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Recorded in the Great Hall of the Moscow Conservatoire on 25–27 June 2013 Recording engineers: Maria Soboleva (Piano Concerto) and Pavel Lavrenenkov (Cello Concerto) Booklet essays by Anastasia Belina and Malcolm MacDonald Design and layout: Paul Brooks, [email protected] Executive producer: Martin Anderson TOCC 0219 © 2014, Toccata Classics, London P 2014, Toccata Classics, London Come and explore unknown music with us by joining the Toccata Discovery Club. Membership brings you two free CDs, big discounts on all Toccata Classics recordings and Toccata Press books, early ordering on all Toccata releases and a host of other benefits, for a modest annual fee of £20. You start saving as soon as you join. You can sign up online at the Toccata Classics website at www.toccataclassics.com. Toccata Classics CDs are also available in the shops and can be ordered from our distributors around the world, a list of whom can be found at www.toccataclassics.com. If we have no representation in your country, please contact: Toccata Classics, 16 Dalkeith Court, Vincent Street, London SW1P 4HH, UK Tel: +44/0 207 821 5020 E-mail: [email protected] A student of Ferdinand Leitner in Salzburg and Leonard Bernstein and Seiji Ozawa at Tanglewood, Hobart Earle studied conducting at the Academy of Music in Vienna; received a performer’s diploma in IGOR RAYKHELSON: clarinet from Trinity College of Music, London; and is a magna cum laude graduate of Princeton University, where he studied composition with Milton Babbitt, Edward Cone, Paul Lansky and Claudio Spies. In 2007 ORCHESTRAL MUSIC, VOLUME THREE he was awarded the title of Honorary Professor of the Academy of Music in Odessa. -
PRESS RELEASE for IMMEDIATE RELEASE DATE: 15 June 2016
PRESS RELEASE FOR IMMEDIATE RELEASE DATE: 15 June 2016 HK Phil Season Finale with Ashkenazy and Behzod (1 & 2 July) Great pianists of two generations on stage for Prokofiev’s Piano Concerto no. 3 [15 June 2016, Hong Kong] Vladimir Ashkenazy has long been considered one of the great pianists of our time, and his career as a conductor has left audiences no less enthralled. In July, he returns to close the season of the Hong Kong Philharmonic Orchestra (HK Phil) with Elgar’s noble first Symphony. This concert combines his musical mastery with the talents of phenomenal young pianist Behzod Abduraimov who returns to Hong Kong by popular demand, this time to perform Prokofiev’s dazzling and hugely exciting Piano Concerto no. 3. Prokofiev clearly had a particular affection for his Piano Concerto no. 3, as it was the only one of his five piano concertos which he recorded. The concerto was ecstatically received by American audiences at its premiere, and, has become a mainstay of the piano repertoire. Its dynamism, rhythmic intensity and technical bravura are unfailingly thrilling. Between Abduraimov, with his amazing technique and musicianship, and Ashkenazy with his understanding of the work as both pianist and conductor, Hong Kong audiences are in for a rare treat. In the second half of the concert, Ashkenazy will lead the orchestra in Elgar’s Symphony no. 1. Elgar’s music is characterised by the instruction ‘nobilmente’, and is indeed the definition of noble. He dedicated it to Hans Richter, the Austro-Hungarian conductor who directed the work’s triumphant premiere, and who declared it “the greatest symphony of modern times”. -
Behzod Abduraimov Piano
