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Chloë Hanslip, Violin Royal Philharmonic
559302 bk Adams US 7/14/06 12:41 PM Page 5 Charles Owen Royal Philharmonic Orchestra AMERICAN CLASSICS Charles Owen began his musical studies at the Yehudi Menuhin The Royal Philharmonic Orchestra was established in 1946 by Sir Thomas Beecham, who set about creating a world- School with Seta Tanyel and continued at the Royal College of class ensemble from the finest musicians in Britain. Since his death in 1961 the orchestra has continued under a Music under the guidance of Irina Zaritskaya. There he won all the number of very distinguished conductors, including Rudolf Kempe, Antal Doráti, André Previn and Vladimir major piano prizes before completing his studies with Imogen Ashkenazy, followed in 1996 by their present Music Director, Daniele Gatti. Based in London, with a resident series Cooper. He received the Silver Medal at the Scottish International at both the Royal Albert Hall and Cadogan Hall, the orchestra also has a comprehensive United Kingdom and JOHN ADAMS Piano Competition (1995) and was a finalist in the 1996 London overseas touring programme. Recent highlights have included playing for the late Pope John Paul II in the Vatican, Philharmonic/Pioneer Young Soloist of the year competition. In for the President of China in Tiananmen Square and at the tenth anniversary celebration of Kazakhstan’s 1997 he won the prestigious Parkhouse award in partnership with independence, in addition to touring regularly throughout Europe and the United States. The orchestra has made the violinist Katharine Gowers. His concert activities are diverse many recordings and has a commitment to community and education projects, as well as to contemporary composers. -
STUDIE Braucht München (K)Einen Zusätzlichen Neuen Konzertsaal
STUDIE Braucht München (k)einen zusätzlichen neuen Konzertsaal? Zum Vorschlag, dem Symphonieorchester des Bayerischen Rundfunks und den Münchner Philharmonikern die umgebaute Philharmonie im Gasteig und den renovierten Herkulessaal zur gleichberechtigten Bespielung zur Verfügung zu stellen Berlin, den 20. Februar 2015 1 www.karstenwitt.com INHALT 1. Einleitung 2. Kontext 2.1. Deutsche Konzertsäle nach dem Krieg 2.2. Neue Konzerthäuser in Europa 2.3. Musikstädte mit mehreren Konzerthäusern 3. Situation des BRSO 3.1. Säle der Rundfunkorchester 3.2. Das BRSO im Herkulessaal 4. Konzertsaalsituation in München 4.1. Herkulessaal 4.2. Philharmonie im Gasteig 5. Kapazitätsfragen 5.1. Gasteig 5.2. Herkulessaal 5.3. Kapazität insgesamt 5.4. Gemeinsame Bespielung der Philharmonie durch BRSO und MPhil 5.5. Einbeziehung des Herkulessaals 6. Gasteig-Sanierung 6.1. Akustik 6.2. Schließperiode 7. Konsequenzen – Empfehlungen 2 www.karstenwitt.com 1. Einleitung Im Rahmen einer gemeinsamen Pressekonferenz am 2.2.2015 haben sich der Oberbürger- meister der Stadt München und der Ministerpräsident des Freistaats Bayern bemüht, eine neue Perspektive zur Lösung der seit ca. 10 Jahren öffentlich diskutierten Konzertsaalprob- lematik in München aufzuzeigen. Danach sollte die Philharmonie im Gasteig, da der gesamte Gasteig ohnehin saniert werden muss, im Rahmen einer zweijährigen Schließperiode ab 2020 zu einem erstklassigen Konzertsaal umgebaut werden. Insbesondere sei eine hervorra- gende Akustik für Symphonieorchester angestrebt. Der Herkulessaal sollte zu einem nicht genannten Zeitpunkt ebenfalls renoviert werden. Beide Säle sollten dann dem Symphonieor- chester des Bayerischen Rundfunks (BRSO) und den Münchner Philharmonikern (MPhil) zur gleichberechtigten Bespielung zur Verfügung stehen. Dazu sollten auch Aufenthaltsräume für das BRSO im Gasteig geschaffen werden, möglicherweise in dem Bereich, der jetzt der Musikhochschule zur Verfügung steht; diese müsste dann anderswo untergebracht werden. -
