DOCSLIB.ORG

Chicago Symphony Orchestra Riccardo Muti Symphony Center Presents

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Chicago Symphony Orchestra Riccardo Muti Symphony Center Presents 2020 /21 CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI ZELL MUSIC DIRECTOR SYMPHONY CENTER PRESENTS welcome to the 130th season “The partnership of Riccardo Muti and the Chicago Symphony Orchestra has no real rival in the U.S. and precious few around the world.” chicago tribune table of contents 04 Muti’s Vision for the Season 06 CSO Musicians in the Spotlight 08 Anything but Ordinary 12 Explore the 2020/21 Season 37 Discover Your Perfect Series 36 38 Chicago Symphony Orchestra 42 46 Symphony Center Presents 48 Subscribe 50 Season Grid 51 Support the CSO cso.org 3 cso.org 3 muti’s vision for the season riccardoMozart said that the deepestmuti music conducts is the one hidden between the the notes. CSO The mystery is there in that space that encloses the universe. With each performance, the Chicago Symphony Orchestra and I seek to communicate the infinite power of what cannot be said but what can be felt deeply by the spirit through music. Being a musician is a choice we have made for passion. We might even say it is a mission: it is the continuous search for an interpretative truth, for an unattainable perfection. It is a privilege to pursue this quest with this exceptional orchestra. Please join us during the 2020/21 season as we explore the depths found in the music of humanity’s great composers. riccardo muti The 2020/21 season celebrates the singular partnership the world of opera to sacred choral works and song between the Chicago Symphony Orchestra and its cycles. This season features remarkable examples of each 10th music director, Maestro Riccardo Muti. “This category, from Cherubini’s Mass for the Coronation orchestra has given me the possibility to experience of Charles X (mar. 4–6) to a rousing season Ƃ nale complex, difƂ cult repertoire in a way that other, of Italian opera highlights (june 10–13). In many of these less virtuosic, orchestras could not,” said Muti of the performances, Muti and the Orchestra are joined ensemble he often fondly refers to as a Ferrari— by the Chicago Symphony Chorus, as well as esteemed an apt comparison as both are synonymous with singers from the world of opera, including the return excellence, power and agility. of mezzo-sopranos Anita Rachvelishvili in Brahms’ Alto Rhapsody (mar. 4–6) and Alice Coote in Elgar’s Sea The selected repertoire for this season displays these Pictures (oct. 22–27). qualities and more, whether evoking the exquisite reƂ nement of Mozart’s Gran Partita (mar. 18–20) or the Introducing new music to CSO audiences has been an searing intensity of Shostakovich’s Tenth Symphony important part of Muti’s artistic legacy as music director. (mar. 9). In addition to showcasing the Orchestra’s Having studied composition himself for 10 years, he talents with his programmatic choices for the ensemble, has the utmost respect for composers: “I approach Muti also continues to feature CSO musicians as music of the Classical period—Baroque, modern, soloists in concerts throughout the season. Romantic, contemporary—always in the same way, with the same seriousness,” he said. “The moment of truth As the new season begins, Muti continues the CSO’s comes when what the composer has sought is coming celebration of the 250th anniversary of Ludwig van to life in the performance.” He has selected Thomas Beethoven’s birth with his Missa solemnis (sept. 24–26). Adès, Gabriela Lena Frank, Magnus Lindberg, Kaija Muti describes this work as one of “vast dimensions” Saariaho and Julia Wolfe, among others, to represent the from a “metaphysical sphere.” To hear the Missa current generation of composers with performances of solemnis performed by the Chicago Symphony Orchestra their works, including the world premieres of two CSO and Chorus, along with an international cast of vocal commissions. soloists, will be a monumental artistic and cultural experience. Throughout their time together, Muti and the Orchestra have created a sound that is simultaneously deƂ ned The human voice in all its colors is a focal point by its excellence and its distinctiveness. “The revered of several special programs led by Muti. He Italian conductor has reinforced the Orchestra’s vaunted brings an unparalleled expertise that extends from international stature with stand-out concerts in Orchestra Hall and tours across Asia, Europe and North America,” afƂ rms the Chicago Sun-Times. Experience this exceptional combination throughout the 2020/21 season with music selected to display all of the talents of the CSO. 4 cso.org 5 cso musicians in the spotlight Riccardo Muti and the Chicago Symphony Orchestra share an exceptional bond. As Muti observed in 2007, “The way they responded to my musical ideas and the sense of family that we