PRÉSENCES 2015 FESTIVAL DE CRÉATION MUSICALE DE RADIO FRANCE – 25E ÉDITION LES DEUX AMERIQUES DU 6 AU 21 FÉVRIER 2015

Total Page:16

File Type:pdf, Size:1020Kb

PRÉSENCES 2015 FESTIVAL DE CRÉATION MUSICALE DE RADIO FRANCE – 25E ÉDITION LES DEUX AMERIQUES DU 6 AU 21 FÉVRIER 2015 PRÉSENCES 2015 FESTIVAL DE CRÉATION MUSICALE DE RADIO FRANCE – 25e ÉDITION LES DEUX AMERIQUES DU 6 AU 21 FÉVRIER 2015 1 DOSSIER DE PRESSE FESTIVAL PRÉSENCES 2015 FESTIVAL DE CRÉATION MUSICALE DE RADIO FRANCE – 25e ÉDITION DU 6 AU 21 FÉVRIER 2015 LES DEUX AMERIQUES 14 CONCERTS 17 CRÉATIONS MONDIALES 11 CRÉATIONS FRANÇAISES CONTACT PRESSE Opus 64 / Valérie Samuel & Sophie Nicoly 52, rue de l’Arbre Sec - 75001 Paris T 01 40 26 77 94 @ [email protected] SOMMAIRE ÉDITORIAUX p.6 CALENDRIER DES CONCERTS p.8 PROGRAMMATION DÉTAILLÉE p.10 ENTRETIENS AVEC 4 COMPOSITEURS ESTEBAN BENZECRY UNE SCÉNOGRAPHIE SONORE p.16 BENJAMIN DE LA FUENTE COMPOSITION ET IMPROVISATION p.18 CHRISTOPHER TRAPANI COMME UN DÉSIR DE LÉGÈRETÉ p.20 LUIS NAON UN PUBLIC INSUBORDONNÉ ! p.22 BIOGRAPHIES DES COMPOSITEURS p.24 INFORMATIONS PRATIQUES p.36 5 ÉDITORIAUX TRANSATLANTIQUE Pour sa vingt-cinquième édition, le festival Présences nous fait traverser l’océan et partir à la découverte des musiques américaines. Au sens large du terme : il s’agira en effet des Amériques musicales, de l’Alaska jusqu’à la Terre de feu, du Rio de la Plata jusqu’au Labrador. Ce grand voyage musical, je suis heureux qu’il ait lieu à la Maison de la radio qui depuis le mois de novembre dernier, avec l’inauguration de notre Auditorium et la réouverture du Studio 104 entièrement rénové, est l’un des lieux qui fait vivre la musique en France. Je me réjouis d’autant plus que notre Maison, munie de ces deux salles magnifiques et d’un équipement qui met à profit l’évolution constante des technologies, accueille avec Présences un festival consacré à la création musicale. Nouveauté, invention, audace : tels sont les maîtres-mots de cet ensemble de concerts qui prouvent que la musique de notre temps aime prendre le parfum du grand large et particulièrement, cette année, celui des Amériques. Radio France, au fil de ces quatorze rendez-vous, se transforme en vaisseau transatlantique. N’hésitez pas à vous embarquer avec nous. Nos quatre formations – l’Orchestre National de France, l’Orchestre Philharmonique de Radio France, le Chœur et la Maîtrise de Radio France –, les nombreux artistes que nous invitons, et bien sûr nos antennes avec France Musique au premier chef, sont prêts à vous emmener dans la plus étonnante des aventures. Mathieu Gallet, Président-directeur général de Radio France 6 UN NOUVEAU MONDE « Il y a une Amérique musicale, dont Beethoven a été le Colomb, je serai Pizarre ou Cortez. » Berlioz En 1991, à l’occasion de sa première édition, le festival Présences prenait le pouls de l’Amérique du Nord et faisait entendre bien des compositeurs, de George Antheil à Conlon Nancarrow, dont le nom était à peine connu en France. Vingt-quatre ans plus tard, Présences traverse de nouveau l’Atlantique mais se propose d’explorer les musiques du continent américain tout entier. Un continent qui ne se résume pas aux seuls États-Unis, et où les écoles nationales, comme partout dans le monde, s’effacent au profit des talents individuels les plus affirmés. Talents qui désormais viennent de tous les pays. Si l’on connaît bien désormais la musique d’un John Adams (dont nous entendrons plusieurs partitions