PLEASE MAKE SURE THAT YOUR MOBILE PHONE IS SWITCHED OFF! Photographing, Video and Sound Recording Are Prohibited During the Concert

Total Page:16

File Type:pdf, Size:1020Kb

PLEASE MAKE SURE THAT YOUR MOBILE PHONE IS SWITCHED OFF! Photographing, Video and Sound Recording Are Prohibited During the Concert 22.3. FRIDAY SERIES 11 Helsinki Music Centre at 19:00 Ryan Wigglesworth, conductor Sophie Bevan, soprano Ryan Wigglesworth: Till Dawning (George Herbert) 21 min The Agonie Redemption The Dawning Easter II INTERVAL 20 min Gustav Mahler: Symphony No. 5 in C-sharp minor 68 min I Trauermarsch (In gemessenem Schritt – Streng – Wie ein Kondukt) II Stürmischer bewegt, mit größter Vehemenz III Scherzo (Kräftig, nicht zu schnell) IV Adagietto (Sehr langsam) – V Rondo-Finale (Allegro – Allegro giocoso. Frisch) MEET THE COMPOSER: Thomas Larcher will be interviewed in English by Eva Tigerstedt at 18:00, before the concert, in the lower foyer. Interval at about 19:35. The concert will end at about 21:15. Broadcast live on Yle radio 1 and streamed at Yle Areena. PLEASE MAKE SURE THAT YOUR MOBILE PHONE IS SWITCHED OFF! Photographing, video and sound recording are prohibited during the concert. 1 RYAN WIGGLESWORTH Britten, Wigglesworth enjoys working with singers and spends a lot of time (B. 1979): TILL seeking out texts that work well with DAWNING music. Examples here are the religious poems by the English priest George Born in Sheffield, UK, Ryan Wigglesworth Herbert (1593–1633) set by composers began his musical career as a chorister from Purcell to Britten. and later studied the piano, orchestral Continuing along this line is the or- conducting and composition at Oxford chestral song cycle Till Dawning – again University and the Guildhall School of to texts by Herbert – commissioned by Music & Drama. Composing and perfor- the Grafenegg Festival in Austria and ming have, for him, always been inext- the London Philharmonic Orchestra. ricably interwoven. As a student, he The soloist at the premiere conduct- conducted works of his own and con- ed by the composer in August 2018 temporaries, and he regards both roles was Sophie Bevan. The main item on as two sides of the same coin, as did the programme at this concert was Mahler and Strauss in their day. His Bruckner’s ninth symphony ending greatest source of inspiration has, ho- with the Angst-ridden Adagio. The wever, been Oliver Knussen, both as proud, sweeping soprano line seems to conductor and composer: “His music is be rooted in the German tradition rep- the best proof that you must write what resented by Strauss and Berg. you always wanted to hear yourself, not Acting as the starting point for what you think you should compose,” Wigglesworth’s Till Dawning is the un- he said in an interview. finished finale of Bruckner’s last sym- Wigglesworth drew nationwide at- phony. Bruckner had intended to end tention conducting the BBC Symphony his symphony with an optimistic cel- Orchestra in his own Sternenfall ebration of the Resurrection by us- (2008), commissioned by the BBC. ing the Catholic hymn Der Heiland ist This was soon followed by The Genesis erstanden (The Redeemer is Risen). of Secrecy (2009), and the song cycle Wigglesworth wanted to use elements Augenlieder (2009) – settings of po- of this in his song cycle. The poems by ems by Browning, Schiele, Rimbaud George Herbert in the posthumously and Berryman. He has conducted a lot published collection The Temple (1633) of opera, and his own debut opera, The paint the joy of Easter and the dawn- Winter’s Tale based on Shakespeare’s ing of new life in the most original of play, was premiered at English National terms: Christ’s torment and crucifixion, Opera in 2017. the idea of redemption, and joy at the Successor to Benjamin Britten is how resurrection. Wigglesworth is