Sabato 11 Giugno 2016
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Diszkográfia Az Első Kötethez
© Typotex Kiadó Diszkográfia az első kötethez Janet Baker: Full Circle Her last year in Opera Gluck: Alceste. The Royal Opera Covent Garden Donizetti: Stuart Maria. English National Opera Gluck: Orfeo ed Euridice. Glyndebourne Festival Opera Felvétel: 1992 Warner, NVC ARTS, 2006, DVD 50-51011-4855-2-7 Beethoven: Fidelio Waltraud Meier, Plácido Domingo, Falk Stuckmann, René Pape, Soile Isokoski, Werner Güra, Kwangchul Youn Chor der Deutschen Staatsoper Berlin, Staatskapelle Berlin Vezényel: Daniel Barenboim Felvétel: Groβer Sendesaal, Berlin, May/June 1999 Teldec, 1999, 2 CD 3984-25249-2 Beethoven: Fidelio Dietrich Fischer-Dieskau, Hans Sotin, René Kollo, Gundula Janowitz, Manfred Jungwirth, Lucia Popp, Adolf Dallapozza, Karl Terkal, Alfred Sramek Wiener Staatsoperchor, Wiener Philharmoniker Vezényel: Leonard Bernstein Felvétel: Wien, Musikverein, Groβer Saal, 2/1978 Deutsche Grammophon, 1978, 2 CD 419 438-2 Beethoven: Fidelio Leonie Rysanek, Judith Blegen, Jon Vickers, Walter Berry, Giorgio Tozzi, Murray Dickie, John Macurdy, Leo Goeke, Robert Goodloe Orchestra e coro dell’Opera di San Francisco Vezényel: Karl Böhm Élő felvétel: 29. 11. 1968, San Francisco Melodram, 1990, 2 CD 27086 Beethoven: Fidelio Michael Schade, Elizabeth Norberg-Schulz, Matthias Hölle, Deborah Voigt, www.interkonyv.hu © Fodor Géza jogutóda © Typotex Kiadó 248 • Mi szól a lemezen? Günter von Kannen, Andreas Schulist, Wielfried Vorwol, Ben Heppner, Thomas Quasthoff Symphonieorchester und Chor des Bayerischen Rundfunks, Bavarian Radio Symphony Orchestra and Chorus -
Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
(De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification. -
Download Booklet
95782 The cello concerto genre has a relatively short history. Before the 19th century, the only composers a few other works, including Monn’s fine, characterful Cello Concerto in G minor. Monn died of of stature who wrote such works were Vivaldi, C.P.E. Bach, Haydn and Boccherini. Considering the tuberculosis at the age of 33. problem inherent in the cello’s lower register, the potential difficulty of projecting its tone against Joseph Haydn (1732–1809) made phenomenal contributions to the history of the symphony, the weight of an orchestra, it is rather ironic that most of the great concertos for the instrument the string quartet, the piano sonata and the piano trio. He generally found concerto form less were composed later than the Baroque or Classical periods. The orchestra of these earlier periods stimulating to his creative imagination, but he did compose several fine examples. In 1961 the was smaller and lighter – a more accommodating accompaniment for the cello – whereas during unearthing of a set of parts for Haydn’s Cello Concerto in C major in Radenín Castle (now in the 19th century the symphony orchestra was significantly expanded, so that composers had to the Czech Republic) proved to be one of the most exciting discoveries in 20th-century musicology. take more care to avoid overwhelming the soloist. Probably dating from the early 1760s, the concerto is believed to have been composed for Joseph Antonio Vivaldi (1678–1741) composed several hundred concertos while employed as a violin Weigl, principal cellist of Haydn’s orchestra. This is the more rhythmically arresting of Haydn’s teacher (and, from 1716, as ‘maestro dei concerti’) at the Venetian girls’ orphanage known as authentic cello concertos. -