Folk Roots, Urban Roots
Thursday 13 December 2018 7.30–9.55pm Barbican Hall LSO SEASON CONCERT FOLK ROOTS, URBAN ROOTS Bartók Hungarian Peasant Songs Szymanowski Harnasie Interval Stravinsky Ebony Concerto Osvaldo Golijov arr Gonzalo Grau Nazareno Bernstein Prelude, Fugue and Riffs ROOTS & Sir Simon Rattle conductor Edgaras Montvidas tenor Chris Richards clarinet Katia and Marielle Labèque pianos Gonzalo Grau percussion Raphaël Séguinier percussion London Symphony Chorus ORIGINS Simon Halsey chorus director In celebration of the life of Jeremy Delmar-Morgan Streamed live on youtube.com/lso Recorded by BBC Radio 3 for broadcast on Tuesday 18 December Welcome Jeremy Delmar-Morgan In Memory 1941–2018 We are also delighted to welcome Katia and Jeremy Delmar-Morgan was a member of Marielle Labèque, who perform Nazareno, the LSO Advisory Council for over 20 years, a double piano suite drawn from Osvaldo a Director of LSO Ltd from 2002 to 2013, and Golijov’s La Pasión según San Marco, thereafter a Trustee of the LSO Endowment arranged by Gonzalo Grau, who appears Trust. He was also Honorary President of alongside Raphaël Séguinier as one of this the Ronald Moore Sickness and Benevolent evening’s percussion soloists. We then close Fund, where he brought invaluable advice with Prelude, Fugue and Riffs by the LSO’s to the LSO musicians on the investment former President, Leonard Bernstein, with strategy for the fund. After studying LSO Principal Clarinet Chris Richards as soloist. medicine at Cambridge he went into the City for a career in stock-broking, latterly elcome to this LSO concert at Tonight’s concert is performed in combining the two in the financing of the Barbican. -
Navigating, Coping & Cashing In
The RECORDING Navigating, Coping & Cashing In Maze November 2013 Introduction Trying to get a handle on where the recording business is headed is a little like trying to nail Jell-O to the wall. No matter what side of the business you may be on— producing, selling, distributing, even buying recordings— there is no longer a “standard operating procedure.” Hence the title of this Special Report, designed as a guide to the abundance of recording and distribution options that seem to be cropping up almost daily thanks to technology’s relentless march forward. And as each new delivery CONTENTS option takes hold—CD, download, streaming, app, flash drive, you name it—it exponentionally accelerates the next. 2 Introduction At the other end of the spectrum sits the artist, overwhelmed with choices: 4 The Distribution Maze: anybody can (and does) make a recording these days, but if an artist is not signed Bring a Compass: Part I with a record label, or doesn’t have the resources to make a vanity recording, is there still a way? As Phil Sommerich points out in his excellent overview of “The 8 The Distribution Maze: Distribution Maze,” Part I and Part II, yes, there is a way, or rather, ways. But which Bring a Compass: Part II one is the right one? Sommerich lets us in on a few of the major players, explains 11 Five Minutes, Five Questions how they each work, and the advantages and disadvantages of each. with Three Top Label Execs In “The Musical America Recording Surveys,” we confirmed that our readers are both consumers and makers of recordings. -
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. -
Konzerthäuser in Deutschland
