Swiss Chamber Soloists
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Mozart Magic Philharmoniker
THE T A R S Mass, in C minor, K 427 (Grosse Messe) Barbara Hendricks, Janet Perry, sopranos; Peter Schreier, tenor; Benjamin Luxon, bass; David Bell, organ; Wiener Singverein; Herbert von Karajan, conductor; Berliner Mozart magic Philharmoniker. Mass, in C major, K 317 (Kronungsmesse) (Coronation) Edith Mathis, soprano; Norma Procter, contralto...[et al.]; Rafael Kubelik, Bernhard Klee, conductors; Symphonie-Orchester des on CD Bayerischen Rundfunks. Vocal: Opera Così fan tutte. Complete Montserrat Caballé, Ileana Cotrubas, so- DALENA LE ROUX pranos; Janet Baker, mezzo-soprano; Nicolai Librarian, Central Reference Vocal: Vespers Vesparae solennes de confessore, K 339 Gedda, tenor; Wladimiro Ganzarolli, baritone; Kiri te Kanawa, soprano; Elizabeth Bainbridge, Richard van Allan, bass; Sir Colin Davis, con- or a composer whose life was as contralto; Ryland Davies, tenor; Gwynne ductor; Chorus and Orchestra of the Royal pathetically brief as Mozart’s, it is Howell, bass; Sir Colin Davis, conductor; Opera House, Covent Garden. astonishing what a colossal legacy F London Symphony Orchestra and Chorus. Idomeneo, K 366. Complete of musical art he has produced in a fever Anthony Rolfe Johnson, tenor; Anne of unremitting work. So much music was Sofie von Otter, contralto; Sylvia McNair, crowded into his young life that, dead at just Vocal: Masses/requiem Requiem mass, K 626 soprano...[et al.]; Monteverdi Choir; John less than thirty-six, he has bequeathed an Barbara Bonney, soprano; Anne Sofie von Eliot Gardiner, conductor; English Baroque eternal legacy, the full wealth of which the Otter, contralto; Hans Peter Blochwitz, tenor; soloists. world has yet to assess. Willard White, bass; Monteverdi Choir; John Le nozze di Figaro (The marriage of Figaro). -
Philharmonic Summit Emmanuel Pahud, Flute Andreas Ottensamer
TUESDAY, 1 NOVEMBER 2016 , 6.30 PM PHILHARMONIC SUMMIT Tertianum Residenz Bellerive Kreuzbuchstrasse 33b, CH-6006 Lucerne Emmanuel Pahud, flute CHF 95.– Concert ticket Andreas Ottensamer, clarinet Advance sales: Stephan Koncz, cello Phone +41 41 544 30 30 [email protected] José Gallardo, piano Three musicians from the Berlin Philharmonic await you in Lucerne and on the WEDNESDAY, 2 NOVEMBER 2016, 6.30 PM Bürgenstock for our “Philharmonic summit”: the celebrated flautist Emmanuel Pahud, Hotel Villa Honegg the versatile cellist Stephan Koncz and clarinettist Andreas Ottensamer. The ensemble Honegg, CH-6373 Ennetbürgen is rounded off by the Argentinian piano virtuoso José Gallardo. Champagne aperitif from 5.45 pm The programme moves between the virtuoso clarity of the Baroque and the impres- CHF 125.– Concert ticket including aperitif sionist expressiveness of French Romanticism, with the expressive possibilities of CHF 230.– Concert ticket including aperitif the flute, the clarinet and the cello really coming into their own. In addition to their and four-course dinner practically limitless virtuosity, all three instruments also offer warm tonal colours and an introverted singing-like quality. Advance sales: Phone +41 41 618 32 00 Johann Sebastian Bach composed numerous works for the flute that play a significant [email protected] role to this day. Two centuries later, French composers in particular – including Camille www.villa-honegg.ch Saint-Saëns, his student Gabriel Fauré and André Jolivet – devoted themselves to the flute and other woodwind instruments. Concert duration ca. 70 minutes The cello managed early on to move away from being part of the “basso continuo” to without interval becoming a solo instrument. -
Programme Information
