DOCSLIB.ORG

13-17/11 Flagey

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
13-17/11 Flagey FeStiVal a Cambre. l V a NS e DebussyChauSSoNFraNCkFauréSaiNt-SaëNSraVel 13-17/11 Flagey Création graphique: Mathilde Collobert, Mathilde Collobert, graphique: Création Queen elisabeth Music chapel artistic season 2012 - 2013 56 artists in residence 24 nationalities MaiN SpoNSorS Co-SpoNSor 2 1 après Chopin en 2010 et brahms en 2011, la chapelle Musicale reine elisabeth et Flagey, en coproduction sous la présidence d’honneur avec l’orchestre royal philharmonique de liège et le brussels philharmonic, présentent à nouveau ensemble de s.M. la reine un festival d’automne, le Festival ‘a la française’, du 13 au 17 novembre 2012 à Flagey. onder het erevoorzitterschap Ce festival, programmé par la Chapelle Musicale, est dédié à la musique française du ‘tournant de siècle’, une période extrêmement riche que le public peut explorer à travers les plus belles oeuvres des maîtres fran- van h.M. de Koningin çais tels que Claude Debussy, Camille Saint-Saëns, gabriel Fauré, eric Satie, Maurice ravel, César Franck ou encore Francis poulenc. le Festival ‘a la française’ peut compter, et c’est une des caractéristiques de la Chapelle Musicale : le com- pagnonnage, sur la participation de musiciens de réputation internationale comme augustin dumay, Gary hoffman, Jean-philippe collard, abdel rahman el bacha ou encore Gérard caussé, associés notamment aux solistes de la Chapelle. Cinq jours de festival, 12 concerts & plus de cinquante artistes, le chœur octopus et deux orchestres belges seront de la partie : l’orchestre philharmonique royal de liège dirigé par christian arming, ainsi que le brus- sels philharmonic sous la baguette de Michel tabachnik. Devenu une marque de maison pour Flagey, le Festival ‘a la française’ n’est pas exclusivement musical, notons au programme une soirée satie mêlant mélodies et extraits de la correspondance presque complète d’erik Satie. Ce spectacle mis en scène par Jean bellorini est produit le 15 novembre par l’académie européenne de musique du Festival d’aix-en-provence, partenaire de la Chapelle Musicale dans le cadre du réseau eNOA (european Network of opera academies). le festival n’oublie pas les enfants et leurs familles, à découvrir notamment ‘le carnaval des animaux’ de Saint-Saëns lors d’un concert conté sur les images de Danieli le samedi 17 novembre à 11h. (en collaboration avec la Maison de la Musique). et toujours dans cet esprit de ‘compagnonnage’, l’image du festival a fait à nouveau l’objet d’un concours auprès des étudiants de l’ecole de la Cambre (ecole nationale supérieure des arts visuels). Flagey expose tous les projets d’affiche pendant la durée du festival. la clôture du festival, le samedi 17 novembre en soirée, est l’occasion d’entendre le requiem de Fauré dans sa version pour grand orchestre, version terminée par Fauré en 1901. a vous toutes et tous, Cher public attentionné, un très bon festival ! bernard de launoit gilles ledure executive president Directeur Chapelle Musicale reine elisabeth Flagey 2 3 Na Chopin in 2010 en brahms in 2011 stellen de Muziekkapel Koningin elisabeth en Flagey, in coproduc- after Chopin in 2010 and brahms in 2011, the Queen elisabeth Music chapel and Flagey, in co-production with tie met het orchestre royal philharmonique de liège en het brussels philharmonic, ook dit jaar samen een the liège royal philharmonic orchestra and the brussels philharmonic, present jointly again an autumn “a la herfstfestival voor. Dat loopt van 13 tot 17 november 2012 in het Flagey, onder de titel ‘a la française’. française” Festival, from 13 to 17 november 2012 at Flagey. Dit festival, waarvoor de Muziekkapel het programma samenstelde, staat volledig in het teken van de Franse programmed by the Music Chapel, this festival is dedicated to French music at the “turn of the century,” an muziek uit de periode van de eeuwwisseling. het was een bijzonder vruchtbare en boeiende tijd, waaruit voor extremely rich period that the public can explore through the finest works of French masters such as Claude het publiek de mooiste werken van Franse meesters gekozen werden, zoals Claude Debussy, Camille Saint- Debussy, Camille Saint-Saëns, gabriel Fauré, eric Satie, Maurice ravel, César Franck or Francis poulenc. Saëns, gabriel Fauré, erik Satie, Maurice ravel, César Franck of ook nog Francis poulenc. the “a la française” Festival can count on what has become