sometimes described. Says Wigglesworth: “Till Dawning is And indeed, both share a direct mode bound together by the reoccurrence of dramatic expression that permits of a single melody, stated successive- even sharply modernist effects. Like ly by the piano and voice at the out- 2 set of the first song. Hidden for much have been condemned to death and to of Redemption, the melody reappears, be marching to the gallows. Mahler’s complete, at the beginning of The own recording on a pianola brings out Dawning, and forms the basis of the fi- the brisk tempo and the impulsiveness. nal, climatic choral in the closing song. In the second movement, the or- In each song the piano also obsessively chestra, time and again beats down maintains a single repetitive figure, un- the more optimistic theme of the first related to the principal melody, which movement, with reappearances of the serves as a further binding device.” mournful march motif. At the climax, the trumpet fanfares swell to a brass chorale, only to be crushed to a whis- per. GUSTAV MAHLER The third movement is the sympho- (1860–1911): ny’s watershed, operating with dream and reality, dance and scherzo charac- SYMPHONY NO. 5 ters. A rustic Ländler alternates with a nostalgic waltz. A breath of nature, The symphony in C-sharp minor – his loneliness and sighing forests seems to fifth – of 1901–1902 was the first -pu chase away the tragedy of the preced- rely instrumental work composed by ing movements. Voicing the subcon- Gustav Mahler since his first sympho- scious messages is a solo horn, a real ny. It marked the dawn of a new era in “Wunderhorn” that finally leads the which the poetic inspiration was, while music to an explosive coda. still present, less obvious to the liste- The magic of the Adagietto has ner. It also represented a shift from a served both in films (Visconti’s Death romantic to a more realistic style. in Venice) and at funerals (John F. and The basic symmetrical scheme of Robert Kennedy). It exudes a feel- the fifth symphony is akin to that of ing of calm and resignation similar to the second. Again it travels from dark- that of the Rückert song “Ich bin der ness (C-sharp minor) to light (D ma- Welt abhanden gekommen”. The finale, jor), with the Scherzo as the half-way continuing without a break from the point. The first two movements are de- Adagietto, presents a host of folk-like spairing but also pointedly ironic. The tunes and brings back the theme of Trauermarsch is possibly the most im- the Adagietto. It is not without humour pressive of Mahler’s funereal move- and a touch of sarcasm, but the main ments, and the similarity of the open- thing is the ability to accept life in all ing trumpet fanfare with Beethoven’s its diversity, and the movement ends in “fate” motto is no coincidence. festive mood with a mighty brass cho- The exposition of the first movement rale. harks back to the fourth symphony and the slightly earlier Wunderhorn song Programme notes by Antti Häyrynen Der Tambourg’sell: innocence seems to translated (abridged) by Susan Sinisalo 3 RYAN WIGGLESWORTH Ryan Wigglesworth studied at New College, Oxford and the Guildhall School of Music & Drama. Between Born in Yorkshire, England in 1979, 2007 and 2009 he was a Lecturer at Ryan Wigglesworth has established Cambridge University. He was recent- himself as one of the foremost com- ly appointed Richard Rodney Bennett poser-conductors of his generation. He Professor at the Royal Academy of was Principal Guest Conductor of the Music, taking over from Oliver Knussen, Hallé Orchestra from 2015 to 2018 and who died last year, and in this capacity is at present Composer in Residence will direct Academy concerts, includ- at English National Opera. The many ing those by its specialist new music great orchestras he has guest con- group, the