Season 2017-2018

Total Page:16

File Type:pdf, Size:1020Kb

Season 2017-2018 23 Season 2017-2018 Wednesday, November 1, at 7:30 China’s National Centre for the Performing Arts Orchestra Lü Jia Conductor Ning Feng Violin Gautier Capuçon Cello Zhao Jiping Violin Concerto No. 1 (in one movement) Chen Qigang Reflection of a Vanished Time, for cello and orchestra United States premiere Intermission Brahms Symphony No. 4 in E minor, Op. 98 I. Allegro non troppo II. Andante moderato III. Allegro giocoso—Poco meno presto—Tempo I IV. Allegro energico e passionato—Più allegro This program runs approximately 1 hour, 50 minutes. China’s National Centre for the Performing Arts Orchestra’s 2017 US Tour is proudly supported by China National Arts Fund. International Flight Sponsor: Hainan Airlines Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit www.wrti.org to listen live or for more details. 24 Conductor Lü Jia is artistic director of music of the National Centre for the Performing Arts (NCPA) in Beijing, China, as well as music director and chief conductor of the NCPA Orchestra. He is also music director and chief conductor of the Macao Orchestra. He has served as music director of Verona Opera in Italy and artistic director of the Tenerife Symphony in Spain. Born into a musical family in Shanghai, he began studying piano and cello at a very young age. He later studied conducting at the Central Conservatory of Music in Beijing, under the tutelage of Zheng Xiaoying. At the age of 24 Mr. Lü entered the University of Arts in Berlin, where he continued his studies under Hans- Martin Rabenstein and Robert Wolf. The following year he was awarded both the First Prize and Jury’s Prize at the Antonio Pedeotti International Conducting Competition in Trento, Italy, which launched his career. Mr. Lü has conducted nearly 2,000 orchestral concerts and opera performances in Europe and the United States. He has worked with such renowned opera houses and symphony orchestras as La Scala; the Deutsche Oper Berlin; the Royal Concertgebouw, Leipzig Gewandhaus, and Lyon National orchestras; the Chicago, Bamberg, and City of Birmingham symphonies; the Munich and Royal Liverpool philharmonics; and the Orchestra dell’Accademia Nazionale di Santa Cecilia. A highly acclaimed opera conductor, Mr. Lü has led more than 50 productions internationally and was the first Asian conductor appointed music director in an important opera house in Italy. In 2007 Italian President Giorgio Napolitano bestowed the President’s Prize on Mr. Lü for his exceptional contribution to Italian culture. In 2012 the Plácido Domingo International Vocal Competition invited him to serve on its jury, making him the Competition’s first-ever Chinese jury member. That same year he was appointed chief conductor and artistic director of opera at the NCPA. Under his musical direction, NCPA’s productions of Wagner’s Lohengrin and The Flying Dutchman, Mozart’s The Marriage of Figaro, Verdi’s Otello, Puccini’s Tosca, and many other works have received glowing reviews from the international press. 25 Soloist Felix Broede Felix Established at the highest level in China, violinist Feng Ning performs regularly in his native country with major international and local orchestras, in recital, and with the Dragon Quartet, which he founded in 2012. Now based in Berlin and enjoying a global career, he has developed an international reputation as an artist of great lyricism and emotional transparency, displaying tremendous bravura and awe-inspiring technical accomplishment. Born in Chengdu, China, Mr. Feng studied at the Sichuan Conservatory of Music; the Hanns Eisler School of Music in Berlin, with Antje Weithaas; and the Royal Academy of Music in London, with Hu Kun, where he was the first student ever to be awarded 100% for his final recital. The recipient of prizes at the Hanover International, Queen Elisabeth, and Yehudi Menuhin International violin competitions, Mr. Feng was also First Prize winner at the 2005 Michael Hill International Violin Competition in New Zealand, and in 2006 he won First Prize in the International Paganini Competition. Mr. Feng plays the 1721 “Macmillan” Stradivarius, on private loan, kindly arranged by Premiere Performances of Hong Kong. His strings are made by Thomastik-Infeld, Vienna. 26 Soloist Catherine Pluchart Cellist Gautier Capuçon performs each season with many of the world’s foremost conductors and instrumentalists and is also founder and leader of the Classe d’Excellence de Violoncelle at the Frank Gehry- designed Louis Vuitton Foundation auditorium in Paris. He is acclaimed internationally for his deeply expressive musicianship and exuberant virtuosity, as well as for the glorious sonority of his 1701 “Matteo Goffriller” cello. In addition to tonight’s performance, highlights of the 2017- 18 season include appearances in a number of orchestral tours across Europe, the U.S., and in Asia, including the Orchestre de Chambre de Paris, the Vienna Symphony, the Gustav Mahler Youth Orchestra, the Royal Philharmonic, and the Frankfurt Radio Symphony. Other concerto appearances