Raoul Mörchen Konzerthäuser in Deutschland >> Konzerthaus – Was ist das? Was ein Opernhaus ist, ist leicht gesagt. Ein Opernhaus ist ein Haus, in dem Opern gespielt werden. In Opern- häusern werden gemeinhin die zur Aufführung kommenden Opern auch selbst produziert, und zwar ganz oder zum Teil mit eigenem Personal, mit einem eigenen Ensemble, mit einem eigenen Orchester, auf jeden Fall werden die Opern programmiert von einem eigenen Betrieb, einer eigenen Verwaltung, einer eigenen Dramaturgie und einer künstlerischen Leitung. Ein Opernhaus ist somit ein spezifischer Gebäudetypus – mit Auditorium, Bühne, Bühnenmaschinerie, heute auch mit Orchestergraben – und eine kulturelle Institution, die diesen Gebäudetypus entsprechend bespielt. Was ein Konzerthaus ist, lässt sich dagegen nicht so leicht sagen. Für Konzerte braucht es kein eigenes Haus – ein Saal tut’s eigentlich auch. Genau genommen spielt sogar die meiste Musik in Deutschland, auch die klas- sische, nicht in Konzerthäusern, sondern in Konzertsälen. Und selbst der Konzertsaal ist bei näherem Hinblick weder architektonisch noch soziologisch eine so fest greifbare Entität wie das Opernhaus: Was gestern Abend noch Konzertsaal war, kann vielerorts morgen früh schon leergeräumt werden für einen Kongress oder eine Tagung, für eine Firmenpräsentation oder gar für einen Trödelmarkt. Beinahe jede mittelgroße und große deutsche Stadt verfügt über solche Säle, die als Mehrzweckhallen mehr oder minder oft Aufführungsstätte für Konzerte sind. Ihre Eignung dafür stellt diese beliebte Mischnutzung nicht von vornherein in Frage: Säle wie die alte Duisburger Mercatorhalle oder die Beethovenhalle in Bonn haben sich Jahrzehnte lang als Konzertort bewährt und sind von Musikern und dem Publikum angenommen, manchmal sogar liebgewonnen worden. Historisch betrachtet hat in solchen Mehrzwecksälen das öffentliche Konzert sogar seinen Ursprung genom- men: Sowohl in England, wo sich das bürgerliche Konzertwesen in einer stark merkantil ausgerichteten Ge- sellschaft bereits im frühen 18. -
Concerts of a Lifetime
Concerts seit 1941 of a Lifetime. 2. – 9. August 2020 Stiftung Stavros Willi Muntwyler- S. Niarchos Stiftung Medienpartner Aussergewöhnlicher Festival-Sommer LIEBE FREUNDINNEN UND CARI AMICHE E AMICI FREUNDE DER MUSIK DELLA MUSICA Die Geschichte des Engadin Festivals geht zurück ins La storia del Festival dell’Engadina ci porta indietro fino Jahr 1940, in die Zeit des Zweiten Weltkriegs. Auch al 1940, all’epoca della seconda guerra mondiale. Erano in der Schweiz waren die Zeiten schwierig, und die tempi difficili anche in Svizzera e l’industria del turismo Tourismus-Industrie lag brach. In dieser Situation ristagnava. In questa situazione l’allora parroco di Sil- initiierte der damalige Pfarrer von Silvaplana, Ernst vaplana, Ernst Schulthess, avviò una serie di concerti Schulthess, eine Reihe von Kammermusik-Konzer- cameristici in Engadina. Nel luglio 1941 furono inaugu- ten im Engadin. Im Juli 1941 wurden die ersten «Enga- rate nella Bergkirche della Val Fex le prime «Settimane diner Konzertwochen» in der Bergkirche im Val Fex concertistiche dell’Engadina», che divennero rapida- eröffnet. Schnell wurden sie zu einem Anziehungs- mente una vera calamita per chiunque nel mondo mu- punkt für alle, die in der Musikwelt Rang und Namen sicale avesse nome e prestigio. Il progetto era corag- hatten. Das Projekt war mutig – und erfolgreich, bis gioso – e fu coronato dal successo, fino a oggi. heute. Noi scriviamo ora l’anno 2020, e anche noi dobbiamo Wir schreiben nun das Jahr 2020, und auch wir muss- prendere decisioni coraggiose. Non era mai successo, ten mutige Entscheidungen treffen. Noch nie wurde in negli ultimi 80 anni, che la vita culturale patisse limit- den letzten 80 Jahren das Kulturleben so einschnei- azioni drastiche come quelle imposte dal Coronavirus. -
Michael Schade at a Special Release of His New Hyperion Recording “Of Ladies and Love...”