Manson Ensemble. He will ducted include the Bavarian Radio also teach composition. Symphony, the Deutsches Symphonie Orchester Berlin, the Amsterdam Concertgebouw Orchestra, the European Chamber Orchestra and the SOPHIE BEVAN Ensemble Intercontemporain. Also a pianist, Wigglesworth has furthermo- English lyric soprano Sophie Bevan has re appeared in the dual role of soloist/ made a fine career on both opera and conductor in Mozart’s Piano Concerto concert stage. Brought up in a musi- No. 9. cal family, she studied at the Royal In addition to ENO, Ryan College of Music in London. Recipient Wigglesworth has conducted opera of the 2010 Critics’ Circle award for at, among others, Covent Garden. He Exceptional Young Talent in 2010, she opened the 2012 Aldeburgh Festival went on to win the Times Breakthrough with performances of Oliver Knussen’s Award at the 2012 South Bank Sky Arts Where the Wild Things Are and Higglety Awards and the Young Singer award at Pigglety Pop! in celebration of the com- the 2013 inaugural International Opera poser’s 60th birthday. In February 2017 Awards. he made his debut at ENO conducting Sophie Bevan made her Covent the premiere of his opera The Winter’s Garden debut in 2013, as the Woodbird Tale based on Shakespeare’s play. in Wagner’s Siegfried, and has since re- As a conductor, Wigglesworth is turned to sing Pamina in The Magic much sought after in repertoire rang- Flute, Ilia in Idomeneo, Susanna in The ing from Baroque to the present day. Marriage of Figaro, Antigone in Enescu’s He has conducted dozens of pre- Oedipe, Sophie in Der Rosenkavalier mieres, of works by composers such as and Beatriz in Thomas Adès’s The Harrison Birtwistle, Alexander Goehr, Exterminating Angel. She also sang the Oliver Knussen and Elliott Carter. His last of these roles at the work’s premiere Birtwistle disc with the Hallé Orchestra performance at the Salzburg Festival won both Gramophone and BBC Music in summer 2016. She sang Hermione Magazine awards. in the premiere of Wigglesworth’s The 4 Winter’s Tale at ENO in February 2017; ers formed in 1927 later grew to sym- other roles at ENO have included phony orchestra size in the 1960s.
Recommended publications
  • 21 MARCH FRIDAY SERIES 11 Helsinki Music Centre at 19
    21 MARCH FRIDAY SERIES 11 Helsinki Music Centre at 19 Oliver Knussen, conductor Leila Josefowicz, violin Kirill Gerstein, piano Hans Werner Henze: Barcarola 20 min INTERVAL 20 min Alban Berg: Chamber Concerto 39 min I Thema scherzoso con variazioni II Adagio III Rondo ritmico con introduzione Interval at about 19.30. The concert ends at about 20.45. Broadcast live on Yle Radio 1 and the internet (yle.fi/klassinen). 1 The LATE-NIGHT CHAMBER MUSIC will begin in the main Concert Hall after an interval of about 10 minutes. Those attending are asked to take (unnumbered) seats in the stalls. Petri Aarnio & Jari Valo, violin Riitta-Liisa Ristiluoma & Martta Tolonen, viola Tuomas Lehto & Mikko Ivars, cello Arnold Schönberg: Verklärte Nacht (Transfigured Night) 28 min I Sehr langsam II Etwas bewegter III Schwer betont IV Sehr breit und langsam V Sehr ruhig 2 HANS WERNER ginning of the piece the Eton Boating Song from my opera We Come to the HENZE (1926–2012): River, can be heard briefly in the harps. BARCAROLA Later, after extended cantilenas, the real Barcarola is played by the solo vi- Hans Werner Henze was one of the ola, accompanied lightly by flutes and leading post-WWII composers in harps. In the score, the musical progress both his native Germany and Europe. is carried out like a journey: the musi- Barcarola was commissioned by the cal material is transformed, changed Tonhalle-Gesellschaft Zürich and and developed in the same sense as is was first performed there with Gerd the mental process of metamorphosis. Albrecht conducting in April 1980.