imposantes, dont Doctor Atomic Symphony et Son of Chamber Symphony ) ou d’un Steve Reich, si le prestige de Paris attire depuis longtemps les compositeurs argentins (de Ricardo Nillni à Martin Matalon), des figures comme Victor Ibarra (d’origine mexicaine), Januibe Tejera (qui a vu le jour au Brésil) ou Luis Fernando Rizo-Salom (né à Bogota) sont typiques de notre époque : une époque où le style de chacun se forge au contact des sons du monde entier et à l’écoute des musiques de tous les siècles passés. S’étonnera-t-on qu’Osvaldo Golijov fasse entendre dans Nazareno les polyphonies Yoruba réinventées pour les pianos des sœurs Labèque, que Luis Naon chante les paysages de toutes les Amériques dans Quebrada/Horizonte, qu’Esteban Benzecry fasse entendre un triptyque précolombien intitulé Rituales amerindios ? Bien des compositeurs de notre programmation ont choisi délibérément de faire se télescoper en eux les cultures : José Evangelista est un musicien canadien d’origine espagnole, Juan Pablo Carreno s’est formé en Colombie, aux États-Unis et en France. Tous éprouvent cependant le besoin d’exprimer quelque chose (une nostalgie, un sentiment de la danse, une impatience de l’avenir) et ne se contentent pas d’illustrer des formes pures et parfaites. Beaucoup d’entre eux également aiment l’orchestre, et on se réjouira que la moitié des concerts de cette édition de Présences fasse appel à ce type de formation, ce qui permettra à l’Orchestre National de France et à l’Orchestre Philharmonique de Radio France de donner toute la mesure de leur talent, avec peut-être, côté Philharmonique, une attirance pour l’Amérique du Sud et, côté National, un tropisme boréal. Joshua Dos Santos, James Gaffigan, Domingo Hindoyan, pour n’en citer que quelques uns, illustreront la vitalité de la direction d’orchestre américaine, ce qui n’empêche pas notre festival, évidemment, d’inviter de nombreux ensembles et solistes qui font de la création leur pain quotidien et leur oxygène indispensable. Et au Chœur et à la Maîtrise de Radio France de participer à la Transmigration of the Soul selon Adams. Présences est un moment essentiel dans la saison musicale de Radio France, mais la musique de notre temps s’affiche de manière régulière au programme de nos concerts. Cette saison, les cartes blanches à Peter Eötvös et à Bruno Mantovani, ou la création d’œuvres nouvelles de Philippe Hurel ou d’Edith Canat de Chizy, entre autres exemples, prouvent le désir qui est le nôtre d’accompagner cet élan toujours imprévu, toujours indompté qui a nom création. Jean-Pierre Rousseau, Directeur de la musique de Radio France 7 CALENDRIER DES CONCERTS CRF COMMANDE DE RADIO FRANCE CM CRÉATION MONDIALE CF CRÉATION FRANÇAISE CE COMMANDE D’ETAT VENDREDI 6 FÉVRIER 20H NANCARROW - DUBUGNON CRF-CM - BENZECRY CRF-CM AUDITORIUM - CONCERT N°1 AQUINO - CASTELLANOS ORCHESTRE PHILHARMONIQUE DE RADIO FRANCE Manuel Lopez-Gomez, direction Gautier Capuçon, violoncelle Olivier Doise, hautbois Diffusion en direct sur France Musique et en UER SAMEDI 7 FÉVRIER 20H GORDON - DE LA FUENTE CRF-CM - CARTER - RIZO SALOM STUDIO 104 - CONCERT N°2 ORCHESTRE PHILHARMONIQUE DE RADIO FRANCE Joshua Dos Santos, direction Claire Booth, soprano Wilhem Latchoumia, piano Piera Formenti, récitante LUNDI 9 FÉVRIER 20H TORRES MALDONADO CM - IBARRA CM - NAON CF STUDIO 105 - CONCERT N°3 NILLNI CRF-CM - MATALON CRF-CM ENSEMBLE ACCROCHE-NOTE Philippe Dao, électronique Diffusion en direct sur France Musique