immediately created together pushed me to accept this very prestigious commitment.” Over the past 10 seasons, their music-making together has evolved into a partnership without equal. To showcase their artistry, Muti has invited CSO members to perform concertos at Orchestra Hall and on tour. This tradition continues during the 2020/21 season with broad- ranging repertoire that illustrates their individual virtuosic talents. Stefán Ragnar Höskuldsson principal flute Stephen Williamson principal clarinet Sarah Bullen principal harp “I fi rst heard the Copland concerto performed by Benny “I’ve devoted my life to this, and I’m happy to share Goodman on the radio when I was in sixth grade. It it with you. That’s all it is. A performance just had such a profound impact on me. I wanted to has to be a pure exchange of your voice, of who you play this piece that very moment I heard its opening are.” sarah bullen phrase.” stephen williamson Written for an aristocratic French father-and-daughter Commissioned by Chicago native Benny Goodman, duo, Mozart’s Concerto for Flute and Harp is a Aaron Copland’s Clarinet Concerto seamlessly blends charming dialogue between instruments that blend classical and jazz infl uences. Copland composed the perfectly. “As a performer, you must draw these qualities score while traveling through South America in from within yourself to bring the piece to life,” 1947, and its second movement evokes a Brazilian says Sarah Bullen. “That exercise of self-exploration popular tune while also capturing Goodman’s elegant, is both a thrill and a joy.” Stefán Ragnar Höskuldsson swinging style. The concerto was praised by fellow adds, “There is an intensity with which I like to composers including Stravinsky, Bernstein and play. I meditate on my material and try to get inside the Ginastera, who said it represents “the condensed voices music.” sept. 18 & 20 of a whole country.” As Stephen Williamson notes, “The concerto truly runs the gamut combining fi nesse and tenderness with raucous joy and true ‘jam session’ with everyone on stage.” nov. 5–8 William Welter principal oboe “From the moment I set foot on the stage of Orchestra Hall, I was so impressed with the incredible sound I heard—it was a perfect blend of power and elegance.” william welter Mozart completed only one concerto for oboe, and it is remarkable in every way. This music is not only deeply expressive, but also perfectly idiomatic, revealing the kind of gift for natural, memorable melody that few composers ever possess. This performance of Mozart’s Oboe Concerto in C Major, K. 314 will mark William Welter’s fi rst solo appearance with the Orchestra. dec. 3–8 6 David Herbert principal timpani Robert Chen concertmaster “When the musicians communicate to you directly “As a young man studying music and aspiring to a and sincerely, you will know it. That’s the pride solo career, I dreamt about playing with the and electricity of a CSO performance.” david herbert greatest orchestras in the world. I am living that dream.” robert chen Principal Timpani David Herbert solos in a work by William Kraft, one of America’s greatest living composers Mozart’s Violin Concerto No. 4 is one of fi ve he and a champion of percussion repertoire. Although composed in the mid-1770s while still living Herbert has performed Kraft’s Timpani Concerto in his hometown of Salzburg, and undoubtedly designed No. 1 the world over, this will be the fi rst time to perform himself. It is also one Robert Chen holds with the CSO. He describes it as “beautiful, intimate, close to his heart. “It’s the fi rst Mozart concerto confrontational, colorful and most importantly, that I studied and the one I played for my CSO solo engaging.” Herbert is excited to showcase this work in debut,” Chen recalls. “What strikes me about Mozart’s the composer’s home city of Chicago. “The audiences music is the simplicity in which he communicates who attend the CSO are my favorite people in the human existence. In this concerto, he combines world, and I am honored to play music for you, in this youthful exuberance with subtle complexity. The great city!” jan. 14–16 second movement has a simple, yet profoundly moving melody.” He adds, “Each time I return to Mozart, there is something new to discover. I am really excited Gene Pokorny principal tuba to perform it with Maestro Muti.” mar. 9 “I realize more and more the special affi nity the subscribers have for the efforts and results achieved by members of the Orchestra on stage. What a great connection to have!” gene pokorny For his latest concerto, famed Hollywood composer Lalo Schifrin refuses to put the tuba in a box: “In my inner ear, I heard a different quality after asking some virtuosi of the instrument to experiment with me in a melodic and linear way.” One of those virtuosi is CSO Principal Tuba Gene Pokorny, who premiered the work in 2018 and will perform it with the CSO.