Programme information Saturday 17 February to Friday 23 February 2018 WEEK 08 NEW SERIES: TURNING POINTS on CLASSIC FM Saturday 17 February, 9pm to 10pm Tonight, we launch a brand new series on Classic FM in partnership with the Honda Jazz, exploring the biggest moments, changes and ‘turning points’ in the history of classical music. Who were the innovators? Who took the risks? Who challenged the norm – and what did they do? From Franz Liszt, whose radical approach made him the first true classical music ‘superstar’; to the invention of the printing press; to the revolutionary female composer Hildegard of Bingen, we’ll hear stories of extraordinary people – and the music that accompanied the most exciting moments in classical music over the last 600 years. Classic FM is available across the UK on 100-102 FM, DAB digital radio and TV, at ClassicFM.com and on the Classic FM app. 1 WEEK 08 SATURDAY 17 FEBRUARY 5pm to 7pm: SATURDAY NIGHT AT THE MOVIES with ANDREW COLLINS With the awards season in full flow, Andrew Collins presents the first of two special awards trivia shows, looking at the big winners, losers and surprises over the decades. Who was the first woman to win Best Picture at the Academy Awards? Who was the first actress to receive twenty nominations for acting? And which film composers have received Oscar nominations over the longest span of time – six decades to be precise? Expect two hours of fun facts and great film scores from the 1930s to the present day, including Toy Story, Gone With the Wind and Ben-Hur. -
Cuarteto De Cuerdas Buenos Aires
Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. CUARTETO DE CUERDAS BUENOS AIRES Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. En junio de 1984, cuatro instrumen Buenos Aires, le otorgaron el Premio tistas de la Orquesta Filarmónica de al "Mejor Conju nto Argentino". Buenos Aires, decidieron formar un En 1988, el Cuarteto de Cuerdas cuarteto de cuerdas, para compen Buenos Aires, realizó la grabación sar la falta de una agrupación de de los cuartetos de Juan José Cas este género en la ciudad de Buenos tro y Constantino Gaito. Aires, además de concretar así una necesidad personal de realización En 1989, actuó en el Teatro Colón artística. para el aniversario de Radio Clá sica, en el Teatro "El Círculo" de Desde su debut, en noviembre de Rosario y en el ciclo de conciertos 1984, el cuarteto actuó en los prin del S.O.D.R.E. de Montevideo (Uru cipales ciclos del Mozarteum Argen guay). También realizó conciertos y tino y Amigos de la Música. clases didácticas, con el auspicio de la firma Zanella S.A. en Rosario, Invitados por la Secretaría de Cul en San Juan, Córdoba, Bahía Blanca, tura de la Nación y por el Mozarteum Tucumán, Santa Rosa, La Plata yen Argentino, actuó en Salta, Tierra del el Teatro Presidente Alvear de Bue Fuego, Olavarría, Tandil, Bolívar, nos Aires. Jujuy, Catamarca y Cataratas del Iguazú. Obtuvo, también en ese año, el Pre mio Konex (Diploma de Honor). El Centro de Divulgación Musical de la Municipalidad de Buenos Aires, le Durante 1990, el conjunto tiene pro encomendó la presentación del ciclo gramada una gira latinoamericana y completo de los Cuartetos del Opus la realización, en Buenos Aires, de 76 de Haydn. -
178 Chapter 6 the Closing of the Kroll: Weimar
Chapter 6 The Closing of the Kroll: Weimar Culture and the Depression The last chapter discussed the Kroll Opera's success, particularly in the 1930-31 season, in fulfilling its mission as a Volksoper. While the opera was consolidating its aesthetic identity, a dire economic situation dictated the closing of opera houses and theaters all over Germany. The perennial question of whether Berlin could afford to maintain three opera houses on a regular basis was again in the air. The Kroll fell victim to the state's desire to save money. While the closing was not a logical choice, it did have economic grounds. This chapter will explore the circumstances of the opera's demise and challenge the myth that it was a victim of the political right. The last chapter pointed out that the response of right-wing critics to the Kroll was multifaceted. Accusations of "cultural Bolshevism" often alternated with serious appraisal of the strengths and weaknesses of any given production. The right took issue with the Kroll's claim to represent the nation - hence, when the opera tackled works by Wagner and Beethoven, these efforts were more harshly criticized because they were perceived as irreverent. The scorn of the right for the Kroll's efforts was far less evident when it did not attempt to tackle works crucial to the German cultural heritage. Nonetheless, political opposition did exist, and it was sometimes expressed in extremely crude forms. The 1930 "Funeral Song of the Berlin Kroll Opera", printed in the Neue Zeitschrift für Musik, may serve as a case in point. -
