarbeit / Title of the Master´s Thesis „Beyond Late Josephinism: Josephinian Influences and the Commemoration of Emperor Joseph II in the Austrian Kulturkampf (1861-1874)“ verfasst von / submitted by Christos Aliprantis angestrebter akademischer Grad / in partial fulfilment of the requirements for the degree of Master of Arts (MA) Wien, 2015 / Vienna 2015 Studienkennzahl lt. Studienblatt / A 066 803 degree programme code as it appears on the student record sheet: Studienrichtung lt. Studienblatt / Masterstudium Geschichte UG2002 degree programme as it appears on the student record sheet: Betreut von / Supervisor: ao. Univ.-Prof. Dr. Lothar Höbelt For my parents and brother 1 TABLE OF CONTENTS ___________ ACKNOWLEDGMENTS (4) PROLOGUE: I. The Academic Interest on Josephinism: Strenghtenes and Lacunas of the Existing Literature (6) II. Conceptual Issues, Aims, Temporal and Spatial Limits of the Current Study (10) CHAPTER 1: Josephinism and the Afterlife of Joseph II in the early Kulturkampf Era (1861-1863) I. The Afterlife of Joseph II and Josephinism in 1848: Liberal, Conservative and Cleri- cal Interpretations. (15) II. The Downfall of Ecclesiastical Josephinism in Neoabsolutism: the Concordat and the Suppressed pro-Josephinian Reaction against it. (19) III. 1861: The Dawn of a New Era and the Intensified Public Criticism against the Con- cordat. (23) IV. From the 1781 Patent of Tolerance to the 1861 Protestant Patent: The Perception of the Josephinian Policy of Confessional Tolerance. (24) V. History Wars and Josephinism: Political Pamphelts, Popular Apologists and Acade- mic Historiography on Joseph II (1862-1863). (27) CHAPTER 2: Josephinism and the Afterlife of Joseph II during the Struggle for the Confessional Legislation of May 1868 I.
    [Show full text]
  • 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.
    [Show full text]
  • Kunstbericht 2011 Kunstbericht
    Kunstbericht-2011-FX.indd 1 Kunstbericht 2011 Kunstbericht 06.06.12 08:14 2011 Kunstbericht 2011 Bericht über die Kunstförderung des Bundes Struktur der Ausgaben Förderungen im Detail Service Glossar zur Kunstförderung Impressum Herausgeber Bundesministerium für Unterricht, Kunst und Kultur, Kunstsektion, 1010 Wien, Minoritenplatz 5 Redaktion Alexandra Auth, Herbert Hofreither, Robert Stocker Cover Christina Brandauer Grafische Gestaltung, Satz, Herstellung Peter Sachartschenko Herstellung Druckerei Berger, Horn Inhalt Vorwort Seite 5 I Struktur der Ausgaben Seite 7 II Förderungen im Detail Seite 81 III Service Seite 139 IV Glossar zur Kunstförderung Seite 263 V Register Seite 297 Kunstbericht 2011 5 Vorwort Der Kunstbericht 2011 ist mehr als nur ein Geschäftsbericht. Er stellt nicht nur transpa- rent Zahlen und Fakten dar, er zeigt vor allem die Bandbreite der Kunstförderung und den Erfolg des künstlerischen Schaffens in der Literatur, am Theater, in der Musik, im Film, in der bildenden Kunst sowie die Arbeit der regionalen Kulturinstitutionen. Gemeinsam können wir auf ein gutes Jahr für die Kunst zurückblicken: nationale und internationale Preise für den österreichischen Film, die Umsetzung der Kinodigitalisie- rung für die Programmkinos, ein vielbeachteter Beitrag Österreichs bei der Kunstbiennale in Venedig, weitere Stärkung des zeitgenössischen Kunstschaffens und die nachhaltige © Hans Ringhofer Umsetzung der Nachwuchsförderung und Kulturvermittlung. Um eine kontinuierliche Tätigkeit zu ermöglichen, bedarf es eines stabilen Budgets. Trotz der Konsolidierung des Staatshaushaltes, die zu Kürzungen in einigen Ressorts geführt hat, ist es uns im Bereich der Kunst und Kultur gelungen, die Budgets und die Ausgaben stabil zu halten. Darin drückt sich das klare Bekenntnis zur Verantwortung des Staates für die Förderung von Kunst aus.
    [Show full text]
  • Staatskapelle Dresden
    Staatskapelle Dresden Staatskapelle Dresden Matthias Claudi PR und Marketing Theaterplatz 2 Christian Thielemann, Principal Conductor 01067 Dresden Germany Myung-Whun Chung, Principal Guest Conductor T 0351 4911 380 herberb Blomstedt, Conductor Laureate F 0351 4911 328 [email protected] Founded by Prince Elector Moritz von Sachsen in 1548, the Staatskapelle Dresden is one of the oldest orchestras in the world and steeped in tradition. Over its long history many distinguished conductors and internationally celebrated instrumentalists have left their mark on this onetime court orchestra. Previous directors include Heinrich Schütz, Johann Adolf Hasse, Carl Maria von Weber and Richard Wagner, who called the ensemble his »miraculous harp«. The list of prominent conductors of the last 100 years includes Ernst von Schuch, Fritz Reiner, Fritz Busch, Karl Böhm, Joseph Keilberth, Rudolf Kempe, Otmar Suitner, Kurt Sanderling, Herbert Blomstedt and Giuseppe Sinopoli. The orchestra was directed by Bernard Haitink from 2002-2004 and most recently by Fabio Luisi from 2007-2010. Principal Conductor since the 2012 / 2013 season has been Christian Thielemann. In May 2016 the former Principal Conductor Herbert Blomstedt received the title Conductor Laureate. This title has only been awarded to Sir Colin Davis before, who held it from 1990 until his death in April 2013. Myung-Whun Chung has been Principal Guest Conductor since the 2012 / 2013 season. Richard Strauss and the Staatskapelle were closely linked for more than sixty years. Nine of the composer’s operas were premiered in Dresden, including »Salome«, »Elektra« and »Der Rosenkavalier«, while Strauss’s »Alpine Symphony« was dedicated to the orchestra. Countless other famous composers have written works either dedicated to the orchestra or first performed in Dresden.