Load more

Recommended publications
  • Leihmaterial Bote & Bock
    Leihmaterial Bote & Bock - Stand: November 2015 - Komponist / Titel Instrumentation Komp. / Dauer Aa, Michel van der 2 After Life B 2S,M,A,2Ba; 2005-06/ 95' Oper nach dem Film von Hirokazu Kore-Eda 0.1.1.BKl.0-0.1.0.1-Org(=Cemb)-Str(3.3.3.2.2); 2009 elektr Soundtrack; Videoprojektionen 1 The Book of DisquietB 1.0.1.1-0.1.0.0-Perc(1): 2008 75' Musiktheater für Schauspieler, Ensemble und Film Vib/Glsp/3Metallstücke/Cabasa/Maracas/Egg Shaker/ 4Chin.Tomt/grTr/Bambusglocken/Ratsche/Peitsche(mi)/ HlzBl(ti)/2Logdrum/Tri(ho)/2hgBe-4Vl.3Va.2Vc.Kb- Soundtrack(Laptop,1Spieler)-Film(2Bildschirme) 0 Here [enclosed] B 0.0.1.1-0.1.1.0-Perc(1)-Str(6.6.6.4.2)- 2003 17' für Kammerorchester und Soundtrack Soundtrack(Laptop, 1Spieler); Theaterobjekt K Here [in circles] B Kl.BKl.Trp-Perc(1)-Str(1.1.1.1.1); 2002 15' für Sopran und Ensemble kl Kassetten-Rekorder (z.B. Sony TCM-939) 0 Here [to be found]B 0.0.1.1-0.1.1.0-Perc(1)-Str(6.6.6.4.2)- 2001 18' für Sopran, Kammerorchester und Soundtrack Soundtrack(Laptop, 1 Spieler) Here Trilogy B 2001-03 50' siehe unter Here [enclosed], Here [in circles], Here [to be found] F Hysteresis B Fg-Trp-Perc(1)-Str*; Soundtrack(Laptop,1 Spieler); 2013 17' für Solo-Klarinette, Ensemble und Soundtrack *Streicher: 1.0.1.1.1 (alle vertärkt) oder 4.0.3.2.1 oder 6.0.5.4.2; Kb mit tiefer C-Saite 2 Imprint B 2Ob-Cemb-Str(4.4.3.2.1); 2005 14' für Barock-Orchester Portativ-Orgel zu spielen vom Solo-Violinisten; Historische Instrumente (415 Hz Stimmung) oder moderne Instrumente in Barock-Manier gespielt 1 Mask B 1.0.1.0-1.1.1.0-Perc(1)-Str(1.1.1.1.1)-
    [Show full text]
  • Annual Report
    ANNUAL REPORT Fiscal Year 2017: July 2016 – June 2017 Season 33 "I love to sing, I love connecting with my fellow members, and I love sharing our music with the community." — Jon Brockelman, Tenor 2 2 Welcome to CGMC Since 1985, Chicago Gay Men’s Chorus has been a leading voice of social justice, offering a safe and support- ive environment for LGBTQ+ performers to celebrate their talents and share our message of diversity and inclusivity through our shows. Fiscal year 2017 (from July 2016 – June 2017) included more than 40 public performances. In addition to our traditional programming, for the first time we also piloted a high school outreach program to share our message with the next generation. We plan to continue outreach programs like this in future years. The season kicked off in September 2016 with ourThe Great Gaymerican Songbook cabaret performance at Mayslake Peabody Estate in Oak Brook and the Uptown Underground on the north side of the city. Our holiday show Home for the Holidivas in December 2016 brought us to the Harris Theater, the North Shore Center for the Performing Arts in Skokie, and the Beverly Art Center. Lipsticks & Lyrics: The Dragtones, our live singing drag show in February 2017, featured several iconic girl groups, to the delight of our audience in four shows at Uptown Underground. Finally, our spring show *B-Town: From Barbershop to Boybands in May 2017 brought us back to rock the Harris Theater, North Shore Center for the Performing Arts, and the Beverly Arts Center. Outside of our regular mainstage shows, we performed at numerous community events across Chicagoland, including the Chicago AIDS Run/Walk opening ceremony, National Anthem for American Veterans for Equal Rights (AVER) memorial in Boystown and a Chicago Fire soccer game, Market Days, and Midsommarfest.