Piano; Trio for Violin, Horn & Piano) Eric Huebner (Piano); Yuki Numata Resnick (Violin); Adam Unsworth (Horn) New Focus Recordings, Fcr 269, 2020
Désordre (Etudes pour Piano; Trio for violin, horn & piano) Eric Huebner (piano); Yuki Numata Resnick (violin); Adam Unsworth (horn) New focus Recordings, fcr 269, 2020 Kodály & Ligeti: Cello Works Hellen Weiß (Violin); Gabriel Schwabe (Violoncello) Naxos, NX 4202, 2020 Ligeti – Concertos (Concerto for piano and orchestra, Concerto for cello and orchestra, Chamber Concerto for 13 instrumentalists, Melodien) Joonas Ahonen (piano); Christian Poltéra (violoncello); BIT20 Ensemble; Baldur Brönnimann (conductor) BIS-2209 SACD, 2016 LIGETI – Les Siècles Live : Six Bagatelles, Kammerkonzert, Dix pièces pour quintette à vent Les Siècles; François-Xavier Roth (conductor) Musicales Actes Sud, 2016 musica viva vol. 22: Ligeti · Murail · Benjamin (Lontano) Pierre-Laurent Aimard (piano); Bavarian Radio Symphony Orchestra; George Benjamin, (conductor) NEOS, 11422, 2016 Shai Wosner: Haydn · Ligeti, Concertos & Capriccios (Capriccios Nos. 1 and 2) Shai Wosner (piano); Danish National Symphony Orchestra; Nicolas Collon (conductor) Onyx Classics, ONYX4174, 2016 Bartók | Ligeti, Concerto for piano and orchestra, Concerto for cello and orchestra, Concerto for violin and orchestra Hidéki Nagano (piano); Pierre Strauch (violoncello); Jeanne-Marie Conquer (violin); Ensemble intercontemporain; Matthias Pintscher (conductor) Alpha, 217, 2015 Chorwerk (Négy Lakodalmi Tánc; Nonsense Madrigals; Lux æterna) Noël Akchoté (electric guitar) Noël Akchoté Downloads, GLC-2, 2015 Rameau | Ligeti (Musica Ricercata) Cathy Krier (piano) Avi-Music – 8553308, 2014 Zürcher Bläserquintett: -
Rubinstein Festival
ES THE ISRAEL PHILHARMONIC ORCHESTRA RUBINSTEIN FESTIVAL TWO RECITALS: JERUSALEM ■ TEL AVIV TWO SPECIAL CONCERTS: TEL AVIV CONDUCTOR: ELIAHU iNBAL September 1968 ARTUR RUBINSTEIN ne Israel Philharmonic Orchestra again a galley slave,” Rubinstein answered : returned each year since then to triumph as the pleasure and profound honour to "Excuse me, Madame,a galley slave is ant successes. welcome the illustrious Pianist, ARTUR condemned to work he detests, but I am RUBINSTEIN, whose artistry has brought in love with mine; madly in love. It isn’t Rubinstein married the beautiful Aniela enjoyment and spiritual fulfillment to many work, it is passion and always pleasurable. Mlynarski, daughter of conductor Emil thousands of music lovers in our country, I give an average of a hundred concerts Mlynarski under whose baton he had to yet another RUBINSTEIN FESTIVAL. The a year. One particular year, I toted up one played in Warsaw when he was 14. Four great virtuoso, whose outstanding inter hundred and sixty-two on four continents. children were born to the Rubinsteins, pretation is so highly revered, has retained That, I am sure, is what keeps me young.” two boys and two girls. the spontaneity of youthfulness despite the Artur Rubinstein was born in Warsaw, the In 1954 Rubinstein acquired his home in passing of time. youngest of seven children. His remark Paris, near the house in which Debussy able musical gifts revealed themselves spent the last 13 years of his life, by the Artur Rubinstein could now be enjoying Bois de Boulogne. It is there that he now the ease and comforts of ‘‘The Elder very early and at the age of eight, after receiving serious encouragement from lives in between the tours that take him Statesman”, with curtailed commitments all round the world. -
David Amitin