MERCREDI 11 FÉVRIER 20H DERBEZ ROQUE CF - DESENNE - PECOU - CAGE - ELLISON CRF - CM STUDIO 104 - CONCERT N°4 ENSEMBLE VARIANCES Thierry Pécou, piano et direction Noa Frenkel, contralto JEUDI 12 FÉVRIER 20H ROUSE CF - NORMAN CF - SHEPHERD CF - ADAMS AUDITORIUM - CONCERT N°5 ORCHESTRE NATIONAL DE FRANCE James Gaffigan, direction Inon Barnatan, piano Diffusion en direct sur France Musique VENDREDI 13 FÉVRIER 20H MALDONADO CRF-CM CORIGLIANO- CHEUNG CF - NAON CRF-CM AUDITORIUM - CONCERT N°6 ORCHESTRE PHILHARMONIQUE DE RADIO FRANCE Domingo Hindoyan, direction Paul Meyer, clarinette Diffusion en direct sur France Musique SAMEDI 14 FÉVRIER 11H CONCERT FAMILLE AUDITORIUM - CONCERT N°7 NAON ORCHESTRE PHILHARMONIQUE DE RADIO FRANCE Domingo Hindoyan, direction Luis Naon, présentation 8 SAMEDI 14 FÉVRIER 20H « CRI SELON CRI » STUDIO 105 - CONCERT N°8 Spectacle mis en espace et en lumière BIELAWA - PECOU - ORTIZ - VIVIER ENSEMBLE VARIANCES Thierry Pécou, piano et direction Lisa Bielawa, voix Stephan Grögler, mise en espace et création lumière LUNDI 16 FÉVRIER 20H ALVAREZ CF - MUHLY CF - REICH STUDIO 104 - CONCERT N°9 PERCUSSIONS DE L’ORCHESTRE NATIONAL DE FRANCE Diffusion en direct sur France Musique MARDI 17 FÉVRIER 20H CARRENO CRF-CM - PERRETEN CRF-CM - ZINSSTAG CM-CE AUDITORIUM - CONCERT N°10 ENSEMBLE MUSICATREIZE Roland Hayrabedian, direction MERCREDI 18 FÉVRIER 20H MARKEAS - GRIFFIN - TEJERA CRF-CM - ALVAREZ STUDIO 104 - CONCERT N°11 ENSEMBLE TM+ ET ENSEMBLE TAMBUCO Laurent Cuniot, direction JEUDI 19 FÉVRIER 20H BENZECRY CRF-CM - LIEBERSON - IVES - ADAMS AUDITORIUM - CONCERT N°12 CHŒUR DE RADIO FRANCE Marc Korovitch, chef de chœur MAÎTRISE DE RADIO FRANCE Sofi Jeannin, chef de chœur ORCHESTRE NATIONAL DE FRANCE Giancarlo Guerrero, direction Kelley O’Connor, mezzo-soprano Diffusion en direct sur France Musique VENDREDI 20 FÉVRIER 20H VAZQUEZ CM- RIZO SALOM - EVANGELISTA - ADAMS STUDIO 104 - CONCERT N°13 ENSEMBLE ORCHESTRAL CONTEMPORAIN Daniel Kawka, direction Christophe Desjardins, alto SAMEDI 21FÉVRIER 20H TRAPANI CRF-CM - GOLIJOV CF - BENZECRY CF AUDITORIUM - CONCERT N°14 ORCHESTRE PHILHARMONIQUE DE RADIO FRANCE Diego Matheuz, direction Katia et Marielle Labèque, piano Raphaël Seguinier, Gonzalo Grau, percussions Grégory Beller, réalisateur informatique musicale Ircam* Coproduction Radio France / Ircam Tous ces concerts sont enregistrés par France Musique 9 PROGRAMMATION DÉTAILLÉE VENDREDI 6 FÉVRIER 20H CONLON NANCARROW - Pièce n° 2 pour petit orchestre AUDITORIUM - CONCERT N°1 RICHARD DUBUGNON - Concerto sacra pour hautbois et orchestre, op. 67* COMMANDE DE RADIO FRANCE CRÉATION MONDIALE ESTEBAN BENZECRY - Concerto pour violoncelle** COMMANDE DE RADIO FRANCE CRÉATION MONDIALE DARWIN AQUINO - Espacio ritual EVENCIO CASTELLANOS - Santa Cruz de Pacairigua Olivier Doise, hautbois* Gautier Capuçon, violoncelle** ORCHESTRE PHILHARMONIQUE DE RADIO FRANCE Manuel Lopez-Gomez, direction Concert d’ouverture du festival dans le nouvel Auditorium de Radio France : l’Orchestre Philharmonique propose deux concertos donnés en vis-à-vis et en création mondiale (il s’agit dans les deux cas d’une commande de Radio France) : l’un de Richard Dubugnon qui engage un dialogue entre l’Europe et l’Amérique latine avec le Concerto sacra pour hautbois inspiré notamment du chant grégorien, Olivier Doise jouant la partie soliste ; l’autre d’Esteban Benzecry, Argentin installé à Paris dont Gauthier Capuçon créera le Concerto pour violoncelle.
