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Klavierabend Valentina Lisitsa Dienstag, 17.04.2012 · 20.00 Uhr
Klavierabend Valentina Lisitsa Dienstag, 17.04.2012 · 20.00 Uhr So klingt nur Dortmund. VALENTINA LISITSA KLAVIER Abos: Solisten I – Meisterpianisten Zeitinsel Rachmaninow|Skrjabin In unserem Haus hören Sie auf allen Plätzen gleich gut – leider auch Husten, Niesen und Handy- klingeln. Ebenfalls aus Rücksicht auf die Künstler bitten wir Sie, von Bild- und Tonaufnahmen während der Vorstellung abzusehen. Wir danken für Ihr Verständnis! 2,50 E 4I5 ALEXANDER SKRJABin (1872 – 1915) SERGEJ RACHMANINOW Sonate Nr. 2 gis-moll op. 19 »Sonate-Fantaisie« (1897) Sonate Nr. 1 d-moll op. 28 (1907) Andante Allegro moderato Presto Lento Allegro molto Deux Poèmes op. 32 (1904) Andante cantabile ALEXANDER SkRJABIN Allegro. Con eleganza, con fiducia Nocturne für die linke Hand Des-Dur op. 9 (1894) Étude op. 42 Nr. 3 (1903) FRANZ LISZt (1811 – 1886) Étude op. 65 Nr. 1 (1912) »Totentanz« (1849/1865) – Ende ca. 22.10 Uhr – SERGEJ RACHMANINOW (1873 – 1943) Étude-tableaux op. 39 Nr. 6 (1916) Prélude G-Dur op. 32 Nr. 5 (1910) Prélude gis-moll op. 32 Nr. 12 (1910) Prélude h-moll op. 32 Nr. 10 (1910) Prélude g-moll op. 23 Nr. 5 (1903) – Pause ca. 20.45 Uhr – Einführung mit Prof. Dr. Michael Stegemann um 18.45 Uhr im Komponistenfoyer 6I7 PROGRAMM 8I9 PIANISTISCHE EXTRAVAGANZ³ Machlis schließt so, Skrjabin habe »den Weg zu einem freien Gebrauch von zwölf Tönen« aufge- WERKE VON SKRJABIN, RACHMANINOW UND LISZT zeigt und polytonale und atonale Denkweisen vorweggenommen. Liszt, Rachmaninow, Skrjabin: Diese drei waren nicht nur großartige, bis heute häufig gespielte Auch auf formaler Ebene entwickelte Skrjabin die Musik weiter. -
Flint Orchestra
Flint SymphonyOrchestra A Program of the Flint Institute of Music ENRIQUE DIEMECKE, MUSIC DIRECTOR & CONDUCTOR MAY 8, 2021 FIM SEASON SPONSOR Whiting Foundation CONCERT SPONSORS Mr. Edward Davison, Attorney at Law & Dr. Cathy O. Blight, Dr. Brenda Fortunate & C. Edward White, Mrs. Linda LeMieux, Drs. Bobby & Nita Mukkamala, Dr. Mark & Genie Plucer Flint Symphony Orchestra THEFSO.ORG 2020 – 21 Season SEASON AT A GLANCE Flint Symphony Orchestra Flint School of Performing Arts Flint Repertory Theatre STRAVINSKY & PROKOFIEV FAMILY DAY SAT, FEB 6, 2021 @ 7:30PM Cathy Prevett, narrator SAINT-SAËNS & BRAHMS SAT, MAR 6, 2021 @ 7:30PM Noelle Naito, violin 2020 William C. Byrd Winner WELCOME TO THE 2020 – 21 SEASON WITH YOUR FLINT SYMPHONY ORCHESTRA! BEETHOVEN & DVOŘÁK SAT, APR 10, 2021 @ 7:30PM he Flint Symphony Orchestra (FSO) is one of Joonghun Cho, piano the finest orchestras of its size in the nation. BRUCH & TCHAIKOVSKY TIts rich 103-year history as a cultural icon SAT, MAY 8, 2021 @ 7:30PM in the community is testament to the dedication Julian Rhee, violin of world-class performance from the musicians AN EVENING WITH and Flint and Genesee County audiences alike. DAMIEN ESCOBAR The FSO has been performing under the baton SAT, JUNE 19, 2021 @ 7:30PM of Maestro Enrique Diemecke for over 30 years Damien Escobar, violin now – one of the longest tenures for a Music Director in the country. Under the Maestro’s unwavering musical integrity and commitment to the community, the FSO has connected with audiences throughout southeast Michigan, delivering outstanding artistry and excellence. All dates are subject to change. -
Youtube's Classical Music Star Valentine Lisitsa Comes To