OperaManager.com - David Amitin DAVID AMITIN Criculum Vitae 1 OperaManager.com - David Amitin BIOGRAPHY David Amitin was born in Buenos Aires, Argentina. He studied violin with Ljerko Spiller and harmony with Guillermo Graetzer. Followed acting and directing courses wirh Augusto Fernandes and Carlos Gandolfo. He has lived in England between 1971 and 1978, where he developed his apprenticeship in theatre direction and opera regie, and presented his first stagings. He assisted to workshops run by Lee Strasberg, Luca Ronconi, Marcel Marechal and Geoffrey Reeves. In the opera field, he followed rehearsals of productions by Giorgio Strehler, Luca Ronconi, Johannes Schaaf, Benno Besson and John Copley. From 1980 onwards he has been working in Buenos Aires where he staged many prose- theatre and opera productions, and developed his work as teacher of acting and directing. From 1990 onwards he started to present his work in Europe (Germany, Belgium, Austria). 2 OperaManager.com - David Amitin He is presently living in Madrid. Both in Europe and Southamerica David Amitin alternates his activities between prose theatre, opera and drama tuition. Reviewers have stressed his versatility which allows him to pass from one field to another, and have emphasized the uniqueness of his work, both in the choice of texts a wide arch running from Büchner to Melville, including Ibsen, Strindberg , Dostoievsky and Beckett- as well as the originality of his approach and the unconventional style of his theatre language. His work has been characterized by the search for new expressive paths, appealing to the extremes of the actor´s imagery, to the reformulation of the acting space and the break up with realism as an access to a new poetry of the theatrical discourse. -
Martinu° Classics Cello Concertos Cello Concertino
martinu° Classics cello concertos cello concertino raphael wallfisch cello czech philharmonic orchestra jirˇí beˇlohlávek CHAN 10547 X Bohuslav Martinů in Paris, 1925 Bohuslav Martinů (1890 – 1959) Concerto No. 1, H 196 (1930; revised 1939 and 1955)* 26:08 for Cello and Orchestra 1 I Allegro moderato 8:46 2 II Andante moderato 10:20 3 III Allegro – Andantino – Tempo I 7:00 Concerto No. 2, H 304 (1944 – 45)† 36:07 © P.B. Martinů/Lebrecht© P.B. Music & Arts Photo Library for Cello and Orchestra 4 I Moderato 13:05 5 II Andante poco moderato 14:10 6 III Allegro 8:44 7 Concertino, H 143 (1924)† 13:54 in C minor • in c-Moll • en ut mineur for Cello, Wind Instruments, Piano and Percussion Allegro TT 76:27 Raphael Wallfisch cello Czech Philharmonic Orchestra Bohumil Kotmel* • Josef Kroft† leaders Jiří Bělohlávek 3 Miloš Šafránek, in a letter that year: ‘My of great beauty and sense of peace. Either Martinů: head wasn’t in order when I re-scored it side lies a boldly angular opening movement, Cello Concertos/Concertino (originally) under too trying circumstances’ and a frenetically energetic finale with a (war clouds were gathering over Europe). He contrasting lyrical central Andantino. Concerto No. 1 for Cello and Orchestra had become reasonably well established in set about producing a third version of his Bohuslav Martinů was a prolific writer of Paris and grown far more confident about his Cello Concerto No. 1, removing both tuba and Concerto No. 2 for Cello and Orchestra concertos and concertante works. Among own creative abilities; he was also receiving piano from the orchestra but still keeping its In 1941 Martinů left Paris for New York, just these are four for solo cello, and four in which much moral support from many French otherwise larger format: ahead of the Nazi occupation. -
Richard Wagner
RICHARD WAGNER OVERTURES & PRELUDES FRANKFURT RADIO SYMPHONY ANDRÉS OROZCO-ESTRADA RICHARD WAGNER 1 DER FLIEGENDE HOLLÄNDER 1813–1883 WWV 63: Overture / Ouvertüre 10:13 OVERTURES & PRELUDES 2 LOHENGRIN OUVERTÜREN & VORSPIELE WWV 75: Prelude to Act I / Vorspiel zum 1. Akt 9:03 3 & 4 TRISTAN UND ISOLDE FRANKFURT RADIO SYMPHONY WWV 90: Prelude / Vorspiel 11:57 hr-Sinfonieorchester Liebestod 7:55 ANDRÉS OROZCO-ESTRADA 5 PARSIFAL Music Director / Chefdirigent WWV 111: Prelude / Vorspiel 14:52 6 TANNHÄUSER WWV 70: Overture / Ouvertüre 15:02 7 RIENZI, DER LETZTE DER TRIBUNEN WWV 49: Overture / Ouvertüre 12:03 Total time / Gesamtspielzeit 81:35 Live Recording: August 22nd, 2014 (3&4); June 26th, 2015 (5&6); June 25th, 2017 (1&2) · Recording