    [Show full text]
  • Poul Ruders Four Dances Birmingham Contemporary Music Group, Oliver Knussen DACAPO 8.226028 POUL RUDERS (B
    POUL RUDERS Four Dances Birmingham Contemporary Music Group, Oliver Knussen DACAPO 8.226028 POUL RUDERS (b. 1949) Four Dances in One Movement (1983) 19:04 1 Whispering – 1:44 2 Rocking – 5:03 Four Dances 3 Ecstatic – 3:52 4 Extravagant 8:25 Birmingham Contemporary Music Group Oliver Knussen, conductor 5 Nightshade (1987) 8:35 Marie-Christine Zupancic | flute, piccolo, alto Abysm (2000) 23:32 Melinda Maxwell | oboe * 6 I Abysm 12:32 Rebecca Kozam | oboe, cor anglais ** 7 II Burning 1:48 Joanna Patton | clarinet ** 8 III Spectre 9:09 Mark O’Brien | clarinet, bass clarinet *, contra bass clarinet ** Margaret Cookhon | bassoon, contra bassoon ** Total: 51:08 Mark Phillips | horn Jonathan Holland | trumpet Alan Thomas | trumpet * Ed Jones | trombone Julian Warburton | percussion 1 Adrian Spillett | percussion 2 Malcolm Wilson | piano Alexandra Wood | violin 1 Gabriel Dyker | violin 2 ** Christopher Yates | viola Ulrich Heinen | cello John Tattersdill | double bass * Abysm ** Four Dances; Nightshade Dacapo is supported by the Danish Arts Council Committee for Music POUL RUDERS (b. 1949) Four Dances in One Movement (1983) 19:04 1 Whispering – 1:44 2 Rocking – 5:03 Four Dances 3 Ecstatic – 3:52 4 Extravagant 8:25 Birmingham Contemporary Music Group Oliver Knussen, conductor 5 Nightshade (1987) 8:35 Marie-Christine Zupancic | flute, piccolo, alto Abysm (2000) 23:32 Melinda Maxwell | oboe * 6 I Abysm 12:32 Rebecca Kozam | oboe, cor anglais ** 7 II Burning 1:48 Joanna Patton | clarinet ** 8 III Spectre 9:09 Mark O’Brien | clarinet, bass clarinet
    [Show full text]
  • Boston Symphony Orchestra
    Tangtewqpd 19 3 7-1987 BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Saturday, 29 August at 8:30 The Boston Symphony Orchestra is pleased to present WYNTON MARSALIS An evening ofjazz. Week 9 Wynton Marsalis at this year's awards to win in the last four consecutive years. An exclusive CBS Masterworks and Columbia Records recording artist, Wynton made musical history at the 1984 Grammy ceremonies when he became the first instrumentalist to win awards in the categories ofjazz ("Best Soloist," for "Think of One") and classical music ("Best Soloist With Orches- tra," for "Trumpet Concertos"). He won Grammys again in both categories in 1985, for "Hot House Flowers" and his Baroque classical album. In the past four years he has received a combined total of fifteen nominations in the jazz and classical fields. His latest album, During the 1986-87 season Wynton "Marsalis Standard Time, Volume I," Marsalis set the all-time record in the represents the second complete album down beat magazine Readers' Poll with of the Wynton Marsalis Quartet—Wynton his fifth consecutive "Jazz Musician of on trumpet, pianist Marcus Roberts, the Year" award, also winning "Best Trum- bassist Bob Hurst, and drummer Jeff pet" for the same years, 1982 through "Tain" Watts. 1986. This was underscored when his The second of six sons of New Orleans album "J Mood" earned him his seventh jazz pianist Ellis Marsalis, Wynton grew career Grammy, at the February 1987 up in a musical environment. He played ceremonies, making him the only artist first trumpet in the New
    [Show full text]
  • Press Information Eno 2013/14 Season