PRESS RELEASE FOR IMMEDIATE USE YouTube’s classical music star Valentine Lisitsa comes to Edinburgh’s Usher Hall Sunday Classics: Russian Philharmonic of Novosibirsk 3:00pm, Sunday 12 May 2019 Thomas Sanderling - Conductor Valentina Lisitsa - Piano Rimsky-Korsakov - Capriccio espagnol Rachmaninov - Rhapsody on a Theme of Paganini Mussorgsky - Pictures at an Exhibition Images available to download here Powerhouse all-Russian programme including Rachmaninov’s tender take on Paganini YouTube sensation Valentina Lisitsa is nothing less than a modern marvel. A brilliant pianist of the Russian old school who plays with fiery intensity and profound insight, she is also a musical evangelist who has taken classical music to millions through her online videos. Having posted her first video on YouTube in 2007, viewing figures soon exploded and more videos followed. The foundations of a social media-driven career unparalleled in the history of classical music were laid. Her YouTube channel now boasts more than 516,000 subscribers and over 200 million views. No wonder she’s in demand right across the world: her unprecedented global stardom is matched by her breath-taking playing. Lisitsa has long adored the romance and power of Rachmaninov and following her electrifying performance of his Third Piano Concerto at the Usher Hall in 2018, she makes a welcome return with the passionate Rhapsody on a Theme of Paganini. Niccolò Paganini’s famous piece has been adored and interpreted by many a composer, including Brahms, but it’s Rachmaninov’s take on the classic that sees it as its tenderest, and wittiest. He moulds the main theme into musical styles and interpretations previously unheard, and there is no finer pianist to bring this to the Usher Hall than Valentina Lisitsa. -
The Blake Collection in Memory of Nancy M
The Blake Collection In Memory of Nancy M. Blake BELLINI’S NORMA featuring CECILIA BARTOLI This tragic opera is set in Roman-occupied, first-century Gaul, features a title character, who although a Druid priestess, is in many ways a modern woman. Norma has secretly taken the Roman proconsul Pollione as her lover and had two children with him. Political and personal crises arise when the locals turn against the occupiers and Pollione turns to a new paramour. Norma “is a role with emotions ranging from haughty and demanding, to desperately passionate, to vengeful and defiant. And the singer must convey all of this while confronting some of the most vocally challenging music ever composed. And if that weren't intimidating enough for any singer, Norma and its composer have become almost synonymous with the specific and notoriously torturous style of opera known as bel canto — literally, ‘beautiful singing’” (“Love Among the Druids: Bellini's Norma,” NPR World of Opera, May 16, 2008). And Bartoli, one of the greatest living opera divas, is up to the challenges the role brings. (New York Public Radio’s WQXR’s “OperaVore” declared that “Bartoli is Fierce and Mercurial in Bellini's Norma,” Marion Lignana Rosenberg, June 09, 2013.) If you’re already a fan of this opera, you’ve no doubt heard a recording spotlighting the great soprano Maria Callas (and we have such a recording, too), but as the notes with the Bartoli recording point out, “The role of Norma was written for Giuditta Pasta, who sang what today’s listeners would consider to be mezzo-soprano roles,” making Bartoli more appropriate than Callas as Norma. -