th La Scena Musicale cene English Canada Special Edition September - October 2002 Issue 01 Classical Music & Jazz Season Previews & Calendar Southern Ontario & Western Canada MichaelPerpetual Schade Motion Canada Post Publications Mail Sales Agreement n˚. 40025257 FREE TMS 1-01/colorpages 9/3/02 4:16 PM Page 2 Meet Michael Schade At a Special Release of his new Hyperion recording “Of ladies and love...” Thursday Sept.26 At L’Atelier Grigorian Toronto 70 Yorkville Ave. 5:30 - 7:30 pm Saturday Sept. 28 At L’Atelier Grigorian Oakville 210 Lakeshore Rd.E. 1:00 - 3:00 pm The World’s Finest Classical & Jazz Music Emporium L’Atelier Grigorian g Yorkville Avenue, U of T Bookstore, & Oakville GLENN GOULD A State of Wonder- The Complete Goldberg Variations (S3K 87703) The Goldberg Variations are Glenn Gould’s signature work. He recorded two versions of Bach’s great composition—once in 1955 and again in 1981. It is a testament to Gould’s genius that he could record the same piece of music twice—so differently, yet each version brilliant in its own way. Glenn Gould— A State Of Wonder brings together both of Gould’s legendary performances of The Goldberg Variations for the first time in a deluxe, digitally remastered, 3-CD set. Sony Classical celebrates the 70th anniversary of Glenn Gould's birth with a collection of limited edition CDs. This beautifully packaged collection contains the cornerstones of Gould’s career that marked him as a genius of our time. A supreme intrepreter of Bach, these recordings are an essential addition to every music collection. -
Butterfly Tosca La Bohème La Rondine Turandot
MADAMA TU RANDOT LNEL CAENTEN ARRIO DELOLA PRIMAN RAPPRESDENTAZIOINE NE LA BOHÈME TOSCA BUTTERFLY Novaya Opera Mosca 29 agosto | 30 agosto | L a t r a dvi Giuiseappet Vaerdi | dLi Giacom ob Pucocini hème rappresentazioni in forma scenica maestro concertatore e direttore Jan Latham-Koenig personaggi e interpreti principali Irina Kostina soprano Violetta Valèry | Khachatur Badalyan tenore Alfredo Germont | Aleksey Bogdanchikov baritono 14 e 23 luglio | 4 e 12 agosto 15 luglio | 5 agosto 21 e 28 luglio | 11 agosto 29 luglio | 10 e 19 agosto 18 agosto Giorgio Germont | dramma lirico in tre atti su libretto di Giuseppe Adami e Renato Simoni commedia lirica in tre atti su libretto di Giuseppe Adami scene liriche in quattro quadri su libretto di Giuseppe Giacosa e Luigi Illica melodramma in tre atti su libretto di Giuseppe Giacosa e Luigi Illica tragedia giapponese in due atti su libretto di Giuseppe Giacosa e Luigi Illica Anna Sinitsyna mezzo-soprano musica di GIACOMO PUCCINI musica di GIACOMO PUCCINI musica di GIACOMO PUCCINI musica di GIACOMO PUCCINI musica di GIACOMO PUCCINI Flora Bervoix | allestimento China National Opera House di Pechino Maksim Ostroukhov tenore maestro concertatore e direttore Ping maestro concertatore e direttore Yvette maestro concertatore e direttore Benoit maestro concertatore e direttore Un carceriere Gastone | Parpignol Alberto V erones i (14-23 luglio) Beatrice Venezi James Meena (21-28 luglio) maestro concertatore e direttore Andrea Zaupa (14-23 luglio) Anna Paola Troiano Claudio Ottino Dejan Savic (29 luglio -
FOR IMMEDIATE RELEASE UPDATED January 17, 2017 November 1, 2016 ARTIST and PROGRAM CHANGE Contact: Katherine E. Johnson (212) 875-5718; [email protected]
FOR IMMEDIATE RELEASE UPDATED January 17, 2017 November 1, 2016 ARTIST AND PROGRAM CHANGE Contact: Katherine E. Johnson (212) 875-5718; [email protected] LONG YU TO CONDUCT CHINA PHILHARMONIC ORCHESTRA, PRESENTED BY THE NEW YORK PHILHARMONIC PROKOFIEV’s Violin Concerto No. 2 with JULIAN RACHLIN SHOSTAKOVICH’s Symphony No. 5 December 11, 2016 NEW YORK PHILHARMONIC IN SIXTH ANNUAL CHINESE NEW YEAR CONCERT and GALA U.S. PREMIERE of CHEN Qigang’s Joie Éternelle with Trumpet Player ALISON BALSOM PUCCINI’s Selection from Turandot and Traditional Chinese Folk Songs with Soprano SUMI JO SAINT-SAËNS’s Introduction and Rondo Capriccioso with Concertmaster FRANK HUANG