    PRESS INFORMATION ENO 2013/14 SEASON 1 #ENGLISHENO1314 NATIONAL OPERA Press Information 2013/4 CONTENTS Autumn 2013 4 FIDELIO Beethoven 6 DIE FLEDERMAUS Strauss 8 MADAM BUtteRFLY Puccini 10 THE MAGIC FLUte Mozart 12 SATYAGRAHA Glass Spring 2014 14 PeteR GRIMES Britten 18 RIGOLetto Verdi 20 RoDELINDA Handel 22 POWDER HeR FAce Adès Summer 2014 24 THEBANS Anderson 26 COSI FAN TUtte Mozart 28 BenvenUTO CELLINI Berlioz 30 THE PEARL FISHERS Bizet 32 RIveR OF FUNDAMent Barney & Bepler ENGLISH NATIONAL OPERA Press Information 2013/4 3 FIDELIO NEW PRODUCTION BEETHoven (1770–1827) Opens: 25 September 2013 (7 performances) One of the most sought-after opera and theatre directors of his generation, Calixto Bieito returns to ENO to direct a new production of Beethoven’s only opera, Fidelio. Bieito’s continued association with the company shows ENO’s commitment to highly theatrical and new interpretations of core repertoire. Following the success of his Carmen at ENO in 2012, described by The Guardian as ‘a cogent, gripping piece of work’, Bieito’s production of Fidelio comes to the London Coliseum after its 2010 premiere in Munich. Working with designer Rebecca Ringst, Bieito presents a vast Escher-like labyrinth set, symbolising the powerfully claustrophobic nature of the opera. Edward Gardner, ENO’s highly acclaimed Music Director, 2013 Olivier Award-nominee and recipient of an OBE for services to music, conducts an outstanding cast led by Stuart Skelton singing Florestan and Emma Bell as Leonore. Since his definitive performance of Peter Grimes at ENO, Skelton is now recognised as one of the finest heldentenors of his generation, appearing at the world’s major opera houses, including the Metropolitan Opera, New York, and Opéra National de Paris.
    [Show full text]
  • Britten Connections a Guide for Performers and Programmers
    Britten Connections A guide for performers and programmers by Paul Kildea Britten –Pears Foundation Telephone 01728 451 700 The Red House, Golf Lane, [email protected] Aldeburgh, Suffolk, IP15 5PZ www.brittenpears.org Britten Connections A guide for performers and programmers by Paul Kildea Contents The twentieth century’s Programming tips for 03 consummate musician 07 13 selected Britten works Britten connected 20 26 Timeline CD sampler tracks The Britten-Pears Foundation is grateful to Orchestra, Naxos, Nimbus Records, NMC the following for permission to use the Recordings, Onyx Classics. EMI recordings recordings featured on the CD sampler: BBC, are licensed courtesy of EMI Classics, Decca Classics, EMI Classics, Hyperion Records, www.emiclassics.com For full track details, 28 Lammas Records, London Philharmonic and all label websites, see pages 26-27. Index of featured works Front cover : Britten in 1938. Photo: Howard Coster © National Portrait Gallery, London. Above: Britten in his composition studio at The Red House, c1958. Photo: Kurt Hutton . 29 Further information Opposite left : Conducting a rehearsal, early 1950s. Opposite right : Demonstrating how to make 'slung mugs' sound like raindrops for Noye's Fludde , 1958. Photo: Kurt Hutton. Britten Connections A guide for performers and programmers 03 The twentieth century's consummate musician In his tweed jackets and woollen ties, and When asked as a boy what he planned to be He had, of course, a great guide and mentor. with his plummy accent, country houses and when he grew up, Britten confidently The English composer Frank Bridge began royal connections, Benjamin Britten looked replied: ‘A composer.’ ‘But what else ?’ was the teaching composition to the teenage Britten every inch the English gentleman.