    [Show full text]
  • Juilliard Orchestra Marin Alsop, Conductor Daniel Ficarri, Organ Daniel Hass, Cello
    Saturday Evening, January 25, 2020, at 7:30 The Juilliard School presents Juilliard Orchestra Marin Alsop, Conductor Daniel Ficarri, Organ Daniel Hass, Cello SAMUEL BARBER (1910–81) Toccata Festiva (1960) DANIEL FICARRI, Organ DMITRI SHOSTAKOVICH (1906–75) Cello Concerto No. 2 in G major, Op. 126 (1966) Largo Allegretto Allegretto DANIEL HASS, Cello Intermission CHRISTOPHER ROUSE (1949–2019) Processional (2014) JOHANNES BRAHMS (1833–97) Symphony No. 2 in D major, Op. 73 (1877) Allegro non troppo Adagio non troppo Allegretto grazioso Allegro con spirito Performance time: approximately 1 hour and 50 minutes, including an intermission This performance is made possible with support from the Celia Ascher Fund for Juilliard. The taking of photographs and the use of recording equipment are not permitted in this auditorium. Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving). Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. Juilliard About the Program the organ’s and the orchestra’s full ranges. A fluid approach to rhythm and meter By Jay Goodwin provides momentum and bite, and intricate passagework—including a dazzling cadenza Toccata Festiva for the pedals that sets the organist’s feet SAMUEL BARBER to dancing—calls to mind the great organ Born: March 9, 1910, in West Chester, music of the Baroque era. Pennsylvania Died: January 23, 1981, in New York City Cello Concerto No. 2 in G major, Op. 126 DMITRI SHOSTAKOVICH In terms of scale, pipe organs are Born: September 25, 1906, in Saint Petersburg different from every other type of Died: August 9, 1975, in Moscow musical instrument, and designing and assembling a new one can be a challenge There are several reasons that of architecture and engineering as complex Shostakovich’s Cello Concerto No.
    [Show full text]
  • Emphasis on Female Conductors and Composers the Royal Concertgebouw Presents Its Programme for the 2018-2019 Season
    Press release Emphasis on female conductors and composers The Royal Concertgebouw presents its programme for the 2018-2019 season Amsterdam, 26th February 2018 – For its programme for the 2018-2019 season, The Royal Concertgebouw has decided to put an emphasis on female conductors and composers. Together with the LUDWIG music collective, Barbara Hannigan is set to return to conduct her first opera, The Rake’s Progress by Stravinsky. For her Royal Concertgebouw debut, Mirga Gražinytė-Tyla will be bringing with her the City of Birmingham Symphony Orchestra, of which she is chief conductor. Susanna Mälkki will also be heading her ‘very own’ Helsinki Philharmonic Orchestra. It will also be the first time that The Royal Concertgebouw welcomes a female composer in residence, Tansy Davies, from Great Britain. She will reside in Amsterdam for a few months to, among other things, compose new works for Asko|Schönberg. In the Rising Stars series, the audience will hear commissioned works by Roxanna Panufnik and Camille Pépin, with attention also being paid to female composers such as Alma Mahler, Clara Schumann and Fanny Mendelssohn. The Italian composer and violinist Alba Rosa Viëtor will take centre stage during the one-day festival Alba Rosa Viva!. Her works will be supported by the works of Henriëtte Bosmans, Cécile Chaminade and Rosy Wertheim. Three female ‘Sharp thinkers’ are also set to make an appearance: Petra Stienen, Griet Op de Beeck and Aaltje van Zweden. Violinist Janine Jansen will display her versatility with three concerts in the Main Hall: in a recital together with pianist Alexander Gavrylyuk, and as a soloist with the Swedish Radio Orchestra and the Chamber Orchestra of Europe.