RUSSIAN, SOVIET & POST-SOVIET CONCERTOS a Discography Of
RUSSIAN, SOVIET & POST-SOVIET CONCERTOS A Discography of CDs and LPs Prepared by Michael Herman Edited by Stephen Ellis Composers H-P GAGIK HOVUNTS (see OVUNTS) AIRAT ICHMOURATOV (b. 1973) Born in Kazan, Tatarstan, Russia. He studied clarinet at the Kazan Music School, Kazan Music College and the Kazan Conservatory. He was appointed as associate clarinetist of the Tatarstan's Opera and Ballet Theatre, and of the Kazan State Symphony Orchestra. He toured extensively in Europe, then went to Canada where he settled permanently in 1998. He completed his musical education at the University of Montreal where he studied with Andre Moisan. He works as a conductor and Klezmer clarinetist and has composed a sizeable body of music. He has written a number of concertante works including Concerto for Viola and Orchestra No1, Op.7 (2004), Concerto for Viola and String Orchestra with Harpsicord No. 2, Op.41 “in Baroque style” (2015), Concerto for Oboe and Strings with Percussions, Op.6 (2004), Concerto for Cello and String Orchestra with Percussion, Op.18 (2009) and Concerto for Piano and Orchestra, Op 40 (2014). Concerto Grosso No. 1, Op.28 for Clarinet, Violin, Viola, Cello, Piano and String Orchestra with Percussion (2011) Evgeny Bushko/Belarusian State Chamber Orchestra ( + 3 Romances for Viola and Strings with Harp and Letter from an Unknown Woman) CHANDOS CHAN20141 (2019) 3 Romances for Viola and Strings with Harp (2009) Elvira Misbakhova (viola)/Evgeny Bushko/Belarusian State Chamber Orchestra ( + Concerto Grosso No. 1 and Letter from an Unknown Woman) CHANDOS CHAN20141 (2019) ARSHAK IKILIKIAN (b. 1948, ARMENIA) Born in Gyumri Armenia. -
Sonatas for Cello and Piano BRUNO PHILIPPE JÉRÔME DUCROS FRANZ LISZT
RACHMANINOV MYASKOVSKY Sonatas for cello and piano BRUNO PHILIPPE JÉRÔME DUCROS FRANZ LISZT NIKOLAÏ MIASKOVSKI (1881-1950) Sonate no 1, op. 12, pour violoncelle et piano Ré majeur / D major / D-Dur 1 | I. Adagio - Andante 7’10 2 | II. Allegro passionato 12’12 © Le Chant du Monde SERGEÏ RACHMANINOV (1873-1943) 2 Pièces pour violoncelle et piano, op. 2 3 | Prélude. Commodo (Fa majeur / F major / F-Dur) 3’39 4 | Danse orientale. Andante cantabile (la mineur / A minor / a-Moll) 5’26 Prélude pour piano seul Extrait des Morceaux de Fantaisie, op. 3, no2 5 | Lento (ut dièse mineur / C-sharp minor / cis-Moll) 4’38 Sonate pour violoncelle et piano, op. 19 sol mineur / G minor / g-Moll 6 | |. Lento - Allegro moderato 13’54 7 | II. Allegro scherzando 6’34 8 | III. Andante 5’54 9 | IV. Allegro mosso 11’19 © Boosey and Hawkes Bruno Philippe, violoncelle Tononi (Prêté par la Beare’s International Violin Society) Jérôme Ducros, piano Steinway existe des œuvres emblématiques dont