include return performances with the Leipzig Gewandhaus Orchestra and Herbert Blomstedt, the Vienna Philharmonic and Semyon Bychkov, the San Francisco Symphony and Stéphane Denève, the City of Birmingham Symphony and Mirga Gražinytė-Tyla, and the London Philharmonia and Paavo Jäarvi. A regular recital and chamber musician, Mr. Capuçon appears annually in the world’s major halls and festivals. Highlights this season include a return to Carnegie Hall with pianist Daniil Trifonov; an extensive international recital tour with duo partner and pianist Jérôme Ducros, supporting the release of the album Intuition; and performances at the Verbier Festival. Recording exclusively for Erato (Warner Classics), he has won multiple ECHO Klassik awards and holds an extensive discography. Other recent recordings include Beethoven Sonatas with pianist Frank Braley, Shostakovich’s Cello Concertos with the Mariinsky Orchestra and Valery Gergiev, and Schubert’s String Quintet with Quatuor Ébène. Born in Chambéry, France, in 1981, Mr. Capuçon began playing the cello at the age of five. He studied at the Conservatoire National Supérieur in Paris with Philippe Muller and Annie Cochet-Zakine, and later with Heinrich Schiff in Vienna. The winner of various first prizes in many leading international competitions, including the International André Navarra Prize, he was named New Talent of the Year by Victoires de la Musique in 2001. 27 China’s National Centre for the Performing Arts Orchestra China NCPA Orchestra is the resident orchestra of the National Centre for the Performing Arts (NCPA) in Beijing. Established in March 2010, the orchestra performs in more than a dozen opera productions presented by its home venue every year, as well as in regular orchestral concerts in its own season. Artists associated with the orchestra included Zubin Mehta, Valery Gergiev, Myung-Whun Chung, Christoph Eschenbach, Vladimir Ashkenazy, Fabio Luisi, Lang Lang, Stephen Kovacevich, Leo Nucci, and Yuja Wang, among many others. Lorin Maazel worked closely with the ensemble before his passing and praised the musicians for their “amazing professionalism and great passion in music.” The NCPA Orchestra has gained critical acclaim for its performances in NCPA’s opera productions of not only classical repertoire works such as Puccini’s Tosca, Johann Strauss’s Die Fledermaus, Verdi’s Aida and Nabucco, and Wagner’s Lohengrin, but also newly commissioned works such as Lei Lei’s The Chinese Orphan and Guo Wenjing’s The Rickshaw Boy. In its own orchestral concert season, it has consistently presented creative and diverse programs. The orchestra’s performance of The “Ring” without Words with its creator, Lorin Maazel, was released on SONY Classics worldwide, the only recording he ever made with a Chinese orchestra. The NCPAO has also extensively explored contemporary music. It gave the Chinese premieres of works by Tōru Takemitsu and Giya Kancheli, among others, and the world premieres of many works by composers including Michael Gordon and Augusta Read Thomas. The NCPA Orchestra has received widespread international praise for its performances at the Kissingen Summer Music Festival and the Schleswig-Holstein Musik Festival and concerts in many cities in Germany, as well as in Sydney, Singapore, Seoul, Daegu, Abu Dhabi, Taipei, and Macao. During the 2014-15 season, the orchestra undertook its first North American tour, where it performed in seven major cities in the US and Canada, under the baton of Lü Jia, including in a presentation by The Philadelphia Orchestra at the Kimmel Center. 28 China’s National Centre for the Performing Arts Opened in 2007, China’s National Center for the Performing Arts (NCPA) has become one of the leading institutions of its kind in the world. Strongly committed to presenting and supporting the highest standards of artistic excellence, the Center is considered the home away from home for many of today’s leading artists and ensembles. Across four stellar state-of-the-art performance spaces, the NCPA presents more than 850 events annually, from classical and contemporary concerts to opera, ballet, and theater productions to education and outreach programs. With a mission to share the transformative power of the arts to as many people as possible, the Center serves a diverse and broad audience spanning all ages and socioeconomic backgrounds. The NCPA is not only celebrated as a leading venue for visiting performing artists and ensembles, but it is also home to one of China’s premier orchestras, the China National Center for the Performing Arts Orchestra. Since its launch in 2010, the NCPA Orchestra has become one of the brightest jewels in China’s artistic crown, performing many critically acclaimed concerts at the venue and abroad. In addition to their main- stage concert season, they are also the resident orchestra for all of the Center’s opera productions. Under the direction of its music director, Lü Jia, the ensemble is composed of some of the world’s finest musicians, who all share in the center’s belief of presenting concerts of the highest artistic quality.