one of the characteristics of the Music Chapel: het Festival ‘a la française’ kan rekenen op de medewerking van internationaal vermaarde musici als augustin mentoring, thanks to the participation of internationally renowned musicians such as augustin dumay, Gary dumay, Gary hoffman, Jean-philippe collard, abdel rahman el bacha en verder Gérard caussé. Zij zullen de hoffman, Jean-philippe collard, abdel rahman el bacha or Gérard caussé, who are involved in particular avond opluisteren naast de solisten van de Muziekkapel, helemaal volgens het systeem van het ‘gezellenschap’ with the Music Chapel’s soloists. dat zo eigen is aan de Muziekkapel. a five-day festival, with 12 concerts and more than fifty artists, theo ctopus chorus and two belgian orchestras Vijf dagen lang duurt het festival. Dat betekent 12 concerten en meer dan vijftig artiesten, het koor octopus en on hand: the orchestre philharmonique royal de liège conducted by christian arming, as well as the brus- twee belgische orkesten: het orchestre philharmonique royal de liège met christian arming als dirigent, en sels philharmonic under the baton of Michel tabachnik. het brussels philharmonic onder de leiding van Michel tabachnik. having become a house mark for Flagey, the “a la française” Festival is not exclusively musical. the program het Festival groeide uit tot een huismerk voor Flagey, maar ‘a la française’ beperkt zich niet tot de muziek al- includes a satie evening which mixes songs and extracts from the nearly complete correspondence of erik leen. op het programma staat ook een avond rond satie, een mengeling van melodieën en uittreksels uit de Satie. Directed by Jean bellorini, this show is to be performed on 15 November by the ‘académie européenne bijna volledige briefwisseling van erik Satie. De voorstelling, in een regie van Jean bellorini, wordt op 15 no- de musique du Festival d’aix-en-provence’, a partner of the Music Chapel under the european Network of vember gebracht door de ‘académie européenne de musique du Festival d’aix-en-provence’, partner van de opera academies (eNOA). Muziekkapel in het kader van het eNOA (european Network of opera academies). the festival does not forget children and their families either, featuring in particular Saint-Saëns’s “le carnaval uiteraard vergeet het festival de kinderen en de rest van hun gezin niet. Zij kunnen onder meer genieten van ‘le des animaux” during a concert related on images of Danieli on Saturday, 17 November at 11:00 aM (in coopera- carnaval des animaux’ van Saint-Saëns tijdens een vertelconcert op de beelden van Danieli, op zaterdag 17 tion with the “Maison de la Musique”). november om 11 uur (in samenwerking met het huis van de Muziek). and still in this ‘mentoring’ spirit, the festival has once again been the subject of a competition among students en nog altijd in die sfeer van ‘gezellenschap’ werd voor de affiche van het festival ook weer een wedstrijd uit- of la Cambre (national school of visual arts). Flagey will exhibit all the poster projects during the festival. geschreven waar de studenten van la Cambre konden aan deelnemen (Nationale hogeschool voor Visuele kunsten). alle ingediende ontwerpen zullen trouwens tijdens de hele duur van festival uithangen in het Flagey. the festival will be brought to a close on Saturday evening, 17 November, with a performance of Fauré’s requiem in its version for large orchestra, which the composer completed in 1901. De afsluiting van het festival, op zaterdagavond 17 november, biedt de kans om het requiem van Fauré te horen in zijn versie voor groot orkest, die Fauré in 1901 voltooide. We wish you, dear attentive public, a fine festival! Wij wensen u een onvergetelijk festival! bernard de launoit gilles ledure executive president Directeur bernard de launoit gilles ledure Chapelle Musicale reine elisabeth Flagey executive president Directeur Chapelle Musicale reine elisabeth Flagey 4 5 13.11.2012 - 18:00 13.11.2012 - 20:15 studio 1 studio 4 diana GouGlina SopraNo Gary hoFFMan Cello philippe riGa piaNo Jean-philippe collard piaNo 23.11.12 g. bizet: 20 mélodies, op. 21 C. Debussy La coccinelle Sonata in D minor, for cello & piano Fred Hersch Trio Chant d’amour Prologue Sérénade r. hahn: D’une prison 28.11.12 Finale g. bizet: ouvre ton coeur auGustin duMay VioliN Phronesis caMille MercKx MeZZo Jean-philippe collard piaNo philippe riGa piaNo 1.12.12 C. Franck g. Fauré: la bonne chanson, op. 61 Sonata in a major, for violin & piano Puisque l’aube grandit Allegro ben moderato Brussels Jazz Orchestra‘s Finest La lune blanche luit dans les bois Allegro J’allais par des chemins perfides Recitativo fantasia 7.12.12 Avant que tu ne t’en ailles Allegro poco mosso N’est-ce pas? L’hiver a cessé Tomasz Stanko auGustin duMay VioliN Gérard caussé Viola Julie Mossay SopraNo Gary hoFFMan Cello philippe riGa piaNo Jean-philippe collard piaNo h. Duparc: Chanson triste g. Fauré h. Duparc: Chanson triste piano quartet No. 1 in ut minor, op. 15 h. Duparc: la vie antérieure Allegro molto moderato David Bartolomi h. Duparc: phidylé Scherzo: allegro vivo © Adagio KinGa borowsKa MeZZo Finale: allegro molto philippe riGa piaNo g. Fauré: Chanson du pêcheur, op. 4 No. 1 Info & tickets : www.flagey.be - 02 641 10 20 automne, op. 18 No. 3 h. berlioz: la captive, op. 12 Assez vif, très rythmé Très lent Vif et agité 6 7 14.11.2012 - 18:00 14.11.2012 - 20:15 15.11.2012 - 18:00 15.11.2012 - 20:15 studio 1 studio 4 studio 1 studio 4 Quatuor herMès brussels philharMonic liya petrova VioliN Soirée Satie Michel tabachniK CoNDuCtor pau codina MasFerrer Cello C.
Load more

Recommended publications
  • Louis-Marie Fardet - Artist Bio and CV
    Louis-Marie Fardet - Artist Bio and CV Born in Rochefort, France and then Parisian since the 90’s to attend a special unique high-school (Lycée Racine) for pre-professional level musicians (1990-93), Louis-Marie got accepted at the prestigious Paris Conservatory in 1992 in Philippe Muller’s Studio and graduated in 1996. L-M studied the following 2 years with Michel Strauss in “Perfectionnement” cello class. Louis-Marie continued his studies pursuing a Master for 2 years at Rice University (1999-2001) Then he came back to France in 2001 and became a tenured member of the prestigious Paris Opera Orchestra in 2002, 6 months only after winning the audition on a 10/10 Commitee vote. After a 5 years tenure in Opéra de Paris, Louis-Marie moved back in late 2006 to Houston, Texas and served as Assistant Principal Cellist for the Houston Grand Opera and Ballet until 2015, year he won the 4th chair position with the Houston Symphony. As part of his contract L-M has been acting principal cellist for the Houston Symphony Orchestra a couple weeks a year Teaching Experience: Louis-Marie is now an Aeyons faculty since May 2020. Louis-Marie has held a small private studio at home and helped numerous students from Middle school and High School to help them through all their school orchestra repertoire and All State & Region orchestra auditions. L-M has given numerous cello & ensemble lessons & Masterclasses at Sam Houston State University during the last 14 years he’s established in Texas. L-M is also a core cello faculty at the annual Texas summer String Camp.
    [Show full text]
  • A Bestiary of the Arts
    LA LETTRE ACADEMIE DES BEAUX-ARTS A BESTIARY OF THE ARTS 89 Issue 89 Spring 2019 Editorial • page 2 News: Annual Public Meeting of the Five Academies News: Installations under the Coupole: Adrien Goetz and Jacques Perrin News: Formal Session of the Académie des beaux-arts • pages 3 to 7 Editorial The magnificent Exhibition: “Oriental Visions: Cynocephalus adorning the cover of this edition of From Dreams into Light” La Lettre emanates a feeling of peaceful strength Musée Marmottan Monet true to the personality of its author, Pierre-Yves • pages 8 and 9 File: Trémois, the oldest member of the Académie des Beaux-Arts after being elected to Paul Lemangy’s “A bestiary of the arts” seat on 8 February 1978. • pages 10 to 34 Through the insatiable curiosity and astounding energy that he brings to the table at the age of News: “Concerts for a seat” ninety-eight, Pierre-Yves Trémois shows us Elections: Jean-Michel Othoniel, the extent to which artistic creation can be Marc Barani, Bernard Desmoulin, regenerative, especially when it is not seeking to conform to any passing trend. News: The Cabinet des estampes de la In May 2017 we elected forty-three year-old composer Bruno Mantovani to Jean bibliothèque de l’Institut Prodromidès’ seat. Tribute: Jean Cortot Watching the two passionately converse about art, we realized that the half • pages 35 to 37 century separating them was of no importance. The Académie des Beaux-Arts is known for the immense aesthetic diversity Press release: “Antônio Carlos Jobim, running throughout its different sections. highly-elaborate popular music” This reality is in stark contrast with academicism.