Behzod Abduraimov Piano “Abduraimov can do anything. His secret: authenticity, control and a velvet pianissimo.” (NRC Handelsblad). Behzod Abduraimov’s performances combine an immense depth of musicality with phenomenal technique and breath-taking delicacy. He works with leading orchestras worldwide including the Los Angeles Philharmonic, London Symphony Orchestra, NHK Symphony Orchestra and Münchner Philharmoniker, and prestigious conductors including Valery Gergiev, Vladimir Ashkenazy, Manfred Honeck, Lorenzo Viotti, Vasily Petrenko, James Gaffigan, Jakub Hrůša and Vladimir Jurowski. Forthcoming European engagements include Orchestre de Paris, Leipzig Gewandhaus, Luzerner Sinfonieorchester - including a tour to the Tongyeong International Music Festival under Michael Sanderling - English Chamber Orchestra, and St Petersburg Philharmonic Orchestra with performances in St Petersburg and Barcelona. He will also be presented in recital at the Kölner Philharmonie, Festspielhaus Baden-Baden and returns to the Verbier and Rheingau festivals. Behzod has recently worked with the Royal Concertgebouw Orchestra, Philharmonia Orchestra, BBC Symphony, hr-Sinfonieorchester, BBC Scottish Symphony and Oslo Philharmonic Orchestra. In May 2018, he was Artist in Residence at the Zaubersee Festival in Lucerne, which included a performance of Rachmaninov’s Piano Concerto No.2 as well as a number of chamber recitals. He has also performed at Lucerne and Kissinger Sommer Festivals. Last season recital highlights included the Concertgebouw Amsterdam, Barbican Hall London and Prinzregententheater in Munich. Behzod continues his collaboration with Truls Mørk following their highly successful tours last season with forthcoming recitals including Wigmore Hall and Washington DC. In North America, Behzod returns to both the Pittsburgh and Seattle symphonies and will be presented in recital at Chicago Symphony Orchestra, 92nd Street Y, Maestro Foundation and Vancouver Recital Series amongst others. -
AN INTERVIEW with RODION SHCHEDRIN by John Stuhr-Rommereim
· ........................................................................ AN INTERVIEW WITH RODION SHCHEDRIN by John Stuhr-Rommereim ORN IN MOSCOW, SHCHEDRIN GREW He has received many prestigious commissions, up in a musical family; his father was a including a request from the New York composer and teacher of music theory. Philharmonic in 1968 in honor of the orchestra's Shchedrin studied at the Moscow Choral 125th anniversary. He continues to receive frequent School and graduated from the Moscow commissions from all over the globe. Conservatory in 1955 where he studied Shchedrin succeeded Dmitri Shostakovich as head composition and piano. He began composing of the Union of Russian Composers. Shostakovich large works while in his early 20s, often using founded the union in 1948 as an alternative to the traditional Russian tales as his subject. Shchedrin has official Union of Soviet Composers. Shchedrin taken many classics from Russian literature and resigned in 1988, believing that it was no longer given them life on the musical necessary to have the two stage: his opera, The Dead unions. "We needed to do Souls, is taken from Gogol; away with them. The whole his ballet, Anna Karenina, is structure was thought up from the well-known novel by under Stalin, and it was Tolstoy; and he used the basically a way to make sure writings of Chekhov for his everybody stayed within the ballets The Seagull and The approved limits . We Lady with the Lapdog. don't need that anymore." Shchedrin's wife, the ballerina The career of composer Maya Plisetskaya, has danced Rodion Shchedrin reflects the the lead in many of his recent changes in the Soviet ballets. -
Armenian Voices Biog
ARMENIAN VOICES A warm breeze from the Caucasus ARMENIAN VOICES is an A Capella group who derive their heritage from the internationally acclaimed, award-winning Hover Chamber Choir of Armenia. The seven member group, all members of the larger Hover Choir, are led by their artistic director and conductor, Sona Hovhanisyan, who studied at the Komitas National Conservatory and founded the choir in 1992. Both ancient and new music from the Armenian nation has been a very well-kept secret which Armenian Voices explores, inviting the listener to share in the wealth of treasure it beholds. ……the tale began over twenty years ago, and continues to evolve...... this youthful, musically progressive Chamber choir are mainly graduates of the Komitas National Conservatory in Yerevan, Armenia. They