Location: Basilika, Kloster Eberbach, Germany · Recording producers: Christoph Claßen (3&4) & Philipp Knop (1-2 & 5-6) Recording engineers: Thomas Eschler (3-6), Andreas Heynold (1&2) · Executive Producer: Michael Traub · Photo Andrés Orozco-Estrada: © hr/Martin Sigmund · Photo Frankfurt Radio Symphony: © hr/Ben Knabe · Artwork: [ec:ko] communications Co-production with Hessischer Rundfunk · P & C 2019 Sony Music Entertainment Germany GmbH of the nineteenth century. This was the first time that Wagner – who, as always, wrote his RICHARD WAGNER own libretto – found the motifs and themes that he was to make quintessentially his own: OVERTURES & PRELUDES the longing for death, a woman’s willingness to sacrifice her own life out of compassion, the hero as restless outsider, death resulting from love and the idea of redemption. In his essay “On the Overture”, which he first published in French in January 1841, the then The Overture dates from November 1841 and was the last part of the score to be written twenty-seven-year-old Wagner summed up his ideas on what an operatic overture should – in this regard Wagner adopted contemporary practice rather than the approach that he ideally be like. -
2017–18 Season Week 21 Mozart Widmann Strauss
2017–18 season andris nelsons music director week 21 mozart widmann strauss Season Sponsors seiji ozawa music director laureate bernard haitink conductor emeritus supporting sponsorlead sponsor supporting sponsorlead thomas adès artistic partner Better Health, Brighter Future There is more that we can do to help improve people’s lives. Driven by passion to realize this goal, Takeda has been providing society with innovative medicines since our foundation in 1781. Today, we tackle diverse healthcare issues around the world, from prevention to care and cure, but our ambition remains the same: to find new solutions that make a positive difference, and deliver better medicines that help as many people as we can, as soon as we can. With our breadth of expertise and our collective wisdom and experience, Takeda will always be committed to improving the Takeda Pharmaceutical Company Limited future of healthcare. www.takeda.com Takeda is proud to support the Boston Symphony Orchestra Table of Contents | Week 21 7 bso news 1 5 on display in symphony hall 16 bso music director andris nelsons 18 the boston symphony orchestra 22 this week’s program Notes on the Program 24 The Program in Brief… 25 Wolfgang Amadè Mozart 31 Jörg Widmann 39 Richard Strauss 53 To Read and Hear More… Guest Artists 59 Yo-Yo Ma 61 Steven Ansell 64 sponsors and donors 88 future programs 90 symphony hall exit plan 9 1 symphony hall information the friday preview on march 30 is given by bso associate director of program publications robert kirzinger. program copyright ©2018 Boston Symphony Orchestra, Inc. -
A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina
University of South Carolina Scholar Commons Theses and Dissertations 2015 A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Amos, D. C.(2015). A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3642 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. A SURVEY OF THE CAREER OF BARITONE, JOSEF METTERNICH: ARTIST AND TEACHER by Diana Carol Amos Bachelor of Music Oberlin Conservatory of Music, 1982 Master of Music University of South Carolina, 2011 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Performance School of Music University of South Carolina 2015 Accepted by: Walter Cuttino, Major Professor Donald Gray, Committee Member Sarah Williams, Committee Member Janet E. Hopkins, Committee Member Lacy Ford, Senior Vice Provost and Dean of Graduate Studies ©Copyright by Diana Carol Amos, 2015 All Rights Reserved. ii ACKNOWLEDGEMENTS I gratefully acknowledge the help of my professor, Walter Cuttino, for his direction and encouragement throughout this project. His support has been tremendous. My sincere gratitude goes to my entire committee, Professor Walter Cuttino, Dr. Donald Gray, Professor Janet E. Hopkins, and Dr. Sarah Williams for their perseverance and dedication in assisting me.