    [Show full text]
  • Fiche De Presentation Cordes Sensibles
    FICHE DE PRESENTATION CORDES SENSIBLES Toru Takemistu (1930-1996) Tree Line Michel Tabachnik (1942-) Diptyque écho, concerto pour violon et orchestre Maurice Ravel (1875-1937) Tzigane, rhapsodie de concert pour violon et orchestre Robert Schumann (1810-1856) Symphonie n°4 en ré mineur, op.120 L’exigeant Michel Tabachnik propose un programme rare, à commencer par son propre Diptyque dont la dialectique entre violon et orchestre confine au cosmique. En ouverture, un hommage appuyé est rendu au regretté Toru Takemitsu, reconnu pour ses sonorités raffinées. De son Guarneri cristallin, Chloë Hanslip nous plonge ensuite dans les sortilèges du Tzigane ravélien. Avant une profonde immersion dans la Quatrième de Schuman dont la texture et les développements n’ont plus rien de classique. Distribution Michel Tabachnik, direction Chloë Hanslip, violon solo Orchestre Régional Avignon-Provence Fiche de présentation réalisée avec la complicité de Kim Parola, étudiant en deuxième année au Centre de Formation de Musiciens Intervenant d'Aix en Provence (CFMI) chargé de mener une action de sensibilisation autour de ce programme dans le cadre d’un module d’insertion professionnelle. Répétition générale ? La répétition générale est la dernière répétition avant le concert. Généralement, pour un concert exécuté le vendredi soir, l’orchestre a six services de répétition et une générale. Le lundi est un jour de repos. L’Orchestre Régional Avignon-Provence répète dans une salle adaptée, en Courtine. La répétition générale a lieu dans la salle de concert : l’Opéra du Grand-Avignon, le plus régulièrement. Au cours de cette générale, chaque œuvre doit être exécutée dans son intégralité. Puis, le chef peut décider de faire des « raccords » et faire rejouer certains passages.
    [Show full text]
  • Dossier Pedagogique
    PINOCCHIO Concerts réservés aux élèves de l’école primaire (cycle 2) : Lundi 16 mars 2020 – 9h00 et 10h30 Mardi 17 mars 2020 – 9h00 et 10h30 Jeudi 19 mars 2020 – 9h00 et 10h30 Auditorium Henri Dutilleux de Douai DOSSIER PEDAGOGIQUE Pinocchio Laurent Petitgirard sur un texte d’Edouard Signolet d’après Carlo Collodi Récitante > Isabelle Carré-Legrand Orchestre de Douai – Région Hauts-de-France Illustrations > Laëtitia La Saux Présentation > Michèle Eloire Orchestre de Douai – Douai Trade Center – 100 rue Pierre Dubois 59500 Douai – Tél. 03 27 71 77 77 – [email protected] Pinocchio PINOCCHIO Musique de Laurent Petitgirard sur un texte d’Edouard Signolet d’après Carlo Collodi Le livre-CD est disponible chez Didier Jeunesse L’auteur : Né en 1881 sous la plume de l’écrivain toscan Carlo Collodi, Pinocchio s’impose comme l’enfant terrible de la littérature italienne. La version hollywoodienne des studios Disney s’éloigne du roman italien d’origine : le petit garçon au cœur tendre du maître américain diffère radicalement du gamin insupportable imaginé par Collodi. C’est ce personnage a priori peu sympathique que le dramaturge Edouard Signolet a choisi pour sa version de Pinocchio, dans laquelle le pantin de bois, têtu, malpoli et ingrat doit vivre ses aventures pour évoluer et grandir. Le compositeur : Né en 1950, Laurent Petitgirard a étudié le piano avec Serge Petitgirard et la composition avec Alain Kremski. Musicien éclectique, sa carrière de compositeur de musique symphonique, d’opéras et de musique de chambre se double d'une importante activité de chef d'orchestre. Laurent Petitgirard a également composé de nombreuses musiques de films pour des metteurs en scène tels Otto Preminger, Jacques Demy, Francis Girod, Peter Kassovitz.