Recommended publications
  • Cellist Zuill Bailey with Helen Kim and the KSU Symphony Orchestra
    SCHOOL of MUSIC where PASSION is Zuill Bailey,heard Cello featuring Helen Kim, Violin Robert Henry, Piano KSU Symphony Orchestra Nathaniel F. Parker, Music Director and Conductor Wednesday, October 9, 2019 | 8:00 PM Dr. Bobbie Bailey & Family Performance Center, Morgan Hall musicKSU.com 1 heard Program LUKAS FOSS (1922-2009) CAPRICCIO MAX BRUCH (1838-1920) KOL NIDREI, OPUS 47 PYOTR ILYICH TCHAIKOVSKY (1840-1893) VARIATIONS ON A ROCOCO THEME, OPUS 33 Zuill Bailey, Cello Robert Henry, Piano –INTERMISSION– JOHANNES BRAHMS (1833-1897) CONCERTO FOR VIOLIN, CELLO, AND ORCHESTRA IN A MINOR, OPUS 102 I. ALLEGRO II. ANDANTE III. VIVACE NON TROPPO Zuill Bailey, Cello Helen Kim, Violin Kennesaw State University Symphony Orchestra Nathaniel F. Parker, Conductor We welcome all guests with special needs and offer the following services: easy access, companion seating locations, accessible restrooms, and assisted listening devices. Please contact a patron services representative at 470-578-6650 to request services. 2 Kennesaw State University School of Music KSU Symphony Orchestra Personnel Nathaniel F. Parker, Music Director & Conductor Personnel listed alphabetically to emphasize the importance of each part. Rotational seating is used in all woodwind, brass, and percussion sections. Flute Violin Cello Don Cofrancesco Melissa Ake^, Garrett Clay Lorin Green concertmaster Laci Divine Jayna Burton Colin Gregoire^, principal Oboe Abigail Carpenter Jair Griffin Emily Gunby Robert Cox^ Joseph Grunkmeyer, Robert Simon Mary Catherine Davis associate principal
    [Show full text]
  • University of Oregon • School of Music
    OREGON WIND ENSEMBLE PERSONNEL Flute/Piccolo Kyle Ostwalt Heather Cairns Keemun Senff Elizabeth Erenberg Patrick Velliquette Jennifer Miller Jen Northup Trombone Sophia Tegart* Caleb Allen Rachel Katzmar* Oboe Michael Ragsdale UNIVERSITY OF OREGON • SCHOOL OF MUSIC Matthew Craig Amy Tompkins Kevin Findtner* Beall Concert Hall Sunday afternoon Theresa Thompson Euphonium Skyler Johnson 3:00 p.m. November 14, 2004 Bassoon/Contrabassoon Louis Olenick Lisa Andrews* Nancy Shevlin Tuba Kurt Mehlenbacher Tyler Cranor Cody Forcier* UNIVERSITY OF OREGON Clarinet Michael Almich Timpani Madelyn Banahene David Constantine* SCHOOL OF MUSIC Sarah Little Percussion Blake McGee Melissa Davis Danielle Miller* Erica Drake presents Mandy Mullett Jon Koenig Aaron Rohrbacher Chris Lay Lia Thomas Tom Mulkey Fang-zhou Zhou Bryan Schuster OREGON WIND ENSEMBLE Chris Whyte* Bass Clarinet Robert Ponto, conductor Laura Arthur Piano/Celesta Timothy Paul, assistant conductor Karen Dungan Hasina Cohen Saxophone Off-Stage Performers with guest artists Olenka Burgess Wayne Bennett, clarinet** Scott Dakof Ellen Campbell, horn** Gabe Dickinson Michael Grose, tuba** Giancarlo Guerrero, guest conductor Collin Wilson* Jon Koenig, percussion Victor Steinhardt, piano Horn Zachary Person, trumpet Leah Golden-Sea* Keemun Senff, trumpet Meagan Roby Sean Wagoner, percussion** Erika Rudnicki Jeffrey Williams, trombone** Amy Vaillancourt-Sals Peter Yurkovich * principal ** faculty member Trumpet Kimberly Hannon Shelly Ivey Dan Kocurek O UNIVERSITY OF OREGON * * * 105th Season, 20th
    [Show full text]
  • “5Th Buenos Aires Harp Week” Organized by the Nueva Escuela
    NATIONAL NEWS ARGENTINA Events Events Esteban Benzecry’s Sous la constellation de l´homme oiseau The “5th Buenos Aires Harp Week” organized by the Nueva saw its Latin American premier during the Semana del Arpa de Escuela Argentina de Arpa took place at the Music Department Buenos Aires in October 2019. It was played by Mara Diniello, of the Universidad Nacional de las Artes in September 2019. harp, and the Orquesta Sinfónica del Neuquén. Masterclasses, Workshops and Concert were offered featur- ing Oscar Rodriguez Do Campo, Suelem Sampaio from Brazil, Megan Sesma from the US and the stellar presence of the 20th Edition of the Israel Harp Competition, Lenka Petrovic. The 6th Edition will take place from 29 August 2020. Marcela Mendez co-organized the 2nd International Harp Academy in Santa Fe city featuring Maria Luisa Rayan and Eisabeth Hainen in October 2019. Masterclasses, Workshops and Concert took place with international participants. Nueva Escuela Argentina de Arpa co-organized the “2nd Espirito Santo Harp Week” in January 2020 together with Brazilian harpist Glaucia Castilhos. Along with Oscar Rodriguez Do Campo, they offered masterclasses to participants from all over the country. The 3rd Edition will take place 10 January 2021 in Vitoria, capital city of Espirito Santo state. Mara Diniello and the Orquesta Sinfónica del Neuquén. The Mágica y Misteriosa concerto for harp and string orchestra by Clauda Montero was performed by Lucrecia Jancsa together with the Orquesta de Música Argentina Juan de Dios Filiberto under the baton of Lucía Zicos in Buenos Aires 21 June 2019. Five trios for flute, harp and bandoneon were premiered during the Ciclo de Conciertoe de Música Contemporánea, Teatro San Martín.