    [Show full text]
  • Download Booklet
    559199 bk Helps US 12/01/2004 11:54 am Page 8 Robert HELPS AMERICAN CLASSICS (1928-2001) ROBERT HELPS Shall We Dance Piano Quartet • Postlude • Nocturne Spectrum Concerts Berlin 8.559199 8 559199 bk Helps US 12/01/2004 11:54 am Page 2 Robert Helps (1928-2001) ROBERT HELPS (1928-2001) Shall We Dance • Piano Quartet • Postlude • Nocturne • The Darkened Valley (John Ireland) 1 Shall We Dance for Piano (1994) 11:09 Robert Helps was Professor of Music at the University of Minneapolis, and elsewhere. His later concerts included Piano Quartet for Piano, Violin, Viola and Cello (1997) 25:55 South Florida, Tampa, and the San Francisco memorial solo recitals of the music of renowned Conservatory of Music. He was a recipient of awards in American composer Roger Sessions at both Harvard and 2 I. Prelude 10:24 composition from the National Endowment for the Arts, Princeton Universities, an all-Ravel recital at Harvard, 3 II. Intermezzo 2:24 the Guggenheim, Ford, and many other foundations, and and a solo recital in Town Hall, NY. His final of a 1976 Academy Award from the Academy of Arts compositions include Eventually the Carousel Begins, for 4 III. Scherzo 3:02 and Letters. His orchestral piece Adagio for Orchestra, two pianos, A Mixture of Time for guitar and piano, which 5 IV. Postlude 8:12 which later became the middle movement of his had its première in San Francisco in June 1990 by Adam 6 V. Coda – The Players Gossip 1:53 Symphony No. 1, won a Fromm Foundation award and Holzman and the composer, The Altered Landscape was premièred by Leopold Stokowski and the Symphony (1992) for organ solo and Shall We Dance (1994) for 7 Postlude for Horn, Violin and Piano (1964) 9:11 of the Air (formerly the NBC Symphony) at the piano solo, Piano Trio No.
    [Show full text]
  • National Museum of American Jewish History, Leonard Bernstein
    Narrative Section of a Successful Application The attached document contains the grant narrative and selected portions of a previously funded grant application. It is not intended to serve as a model, but to give you a sense of how a successful application may be crafted. Every successful application is different, and each applicant is urged to prepare a proposal that reflects its unique project and aspirations. Prospective applicants should consult the Research Programs application guidelines at https://www.neh.gov/grants/public/public-humanities- projects for instructions. Applicants are also strongly encouraged to consult with the NEH Division of Research Programs staff well before a grant deadline. Note: The attachment only contains the grant narrative and selected portions, not the entire funded application. In addition, certain portions may have been redacted to protect the privacy interests of an individual and/or to protect confidential commercial and financial information and/or to protect copyrighted materials. Project Title: Leonard Bernstein: The Power of Music Institution: National Museum of American Jewish History Project Director: Ivy Weingram Grant Program: America's Historical and Cultural Organizations: Planning Grants 1100 Pennsylvania Ave., N.W., Rm. 426, Washington, D.C. 20506 P 202.606.8269 F 202.606.8557 E [email protected] www.neh.gov THE NATURE OF THE REQUEST The National Museum of American Jewish History (NMAJH) respectfully requests a planning grant of $50,000 from the National Endowment for the Humanities to support the development of the special exhibition Leonard Bernstein: The Power of Music (working title), opening in March 2018 to celebrate the centennial year of Bernstein’s birth.