les auteurs eux-mêmes ne faisaient pas nécessairement grand cas. Nikolaï Miaskovski (1881-1950), élève de Liadov et de Rimski-Korsakov au Conservatoire de Saint-Pétersbourg, Il C’est le cas du Prélude en ut dièse mineur, second des cinq Morceaux de fantaisie op. 3 composés par Serge puis professeur à Moscou, est l’auteur d’une production abondante où prédomine la musique instrumentale, Rachmaninov, âgé de dix-neuf ans, en automne 1892. Sa popularité fut immédiate et tout au long de sa vie, le avec notamment le gigantesque corpus de ses vingt-sept symphonies. -
Franz Schubert Franz Schubert - Trio Nr.1, B-Dur Op.99 Mp3, Flac, Wma
Franz Schubert Franz Schubert - Trio Nr.1, B-dur op.99 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Franz Schubert - Trio Nr.1, B-dur op.99 Country: Germany Style: Romantic MP3 version RAR size: 1341 mb FLAC version RAR size: 1813 mb WMA version RAR size: 1276 mb Rating: 4.8 Votes: 146 Other Formats: AC3 VOX MIDI VOC MP2 MP1 AHX Tracklist A1 Allegro Moderato A2 Andante un poco mosso B1 Scherzo (Allegro) B2 Rondo (Allegro vivace) Barcode and Other Identifiers Matrix / Runout (on labels): 33 WSX 553 Other versions Category Artist Title (Format) Label Category Country Year Schubert* / SAXF Schubert* / TrioDavidOistrakh* - SAXF Columbia France Unknown 2281 TrioDavidOistrakh* Trio No. 1 In B Flat 2281 (LP, Album) Schubert* / David Schubert* / David Oistrakh* / Sviatoslav Oistrakh* / Sviatoslav Knushevitsky / Lev SAX 2281 Columbia SAX 2281 France 1960 Knushevitsky / Lev Oborin - Trio No. 1 In Oborin B Flat D. 898 (Op. 99) (LP, Album, RE) David Oistrakh Trio / David Oistrakh Trio / Schubert* - Schubert Angel 35713 35713 UK Unknown Schubert* Trio Op. 99 (LP, Records Album) Schubert* / David Schubert* / David Oistrakh* / Sviatoslav Oistrakh* / Sviatoslav SAX 2281 Knushevitsky / Lev Columbia SAX 2281 UK Unknown Knushevitsky / Lev Oborin - Trio No. 1 In Oborin B Flat (LP, Album) Franz Schubert, Franz Schubert, David STC 80 David Oistrakh*, Oistrakh*, Sviatoslav STC 80 Columbia, 543, C 80 Sviatoslav Knushevitzky*, Lev 543, C 80 Germany Unknown Columbia 543 Knushevitzky*, Lev Oborin - Klaviertrio B- 543 Oborin dur Op.99 (LP) Related Music albums to Franz Schubert - Trio Nr.1, B-dur op.99 by Franz Schubert Franz Schubert, The Busch-Serkin Trio - Trio No. -
Season 2016/2017 Friday, 2 September and Saturday, 3
Season 2016/2017 Friday, 2 September and Saturday, 3 September 2016 Ilija M. Kolarac Foundation, 8 PM PRE-MOSCOW NIGHTS Conductor: Daniel Raiskin Soloist: Nemanja Radulović, violin Nikolai Rimsky-Korsakov Fantasia on Serbian Themes, Op. 6 Duration: approx. 7 minutes Aram Khachaturian Concerto for violin and orchestra Allegro con fermezza Andante sostenuto Allegro vivace Duration: approx. 35 minutes --- Antonin Dvořák Symphony No. 9, Op. 95 in E minor (From the New World) Adagio. Allegro molto Largo Scherzo. Molto vivace Allegro con fuoco Duration: approx. 