Recommended publications
  • Spring/Summer 2016
    News for Friends of Leonard Bernstein Spring/Summer 2016 High-brow, Low-brow, All-brow Bernstein, Gershwin, Ellington, and the Richness of American Music © VICTOR © VICTOR KRAFT by Michael Barrett uch of my professional life has been spent on convincing music lovers Mthat categorizing music as “classical” or “popular” is a fool’s errand. I’m not surprised that people s t i l l c l i n g t o t h e s e d i v i s i o n s . S o m e w h o love classical masterpieces may need to feel reassured by their sophistication, looking down on popular culture as dis- posable and inferior. Meanwhile, pop music fans can dismiss classical music lovers as elitist snobs, out of touch with reality and hopelessly “square.” Fortunately, music isn’t so black and white, and such classifications, especially of new music, are becoming ever more anachronistic. With the benefit of time, much of our country’s greatest music, once thought to be merely “popular,” is now taking its rightful place in the category of “American Classics.” I was educated in an environment that was dismissive of much of our great American music. Wanting to be regarded as a “serious” musician, I found myself going along with the thinking of the times, propagated by our most rigid conservatory student in the 1970’s, I grew work that studiously avoided melody or key academic composers and scholars of up convinced that Aaron Copland was a signature. the 1950’s -1970’s. These wise men (and “Pops” composer, useful for light story This was the environment in American yes, they were all men) had constructed ballets, but not much else.
    [Show full text]
  • MSM WIND ENSEMBLE Eugene Migliaro Corporon, Conductor Joseph Mohan (DMA ’21), Piano
    MSM WIND ENSEMBLE Eugene Migliaro Corporon, Conductor Joseph Mohan (DMA ’21), piano FRIDAY, JANUARY 18, 2019 | 7:30 PM NEIDORFF-KARPATI HALL FRIDAY, JANUARY 18, 2019 | 7:30 PM NEIDORFF-KARPATI HALL MSM WIND ENSEMBLE Eugene Migliaro Corporon, Conductor Joseph Mohan (DMA ’21), piano PROGRAM JOHN WILLIAMS For New York (b. 1932) (Trans. for band by Paul Lavender) FRANK TICHELI Acadiana (b. 1958) At the Dancehall Meditations on a Cajun Ballad To Lafayette IGOR ST R AVINSKY Concerto for Piano and Wind Instruments (1882–1971) Lento; Allegro Largo Allegro Joseph Mohan (DMA ’21), piano Intermission VITTORIO Symphony No. 3 for Band GIANNINI Allegro energico (1903–1966) Adagio Allegretto Allegro con brio CENTENNIAL NOTE Vittorio Giannini (1903–1966) was an Italian-American composer calls upon the band’s martial associations, with an who joined the Manhattan School of Music faculty in 1944, where he exuberant march somewhat reminiscent of similar taught theory and composition until 1965. Among his students were efforts by Sir William Walton. Along with the sunny John Corigliano, Nicolas Flagello, Ludmila Ulehla, Adolphus Hailstork, disposition and apparent straightforwardness of works Ursula Mamlok, Fredrick Kaufman, David Amram, and John Lewis. like the Second and Third Symphonies, the immediacy MSM founder Janet Daniels Schenck wrote in her memoir, Adventure and durability of their appeal is the result of considerable in Music (1960), that Giannini’s “great ability both as a composer and as subtlety in motivic and harmonic relationships and even a teacher cannot be overestimated. In addition to this, his remarkable in voice leading. personality has made him beloved by all.” In addition to his Symphony No.