P Ho To: G Ilb Ert F Ran Co Is
Photo: Gilbert Francois CONCERT SPONSOR The support from the organizations and individuals listed below has made this concert possible. The Board of Directors and all of us at the Festival are most appreciative and very thankful for their commitment to bringing musical excellence to Amelia Island and its environs. Barbara Alleva Gant and Donald R. Gant Bill Hensley and Anne Taylor Hensley Bob and Pat Stichweh BECOME A CONCERT SPONSOR We are truly grateful for all levels of financial support from our patrons, but there is a very special group of people, who give at least $2,500 each year to become Concert Sponsors. These valued contributors are publicly recognized at the concert they sponsor and given preferred up-front seating at most other concerts. To learn more about becoming a Concert Sponsor as well as the benefits of various giving levels, please visit our website (aicmf.com), click on the Support tab and then on Donate in the drop-down menu. Also feel free to contact our Executive Director Eric Sakurai or call our office at 904-261-1779 if you have any questions. BOARD OF DIRECTORS General & Artistic Director - Christopher Rex Emma Mills Bledsoe, President Barbara Alleva Gant Irene Sanchez, Vice President Sharon Lennon Sue Braddock, Secretary Tom Pippin Kathleen Minder, Treasurer Vicki Whittemore Hugh Williams Executive Director Emeritus - Dr. Joseph Marasco Staff Executive Director - Eric Sakurai Office Manager - Donna Hinton About the AICMF The Amelia Island Chamber Music Festival is nationally recognized as one of the foremost music events of its kind. The Festival is a not-for-profit, tax-exempt organization under Section 501 (c)(3) of the Internal Revenue Code. -
The Interval Dissonance Rate in Chopin's Études Op. 10, Nos
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 5-22-2018 The nI terval Dissonance Rate in Chopin’s Études Op. 10, Nos. 1-4: Dissecting Arpeggiation, Chromaticism, and Linear Progressions Nikita Mamedov Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Theory Commons Recommended Citation Mamedov, Nikita, "The nI terval Dissonance Rate in Chopin’s Études Op. 10, Nos. 1-4: Dissecting Arpeggiation, Chromaticism, and Linear Progressions" (2018). LSU Doctoral Dissertations. 4588. https://digitalcommons.lsu.edu/gradschool_dissertations/4588 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE INTERVAL DISSONANCE RATE IN CHOPIN’S ÉTUDES OP. 10, NOS. 1-4: DISSECTING ARPEGGIATION, CHROMATICISM, AND LINEAR PROGRESSIONS A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in School of Music by Nikita Mamedov B.M., Rider University, 2013 M.M., Rider University, 2014 August 2018 PREFACE This dissertation has been submitted to fulfill the graduation requirements for the degree of Doctor of Philosophy at the Louisiana State University. This study was conducted under the supervision of Professor Robert Peck in the Music Theory Area. I began my initial research for this project in the summer of 2016. -
Die Zeitschrift Von Bösendorfer Österreich Nr. 6 | Dezember 2011