are a musical ambassador for Armenia and Armenian music. In May 2010, Valery Gergiev invited Hover to participate in four concerts at the IX Moscow Easter Festival; in October they were chosen to perform in the Polyfollia Choral Festival, France - a world showcase for choirs and choral ensembles, encouraging choirs of excellence who focus on musical creativity and stage presence. The year closed with a magical evening at Eglise St-Eustache, Paris performing with superlative Indian percussionist Trilok Gurtu - combining sacred Armenian voices with subtle Indian Percussion. In 2009, two productions were staged: The first, The Parallel by composer, Anna Azizyan took two years of dedication with the mission to extend the borders of the choral music genre. The performance is an assemble of texts - L'Oiseau Bleu by Maurice Maeterlinck, Through the Looking- Glass by Lewis Carroll, Odyssey by Homer, The Little Prince by Antoine de Saint-Exupéry and Gulliver's Travels by Jonathan Swift. -
Longing in Lolita Emily Aucompaugh Submitted for Honors in English the University at Albany, SUNY Directed by Helen Elam (Date)
To Speak Ghosts and See Echoes: Longing in Lolita Emily Aucompaugh Submitted for Honors in English The University at Albany, SUNY Directed by Helen Elam (Date) Chapter 1: Echoes and Ghosts A while ago, when I knew only that I wished to write something about Lolita, a friend sent me an internet article titled, “How Lolita seduces us all.” The author argues that the success of Vladimir Nabokov’s novel derives foremost from the “tiny Humbert’s” the text creates out of readers who avail themselves “of morally troubling pleasure.” Admittedly, when it comes to a novel like Lolita, which explores the extreme taboo of a middle-aged intellect in a sexual relationship with his twelve-year-old stepdaughter, the plot often tempts the reader to measure his or her own moral standing based on the degree to which they sympathize with Humbert Humbert and enjoy his story. Of course, examining the moral implications of the text in relation to one’s own empathetic response to a murderous pedophile is an important, indeed a necessary, component when analyzing a text such as Lolita. I remember reading the novel in my freshman year of college, and making the mistake of stating to one of my English professors that I liked Humbert Humbert. She without hesitation corrected my assertion by distancing me from my emotional response. With a slight sneer of disgust, she said, “You don’t like Humbert. You mean he interests you.” I did not mean then, and do not mean now, that Humbert merely interested me, like a spectacle to be observed only through the scientific lens of a biologist. -
12Pg BOOKLET 4-70)
DRD2008bklt12.qxd:3255bk16.qxd 2/11/11 3:49 PM Page 1 CYAN MAGENTA YELLOW BLACK 12pg BOOKLET FRONT 20th Century Russian Piano Music Vladimir Yurigin-Klevke, piano # b o Sofia Gubaidulina (1931–) Rodion Shchedrin (1932–) J 1 Ciaconna (1961) (11:33) 24 Preludes and Fugues for Piano (1964-70) 12 No. 10 in C-Sharp Minor (5:54) Arvo Pärt (1935–) 13 No. 12 in G-Sharp Minor (4:02) Partita (1965) 2 Toccatino – Fughetta (2:06) Kara Karayev (1918–1982) 3 Larghetto – Ostinato (4:53) 24 Preludes for Piano (1951-61) 14 No. 1 in C Major (1:23) Dmitri Shostakovich (1906–1975) 15 No. 2 in C Minor (1:30) 24 Preludes, Op. 34 (1932-33) 16 No. 3 in G Major (0:55) 4 No. 1 in C Major (1:28) 17 No. 5 in D Major (1:34) 5 No. 2 in A Minor (0:58) 18 No. 6 in D Minor (1:00) 6 No. 3 in G Major (2:17) 19 No. 8 in A Minor (2:49) 7 No. 10 in C-Sharp Minor (1:59) 20 No. 10 in E Minor (1:21) 8 No. 14 in E-Flat Minor (2:25) 21 No. 15 in D-Flat Major (1:16) 9 No. 16 in B Minor (1:01) 22 No. 19 in E-Flat Major (2:31) 10 No. 17 in A-Flat Major (1:51) 23 No. 23 in F Major (1:17) 11 No. 24 in D Minor (1:15) TOTAL PLAYING TIME: 57:45 Recording producer & engineer: Tatiana Vinnitskaya Recorded in Studio 5, State Radio, Moscow, Russia Mastering: Oleg Ivanov 7 W 2011 Delos Productions, Inc., P.O. -