    [Show full text]
  • Dressing for the Times: Fashion in Tang Dynasty China (618-907)
    Dressing for the Times: Fashion in Tang Dynasty China (618-907) BuYun Chen Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 BuYun Chen All rights reserved ABSTRACT Dressing for the Times: Fashion in Tang Dynasty China (618-907) BuYun Chen During the Tang dynasty, an increased capacity for change created a new value system predicated on the accumulation of wealth and the obsolescence of things that is best understood as fashion. Increased wealth among Tang elites was paralleled by a greater investment in clothes, which imbued clothes with new meaning. Intellectuals, who viewed heightened commercial activity and social mobility as symptomatic of an unstable society, found such profound changes in the vestimentary landscape unsettling. For them, a range of troubling developments, including crisis in the central government, deep suspicion of the newly empowered military and professional class, and anxiety about waste and obsolescence were all subsumed under the trope of fashionable dressing. The clamor of these intellectuals about the widespread desire to be “current” reveals the significant space fashion inhabited in the empire – a space that was repeatedly gendered female. This dissertation considers fashion as a system of social practices that is governed by material relations – a system that is also embroiled in the politics of the gendered self and the body. I demonstrate that this notion of fashion is the best way to understand the process through which competition for status and self-identification among elites gradually broke away from the imperial court and its system of official ranks.
    [Show full text]
  • The Butterfly Lovers' Violin Concerto by Zhanhao He and Gang Chen By
    The Butterfly Lovers’ Violin Concerto by Zhanhao He and Gang Chen By Copyright 2014 Shan-Ken Chien Submitted to the graduate degree program in School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________ Chairperson: Prof. Véronique Mathieu ________________________________ Dr. Bryan Kip Haaheim ________________________________ Prof. Peter Chun ________________________________ Prof. Edward Laut ________________________________ Prof. Jerel Hilding Date Defended: April 1, 2014 ii The Dissertation Committee for Shan-Ken Chien certifies that this is the approved version of the following dissertation: The Butterfly Lovers’ Violin Concerto by Zhanhao He and Gang Chen ________________________________ Chairperson: Prof. Véronique Mathieu Date approved: April 17, 2014 iii Abstract The topic of this DMA document is the Butterfly Lovers’ Violin Concerto. This violin concerto was written by two Chinese composers, Gang Chen and Zhahao He in 1959. It is an orchestral adaptation of an ancient legend, the Butterfly Lovers. This concerto was written for the western style orchestra as well as for solo violin. The orchestra part of this concerto has a deep complexity of music dynamics, reflecting the multiple layers of the story and echoing the soloist’s interpretation of the main character. Musically the concerto is a synthesis of Eastern and Western traditions, although the melodies and overall style are adapted from the Yue Opera. The structure of the concerto is a one-movement programmatic work or a symphonic poem. The form of the concerto is a sonata form including three sections. The sonata form fits with the three phases of the story: Falling in Love, Refusing to Marry, and Metamorphosis.
    [Show full text]
  • Master Thesis
    MASTER THESIS Titel der Master Thesis „ A Broken Generation – The Social Implications of the One Child Policy, and its Place in China’s Human Rights Development “ verfasst von Jake Mendrik angestrebter akademischer Grad Master of Arts (MA) Wien, 2016 Studienkennzahl lt. Studienblatt: A 992 884 Universitätslehrgang: Universitätslehrgang Master of Arts in Human Rights Betreut von: Univ. -Prof. Dr. Susanne Weigelin-Schwiedrzik 1 Freedom is priceless, My life is a limited dream, I prefer to be jade broken, To save China in martyrdom. Lin Zhao (1932-1968) 2 Contents My Last Farewell Verse – A Poem ................................................................................................................................................... 2 Acknowledgements ................................................................................................................... 5 Abbreviations ............................................................................................................................ 7 Introduction ............................................................................................................................... 8 Chapter One – Origins of the One Child Policy ...................................................................... 12 Introduction ......................................................................................................................... 12 1.1 Population control in Chinese history – the eugenics movement ............................ 13 1.2 Mao’s China ...........................................................................................................