    [Show full text]
  • FRENCH SYMPHONIES from the Nineteenth Century to the Present
    FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen.
    [Show full text]
  • Programa2016.Pdf
    l Encuentro de Música y Academia cumple un año más el reto de superarse a sí mismo. La programación de 2016 combina a la perfección la academia, la experiencia y el virtuosismo de los más grandes, como el maestro Krzysztof Penderecki, con la frescura, las ganas y el entusiasmo de los jóvenes músicos Eparticipantes en esta cita ineludible cada verano en Cantabria. Más de 50 conciertos en los escenarios del Palacio de Festivales de Cantabria, en el Palacio de La Magdalena y en otras 22 localidades acercarán la Música con mayúsculas a todos los rincones de la Comunidad Autónoma para satisfacer a un público exigente y siempre ávido de manifestaciones culturales. Para esta tierra, es un privilegio la oportunidad de engrandecer su calendario cultural con un evento de tanta relevancia nacional e internacional. Así pues, animo a todos los cántabros y a quienes nos visitan en estas fechas estivales a disfrutar al máximo de los grandes de la música y a aportar con su presencia la excelente programación que, un verano más, nos ofrece el Encuentro de Música y Academia. Miguel Ángel Revilla Presidente del Gobierno de Cantabria esde hace ya 16 años, el Encuentro de Música y Academia de Santander sigue fielmente las líneas maestras que lo han convertido en un elemento muy prestigioso del verano musical europeo. En Santander —que es una delicia en el mes de julio— se reúnen jóvenes músicos seleccionados uno a uno mediante audición en las escuelas de mayor prestigio Dde Europa, incluida, naturalmente, la Reina Sofía de Madrid. Comparten clases magistrales, ensayos y conciertos con una serie igualmente extraordinaria de profesores, los más destacados de cada instrumento en el panorama internacional.
    [Show full text]
  • Download Augustin Dumay Biography
    Augustin Dumay International critics have compared Augustin Dumay to the great violinists of the 20th century, describing him as a “great classical stylist”, a reputation underscored by his outstanding recordings for Deutsche Grammophon: Beethoven’s complete sonatas with Maria João Pires, a set that “surely ranks with Grumiaux/Haskil, Menuhin/Kempff, or Perlman/Ashkenazy” (International Piano), Brahms’ trios in which “the Milstein legacy in Dumay’s playing is wonderfully apparent” (Gramophone), and Mozart’s concertos with the Camerata Salzburg, “without exaggeration one of the finest Mozart violin concerto discs ever made” (Classic CD), in which he “confirms that he is an exceptional interpreter of Mozart as were Stern or Grumiaux before him” (Classica). Born into a family of musicians – his mother is a cellist and pianist, his father an amateur violinist – Augustin Dumay started violin lessons at the age of 5, after attending a concert by Nathan Milstein. Aged ten, he entered the Paris Conservatoire, winning the premier prix at the age of thirteen. His first concert at the Théâtre des Champs- Élysée followed a year later and he then appeared at the Montreux Festival, playing for Joseph Szigeti and Henryk Szeryng, who invited him to replace him on a tour of South America. On his return, Augustin Dumay worked in Paris with Nathan Milstein, who said of him: “I believe he will take his place amongt the great violinists of the year 2000”. He then went on to work in Brussels with Arthur Grumiaux for five years. He soon became familiar to concert audiences in France, but his international career took off thanks to his encounter with Herbert von Karajan.