    [Show full text]
  • Joan TOWER Violin Concerto Stroke Chamber Dance
    AMERICAN CLASSICS Joan TOWER Violin Concerto Stroke Chamber Dance Cho-Liang Lin, Violin Nashville Symphony Giancarlo Guerrero Joan Tower (b. 1938) Violin Concerto memorializing Oliveira’s love for his sibling. The middle section, with its Ravel-like woodwind murmurings, opens Stroke • Violin Concerto • Chamber Dance The composer first met violinist Elmar Oliveira while she with the opening whole-step idea given particular Like all good composers, Joan Tower brings to her writing capabilities. Her first concerto, Music for Cello and was working as composer-in-residence for the St. Louis poignancy by octave displacement. It reaches great desk life and musical experiences that inform her music in Orchestra, was written for the group’s cellist, and she has Symphony. “The first time he heard my music, he really heights of emotional intensity before segueing effortlessly unique ways. These include her childhood in South since composed concerti for the other four instruments in liked it,” she says. Eventually he told her, “You know, I just into the “finale,” the beginning of which is marked by a America, her formal education and her work as a the ensemble. She has held orchestral residencies with love your music, and I would like you to write a piece for descending whole step from pizzicato strings. professional chamber-music player. A member of the the St. Louis Symphony Orchestra (1985-88), the me.” Tower set out to compose a work that would generation that broke the glass ceiling for female Orchestra of St. Luke’s (1997-2007) and the Pittsburgh highlight traits she greatly admired in Oliveira’s technique.
    [Show full text]
  • My Father Knew Charles Ives Harmonielehre
    AMERICAN CLASSICS JOHN ADAMS My Father Knew Charles Ives Harmonielehre Nashville Symphony Giancarlo Guerrero John Adams (b. 1947) My Father Knew Charles Ives • Harmonielehre My Father Knew Charles Ives is an intriguing, allusive with his father in the local Nevers’ Second Regimental reaches its apex, however, the music suddenly subsides, woodwinds introduce an insistent D (suggesting a title. But, as composer John Adams freely admits, his Band). When the parade begins (at 5:38), Adams mirroring “a moment of sudden, unexpected astonishment functional seventh chord, perhaps?), but the prevailing E father never met the iconoclastic New England composer, conjures up an Ivesian Fourth of July, although in this after a hard-won rush to the top.” minor triad persists, driven by a constant quarter-note much less knew him personally. In his memoir, Hallelujah instance the tunes only sound familiar. Rather than At the time he completed Harmonium for the San pulse in the bass and flurries of eighth notes in the rest of Junction: Composing an American Life (Farrar, Straus quoting established melodies as Ives often did, Adams Francisco Symphony and Chorus in 1981, Adams described the strings (and eventually woodwinds). The harmony and Giroux, 2008), he notes similarities between his creates his own. “Only a smirk from trumpets playing himself as “a Minimalist who is bored with Minimalism.” steadily thickens and becomes more complex until the father and George Ives, Connecticut bandmaster and Reveille and, in the coda, a hint of Ives’ beloved Nearer He was an artist who needed to move on creatively but pounding pulse relaxes and eases into a second “theme” father of Charles: “Both fathers were artistic and not My God to Thee are the genuine article,” he says.