    [Show full text]
  • Protection and Transmission of Chinese Nanyin by Prof
    Protection and Transmission of Chinese Nanyin by Prof. Wang, Yaohua Fujian Normal University, China Intangible cultural heritage is the memory of human historical culture, the root of human culture, the ‘energic origin’ of the spirit of human culture and the footstone for the construction of modern human civilization. Ever since China joined the Convention for the Safeguarding of the Intangible Cultural Heritage in 2004, it has done a lot not only on cognition but also on action to contribute to the protection and transmission of intangible cultural heritage. Please allow me to expatiate these on the case of Chinese nanyin(南音, southern music). I. The precious multi-values of nanyin decide the necessity of protection and transmission for Chinese nanyin. Nanyin, also known as “nanqu” (南曲), “nanyue” (南乐), “nanguan” (南管), “xianguan” (弦管), is one of the oldest music genres with strong local characteristics. As major musical genre, it prevails in the south of Fujian – both in the cities and countryside of Quanzhou, Xiamen, Zhangzhou – and is also quite popular in Taiwan, Hongkong, Macao and the countries of Southeast Asia inhabited by Chinese immigrants from South Fujian. The music of nanyin is also found in various Fujian local operas such as Liyuan Opera (梨园戏), Gaojia Opera (高甲戏), line-leading puppet show (提线木偶戏), Dacheng Opera (打城戏) and the like, forming an essential part of their vocal melodies and instrumental music. As the intangible cultural heritage, nanyin has such values as follows. I.I. Academic value and historical value Nanyin enjoys a reputation as “a living fossil of the ancient music”, as we can trace its relevance to and inheritance of Chinese ancient music in terms of their musical phenomena and features of musical form.
    [Show full text]
  • Bath Festival Orchestra Programme 2021
    Bath Festival Orchestra photo credit: Nick Spratling Peter Manning Conductor Rowan Pierce Soprano Monday 17 May 7:30pm Bath Abbey Programme Carl Maria von Weber Overture: Der Freischütz Weber Der Freischütz (Op.77, The Marksman) is a German Overture to Der Freischütz opera in three acts which premiered in 1821 at the Schauspielhaus, Berlin. Many have suggested that it was the first important German Romantic opera, Strauss with the plot based around August Apel’s tale of the same name. Upon its premiere, the opera quickly 5 Orchestral Songs became an international success, with the work translated and rearranged by Hector Berlioz for a French audience. In creating Der Freischütz Weber Brentano Lieder Op.68 embodied the ideal of the Romantic artist, inspired Ich wollt ein Sträuẞlein binden by poetry, history, folklore and myths to create a national opera that would reflect the uniqueness of Säusle, liebe Myrthe German culture. Amor Weber is considered, alongside Beethoven, one of the true founders of the Romantic Movement in Morgen! Op.27 music. He lived a creative life and worked as both a pianist and music critic before making significant contributions to the operatic genre from his appointment at the Dresden Staatskapelle in 1817, Das Rosenband Op.36 where he realised that the opera-goers were hearing almost nothing other than Italian works. His three German operas acted as a remedy to this situation, Brahms with Weber hoping to embody the youthful Serenade No.1 in D, Op.11 Romantic movement of Germany on the operatic stage. These works not only established Weber as a long-lasting Romantic composer, but served to define German Romanticism and make its name as an important musical force in Europe throughout the 19th century.
    [Show full text]
  • Ning Fengviolin Virtuosismo
    CHANNEL CLASSICS CCS 40719 NING FENG VIOLIN PAGANINI&VIEUXTEMPS VIRTUOSISMO ORQUESTA SINFÓNICA DEL PRINCIPADO DE ASTURIAS ROSSEN MILANOV CONDUCTOR Ning Feng (photo: Lawrence Tsang) 2 NING FENG returns to the Shanghai Symphony Orchestra under the baton of Yu Long. “Ning Feng’s total mastery could be seen in the In recital and chamber music Ning Feng precision and sweep of his bow, and heard in the regularly performs with Igor Levit and Daniel effortless tonal range, from sweet to sumptuous.” Müller-Schott, amongst others, and in 2012 New Zealand Herald - founded the Dragon Quartet. He appears at major venues and festivals such as the Wigmore Hall in Ning Feng is recognised internationally as an artist London, the Concertgebouw Amsterdam, National of great lyricism, innate musicality and stunning Centre for Performing Arts (Beijing) as well as the virtuosity. Blessed with an impeccable technique Schubertiade, Mecklenburg-Vorpommern and Hong and a silken tone, his palette of colours ranges from Kong International Chamber Music Festivals. intimate delicacy to a ferocious intensity. The Berlin Born in Chengdu, China, Ning Feng studied at based Chinese violinist performs across the globe the Sichuan Conservatory of Music, the Hanns Eisler with major orchestras and conductors, in recital School of Music (Berlin) with Antje Weithaas and and chamber concerts. the Royal Academy of Music (London) with Hu Kun Recent successes have included a return to where he was the first student ever to be awarded the Budapest Festival Orchestra with Iván Fischer
    [Show full text]
  • Religion in China BKGA 85 Religion Inchina and Bernhard Scheid Edited by Max Deeg Major Concepts and Minority Positions MAX DEEG, BERNHARD SCHEID (EDS.)