    [Show full text]
  • Vicent Alberola Cv
    VICENT ALBEROLA CLARINET PROFESSOR Academic record His studies were done with Walter Boeykens at the Royal Conservatory of Antwerp, Belgium, and at the same time with George Pieterson (Royal Concertgebouw Orchestra) and Larry Combs (Chicago Symphony Orchestra). Professional experience Founder of the Alberola MMCV Valencia, Professor at the ESMAR Higher Music Degree School and guest conductor at the Perm Opera, Russia. At the same time, he is also the first clarinet of the Mahler Chamber Orchestra, World Orchestra for Peace (WOP) and Les Dissonances de Paris. Alberola was for more than 20 years the first clarinet of the Madrid Opera and the Galician Symphony. During the last decade he has been the first guest clarinet with the Vicent Alberola Royal Concertgebow Orchestra, New York Philarmonic Orchestra, Lucerne Festival Orchestra, Mahler Chamber Orchestra, Orchester Les He studied with Walter Boeykens at the Royal Conservatory of Antwerp, Dissonances and the MMCK Tokyo Orchestra, groups with which he has Belgium, and with George Pieterson had the opportunity to perform the great repertoire. symphonic under and Larry Combs. the baton of teachers such as Claudio Abbado, Mariss Jansons, Valery Gergiev, Riccardo Muti, Daniele Gatti, Daniel Harding, Andris Nelsons, He has played with orchestras such as Royal Concertgebow Orchestra, Gustavo Dudamel, Alan Gilbert and Nicola Luisotti, among others. New York Philarmonic Orchestra, Lucerne Festival Orchestra, Mahler In 2003 he was appointed conductor of the Young Orchestra of the Chamber Orchestra, Orchester Les Madrid Opera and in 2007 conductor of the Young Orchestra of Soria. Dissonances and the MMCK Tokyo Vicent Alberola has directed the following operas at the Teatro Real de Orchestra.
    [Show full text]
  • Participation List
    #WeMakeEvents #RedAlertRESTART #ExtendPUA Participation List Name City State Alabama Theatre Birmingham Alabama South Baldwin Community Theatre Gulf Shores Alabama AC Marriot Huntsville Alabama Embassy Suites Huntsville Alabama Huntsville Art Museum Huntsville Alabama Mark C. Smith Concert Hall Huntsville Alabama Mars Music Hall Huntsville Alabama Propst Arena Huntsville Alabama Gulfquest Maritime Museum Mobile Alabama The Steeple on St. Francis Mobile Alabama Alabama Contempory Art Center Mobile Alabama Alabama Music Box Mobile Alabama The Merry Window Mobile Alabama The Soul Kitchen Music Hall Mobile Alabama Axis Sound and Lights Muscle Shoals Alabama Fame Recording Sudio Muscle Shoals Alabama Jonathan Edwards Home Muscle Shoals Alabama Sweettree Productions Warehouse Muscle Shoals Alabama Shoals Theatre Muscle Shoals Alabama Nick Pratt Boathouse Orange Bach Alabama David &DeAnn Milly Boathouse Orange Beach Alabama The Wharf Mainstreet Orange Beach Alabama Enlighten Entertainment Orange Beach Alabama Orange Beach Preforming Arts Studio Orange Beach Alabama Greg Trenor Boathouse Orange Beach Alabama Russellville Municipal Auditorium Russellville Alabama The Historic Bama Theatre Tuscaloosa Alabama Rawhide Chandler Arizona Rawhide Motorsports Park Chandler Arizona Northern Arizona university Flagstaff Arizona Orpheum Theater - Flagstaff location Flagstaff Arizona Mesa Arts Center Mesa Arizona Clearwing Productions Phoenix Arizona Creative Backstage/Pride Group Phoenix Arizona Crescent Ballroom Phoenix Arizona Herberger Theatre Phoenix
    [Show full text]
  • Intervju: Anna Vinnitskaya