    [Show full text]
  • ITALIAN, PORTUGUESE, SPANISH and LATIN AMERICAN SYMPHONIES from the 19Th Century to the Present
    ITALIAN, PORTUGUESE, SPANISH AND LATIN AMERICAN SYMPHONIES From the 19th Century to the Present A Discography of CDs and LPs Prepared by Michael Herman FRANCO ALFANO (1876-1960, ITALY) Born in Posillipo, Naples. After studying the piano privately with Alessandro Longo, and harmony and composition with Camillo de Nardis and Paolo Serrao at the Conservatorio di San Pietro a Majella, Naples, he attended the Leipzig Conservatory where he completed his composition studies with Salomon Jadassohn. He worked all over Europe as a touring pianist before returning to Italy where he eventually settled in San Remo. He held several academic positions: first as a teacher of composition and then director at the Liceo Musicale, Bologna, then as director of the Liceo Musicale (later Conservatory) of Turin and professor of operatic studies at the Conservatorio di San Cecilia, Rome. As a composer, he speacialized in opera but also produced ballets, orchestral, chamber, instrumental and vocal works. He is best known for having completed Puccini’s "Turandot." Symphony No. 1 in E major "Classica" (1908-10) Israel Yinon/Brandenburg State Orchestra, Frankfurt ( + Symphony No. 2) CPO 777080 (2005) Symphony No. 2 in C major (1931-2) Israel Yinon/Brandenburg State Orchestra, Frankfurt ( + Symphony No. 1) CPO 777080 (2005) ANTONIÓ VICTORINO D'ALMEIDA (b.1940, PORTUGAL) Born in Lisbon.. He was a student of Campos Coelho and graduated from the Superior Piano Course of the National Conservatory of Lisbon. He then studied composition with Karl Schiske at the Vienna Academy of Music. He had a successful international career as a concert pianist and has composed prolifically in various genres including: instrumental piano solos, chamber music, symphonic pieces and choral-symphonic music, songs, opera, cinematic and theater scores.
    [Show full text]
  • Simón Bolívar Symphony Orchestra 3
    CAL PERFORMANCES PRESENTS PROGRAM Thursday, November 29, 2012, 8pm Zellerbach Hall The Jan Shrem & Maria Manetti Shrem Orchestra Residency Silvestre Revueltas (1899–1940) La Noche de los Mayas (1939) 1. La Noche de los Mayas: Molto sostenuto 2. Noche de Jaranas: Scherzo Simón Bolívar Symphony Orchestra 3. Noche de Yucatan: Andante espressivo — of Venezuela 4. Noche de Encantamiento: Theme, Variations 1–4, and Finale Gustavo Dudamel, Music Director PROGRAM The Hilti Foundation is very proud to support the talented young musicians of the Simón Bolívar Symphony Orchestra of Venezuela. Carlos Chávez (1899–1978) Sinfonía India (Symphony No. 2) (1935) The Simón Bolívar Symphony Orchestra of Venezuela would like to thank the Fundación Musical Simón Bolívar, the Governing Body of the National System of Youth and Children’s Orchestras of Venezuela, for its support and cooperation. Tocar y Luchar. Julián Orbón (1925–1991) Tres Versiones Sinfónicas (1953) 1. Pavana (Luis de Milán): Moderato 2. Organum-Conductus (Perotinus): Lento 3. Xylophone (Congo): Molto vivo Additional support for the Jan Shrem and Maria Manetti Shrem Orchestra Residency is provided by Patron Sponsors Kathryn and Scott Mercer, and by a grant from the Bernard Osher Foundation. INTERMISSION Cal Performances’ 2012–2013 season is sponsored by Wells Fargo. 18 CAL PERFORMANCES CAL PERFORMANCES 19 pn_sbsov.indd 18-19 11/29/2012 11:39:19 AM PROGRAM NOTES PROGRAM NOTES Carlos Chávez (1899–1978) rhythms, textures and melodic leadings are vigorous mixed meters, the first theme (3/2, Copland at the Berkshire Music Center. He re- Sinfonía India (Symphony No. 2) integral to his style. Aaron Copland, deeply re- B-flat major), based on a Huichol melody, is pre- turned to Cuba to become director of the Orbón spectful of Chávez’s achievement, wrote, “Here sented by the violins and oboe.