    Religions of foreign origin have shaped Chinese cultural history much stronger than generally assumed and continue to have impact on Chinese society in varying regional degrees. The essays collected in the present volume put a special emphasis on these “foreign” and less familiar aspects of Chinese religion. Apart from an introductory article on Daoism (the BKGA 85 BKGA Religion in China proto­typical autochthonous religion of China), the volume reflects China’s encounter with religions of the so-called Western Regions, starting from the adoption of Indian Buddhism to early settlements of religious minorities from the Near East (Islam, Christianity, and Judaism) and the early modern debates between Confucians and Christian missionaries. Contemporary Major Concepts and religious minorities, their specific social problems, and their regional diversities are discussed in the cases of Abrahamitic traditions in China. The volume therefore contributes to our understanding of most recent and Minority Positions potentially violent religio-political phenomena such as, for instance, Islamist movements in the People’s Republic of China. Religion in China Religion ∙ Max DEEG is Professor of Buddhist Studies at the University of Cardiff. His research interests include in particular Buddhist narratives and their roles for the construction of identity in premodern Buddhist communities. Bernhard SCHEID is a senior research fellow at the Austrian Academy of Sciences. His research focuses on the history of Japanese religions and the interaction of Buddhism with local religions, in particular with Japanese Shintō. Max Deeg, Bernhard Scheid (eds.) Deeg, Max Bernhard ISBN 978-3-7001-7759-3 Edited by Max Deeg and Bernhard Scheid Printed and bound in the EU SBph 862 MAX DEEG, BERNHARD SCHEID (EDS.) RELIGION IN CHINA: MAJOR CONCEPTS AND MINORITY POSITIONS ÖSTERREICHISCHE AKADEMIE DER WISSENSCHAFTEN PHILOSOPHISCH-HISTORISCHE KLASSE SITZUNGSBERICHTE, 862.
    [Show full text]
  • Brosura Raro on Tour 2.Cdr
    ENSEMBLE RARO & SoNoRo FESTIVAL ON TOUR 2009/2010 TABLE OF CONTENTS CD's / 2 Ensemble Raro / 3 Alexander Sitkovetsky & Bernhard Naoki Hedenborg / 4 Diana Ketler & Razvan Popovici / 5 SoNoRo Festival Bucharest/Romania / 6-7 SoNoRo 2008 Quickshots / 8 SoNoRo INTERFERENCES / 9 Children projects / 10 Tokio, Musashino Hall / 11 Kobe Music Festival & Japan Tour / 12 Vienna, Konzerthaus / 13 New York, Carnegie/Zankel Hall / 14 www.icr.ro London, Wigmore Hall / 15 Vienna, Musikverein / 16 Chiemgauer Musikfrühling Festival, Traunstein, Germany / 17 Photo album / 18 Ensemble Raro Quickshots / 20 1 Ensemble Raro is the ensemble en residence at the Chiemgauer Musikfruehling Festival in Traunstein, SoNoRo Festival in Bucharest, Kobe SONGS AND DANCES OF LIFE ENSEMBLE International Music Festival, Pèlèrinages in München and Le Faure/Bordeaux. By creating these festivals the ensemble has full artistic liberty: it improvised with DJ's, created multimedia shows with VJ's from Japan and Romania and developed literary soirées on love, Paul Wittgenstein and Bulgakow's Master CANTI DRAMMATICI RARO and Margarita with the actor Karl Markovics and the writer Lea Singer. Ensemble Raro is actively involved in performing contemporary chamber music repertoire. They gave a British and German premieres of Peteris Vasks's Piano Quartet. Their performances of Walter Braunfels' and George THE SEASONS Enescu's works in Pelerinages series in Munchen received a high critical acclaim. Ensemble Raro's partners in various chamber music formations included Daishin Kashimoto, Konstantin Lifschitz, Adrian Brendel, Claudio Bohorquez, Baiba Skride, Carolin Widmann, Alina Pogostkina, Marlis Petersen, Mark Padmore and other celebrated musicians. The Ensemble recently performed in the Boswil Summer Festival (Switzerland), St.Gallen Festival and Gmunden Festspiele (Austria), Riga Chamber Music Days (Latvia), Schloss Elmau and Schloss Filseck (Germany) and in Music at Plush Festival (UK).