    [Show full text]
  • November 2016
    November 2016 Igor Levit INSIDE: Borodin Quartet Le Concert d’Astrée & Emmanuelle Haïm Imogen Cooper Iestyn Davies & Thomas Dunford Emerson String Quartet Ensemble Modern Brigitte Fassbaender Masterclasses Kalichstein/Laredo/ Robinson Trio Dorothea Röschmann Sir András Schiff and many more Box Office 020 7935 2141 Online Booking www.wigmore-hall.org.uk How to Book Wigmore Hall Box Office 36 Wigmore Street, London W1U 2BP In Person 7 days a week: 10 am – 8.30 pm. Days without an evening concert 10 am – 5 pm. No advance booking in the half hour prior to a concert. By Telephone: 020 7935 2141 7 days a week: 10 am – 7 pm. Days without an evening concert 10 am – 5 pm. There is a non-refundable £3.00 administration fee for each transaction, which includes the return of your tickets by post if time permits. Online: www.wigmore-hall.org.uk 7 days a week; 24 hours a day. There is a non-refundable £2.00 administration charge. Standby Tickets Standby tickets for students, senior citizens and the unemployed are available from one hour before the performance (subject to availability) with best available seats sold at the lowest price. NB standby tickets are not available for Lunchtime and Coffee Concerts. Group Discounts Discounts of 10% are available for groups of 12 or more, subject to availability. Latecomers Latecomers will only be admitted during a suitable pause in the performance. Facilities for Disabled People full details available from 020 7935 2141 or [email protected] Wigmore Hall has been awarded the Bronze Charter Mark from Attitude is Everything TICKETS Unless otherwise stated, tickets are A–D divided into five prices ranges: BALCONY Stalls C – M W–X Highest price T–V Stalls A – B, N – P Q–S 2nd highest price Balcony A – D N–P 2nd highest price STALLS Stalls BB, CC, Q – S C–M 3rd highest price A–B Stalls AA, T – V CC CC 4th highest price BB BB PLATFORM Stalls W – X AAAA AAAA Lowest price This brochure is available in alternative formats.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 123, 2003-2004
    BOSTON SYMPHONY ORCH ESTRA i V V - V * : *J V 2003-2004 SEASON MUSIC DIRECTOR DESIGNATE BERNARD HAITINK PRINCIPAL GUESTCONDUCTOI SEIJI OZAWA MUSIC DIRECTOR LAUREATE ^M I 1 Invite the entire string section for cocktails. With floor plans from 2,300 to over Phase One of this 5,000 square feet, you can entertain magnificent property is in grand style at Longyear. 100% sold and occupied. Enjoy 24-hour concierge service, Phase Two is now under con- single-floor condominium living struction and being offered by at its absolute finest, all Sotheby's International Realty a harmoniously located on Hammond Residential Real Estate an extraordinary eight- GMAC. Priced from $1,500,000. acre gated community atop prestigious Call Hammond at (617) 731-4644, Fisher Hill ext. 410. LONGYEAH BROOKLINE CORTLAND SOTHEBM'S Hammondmiimm— PROPERTIES INC. International Realty EAL ESTATE ^tsg sBf&SsflESss *7> /• u; ft 1 4 fijfc -X t^^Bl-J^ i i i i i § i i i i i i i i lis 11 Landry&Arcari ORIENTAL RUGS & CARPETING Your Source for Knowledge, Inspiration & Value Boston Since 1938 Salem 333 Stuart St. www. landryandarcari . com Route 1A 617-399-6500 Open 7 Days 800-649-59098 Founding member of the NCI DANA-FARBER/HARVARD CANCER CENTER * Comprehensive Cancer Center hospital the Boston Red SoX Inclin ClinicV_liniC CCCv^v^.^ Official/' f of' Affiliated with JOSlin Designated[lesionated bybv the National Cancer InstiliiMInstitute James Levine, Music Director Designate Bernard Haitink, Principal Guest Conductor Seiji Ozawa, Music Director Laureate 123rd Season, 2003-2004 Trustees of the Boston Symphony Orchestra, Inc.