40 minutes Concertmasters: Tijana Milošević and Miroslav Pavlović At the proposal of the composer and member of the renowned Mighty Handful Mily Balakirev, the young artist Nikolai Rimsky-Korsakov (1844– 1908) wrote Fantasia on Serbian Themes in 1867. Balakirev wanted to include another piece to be performed at a pan-Slavic music concert in addition to his Overture on Czech Themes. For this purpose, he had collected several Serbian themes, which he handed over to Korsakov for further elaboration. The composer wrote the piece instantly, and later declared that it was not so much the feeling of pan-Slavism that had inspired him, but rather the beauty of the themes. The piece premiered on 24 May 1867, under the baton of Mily Balakirev, and achieved great success. A year later, in a concert review, Tchaikovsky commended the orchestration and structural inventiveness of the composition, which finally opened the door of the already influential Mighty Handful for young Korsakov. Twenty years alter, Rimsky-Korsakov revised the piece, which was subsequently published in the version still performed today. -
JĀZEPA VĪTOLA LATVIJAS MŪZIKAS AKADĒMIJA Līga Pētersone
JĀZEPA VĪTOLA LATVIJAS MŪZIKAS AKADĒMIJA Līga Pētersone KLAVIERU TRIO LATVIJAS ATSKAŅOTĀJMĀKSLĀ: VĒSTURISKĀ KOPAINA, ANSAMBĻI UN SPĒLES TRADĪCIJAS Promocijas darbs mākslas zinātņu doktora zinātniskā grāda (Dr. art.) iegūšanai mākslas zinātņu apakšnozares Muzikoloģija specializācijas jomā Vēsturiskā muzikoloģija Darba vadītāja asoc. prof. Dr. art. Baiba Jaunslaviete Rīga 2018 Promocijas darbs izstrādāts Jāzepa Vītola Latvijas Mūzikas akadēmijas Doktorantūras nodaļā laika posmā no 2011. līdz 2018. gadam. Promocijas darbs izstrādāts ar Eiropas Sociālā fonda atbalstu projekta nr. 2009/0169/1DP/1.1.2.1.2/09/IPIA/VIAA/001 Jāzepa Vītola Latvijas Mūzikas akadēmijas doktorantūras studiju programmas atbalsts darbības programmas Cilvēkresursi un nodarbinātība papildinājuma 1.1.2.1.2. apakšaktivitātes Atbalsts doktora studiju programmu īstenošanai ietvaros. 2 SATURS IEVADS 6 1. TRĪS SKATPUNKTI UZ ATSKAŅOTĀJMĀKSLU: IEROSMES TO SASAISTEI AR KLAVIERU TRIO PĒTNIECĪBU 13 1.1. Semiotikas skatpunkts 13 1.2. Vēsturiskais skatpunkts (saiknē ar atskaņotājmākslas semiotiku) 22 1.3. Ansambļa pētniecība: grupu psiholoģijas skatpunkts 26 2. LATVIJAS KLAVIERU TRIO ATSKAŅOTĀJMĀKSLA VĒSTURISKĀ SKATĪJUMĀ 31 2.1. Periodizācijas pamatprincipi 31 2.2. Klavieru trio atskaņotājmākslas pirmsākumi Rīgas vācbaltu vidē (1790–1889) 34 2.2.1. Repertuāra kopaina 36 2.2.2. Atskaņotājmākslinieku sniegums un tā rezonanse presē 40 2.3. Pirmie trio ar latviešu mūziķu līdzdalību 47 2.3.1. 19. gadsimta 60.–90. gadi. Kamermūzikas asni latviešu kultūrvidē – augsne klavieru trio spēles tradīciju attīstībai 48 2.3.2. 20. gadsimta sākums. Ludviga Bētiņa trio darbība kā pirmā kulminācija latviešu klavieru trio atskaņotājmākslas vēsturē 54 2.3.3. 1. pasaules kara priekšvakars un kara laiks. Jaunas tendences mūzikas dzīvē un to ietekme uz trio atskaņotājmākslu 60 2.4. -
Pjotr Iljitsch Tschaikowski / Pyotr Ilyich Tchaikovsky (1840-1893) Sämtliche Werke / Complete Works in MP3-Format Details