    [Show full text]
  • 59Th Press List
    NATIONAL ACADEMY OF RECORDING ARTS & SCIENCES, INC. FINAL NOMINATIONS LIST Field 28 - Classical Category 81 Category 82 Best Classical Compendium Best Contemporary Classical Composition Award to the Artist(s) and to the Album Producer(s) and A Composer's Award. (For a contemporary classical composition Engineer(s) of over 51% playing time of the album, if other than composed within the last 25 years, and released for the first time the artist. during the Eligibility Year.) Award to the librettist, if applicable. 1. DAUGHERTY: TALES OF HEMINGWAY; 1. BATES: ANTHOLOGY OF FANTASTIC ZOOLOGY AMERICAN GOTHIC; ONCE UPON A CASTLE Mason Bates, composer (Riccardo Muti & Chicago Giancarlo Guerrero, conductor; Tim Handley, Symphony Orchestra) producer [CSO Resound] [Naxos] 2. DAUGHERTY: TALES OF HEMINGWAY 2. GESUALDO Michael Daugherty, composer (Zuill Bailey, Giancarlo Tõnu Kaljuste, conductor; Manfred Eicher, producer Guerrero & Nashville Symphony) [ECM New Series] Track from: Daugherty: Tales Of Hemingway; American Gothic; Once Upon A Castle 3. VAUGHAN WILLIAMS: DISCOVERIES [Naxos] Martyn Brabbins, conductor; Andrew Walton, producer 3. HIGDON: COLD MOUNTAIN [Albion Records] Jennifer Higdon, composer; Gene Scheer, librettist 4. WOLFGANG: PASSING THROUGH (Miguel Harth-Bedoya, Jay Hunter Morris, Emily Fons, Isabel Leonard, Nathan Gunn & The Santa Fe Opera) Judith Farmer & Gernot Wolfgang, producers; [Pentatone Music] (Various Artists) [Albany Records] 4. THEOFANIDIS: BASSOON CONCERTO 5. ZAPPA: 200 MOTELS - THE SUITES Christopher Theofanidis, composer (Martin Kuuskmann, Barry Jekowsky & Northwest Sinfonia) Esa-Pekka Salonen, conductor; Frank Filipetti & Gail Zappa, producers Track from: Bassoon Concertos - Theofanidis, Hummel, [Universal Music] Mozart [Estonian Record Productions] 5. WINGER: CONVERSATIONS WITH NIJINSKY C. F. Kip Winger, composer (Martin West & San Francisco Ballet Orchestra) Track from: Winger: Conversations With Nijinsky [VBI Classic Recordings] © The Recording Academy 2016 - all rights reserved 52 Not for copy or distribution 59th Finals - Press List.
    [Show full text]
  • "Descubriendo Mis Raíces" № 5
    La presenta «DESCUBRIENDO MIS RAÍCES» Nº 5 Mayo de 2020 Palabras de Bienvenida Me complace darles la bienvenida a la quinta entrega del Boletín "Descubriendo mis raíces", una publicación digital de carácter periódico elaborada por la Embajada de la República Argentina en Ucrania que promueve el conocimiento relativo a las destacadas personalidades del ámbito de la ciencia, los negocios y la cultura argentina, entre otros, de origen ucraniano y/o cuyos orígenes familiares se remontan a las ciudades ucranianas. La colectividad ucraniana en Argentina se remonta a fines del siglo XIX, y se posiciona como la séptima diáspora ucraniana a nivel mundial, con alrededor de 450.000 miembros, incluyendo, en algunos casos, varias generaciones. Se pueden identificar cuatro corrientes inmigratorias principales, aunque no excluyentes, de ucranianos hacia nuestro país: 1897-1914; 1920-1939; 1946-1960; y desde 1994 hasta la actualidad. La primera migración organizada tuvo lugar en la ciudad de Apóstoles, en la Provincia de Misiones. Todas y cada una de ellas han dotado a la Argentina de valiosos representantes, ya que tanto aquellos que alcanzaron pública notoriedad como aquellos que permanecen anónimos han colaborado significativamente mediante su trabajo, esfuerzo, creatividad, valores y conocimientos en la conformación de la Argentina actual. Los trascendidos sobre la generosa hospitalidad de la Argentina llegaron a la lejana Europa del Este y Central. Nuestro país abrió sus puertas a una amplia y fecunda serie de migraciones internacionales. Es menester asimismo destacar la valiosa labor que las organizaciones de la comunidad ucraniana han realizado en la Argentina con el objetivo de preservar las tradiciones y valores ucranianos en nuestro país.
    [Show full text]
  • MICHAEL DAUGHERTY Tales of Hemingway American Gothic Once Upon a Castle
    AMERICAN CLASSICS MICHAEL DAUGHERTY Tales of Hemingway American Gothic Once Upon a Castle Zuill Bailey, Cello Paul Jacobs, Organ Nashville Symphony Giancarlo Guerrero Michael Daugherty (b. 1954) I imagine Jake Barnes, his entourage (and Hemingway) in In 2012, I returned to Cedar Rapids to revisit the Tales of Hemingway • American Gothic • Once Upon a Castle Pamplona at the Fiesta, watching the running of the bulls small towns of Eastern Iowa. I drove along the back roads and reveling in the spectacle of the bullfights. We also and farms where my father grew up, and where Grant Tales of Hemingway (2015) for cello and orchestra was I. Big Two-Hearted River (1925, Seney, Michigan) hear musical illuminations of the novel’s enigmatic Wood found inspiration for the people and places commissioned by the Nashville Symphony and a In this story, Nick Adams is an emotionally scarred and epigraph, “the sun also ariseth, and the sun goeth down, captured in his art. All the while, I was collecting musical consortium consisting of the Asheville Symphony, El Paso disillusioned soldier from World War I who escapes to and hasteth to the place where he arose.” ideas and mental images to create an emotional Symphony Orchestra, Erie Philharmonic, Redwood northern Michigan for a camping/fishing trip to try to framework for my composition. Symphony and Virginia Symphony Orchestra. The world regain control of his life. I have composed serene and American Gothic (2013) for orchestra was commissioned première was given by the Nashville Symphony, passionate music that evokes a leitmotif in Hemingway’s by Orchestra Iowa, Timothy Hankewich, Music Director.