    [Show full text]
  • Le Journal Musical De Chopin Iddo Bar-Sha
    RodolpheAnne Bruneau-Boulmier Queffélec Le journal musical de Chopin Iddo Bar-Sha Le journal musical de Chopin (1810 -1849) Jean-Frédéric Neuburger 1. 1817 Polonaise en sol mineur S 1/1 • Abdel Rahman El Bacha 3’03 2. 1827 Nocturne en mi mineur opus 72 n°1 • Anne Queffélec 4’20 Abdel Rahman El Bacha 3. 1829 Étude n°1 en ut majeur opus 10 • Philippe Giusiano 2’01 4. 1830 Étude n°2 en la mineur opus 10 • Philippe Giusiano 1’23 5. 1830 Étude n°3 en mi majeur opus 10 • Philippe Giusiano 3’45 6. 1832 Mazurka n°3 en la bémol majeur opus 17 • Iddo Bar-Sha 4’37 7. 1833 Mazurka n°4 en la mineur opus 17 • Iddo Bar-Sha 4’31 8. 1838-39 Nocturne en fa majeur opus 15 n°1 • Jean-Frédéric Neuburger 4’16 Anne Queffélec 9. 1837 Scherzo n°2 en si bémol mineur opus 31 • Momo Kodama 9’54 10. 1836-39 Ballade n°2 en fa majeur opus 38 • Jean-Frédéric Neuburger 7’06 11. 1831-39 Prélude n°15 en ré bémol majeur opus 28 • Philippe Giusiano 4’52 Philippe Giusiano 12. 1845-46 Barcarolle en fa dièse majeur opus 60 • Anne Queffélec 9’01 13. 1845-46 Polonaise-Fantaisie en la bémol majeur opus 61 • Abdel Rahman El Bacha 12’04 14. 1846 Mazurka n°3 en ut dièse mineur opus 63 • Iddo Bar-Sha 2’26 15. 1849 Mazurka n°4 en fa mineur opus 68 • Iddo Bar-Sha 2’18 Momo Kodama durée totale : 76’ Le journal musical de Chopin homme séduisant à la silhouette frêle jusqu'au spectre de patrie d'enfance.
    [Show full text]
  • GEORGIEV Martin
    MARTIN GEORGIEV’s artistic activity connects the fields of composition, conducting and research in a symbiosis. As a composer and conductor he has collaborated with leading orchestras and ensembles, such as the Brussels Philharmonic, BBC Symphony Orchestra, Bulgarian National Radio Orchestra, Heidelberg Philharmonic Orchestra, Sofia National Philharmonic Orchestra, National Orchestra of Belgium, Azalea Ensemble, Manson Ensemble, Cosmic Voices choir, Isis Ensemble and Ensemble Musiques Nouvelles. More recently he was Composer in Residence to the City of Heidelberg - 'Komponist für Heidelberg 2012|13", featuring the orchestral commission The Secret which premiered in 2013 with the Heidelberg Philharmonic Orchestra conducted by the composer. Since 2013 he works as Assistant Conductor for the Royal Ballet at ROH Covent Garden, London, where he is involved with a number of world premieres. In 2010-11 he was SAM Embedded Composer with the BBC Symphony Orchestra, London. He has completed a PhD doctorate in Composition at the Royal Academy of Music, University of London (2012), in which he developed his Morphing Modality technique for composition. He also holds Masters' degrees in both Composition and Conducting from the Royal Academy of Music and the National Academy of Music 'Pancho Vladigerov', Sofia, Bulgaria. Born in 1983 at Varna, Bulgaria, he is based in London since 2005, holding both Bulgarian and British citizenship. He is a laureate of the International Composers' Forum TACTUS in Brussels, Belgium, where his works featured in the selection in 2004, 2008 and 2011; the Grand Prize for Symphonic Composition dedicated to the 75th Anniversary of the Sofia National Philharmonic Orchestra in 2003; the UBC Golden Stave Award in 2004; orchestral commission prize in memory of Sir Henry Wood by the Royal Academy of Music, London, in 2011; he was a finalist of the Hindemith Prize of the Schleswig-Holstein Music Festival in Germany in 2011 and a recipient of 15 prizes from national and international competitions as a percussionist.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1993
    a«apB««t6«ii«giiiflmaii! iiaH«:^aatta«li'i|iaHpsjili«2liii«iw;ilo^ .^ 7oo/i ofExcellence '- 4? In every discipline, ,% '*% outstanding performance springs ?•*{. from the combination of skill, A^^^'" <^^ vision and commitment. t.%^ As a technology leader, GE Plastics is dedicated to the development of advanced materials: <k engineering thermoplastics, silicones, superabrasives and circuit board substrates. Like the lively arts that thrive in this inspiring environment, we enrich life's quality through creative excellence. GE Plastics Seiji Ozawa, Music Director One Hundred and Eleventh Season, 1992-93 Trustees of the Boston Symphony Orchestra, Inc. P. Barger, Chairman George H. Kidder, President J. Mrs. Lewis S. Dabney, Vice-Chairman Nicholas T. Zervas, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer David B.Arnold, Jr. Nina L. Doggett R. Willis Leith, Jr. Peter A. Brooke Dean Freed Mrs. August R. Meyer James F. Cleary Avram J. Goldberg Molly Beals Millman John F. Cogan,Jr. Thelma E. Goldberg Mrs. Robert B. Newman Julian Cohen Julian T. Houston Peter C. Read William F. Connell Mrs. BelaT. Kalman Richard A. Smith William M. Crozier, Jr. Allen Z. Kluchman Ray Stata Deborah B. Davis Harvey Chet Krentzman Trustees Emeriti Vernon R. Alden Archie G. Epps Irving W. Rabb Philip K.Allen Mrs. Harris Fahnestock Mrs. George R. Rowland Allen G. Barry Mrs. John L. Grandin Mrs. George Lee Sargent I>eo L. Beranek Mrs. George I. Kaplan Sidney Stoneman Mrs. John M. Bradley Albert L. Nickerson John Hoyt Stookey Abram T Gollier Thomas D. Perry, Jr. John L. Thorndike Nelson J.