BÖSENDORFERDie Zeitschrift von Bösendorfer Österreich Nr. 6 | Dezember 2011 Flying Bach: Der wohltemperierte Kulturclash Interviews: Yuko Hisamoto/Valentina Lisitsa Neues Flügel-Modell 155 P.B.B. | Postentgelt bar bezahlt | Verlagspostamt 1010 Wien L. Bösendorfer Klavierfabrik GmbH, Bösendorferstraße 12, A-1010 Wien, [email protected], www.boesendorfer.com | Falls unzustellbar, bitte zurück an den Absender © Coverfoto: Ray Demski/Red Bull Content Pool 1 | B Ö S E N D O R F E R – Die Zeitschrift von Bösendorfer Österreich LISZT & JAPAN Der Liszt Jubiläumsflügel – eine Hommage an die Freundschaft Mehr als 40 Briefe und Telegramme schrieb der große Pianist und Komponist an seinen en- gen Freund Ludwig Bösendorfer und mehrere Instrumente der Wiener Manufaktur nannte er mit Stolz seinen eigenen Besitz. Aus Anlass seines 200sten Geburtstages hat Bösendorfer den »Liszt Jubiläumsflügel« in limitierter Stückzahl von 25 Instrumenten aufgelegt. ranz Liszt erblickt 1811 im etwa 100 Kilometer von Wien 1862 in London eine Medaille. Im Liszt-Gedenkmuseum be- entfernt liegenden Raiding das Licht der Welt. Trotz die- findet sich ferner ein 1,87 Meter langer, siebenoktaviger serF Nähe zu Wien dauert es bis 1846, bis Franz Liszt – inzwi- Bösendorfer-Flügel, geradebesaitet, mit Wiener Mechanik. schen ein als Star gefeierter Virtuose – erstmals auf einem Diesen benutzte Liszt in seiner Wohnung in Pest bis zu sei- Bösendorfer spielt. Am 28. März spielt Franz Liszt sein denk- nem Tode 1886. würdiges Konzert »mit allem Aufgebote seines großen Ta- lentes, so feurig, mächtig und hinreißend, in einer so aufge- n Gedenken an den genialen Klaviervirtuosen, Kompo- regten, glücklichen Stimmung, dass die Begeisterung des nisten und Dirigenten, welcher zugleich auch als »Erfinder« Publikums unaufgehalten losbrach. -
Valentina Lisitsa Liège, Salle Philharmonique Dimanche 29 Avril 2018 |16H Andante2
1 € Dimanche 29 avril 2018 | 16h Liège, Salle Philharmonique Valentina Lisitsa ● PIANO 5 ÉTOILES Lisitsa dispose de formidables moyens techniques. Son jeu se distingue par des tempos ] rapides – proches de ceux de Rachmaninov lui-même – mais aussi par une exceptionnelle 25 clarté de texture, une rythmique et des attaques tranchantes, et un penchant pour des accords corsés, à la manière d’Horowitz. (Classicstoday.com) WAGNER/LISZT, Tristan et Isolde (1857-59), Mort d’Isolde (transcr. 1867) [PROGRAMME > env. 6’ LISZT, Sonate pour piano en si mineur (1852-1853) > env. 35’ Pause RAVEL, Gaspard de la nuit (1908) > env. 24’ 1. Ondine 2. Le Gibet 3. Scarbo VALENTINA LISITSA RACHMANINOV, Sonate n° 1 en ré mineur op. 28 (1907) > env. 35’ 1. Allegro moderato 2. Andante 3. Allegro molto Valentina Lisitsa, piano Sur le vendredi 18.05.2018, à 20h DIMANCHE 29 AVRIL 2018 29 AVRIL 2018 DIMANCHE alentina Lisitsa est « la pianiste qui valait 170 millions de vues sur YouTube » (Culturebox) et a signé pour le label Decca des enregistrements de Chopin, Nyman (La Leçon de piano) ou encore Philip Glass. Pour la saison « Séduction » de l’OPRL, elle convoque Ondine, la séductrice aquatique de Gaspard de la nuit, mais aussi Isolde,V dont la mort touche au sublime chez Wagner. Dans les immenses sonates de Liszt et Rachmaninov se cache la figure de Faust et de sa relation passionnée avec Marguerite. Wagner/Liszt Tristan et Isolde (1857-59), Mort d’Isolde (TRANSCR. 1867) LES TRANSCRIPTIONS pour piano occupent la fin de l’opéra de Wagner. Pour parvenir à res- une place importante dans l’œuvre de Liszt : tituer ce passage complexe, Liszt a usé d’une pour piano à deux mains, à quatre mains ou à grande ingéniosité : outre l’outil classique du deux pianos. -
Bösendorfer - Wikipedia, the Free Encyclopedia 1/5/14, 3:08 PM Bösendorfer from Wikipedia, the Free Encyclopedia