    [Show full text]
  • Conciertos Orquesta Filarmónica
    Teatro Colón —Temporada 2020 2806 40 62 Ópera Ballet Conciertos Festival Beethoven Guía 7868 84 90 Grandes Intérpretes Conexión Bach Contemporáneo Colón para Chicos de temporada Internacionales Beethoven 98 108 114 118 Experimentación Intérpretes Argentinos Recitales en el Dorado Instituto Superior de Arte del Teatro Colón 128 Agenda 2 — Índice Índice — 3 Teatro Colón —Temporada 2020 Nabucco Barroco, verismo, belcanto, romanticismo, contemporáneo: como ya es característico, diversos estilos musicales confuyen en la temporada lírica, El Cónsul que en 2020 ofrecerá nuevas producciones. Verdi, Puccini, Donizetti, Bizet, Ópera Los pescadores de perlas Händel, De Falla y Menotti conforman un mosaico de creadores que se completa con el inicio de la monumental tetralogía del anillo wagneriano. Se suman tres Tosca títulos de cámara, que conjugan creaciones contemporáneas: los estrenos El oro del Rin sudamericanos de obras del mexicano Daniel Catán, el irlandés Donnacha Dennehy y una reposición del argentino Tomás Bordalejo. Lucia di Lammermoor Xerxes La vida breve El segundo violinisa La hija de Rappaccini Ofcina 470 GA Gran Abono ANT Abono Nocturno Tradicional AV Abono Vespertino ANN Abono Nocturno Nuevo FE Función Extraordinaria Nabucco Giuseppe Verdi DIRECCIÓN DE ESCENA, ESCENOGRAFÍA, PRINCIPALES INTÉRPRETES ISMAEL VESTUARIO E ILUMINACIÓN NABUCCO Sergio Escobar Stefano Poda Sebastián Catana Darío Schmunck Orquesta Estable del Teatro Colón Leonardo López Linares FENENA DIRECTOR MUSICAL ABIGAÍL Guadalupe Barrientos Renato Palumbo Rebeka Lokar Florencia Machado Mónica Ferracani Coro Estable del Teatro Colón ZACCARIA DIRECTOR Miguel Martínez Abramo Rosalen Christian Peregrino Mar La historia del exilio del pueblo hebreo y su cautiverio en Babilonia, atravesada por las pasiones del amor y de la fe, son el núcleo de esta pieza, tercera ópera MAR | H | GA y primer gran éxito de Verdi.
    [Show full text]
  • Download Booklet
    AmericAn clAssics AArOn JAY Kernis color Wheel symphony no. 4 ‘chromelodeon’ nashville symphony • Giancarlo Guerrero Aaron Jay Kernis (b. 1960) variations and re-examinations of elements from before. Chromaticism and consonance coexist side by side Color Wheel • Symphony No. 4 ‘Chromelodeon’ The work builds to a whirling high point and closes with a (or even simultaneously) more clearly in the other return of the opening chorale idea in its grandest movements. After a dense, hectoring chorale opening, the The two works on this recording share much in common: teens hearing the orchestra at the Academy of Music. I harmonic context and most fully realized melodic shape. second, Thorn Rose | Weep Freedom (after Handel) from the virtuosic, percussion-rich approach to orchestral eventually decided to concentrate on exploring the unique Color Wheel is dedicated with love to my wife, exposes a melody vaguely influenced by Handel with an writing to the fundamental use of variation as a unifying qualities of the orchestra itself, employing a wide array of Evelyne Luest. antique-sounding string quartet which is soon opposed by and essential creative compositional approach. Though contrasts in dynamics and sounds to embolden the ear to shifting, chromatic chord clouds, and leads onward to ten written more than 15 years apart, the two works are like discover this new space in what I hoped would be a vivid Symphony No. 4 ‘Chromelodeon’ (2018) or so mostly short variations. The longest and most related family members – one brash and exuberant, the new musical experience. languid variation is for strings alone, and leads to a varied other more serious and pensive in intent, though no less Two visual elements have influenced Color Wheel .
    [Show full text]