    Intervju: Anna Vinnitskaya Jag vill lämna publiken med upplevelser som efter en bra film, med nya erfarenheter och upplevelser, snarare än att imponera med virtuositet Konsertpianisten Anna Vinnitskaya tog emot CAPRICCIO på Konzerthaus i Berlin i våras i samband medhennes framförande av Dmitrij Sjostakovitjs första pianokonsert. Vinnitskaya övar när jag anländer, och jag väntar avsiktligt med att knacka på dörren till repetitionsrummet för att inte avbryta mitt i en fras i Rachmaninovs tredje pianokonsert. Samma dag som vårt samtal ägde rum släpptes även hennes senaste skiva med Bachkonserter för piano, inspelad medEvgeni Koroliov, Ljupka Hadzi Georgievaoch Kammerakademie Potsdam (Alpha). Anna Vinnitskaya föddes 1983 i Novorossiysk vid Svarta havet. Båda hennes föräldrar var pianister och hon tog tidigt pianolektioner, från sex års ålder. Hon har gett konserter internationellt sedan hon var sju år gammal. När Vinnitskaya var liten fann hon glädje i musikutövandet; som tonåring blev pianospelandet dock alltmer en form av yrkesidentitet nästan i en slags sportslig riktning för den vänsterhänta pianisten. Hon gav sin första stora konsert – Sjostakovitjs andra pianokonsert – när hon var tolv år gammal. Vinnitskaya har vunnit ett antal tävlingar, första gången när hon var tretton, bland annat Queen Elizabeth Competition i Bryssel 2007 då hon vann första pris – hon var den andra kvinnliga pianisten någonsin att vinna tävlingen – och Leonard Bernstein Award 2008. Hon har även bland annat gett en Junge Wilde- konsert i Dortmund, och gav ut sitt debutalbum 2009. Vinnitskaya är ”Artist in Residence” vid Dresdner Philharmoniker innevarande säsong som kommer att avslutas med just Rachmaninovs tredje pianokonsert i juni 2020. Anna Vinnitskaya © Marco Borggreve Upplevde du att du egentligen någonsin hade något val? Valde du pianot? – För att vara ärlig, nej, valet var inte mitt.
    [Show full text]
  • Music You Know & Schubert
    CONCERT PROGRAM Friday, April 29, 2016, 8:00pm MUSIC YOU KNOW: STORYTELLING David Robertson, conductor Celeste Golden Boyer, violin BERNSTEIN Candide Overture (1956) (1918-1990) PONCHIELLI Dance of the Hours from La Gioconda (1876) (1834-1886) VITALI/ Chaconne in G minor for Violin and Orchestra (ca. 1705/1911) orch. Charlier (1663-1745) Celeste Golden Boyer, violin INTERMISSION HUMPERDINCK Prelude to Hänsel und Gretel (1893) (1854-1921) DUKAS The Sorcerer’s Apprentice (1897) (1865-1935) STEFAN FREUND Cyrillic Dreams (2009) (b. 1974) David Halen, violin Alison Harney, violin Jonathan Chu, viola Daniel Lee, cello WAGNER/ Ride of the Valkyries from Die Walküre (1856) arr. Hutschenruyter (1813-1883) 23 ACKNOWLEDGMENTS This concert is part of the Wells Fargo Advisors Orchestral Series. This concert is part of the Whitaker Foundation Music You Know Series. This concert is supported by University College at Washington University. David Robertson is the Beofor Music Director and Conductor. The concert of Friday, April 29, is underwritten in part by a generous gift from Mr. and Mrs. Andrew C. Taylor. The concert of Friday, April 29, is the Joanne and Joel Iskiwitch Concert. Pre-Concert Conversations are sponsored by Washington University Physicians. Large print program notes are available through the generosity of the Delmar Gardens Family and are located at the Customer Service table in the foyer. 24 A FEW THINGS YOU MIGHT NOT KNOW ABOUT MUSIC YOU KNOW BY EDDIE SILVA For those of you who stayed up late to watch The Dick Cavett Show on TV, you may recognize Leonard Bernstein’s Candide Overture as the theme song played by the band led by Bobby Rosengarden.