*!0E1I8I-Fbeeci! 2L-063-SACD Made in Norway 20©10 Lindberg Lyd AS the Year Is 1965
POLYPHONIC DIALOGUES 1 Shchedrin: Basso Ostinato 4:30 2-3 Shchedrin: P & F No. 1 in C major 0:37 / 1:40 4-5 Shchedrin: P & F No. 2 in A minor 0:46 / 3:28 Dmitri Shostakovich (1906-1975) 6-7 Shostakovich: P & F No. 2 in A minor 0:59 / 1:31 From 24 Preludes and Fugues Op. 87 8-9 Shostakovich: P & F No. 4 in E minor 2:53 / 5:02 No. 2, 4, 5, 7, 12, 15 10-11 Shchedrin: P & F No. 3 in G major 1:14 / 2:16 12-13 Shchedrin: P & F No. 7 in A major 0:31 / 2:02 POLYPHONIC DIALOGUES Rodion Shchedrin (*1932) 14-15 Shostakovich: P & F No. 5 in D major 1:45 / 1:49 Shostakovich | Shchedrin From Two Polyphonic Pieces (1961) 16-17 Shostakovich: P & F No. 7 in A major 1:34 / 2:43 No. 2: Basso Ostinato 18-19 Shchedrin: P & F No. 8 in F sharp minor 1:14 / 2:14 From 24 Preludes and Fugues (1964/70) 20-21 Shchedrin: P & F No. 10 in C sharp minor 2:01 / 1:56 No. 1, 2, 3, 7, 8, 10, 14, 19 22-23 Shostakovich: P & F No. 12 in G sharp minor 4:54 / 3:52 From 25 Polyphonic Preludes (1972) 24-25 Shostakovich: P & F No. 15 in D flat major 3:06 / 1:59 (Polyphonic Notebook) No. 12: Toccatina-Collage 26-27 Shchedrin: P & F No. 14 in E flat minor 0:41 / 2:37 28-29 Shchedrin: P & F No. -
Carmen & Vivaldi
CARMEN & VIVALDI Zachary Schwartzman conductor Saturday, March 20, 2021 Performance # 164 Season 6, Concert 12 Livestreamed from the Fisher Center at Bard Sosnoff Theater SIGN UP FOR TŌN EMAIL by clicking here INSPIRE GREATNESS by making a donation at theorchestranow.org/support TABLE OF CONTENTS 4 CONCERT QUICK GUIDE 23 THE ADMINISTRATION 5 THE MUSIC 24 ABOUT BARD COLLEGE 6 ANTONIO VIVALDI CONCERTO FOR STRINGS IN G MINOR, RV 156 7 FRANK MARTIN PETITE SYMPHONIE CONCERTANTE 8 ARVO PÄRT CANTUS IN MEMORY OF BENJAMIN BRITTEN 9 RODION SHCHEDRIN CARMEN SUITE (AFTER BIZET’S OPERA) 10 THE ARTISTS 11 ZACHARY SCHWARTZMAN conductor 12 FRANK CORLISS piano 13 TAYLOR ANN FLESHMAN TŌN ’22 harp 14 RENÉE ANNE LOUPRETTE harpsichord 15 ARVO PÄRT composer 16 RODION SHCHEDRIN composer 17 THE ORCHESTRA NOW 19 SER KONVALIN horn 20 CHARLES GILLETTE percussion 21 SUPPORT TŌN Rehearsals and performances adhere to the strict guidelines set by the CDC, with daily health checks, the wearing of masks throughout, and musicians placed at a safe social 22 THE TŌN FUND DONORS distance. Musicians sharing a music stand also share a home. Concert Quick Guide The Music The Artists ™ Support TŌN CONCERT QUICK GUIDE The TŌN Fund Donors The Administration About Bard College ZACHARY SCHWARTZMAN conductor CONCERT TIMELINE 1 hour and 40 minutes Petite symphonie Concerto concertante Cantus Carmen Suite 6 min 21 min 6 min 42 min Brief remarks by Ser Konvalin horn ANTONIO VIVALDI Born 3/4/1678 in Venice, Italy Died 7/27 or 28/1741 at age 63 in Vienna CONCERTO FOR STRINGS IN G MINOR, -
Rodion Shchedrin - Biography
Rodion Shchedrin - Biography - The Russian composer Rodion Shchedrin, born in Moscow on 16 December 1932, began his musical career as a singer in the choir school of that city. He studied composition at the Moscow Conservatory with Yuri A. Shaporin and piano with Yakov Flier. Shchedrin belongs to those Rus- sian composers whose works are most obviously related to the traditions of the past generation - to Prokofiev and Shostakovich. At the same time, the composer‘s extensive production reflects an openness and constant search for new possibilities of artistic expression. With Shchedrin, tradition and modernism are held in balance in a unique way. His joy of experimentation leads to the fact that opposing genres, differing stylistic directions and varied compositional techniques stand next to each other. The cheeky Russian joke tune "Chastushka“ finds its place beside twelve-tone music, polyphonic writing can be just as readily found as jazz and avant-garde technique, Western European music tradition is combined with elements of Russian folk song. Spontaneity and versatility, aural imagination and solid construc- tivist thinking mark Shchedrin‘s works. Rodion Shchedrin‘s "Carmen Suite,“ an ingenious adaptation of the operatic model by George Bizet for strings and percussion, meanwhile belongs to the most frequently performed ballet suites of the twentieth century. In this work, the "composer“ Rodion Shchedrin reveals himself as, above all, a refined practical musician, orchestrator and arranger. The "Carmen Suite,“ written in 1967, received its premiere at the Bolshoi Theatre, as did the 1971 ballet music "Anna Kareni- na“, written for his wife Maya Plisetskaya, "The Seagull“ (1979) and "The Lady with the Lapdog“ (1985). -