    [Show full text]
  • Interview with CARLO CHIARAPPA
    FOGLIO INFORMATIVO DEL CONCORSO INTERNAZIONALE DI VIOLINO “PREMIO PAGANINI” GENOVA, APRILE 2004 ANNO VII,GENOVA, 2004ANNO APRILE N°1 GA PA NI NI COMUNE DIGENOVA Assessorato Comunicazione e Promozione dellaCittà Promozione della Cultura Capitale Europea Genova dedicata Sequenza VIII. Ogni brano è stato accompagnato dalla IL PREMIO PAGANINI lettura dei distici composti dal poeta Edoardo Sanguineti, con il quale Berio collaborò e per il quale scrisse anche un duetto per violino, eseguito proprio durante la Paganiniana, edizione 2003, da RENDE OMAGGIO due violinisti vincitori del Premio Paganini: Natalia Lomeiko e Mengla Huang. A LUCIANO BERIO Credo che sia il modo migliore per onorare la sua figura, divulgando così la cultura italiana nel mondo, ed in particolare il suo genio Paganini Competition pays creativo, attraverso la musica ed il suo linguaggio universale. The year 2004 represents an tribute important stage for the Paganini Competition that is celebrating the 50th edition since its foundation, to Luciano Berio in the very same year that Genoa is European Capital of Culture. Il 2004 rappresenta una In the framework of the fiftieth tappa importante per il anniversary of the biennial Premio Paganini, che celebra competition, special attention has la 50^ edizione dalla sua been paid to the competition fondazione proprio nell’anno program that introduces some in cui Genova è Capitale changes. Europea della Cultura. For example, the contemporary In occasione del cinquante- piece pays homage to a great simo e della biennalizzazione Bin Huang Ligurian composer, recently del Premio, una particolare deceased: Luciano Berio. attenzione è stata dedicata “Sequenza VIII”, composed in 1976, follows Paganini’s virtuosic alla stesura del programma tradition and this is why this piece has been included in the Semifinal del Concorso, che presenta stage of the Competition.
    [Show full text]
  • WOODWIND INSTRUMENT 2,151,337 a 3/1939 Selmer 2,501,388 a * 3/1950 Holland
    United States Patent This PDF file contains a digital copy of a United States patent that relates to the Native American Flute. It is part of a collection of Native American Flute resources available at the web site http://www.Flutopedia.com/. As part of the Flutopedia effort, extensive metadata information has been encoded into this file (see File/Properties for title, author, citation, right management, etc.). You can use text search on this document, based on the OCR facility in Adobe Acrobat 9 Pro. Also, all fonts have been embedded, so this file should display identically on various systems. Based on our best efforts, we believe that providing this material from Flutopedia.com to users in the United States does not violate any legal rights. However, please do not assume that it is legal to use this material outside the United States or for any use other than for your own personal use for research and self-enrichment. Also, we cannot offer guidance as to whether any specific use of any particular material is allowed. If you have any questions about this document or issues with its distribution, please visit http://www.Flutopedia.com/, which has information on how to contact us. Contributing Source: United States Patent and Trademark Office - http://www.uspto.gov/ Digitizing Sponsor: Patent Fetcher - http://www.PatentFetcher.com/ Digitized by: Stroke of Color, Inc. Document downloaded: December 5, 2009 Updated: May 31, 2010 by Clint Goss [[email protected]] 111111 1111111111111111111111111111111111111111111111111111111111111 US007563970B2 (12) United States Patent (10) Patent No.: US 7,563,970 B2 Laukat et al.
    [Show full text]