    [Show full text]
  • Rundfunk-Sinfonieorchester Berlin Rundfunkchor Berlin Marek Janowski SYMPHONIA DOMESTICA & DIE TAGESZEITEN Richard Strauss
    Richard Strauss SYMPHONIA DOMESTICA & DIE TAGESZEITEN Rundfunk-Sinfonieorchester Berlin Rundfunkchor Berlin Marek Janowski Richard Strauss (1864-1949) Symphonia statement (if meant sincerely) does not the Frenchman recommended the reference to the (outdated) traditional necessarily win you friends... work be performed only without the genre, in order to subsequently Symphonia Domestica, Op. 53 Domestica, Op. 53 accompanying programme, as it would demolish the internal musical structure 1 Bewegt 5. 03 In fact, the content of the Symphonia certainly distract the listener and and compositional content with 2 Scherzo 12. 46 Richard Strauss was a master at domestica does seem rather trivial, as misrepresent the character of the work. powerful irony. After all, one would 3 Adagio 11. 22 creating double entendres in his the composer places his own, deeply To which Strauss responded: “For me, surely elect a completely diff erent 4 Mäßig langsam. Bewegter 15. 43 music. Nothing is as it seems at fi rst bourgeois family idyll in the spotlight of the poetic programme is no more than genre to accompany the private glance. One should always keep this the musical scene. His original working a means of expressing and developing area of a domestic idyll: an art song, Die Tageszeiten, Op. 76 in mind when dealing with such a title for the work was: “My home. A my perception in a purely musical perhaps, a sonata – but certainly not (Poems by Joseph von Eichendorff ) controversial work as his Symphonia symphonic portrait of myself and my manner; not, as you think, merely a a symphony written for the concert For Male Chorus and Orchestra domestica, Op.
    [Show full text]
  • Culturalupdate
    CONCIERGE UNLIMITED INTERNATIONAL June 2017 culturalupdate Volume XXVII—Issue VI happening in rosemont arts / museums Monday’s Cornhole Bags on Mondays MB Financial Park Open Tuesday’s Country in the Park MB Financial Park 3 Little Lower Layer MCA Chicago 6 Takashi Murakami MCA Chicago Wednesday’s Zumba in the Park MB Financial Park 25 Gauguin Art Institute Chicago Thursday’s Rockin’ in the Park MB Financial Park 29 Helena Almeida Art Institute Chicago Friday’s Friday Night Concerts MB Financial Park Through 16 New Kids on the Block Allstate Arena 4 Colors of the Oasis Museum Fine Arts Houston 17 Gloria Trevi vs Alejandra Guzmán Allstate Arena 4 Go Art Institute Chicago 24 B96 Summer Bash Allstate Arena 11 Whistler’s Mother Art Institute Chicago 18 Marsden Hartley’s Maine Metropolitan Art NYC This month’s special is: 20% off the- Free Admission to Museums Catering Sub Tray; includes 6 assorted Museum of Contemporary Art*: Tuesday’s: 6, 13, 20, 27 classic subs. Art Institute of Chicago*: Thursdays 5:00 - 8:00 P.M. Chicago History Museum*(12:30 - 7:30 pm) Tuesday’s: 6, 13, 20, 27 key feature * Available to Illinois residents only. Must show valid ID. ♦Italian Village Restaurant (71 W. Monroe) A landmark in Chicago’s Loop since 1927, the Italian Village ballet / dance Restaurants, comprised of three distinct restaurants, have served 7-11 Hubbard Street Summer Series Harris Theatre the best in Italian cuisine for both lunch and dinner. Now the 10 2017 Performance Visceral Studio Company Capitanini family invites you to enjoy their exceptional cuisine, 10 Lost in This World Auditorium Theatre unparalleled service, and their Wine Spectator Award winning 21-7/14 Otello - The Royal Ballet Royal Opera House London wine list, which features over 1,200 vintage wines dating back to the 60’s! Italian Village is centrally located to Loop Theaters, Millennium Park, Orchestra Hall, Civic Opera House, and hotels.
    [Show full text]