    [Show full text]
  • IN FOCUS Music As Light, Bread and Life Editorial Photo: Mateja Jordovič Potočnik Moscow 2320 Km Slovenian Information
    September-October Images from Slovenia IN FOCUS Music as light, bread and life EDITORIAL Photo: Mateja Jordovič Potočnik Jordovič Mateja Photo: Moscow 2320 km SLOVENIAN INFORMATION London www.slovenia.si Berlin www.ukom.gov.si 1550 km 990 km “WITHOUT MUSIC, LIFE Vienna Published by Paris Government Communication Office WOULD BE A MISTAKE …” 380 km 1250 km Editor-in-Chief Nataša Bušljeta, M.Sc. … as philosopher Friedrich Nietzsche once said. For many, music is a higher revelation than LJUBLJANA Belgrade Executive Editor all wisdom and philosophy together – a touch of something unutterable, holy, and divine. Vesna Žarkovič Without it, and without art, society would be a barbarian one, of ignorant, superstitious and 540 km easily steerable limited people. It expands horizons and supports a different perspective. Editorial Board Music has set countless lives on to the right path, has helped preserve llife itself, and Danila Golob, Brigita Juhart, Uroš Mahkovec, Danila Mašić, Polona Prešeren, has spread light wherever it is heard. Ever since humans exist, music exists too. It’s like Livija Kovač Kostantinovič photography – it captures moments of eternity, something of importance, something that Madrid Ankara is born inside and wants to come out. With it, we are all connected, anybody can create it, Design and anybody can admire it. 2060 km Rome 1940 km Irena Kogoj By thinking of the importance of music, we want to revive the memory of the recently Photo Editor 760 km deceased Slavko Avsenik, who certainly invented our feeling of joy toward life and love for Bojan Pernek the homeland in a musical sense.
    [Show full text]
  • Musikgeschichte in Mittel- Und Osteuropa
    Musikgeschichte in Mittel- und Osteuropa Musikgeschichte in Mittel- und Osteuropa Mitteilungen der internationalen Arbeitsgemeinschaft an der Universit¨at Leipzig Heft 10 in Zusammenarbeit mit den Mitgliedern der internationalen Arbeitsgemeinschaft fur¨ die Musikgeschichte in Mittel- und Osteuropa an der Universit¨at Leipzig herausgegeben von Helmut Loos und Eberhard M¨oller Redaktion Hildegard Mannheims Gudrun Schr¨oder Verlag Leipzig 2005 Gedruckt mit Unterstutzung¨ des Beauftragten der Bundesregierung fur¨ Angelegenheiten der Kultur und der Medien c 2005 by Gudrun Schr¨oder Verlag, Leipzig Redaktion und Satz: Hildegard Mannheims Kooperation: Rhytmos Verlag, PL 61-606 Pozna´n,Grochmalickiego 35/1 Alle Rechte, Nachdruck, auch auszugsweise, nur mit ausdrucklicher¨ Genehmigung des Verlags. Printed in Poland ISBN 3-926196-45-9 Inhaltsverzeichnis Vorwort . IX Briefkorrespondenzen Vladimir Gurewitsch Der Briefwechsel von Jacob von St¨ahlin . 1 Urve Lippus Elmar Arro's letters to Karl Leichter . 12 Vita Lindenberg J^azeps V^ıtols (Wihtol) Briefe aus Riga, Lub¨ eck und Danzig an Irena, Narvaite (1940{1947) . 22 Jur¯ ate_ Burokaite_ Briefe von Mikalojus Konstantinas Ciurlionisˇ und ande- ren Musikern aus Leipzig nach Litauen (1901{1924) . 27 Ma lgorzata Janicka-S lysz The Letters of Grazyna_ Bacewicz and Vytautas Bace- viˇcius . 32 Ma lgorzata Perkowska-Waszek The letters of Ignacy Jan Paderewski as a source of knowledge concerning cultural relationships in Europe . 43 Karol Bula Gregor Fitelbergs Korrespondenz aus den Jahren 1945 bis 1953 . 57 Jelena Sinkewitsch Das Leipziger Konservatorium in den Briefen von My- kola Witalijowytsch Lyssenko (1867{1869) . 63 Luba Kyyanovska Die Briefe von Vasyl Barvins'kyj aus Prag als Spiegel des Musiklebens vor dem Ersten Weltkrieg (1905{1914) 72 Marianna Kopitsa Die neuen quellenkundlichen Studien in der Ukraine im Spiegel des epistolaren Erbes von Reinhold Glier und Boris Lyatoschinski .
    [Show full text]