Bösendorfer - Wikipedia, the free encyclopedia 1/5/14, 3:08 PM Bösendorfer From Wikipedia, the free encyclopedia Bösendorfer (L. Bösendorfer Klavierfabrik GmbH) is an L. Bösendorfer Klavierfabrik GmbH Austrian piano manufacturer, and a wholly owned subsidiary of Yamaha.[citation needed] Bösendorfer is unusual in that it produces 97- and 92-key models in addition to instruments with standard 88-key keyboards. Type private Contents Industry Musical instruments Founded 1828 1 Characteristics Founder(s) Ignaz Bösendorfer 2 History Headquarters Vienna, Austria 3 Models 3.1 Standard Black Models[7] Products Pianos 3.2 Conservatory Series Parent Yamaha Corporation 3.3 Special and Limited editions 3.3.1 SE reproducing piano Website www.boesendorfer.com 3.4 Designer Models (http://www.boesendorfer.com/) 4 Noteworthy events 5 Bösendorfer Artists 5.1 Recordings 5.1.1 Classical 5.1.2 Popular 6 References 7 Bibliography 8 External links Characteristics Bösendorfer pioneered the extension of the typical 88-key keyboard, creating the Imperial Grand (Model 290), which has 97 keys (eight octaves). This innovation was originally ordered as a custom built piano for Ferruccio Busoni, who wanted to transcribe an organ piece that went to the C below the standard keyboard. This innovation worked so well, that this piano was added to regular product offerings and quickly became one of the world's most sought-after concert grands. Because of the 290's success, the extra strings were added to Bösendorfer's other line of instruments such as the 225 model, which -
Marisa Mccarthy [email protected] (626) 793-7172 Ext
FOR IMMEDIATE RELEASE Pasadena Symphony Association Pasadena Symphony & POPS Contact: Marisa McCarthy [email protected] (626) 793-7172 ext. 13 For artist bios and images visit: https://pasadenasymphony-pops.org/2020-21-classics-announcement/ February 27, 2020 PASADENA SYMPHONY ANNOUNCES 2020-21 CLASSICS SEASON Pasadena, CA – Music Director David LocKington and the Pasadena Symphony announce its 2020/21 season of seven concerts, beginning October 17, 2020 through April 24, 2021. Highlights include the second annual Composers Showcase, featuring contemporary works by five California-based composers, including a world premiere by Brett Banducci, a Baroque program partnering with young artists from the Colburn School, Los Angeles Children’s Chorus and the Pasadena Civic Ballet, and a line-up of celebrated guest artists and popular masterpieces. All concerts take place at Pasadena’s Ambassador Auditorium with both matinee and evening performances at 2pm and 8pm. The season also includes the annually sold-out Holiday Candlelight Concert on Saturday, December 19, 2020 with 4pm and 7pm performances at All Saints Church. LocKington kicks off the 2020-21 season on October 17th with the return of violinist Dylana Jenson performing Brahms Violin Concerto, for a program that shows off the orchestra’s might with Strauss’s thrilling Don Juan and Mahler’s Symphony No. 10. November 14th brings a portrait of American life to the stage through three different lenses with award-winning pianist Terrence Wilson performing Gershwin’s Rhapsody in Blue. The Jazz Age masterpiece roars alongside a contemplative work of Native American sounds in symphonic form with composer Brent Michael Davids’ Iroquois Creation Song, performed on his crystal flute, and DvořáK’s magnificent incarnation of the American West with his Symphony No. -