    [Show full text]
  • Sirba-Tantz-Ang-Eng-2017-Site.Pdf
    S I R B A O C T E T Tantz ! Sirba Octet www.sirbaoctet.com © © Bernard Martine “Tantz! has its roots in the Eastern IT IS A PORTRAIT OF LIFE ITSELF! Europe of my grandparents before they emigrated nearly 100 years “It is a portrait of life itself – a lifetime T A N ago. I wanted to rediscover this of love that no longer exists to which intrinsic element of my cultural song is the only possible testimony we orientation by revisiting this music as the classical musician I am can have in the end. It encapsulates a TZ today.” whole era which used to exist and isn’t there any more but which will live on in Inspired by the migration both of the souls of those who value it and we people and of their music, the must all value it because it comes ! show forms a kind of bridge directly from the heart. between Romania, Moldova, Russia and Hungary and their That is what it is. rich, interwoven treasuries of traditional folk music. Each We must thank these wonderful carefully selected piece retains the musicians who have come together to identity and authenticity which we share and sustain this symbol of love, must protect and pass on, like Ariadne’s thread, thereby continuing the musical heritage reanimating a forgotten time that is that is an ode to life – moving, joyful and tinged with humour. ever present. Richard Schmoucler, artistic Thank you!” director (translated from original French) Ivry Gitlis, Paris, September 30th 2014 (translated from the original French) AN ENERGETIC AND HEARTFELT MUSICAL JOURNEY Tantz! means dance in Yiddish and this title eludes to the emotion, elegance and vigour of the show itself.
    [Show full text]
  • Chamber Music & Music for Piano Solo
    VIVIERCHAMBER MUSIC & MUSIC FOR PIANO SOLO Alessandro Soccorsi piano Thies Roorda flute Joseph Puglia violin Sietse-Jan Weijenberg cello Niels Meliefste percussion Pepe Garcia percussion Claude Vivier 1948-1983 Immediately after his birth, Claude Vivier (Montreal, 14 April 1948 – Paris, 7 March Chamber Music & Music for Piano Solo 1983) was taken to an orphanage. His mother abandoned the young boy simply because at the time, in Roman Catholic Quebec, society would not accept illegitimate 1. Shiraz for piano solo (1977) 14’44 4. Pianoforte for piano solo children. When Armand and Jeanne Vivier visited the orphanage in December 1950, Salabert, Paris (1975) 8’03 they were initially in search of a girl. They decided to adopt the little Claude instead. 1985, Les Éditions YPPAN, These events would mark his further life and art. 2. Pulau Dewata Saint-Nicolas, Canada From his 13th birthday onwards, he attended a few schools with the aim of for variable ensemble (1977) 13’03 becoming a Catholic frère. Some five years later, the seminary advised him to Arr. for piano and percussion 5. Paramirabo for flute, violin, withdraw. “Community life with rules: he wasn’t cut out for that.” His search for by A. Soccorsi cello and piano (1978) 14’23 “life,” as he himself wrote, “in the most creative and universal sense of the term,” 1988, Les Éditions YPPAN, as well as his emerging homosexuality, may have been decisive reasons. His true 3. Pièce for cello and piano Saint-Nicolas, Canada vocation turned out to be music. He enrolled at the Conservatoire de musique in (1975) 6’52 Montreal in 1967.
    [Show full text]