Pjotr Iljitsch Tschaikowski / Pyotr Ilyich Tchaikovsky (1840-1893) Sämtliche Werke / Complete works in MP3-Format Details P. I. Tchaikovsky (1840 – 1893) - Sämtliche Werke als MP3 / Complete works - Gesamtspielzeit / Time total 61:20:48 Titel/Title Zeit/Time Titel/Title Zeit/Time 1.Ballett /Ballet 6:13:12 op.20 Schwanensee / Swan Lake 2:26:50 Act 1 0:51:19 1 Scene 0:05:49 6 Pas d'action 0:02:24 2 Valse 0:07:33 7 Sujet 0:02:37 3 Scene 0:03:54 8 Danse des coupes 0:04:12 4 Pas de trois 0:10:24 9 Finale 0:03:31 5 Pas de deux 0:10:55 Act 2 0:33:13 10 Scene 0:03:23 13 Danses des cygnes 0:17:19 11 Scene 0:05:51 14 Scene. Moderato 0:03:11 12 Scene 0:03:29 Act 3 0:44:59 15 Danses de fantailles 0:02:46 20 Danse hongroise. Czardas 0:02:32 16 Danses du corps de ballet et des nains 0:02:24 21 Danse espagnole 0:02:25 17 Scene. Sortie des invites et valse 0:07:54 21a Danse russe 0:04:33 18 Scene 0:01:39 22 Danse napolitaine 0:01:55 19 Pas de six 0:05:46 23 Mazurka 0:04:12 19a Pas de six 0:05:17 24 Scene 0:03:36 Act 4 0:17:19 25 Entr'acte 0:01:53 29 Scene finale 0:09:13 26 Scene. Danses des petits cygnes 0:06:13 Montreal Symphony Orchestra - Charles Dutoit, 1990 op.66 Dornröschen / The Sleeping Beauty 2:18:22 Act 1 1:01:25 1.Introduction 0:02:58 3. -
Journal of the American Viola Society Volume 32 No. 1, Spring 2016
Features: Bartolomeo Campagnoli and His 41 Capricci An Afternoon at Skittles: On Playing Mozart’s “Kegelstatt” Trio Part I Volume 32 Number 1 Number 32 Volume Journal of the American ViolaSociety American the of Journal Viola V32 N1.indd 301 3/16/16 6:20 PM Viola V32 N1.indd 302 3/16/16 6:20 PM Journal of the American Viola Society A publication of the American Viola Society Spring 2016: Volume 32, Number 1 p. 3 From the Editor p. 5 From the President News & Notes p. 7 Announcements Feature Articles p. 9 Bartolomeo Campagnoli and His 41 Capricci: The Ever-Changing Role of the Virtuosic Viola and Its Technique: Dalton Competition prize-winner Alicia Marie Valoti explores a history of the Campagnoli 41 Capricci and its impact on the progression of the viola’s reputation as a virtuosic instrument. p. 19 An Afternoon at Skittles: On Playing Mozart’s “Kegelstatt” Trio Part I: A Trio for Signora Dinimininimi, Nàtschibinìtschibi, and Pùnkitititi: Edward Klorman gives readers an interesting look into background on the Mozart “Kegelstatt” Trio. Departments p. 29 New Music: Michael Hall presents a number of exciting new works for viola. p. 35 Outreach: Janet Anthony and Carolyn Desroisers give an account of the positive impact that BLUME is having on music education in Haiti. p. 39 Retrospective: JAVS Associate Editor David M. Bynog writes about the earliest established viola ensemble in the United States. p. 45 Student Life: Zhangyi Chen describes how one of his choral compositions became the basis of a new viola concerto. p. -
Beethoven, Chopin, Liszt & Tchaikovsky
SSIANPIANOTR THE ITIONTHERUSS IGUMNOV SCHOOL USIANPIANOTR ADITIONTHERU SSIANPIANOTRLev ADITIONTHERUOborin ERUSSIANPIANBEETHOVEN OTRADITIONTHEcossaises ERUSSIANPIANSonata in A, Op 2 No 2 CHOPIN IANPIANOTRADÉtudes, Op 25 Nos 2, 3 & 5 ITIONTHERUSSMazurka, Op 50 No 1 IANPIANOTRADSonata No 3, Op 58 LISZT OTRADITIONTHHungarian Rhapsody No 2 ERUSSIANPIANTCHAIKOVSKY RADITIONTHEU 3 pieces from ‘The Months’, Op 37b SSIANPIANOTR ADITIONTHERU SSIANPIANOTR Lev Nikolayevich Oborin (11 November 