    [Show full text]
  • News Section
    100 Tempo 63 (249) 100–104 © 2009 Cambridge University Press doi:10.1017/S0040298209000291 Printed in the United Kingdom news section Composers diana burrell Concerto for Violin with Singer Notes of premières of new works run from three months and Three Ensembles (première) – 15 June London, before to three months following publication of this issue, Christ Church, Spitalfields (Spitalfields Festival)/ i.e. from 1 April to 30 September 2009. There is therefore Trinity College of Music Contemporary Music a three-month overlap between issues, and omissions and Group. late news for the three ‘following’ months of the current issue will be picked up in the three ‘prior’ months of the jonathan dove There Was a Child (première) – next. News of more distant forthcoming premières is given 2 May Norwich, St Andrew’s Hall / Mary Plazas more briefly; full details will be found in subsequent issues. (sop), Toby Spence (ten), City of Birmingham thomas adès Symphony Orchestra, Norwich Festival Chorus, Lieux Retrouvés (première) – 21 June Hewett School Choir c. David Parry. Piano Quintet Snape Maltings, Aldeburgh Festival / Steven Isserlis (première) – 13 June London, Wilton’s Music Hall (vlc), composer (pno). (Spitalfields Festival) Schubert Ensemble. kalevi aho The Bells, Concerto for saxophone quar- tet and orchestra (première) – 23 April Helsinki / brian elias Doubles (première) – 16 May London, Rascher Quartet, Helsinki PO c. John Storgårds. Barbican / BBC Symphony Orchestra c. Jirˇi Beˇlohlávek. julian anderson Fantasia (UK première) – 19 June Aldeburgh Festival / Pierre-Laurent Aimard (pno), anders eliasson Quo Vadis (première) – 15 May BBC Symphony Orchestra c. George Benjamin. Stockholm / Michael Weinius (ten), Swedish Radio Shir Hashirim (première) – 10 August Tanglewood Choir, Swedish Radio SO c.
    [Show full text]
  • Oliver Knussen Ensemble Signal Brad Lubman, Conductor
    Miller Theatre at Columbia University 2012-13 | 24th Season Composer Portraits Oliver Knussen Ensemble Signal Brad Lubman, conductor Thursday, April 18, 8:00 p.m. Miller Theatre at Columbia University 2012-13 | 24th Season Composer Portraits Oliver Knussen Ensemble Signal Brad Lubman, conductor Rachel Calloway, mezzo-soprano Jamie Jordan, soprano Courtney Orlando, violin Thursday, April 18, 8:00 p.m. Ophelia Dances, Book 1 (1975) Oliver Knussen (b. 1952) Brad Lubman, conductor Secret Psalm (1990) Courtney Orlando, violin Hums and Songs of Winnie-the-Pooh (1970/1983) I. Aphorisms: 1. Inscription 2. Hum 3. The Hundred Acre Wood (Nocturne) 3a. Piglet Meets a Heffalump 4. Hum, continued, and Little Nonsense Song 5. Hum 6. Vocalise (Climbing the Tree) 7. Codetta II. Bee Piece III. Cloud Piece Jamie Jordan, soprano Brad Lubman, conductor INTERMISSION Miller Theatre at Columbia University 2012-13 | 24th Season Onstage discussion with Oliver Knussen and Brad Lubman Songs without Voices (1991-92) I. Fantastico (Winter’s Foil) II. Maestoso (Prairie Sunset) III. Leggiero (First Dandelion) IV. Adagio (Elegiac Arabesques) Brad Lubman, conductor Requiem – Songs for Sue (2005-06) Rachel Calloway, mezzo-soprano Brad Lubman, conductor This program runs approximately one hour and 20 minutes, including a brief intermission. Major support for Composer Portraits is provided by the Francis Goelet Charitable Lead Trusts. Composer Portraits is presented with the friendly support of Please note that photography and the use of recording devices are not permitted. Remember to turn off all cellular phones and pagers before tonight’s performance begins. Miller Theatre is wheelchair accessible. Large print programs are available upon request.