January 31, 2017 The New York Philharmonic will present two programs honoring its strong ties to China, both led by Long Yu: the China Philharmonic Orchestra will perform at David Geffen Hall on December 11, 2016, and the New York Philharmonic will perform its sixth annual Chinese New Year Concert and Gala, January 31, 2017. Both programs celebrate the cultural exchange between China and the U.S., particularly the Philharmonic’s connections to China. China Philharmonic Orchestra The New York Philharmonic will present the China Philharmonic Orchestra, led by Long Yu, its Music Director, at David Geffen Hall on December 11, 2016, at 3:00 p.m. The program will feature Prokofiev’s Violin Concerto No. 2, with Julian Rachlin as soloist, and Shostakovich’s Symphony No. 5. Long Yu co-founded the China Philharmonic Orchestra in 2000, and has since served as its artistic director and chief conductor. The orchestra’s appearance at David Geffen Hall, presented by the New York Philharmonic, is part of its 2016 Tour of the Americas. -
44° Cantiere Internazionale D'arte Biografie Degli Artisti Giampiero
44° cantiere internazionale d’arte Biografie degli artisti Giampiero Allegro Diplomato in Clarinetto nel 1986 al Conservatorio " L. Cherubini di Firenze, ha frequentato corsi di perfezionamento con il M° Ciro Scarponi e all’Accademia Chigiana di Siena con il M° Giuseppe Garbarino. Ha partecipato dal 1979 a numerose edizioni del Cantiere Internazionale d’arte di Montepulciano, suonando in gruppi da camera e in orchestra anche come solista, con Direttori come Jan Latham-Koenig, Marcus Stenz, Pasquale Veleno, Roland Böer, Luciano Garosi. Ha eseguito “ prime assolute “, in Italia e all’estero alcune delle quali trasmesse dal terzo canale radiofonico della RAI e dalla radio Nazionale Svizzera. Ha studiato flauto dolce con il M° Anna Schuly, con il M° Marijke Schat e Paolo Capirci diplomandosi nel 1991 in flauto diritto ed interpretazione della musica antica a Roma. Nel 1995 e nel 1996 ha seguito corsi di musica da camera con il M° Pier Narciso Masi. Nel 2001 e 2002 ha seguito corsi di direzione d’orchestra con il M° Alessandro Pinzauti. Nel 2005 vince il 2° concorso Nazionale “ Il Corto “ di Roma come migliore musica originale del cortometraggio di Isabella Borromeo “ Bianca “. Primo Clarinetto dell’Arcadia Wind Orchestra di Abbadia S. Salvatore vincitrice del 1° premio assoluto al XIII° Concorso Nazionale “ La bacchetta d’Oro “ a Fiuggi nel maggio 2010. Naomi Berrill Naomi Berrill nasce a Galway (Irlanda) nel 1981. I suoi genitori, insegnanti di musica, hanno avuto un ruolo fondamentale nel suo percorso formativo. La madre Mairead è un punto di riferimento per l’insegnamento della musica nelle scuole irlandesi. -
Bruno Walter (Ca
[To view this image, refer to the print version of this title.] Erik Ryding and Rebecca Pechefsky Yale University Press New Haven and London Frontispiece: Bruno Walter (ca. ). Courtesy of Österreichisches Theatermuseum. Copyright © by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections and of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Sonia L. Shannon Set in Bulmer type by The Composing Room of Michigan, Grand Rapids, Mich. Printed in the United States of America by R. R. Donnelley,Harrisonburg, Va. Library of Congress Cataloging-in-Publication Data Ryding, Erik S., – Bruno Walter : a world elsewhere / by Erik Ryding and Rebecca Pechefsky. p. cm. Includes bibliographical references, filmography,and indexes. ISBN --- (cloth : alk. paper) . Walter, Bruno, ‒. Conductors (Music)— Biography. I. Pechefsky,Rebecca. II. Title. ML.W R .Ј—dc [B] - A catalogue record for this book is available from the British Library. The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. For Emily, Mary, and William In memoriam Rachel Kemper and Howard Pechefsky Contents Illustrations follow pages and Preface xi Acknowledgments xv Bruno Schlesinger Berlin, Cologne, Hamburg,– Kapellmeister Walter Breslau, Pressburg, Riga, Berlin,‒