The Prokofiev Marathon Valery Gergiev Munich Philharmonic
THE PROKOFIEV MARATHON VALERY GERGIEV MUNICH PHILHARMONIC MARIINSKY ORCHESTRA THE PROKOFIEV MARATHON VALERY GERGIEV MARIINSKY ORCHESTRA MUNICH PHILHARMONIC For the beginning of his music directorship of the Munich Philharmonic Maestro Gergiev has chosen to complement the Prokofiev concertos Valery Gergiev came up with a truly special event: A one day Prokofiev with a wide spectrum of works by Haydn, Mozart, Weber, Reger, marathon with all five piano concertos. JoiningG ergiev, arguably today’s Shchedrin and clarinettist-composer Jörg Widmann. “A miracle leading conductor for works by Prokofiev, and his Munich orchestra was occurred in Mozart’s Clarinet Concerto,” wrote the Süddeutsche his Mariinsky Orchestra from St. Petersburg as well as five outstanding Zeitung, “performed by Jörg Widmann with such insight into its essence pianists, Herbert Schuch, Denis Matsuev, Behzod Abduraimov, and structure that he might have composed it himself. And the Munich Alexei Volodin and Olli Mustonen. Each of these virtuosos performs Philharmonic, of whom Gergiev has been chief conductor for just two one of Prokofiev’s five piano concertos, and, “not least because the months, played as if enchanted by their good fortune.” interpretations were so varied,” observed Munich’s Süddeutsche Zeitung, “the result was a highly revealing Prokofiev portrait.” PART I PART II HERBERT SCHUCH, Piano DENIS MATSUEV, Piano MARIINSKY ORCHESTRA MARIINSKY ORCHESTRA (Cat. no. A055505170000 – Length: approx. 80') (Cat. no. A055505180000 – Length: approx. 70') SERGEI PROKOFIEV SERGEI PROKOFIEV Piano Concerto No. 1 in D flat major, Op. 10 Piano Concerto No. 2 in G minor, Op. 16 further programme: further programme: SERGEI PROKOFIEV CARL MARIA VON WEBER Symphony No. -
Tchaikovsky Fourth
Tchaikovsky’s 2021 Fourth Symphony BBLOSSOM LOSSOM MMUSIC USIC FFESTIVALESTIVAL Sunday evening, August 15, 2021, at 7 p.m. Week 7 The Cleveland Orchestra Karina Canellakis, conductor PRESENTING SPONSOR Behzod Abduraimov, piano Michael Sachs, trumpet ANTONÍN DVOŘÁK (1841-1904) The Wood Dove, Opus 110 DMITRI SHOSTAKOVICH (1906-1975) Piano Concerto No. 1 in C minor, Opus 35 (for solo piano, trumpet, and string orchestra) 1. Allegretto — Allegro vivace — Allegretto — Allegro — Moderato — 2. Lento — 3. Moderato — 4. Allegro con brio I N T E R M I S S I O N PYOTR ILYICH TCHAIKOVSKY (1840-1893) Symphony No. 4 in F minor, Opus 36 1. Andante sostenuto — Moderato con anima 2. Andantino in modo di canzona 3. Scherzo: Pizzicato ostinato 4. Finale: Allegro con fuoco Please turn your phone to silent mode during the performance. _____________________ This concert is dedicated to the following donors in recognition for their extraordinary support of The Cleveland Orchestra: Mr. and Mrs. Alex Machaskee Astri Seidenfeld Bill and Jacky Thornton THE CLEVELAND ORCHESTRA August 15: Tchaikovsky’s Fourth 1 Introducing the Concert “F O R T H E F I R S T T I M E in my life I have attempted to put my musical thoughts and forms into words and phrases,” Pyotr Ilyich Tchaikovsky wrote to his benefactor Nadezhda von Meck on March 1, 1878. He recounted in dire terms toiling away on the Fourth Symphony, pouring his soul into lush music. “I was horribly out of spirits all the time I was composing this symphony last winter,” he continued, “and this was a true echo of my feelings at the time.