190 7– 5 January 1974) EV OBORIN was born in Moscow and Polish contestants. Overnight, Oborin became entered that city’s Gnesin Music School in the foremost Soviet pianist of his generation. L1914 where he studied composition with On his triumphant return to Moscow he became Alexander Gretchaninov and piano with Yelena Igumnov’s assistant at the Conservatoire, Gnesina. A pupil of Ferruccio Busoni, Gnesina simul taneously teaching chamber music, a was known for her ‘progressive’ methods, in genre to which he was much drawn – as would particular her emphasis upon musicianship become abundantly evident in his future part - as opposed to repetitive exercises, which she ner ships with the violinists Dmitri Tziganov pursued by insisting pupils should frequently and, from 1935, David Oistrakh. (In 1941 perform concerts and recitals from memory. In Oistrakh and Oborin formed an internationally 1921, the fourteen-year-old Oborin moved on to respected trio with the cellist Sviatoslav the Moscow Conservatoire, joining the piano Knushevitsky which ceased only with the death class of the celebrated pedagogue Konstantin of the latter in 1963.) When Igumnov died in Igumnov and furthering his compositional 1948, Oborin was his natural successor having studies with Georgi Catoire, Georgi Conus by then acquired a reputation as a sympathetic and Nikolai Myaskovsky. -
De Nationale Opera — Nº 94 / 2014
ODEON een uitgave van DE NATIONALE OPERA — Nº 94 / 2014 GURRE-LIEDER ARNOLD SCHÖNBERG P 6 ORFEO CLAUDIO MONTEVERDI P 14 L’ÉTOILE EMMANUEL CHABRIER P 20 BACK TO BACH HET NATIONALE BALLET P 28 LOHENGRIN RICHARD WAGNER P 32 03 REDACTIONEEL BIJ DE START VAN HET NIEUWE SEIZOEN In het eerste kwartaal van seizoen 2014-2015 brengt De Nationale Opera vier prachtige producties uit. Nieuw zijn Gurre-Lieder (Arnold Schönberg), Orfeo (Claudio Monteverdi) en L’étoile (Emmanuel Chabrier); Lohengrin (Richard Wagner) gaat in reprise. De monumentale Gurre-Lieder beleven in Amsterdam hun scenische wereldpremière in een regie van Pierre Audi. Hoe de grenzen tussen opera en dans op originele en creatieve wijze kunnen worden overschreden, blijkt daarna uit de regie en choreografie die de beroemde Sasha Waltz met haar gezel- schap Sasha Waltz & Guests heeft gemaakt voor Orfeo uit 1607 − volgens velen de eerste ‘echte’ opera. Het komische L’étoile wordt geënsceneerd door Laurent Pelly, die bij ons eerder zeer succesvol was met zijn geestige interpretatie van Prokofjevs L’amour des trois oranges. Pierre Audi’s enscene- ring van Lohengrin oogstte in 2002 grote bewondering, kort- om: hoog tijd voor een herneming! Gurre-Lieder en Lohengrin Drie vocale giganten op één podium worden muzikaal geleid door chef-dirigent Marc Albrecht, Orfeo door Pablo Heras-Casado (DNO-debuut) en L’étoile Nicolas Testé Piotr Beczala Diana Damrau door Patrick Fournillier (eveneens DNO-debuut). De Nationale Opera en Het Nationale Ballet werken steeds hechter samen. Dit zal uiteindelijk ook zijn weerslag vinden in een gezamenlijk magazine. Als voorproefje hebben wij in dit nummer een viertal pagina’s gewijd aan Back to Bach, een bijzondere productie van Het Nationale Ballet.