Flint Orchestra
Flint SymphonyOrchestra ENRIQUE DIEMECKE, MUSIC DIRECTOR & CONDUCTOR APRIL 10, 2021 FIM SEASON SPONSOR Whiting Foundation CONCERT SPONSOR Anonymous Donor 16 Flint Symphony Orchestra THEFSO.ORG 2020 – 21 Season SEASON AT A GLANCE STRAVINSKY & PROKOFIEV FAMILY DAY SAT, FEB 6, 2021 @ 7:30PM Cathy Prevett, narrator SAINT-SAËNS & BRAHMS SAT, MAR 6, 2021 @ 7:30PM Noelle Naito, violin 2020 William C. Byrd Winner BEETHOVEN & DVOŘÁK SAT, APR 10, 2021 @ 7:30PM Joonghun Cho, piano WELCOME TO THE 2020 – 21 SEASON WITH BRUCH & TCHAIKOVSKY YOUR FLINT SYMPHONY ORCHESTRA! SAT, MAY 8, 2021 @ 7:30PM Julian Rhee, violin he Flint Symphony Orchestra (FSO) is one of the finest orchestras of its size in the nation. BCO POPS CONCERT Its rich 103-year history as a cultural icon CELEBRATING JUNETEENTH T SAT, JUNE 19, 2021 @ 7:30PM in the community is testament to the dedication Damien Escobar, violin of world-class performance from the musicians and Flint and Genesee County audiences alike. The FSO has been performing under the baton of Maestro Enrique Diemecke for over 30 years now – one of the longest tenures for a Music Director in the country. Under the Maestro’s unwavering musical integrity and commitment to the community, the FSO has connected with audiences throughout southeast Michigan, delivering outstanding artistry and excellence. All dates are subject to change. Please visit theFSO.org for updates. Flint Institute of Music gratefully acknowledges This activity is supported by This program and/or service is funded in whole or in the Charles Stewart Mott Foundation for their the Michigan Council for part by the Genesee County Arts Education and Cultural continued support. -
Primera Temporada 2016
PRIMERA TEMPORADA 2016 Gala de Año Nuevo Sábado 09 de enero/20:00 horas Domingo 10 de enero/12:00 horas Enrique Arturo Diemecke, director huésped Enrique Mora Vals Alejandra (1876-1913) (Duración aproximada: 7 minutos) Juventino Rosas Vals Sobre las olas (1868-1894) (Duración aproximada: 8 minutos) Johann Strauss II Vals Emperador, op. 437 (1825-1899) (Duración aproximada: 10 minutos) Vals Sangre vienesa, op. 354 (Duración aproximada: 7 minutos) Vals En el hermoso Danubio azul, op. 314 (Duración aproximada: 9 minutos) INTERMEDIO Johann Strauss II Obertura de El murciélago (Duración aproximada: 9 minutos) Polca Bajo truenos y relámpagos, op. 324 (Duración aproximada: 3 minutos) Franz von Suppé Obertura de Poeta y campesino (1819-1895) (Duración aproximada: 10 minutos) Johann Strauss II Polca Trish-trash, op. 214 (Duración aproximada: 3 minutos) Piotr Ilyich Tchaikovsky Obertura 1812 (1840-1893) (Duración aproximada: 16 minutos) Enrique Arturo Diemecke Director huésped Nacido en México, Enrique Arturo Diemecke proviene de una familia de músicos. Comenzó a tocar el violín a los 6 años con su padre y más tarde con Henryk Szeryng. Tam- bién aprendió a tocar piano, corno y percusiones. Estu- dió violín, corno y dirección en la Universidad Católica de Washington. Fue alumno de Charles Bruck en la Escue- Photo: Christian Steiner la Pierre Monteux con una beca otorgada por Madame Monteux. Es director titular de la Sinfónica de Long Beach en California, la Filarmónica de Buenos Aires, la Sinfónica de Flint en Michigan y la Sinfóni- ca del Instituto Politécnico Nacional. Durante 17 años, estuvo al frente de la Orquesta Sinfónica Nacional y también fue director asociado de la Filarmó- nica de la UNAM.