    [Show full text]
  • Clare Hammond
    CLARE HAMMOND piano "… unfaltering bravura and conviction" Gramophone Magazine UK “… this array of wizardry is not for the faint hearted” BBC Music Magazine PRESS RELEASE: IMMEDIATE Pianist Clare Hammond releases a disc of 20th and 21st-century variations Prison and school variations project also running in the summer “a star interpreter of contemporary music”, Fiona Maddocks, The Observer On 5 March 2021, Clare Hammond releases her fifth disc for BIS Records with an adventurous programme of twentieth and twenty-first-century variations for piano. From the monumental and imposing ‘Chaconne’ by Gubaidulina, to the tender grief of Hindemith’s variations, or Copland’s bold and uncompromising proclamation, this is an imaginative disc that presents a fresh perspective on the genre. The programme opens with Szymanowski’s ‘Variations on a Polish Theme’, a virtuosic and nostalgic outpouring that contrasts strikingly with the wit and irreverence of Lachenmann’s set. Birtwistle’s mercurial elegy is the polar opposite of its contemporary, a lyrical waltz by Adams, while Copland’s gargantuan variations anchor the second half of the disc. Hindemith’s set takes us to the very core of loss and consolation before we end with a dramatic tour de force by Gubaidulina. From late spring / summer onwards, Clare will take this programme into prisons and schools across the South-West. Using Mozart’s variations on ‘Twinkle, Twinkle, Little Star’ as a starting point, music by Szymanowski, Hindemith and Gubaidulina will be introduced to audiences in an interactive and engaging format that fosters curiosity and confidence. This disc spotlights composers who, with dazzling ambition, expand our perception of what is possible.
    [Show full text]
  • Art Works Grants
    National Endowment for the Arts — December 2014 Grant Announcement Art Works grants Discipline/Field Listings Project details are as of November 24, 2014. For the most up to date project information, please use the NEA's online grant search system. Art Works grants supports the creation of art that meets the highest standards of excellence, public engagement with diverse and excellent art, lifelong learning in the arts, and the strengthening of communities through the arts. Click the discipline/field below to jump to that area of the document. Artist Communities Arts Education Dance Folk & Traditional Arts Literature Local Arts Agencies Media Arts Museums Music Opera Presenting & Multidisciplinary Works Theater & Musical Theater Visual Arts Some details of the projects listed are subject to change, contingent upon prior Arts Endowment approval. Page 1 of 168 Artist Communities Number of Grants: 35 Total Dollar Amount: $645,000 18th Street Arts Complex (aka 18th Street Arts Center) $10,000 Santa Monica, CA To support artist residencies and related activities. Artists residing at the main gallery will be given 24-hour access to the space and a stipend. Structured as both a residency and an exhibition, the works created will be on view to the public alongside narratives about the artists' creative process. Alliance of Artists Communities $40,000 Providence, RI To support research, convenings, and trainings about the field of artist communities. Priority research areas will include social change residencies, international exchanges, and the intersections of art and science. Cohort groups (teams addressing similar concerns co-chaired by at least two residency directors) will focus on best practices and develop content for trainings and workshops.
    [Show full text]
  • Program N♪Tes
    PROGRAM N♪TES William Caballero, horn and Rodrigo Ojeda, piano April 30, 2019 – 7:30 p.m. Forest Hill Church Presbyterian En forêt (“In the Forest”), Op. 40 String Quartet in D minor, Op. 76, No. 2 Eugène Bozza Born: France, 1905 Died: France, 1991 Composed: 1941 no fewer than three Premiers Prix there (in Since the 1830s, the Paris Conservatoire has violin performance, conducting, been commissioning pieces for all woodwind and brass instruments as well as and composition), wrote prolifically for all for harp, which students had to prepare for wind instruments. During the years of the annual competitions. (There is also a occupation, he conducted at the separate series for sight-reading exercises Opéra-Comique; later he became the for all instruments; A-R Editions has been director of the conservatory in Valenciennes publishing anthologies of this invaluable in Northern France. material.) Over the years, the Conservatoire commissions have given the music world En forêt is a short but ambitious work which such important repertoire staples as begins and ends with a lively and energetic Debussy's Première rhapsodie for clarinet motif, full of syncopations and other and piano and Dutilleux's Sonatine for flute rhythmic irregularities. In between these and piano. bookends, we encounter a series of episodes such as a mysterious signal with an Eugène Bozza's En forêt, written as part of alternation of regular and stopped sounds; a this distinguished tradition of examination solemn rendition of the Easter chant pieces, has become an integral part of the Victimae paschali laudes; a hunting melody horn literature.
    [Show full text]