DOCSLIB.ORG

N E W S R E L E a S E

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
N E W S R E L E a S E N E W S R E L E A S E CONTACT: Katherine Blodgett Director of Public/Media Relations phone: 215.893.1939 e-mail: [email protected] FOR IMMEDIATE RELEASE DATE: October 21, 2008 RENOWNED CONDUCTOR MICHAEL TILSON THOMAS MAKES HIS PHILADELPHIA ORCHESTRA SUBSCRIPTION DEBUT, NOVEMBER 6 TO 9 Program includes CoplandCopland’’’’ss Symphony for Organ and Orchestra with soloist Paul Jacobs and MahlerMahler’’’’ss Symphony No. 5 (Philadelphia , October 21, 2008) – Conductor Michael Tilson ThomasThomas makes his long- awaited Philadelphia Orchestra subscription debut with a program featuring two of his specialties— American music and Mahler (November 6 to 9). The renowned conductor, who is making his first Philadelphia Orchestra appearances since 1985, leads Copland’s Symphony for Organ and Orchestra with acclaimed organist Paul Jacobs and Mahler’s Symphony No. 5. One of the composer’s earliest large-scale works, CoplandCopland’Copland ’’’ss Symphony for Organ and Orchestra was written for, and dedicated to, Nadia Boulanger, the highly influential composer, conductor, and teacher with whom Copland studied from 1921 to 1924. The piece received its premiere in New York on January 11, 1925, with Ms. Boulanger as soloist in her U.S. debut. The Symphony for Organ and Orchestra was last performed by The Philadelphia Orchestra in September 1970 under the baton of Eugene Ormandy; William Whitehead was soloist. Composed in 1901-02, MahlerMahler’’’’ss Symphony No. 5 is one of the composer’s most popular works. In the opening bars of the symphony, listeners can hear an echo of the opening notes of Beethoven’s iconic Symphony No. 5 whispered by the trumpet. The hauntingly beautiful Adagietto movement, known widely for its use in Luchino Visconti’s film adaptation of Death in Venice , was written as a symphonic love song to the composer’s wife, Alma, who he met and married during the time he was composing the piece. Mr. Tilson Thomas made more than 20 appearances with The Philadelphia Orchestra in the 1970s and 80s at The Mann Center for Performing Arts and the Saratoga Performing Arts Center, both longtime summer homes of the Orchestra. He last conducted the Orchestra on June 20, 1985, in a performance of Mahler’s Symphony No. 2 at The Mann Center for the Performing Arts. - more- PAGE 2 Michael Tilson Thomas makes his Philadelphia Orchestra subscription debut Michael Tilson Thomas is a conductor, composer, educator, and pianist. He is founder and artistic director of the New World Symphony (NWS), music director of the San Francisco Symphony (SFS), and principal guest conductor of the London Symphony Orchestra. He maintains an active presence on the international music scene, but throughout his career has devoted considerable time to music education. Among many activities, he led the television broadcasts of the New York Philharmonic Young People’s Concerts from 1971 to 1977. Through his vision and commitment to developing young classical musicians, he founded the New World Symphony in 1987 with benefactor Ted Arison. NWS, a post-graduate academy for the most gifted musicians of America’s conservatories, has made an enormous impact on the field of music education. In addition to his work as a conductor and educator, he has toured extensively with the orchestra and with it has released six critically acclaimed recordings. Throughout his tenure as music director of the San Francisco Symphony, critics have praised Mr. Tilson Thomas for innovative programming. His recordings with the SFS on the BMG Classics/RCA Red Seal label have garnered eight Grammy awards. His recordings of Mahler’s Symphonies No. 3, 6, and 7, released on the San Francisco Symphony’s own SFS Media label, have each won Grammys for Best Orchestral Performance. A Los Angeles native, Michael Tilson Thomas is the third generation of the Thomashefsky family to follow an artistic career. He began his formal studies at the University of Southern California where he studied piano with John Crown and conducting and composition with Ingolf Dahl. At age 19, he was named music director of the Young Musicians Foundation Debut Orchestra. In 1969, after winning the Koussevitsky Prize at Tanglewood, Mr. Tilson Thomas was appointed assistant conductor of the Boston Symphony. He has served as music director of the Buffalo Philharmonic, and as principal guest conductor of the Los Angeles Philharmonic and the Boston Symphony. Mr. Tilson Thomas’s many honors include Columbia University’s Ditson Award for services to American music, Musical America ’s 1995 Conductor of the Year award, and France’s Chevalier des Arts et Lettres. He was named Gramophone ’s Artist of the Year for 2005 in recognition of his acclaimed recordings of the Mahler symphonies with the San Francisco Symphony. In 2006 he was inducted as a fellow of the American Academy of Arts and Sciences. Paul Jacobs made musical history at the age of 23 when, on the 250th anniversary of the death of J.S. Bach in 2000, he played the composer’s complete organ music in an 18-hour non- stop marathon in Pittsburgh. Today Mr. Jacobs performs throughout the United States, Europe, South America, Asia, and Australia. In 2003 Mr. Jacobs was invited to join the faculty of the Juilliard School, and the following year, he was named chairman of the organ department, one of the youngest faculty appointments in Juilliard’s history. - more - Michael Tilson Thomas makes his Philadelphia Orchestra subscription debut PAGE 3 Mr. Jacobs possesses a vast repertoire spanning from the 16th century through contemporary times. He has performed the complete organ works of Olivier Messiaen in a series of nine-hour marathons in Atlanta, Los Angeles, Minneapolis, San Francisco, Seattle, Washington D.C., Chicago, and New York. Following his debut at the Grand Teton Music Festival in July, Mr. Jacobs embarked on a particularly noteworthy 2008-09 season, highlighted by debut performances with the San Francisco Symphony led by Yan Pascal Tortelier and the opening concerts of the Pacific Symphony’s new season with Mr. Jacobs dedicating the new Fisk organ at Segerstrom Concert Hall in a concert highlighted by world premiere of a new work for organ, brass, and percussion commissioned by the orchestra from Masterprize and Grammy Award-winner Christopher Theofanidis. Paul Jacobs began studying the piano at the age of six and the organ at age 13. At 15 he was appointed head organist of a parish of 3,500 families in his hometown of Washington, PA. Mr. Jacobs studied at the Curtis Institute of Music, where he double-majored in organ with John Weaver and harpsichord with Lionel Party. At Yale University, where Mr. Jacobs subsequently studied organ with Thomas Murray, he received a Master of Music degree and Artist Diploma and was awarded several honors, including the Dean’s Prize, the Faculty Prize of the Institute of Sacred Music, and Yale School of Music’s Distinguished Alumni Award. Most recently, Mr. Jacobs was invited to join the Yale University Council Committee on the School of Music by University President Richard Levin. The Philadelphia Orchestra Founded in 1900, The Philadelphia Orchestra has distinguished itself as one of the leading orchestras in the world through a century of acclaimed performances, historic international tours, best-selling recordings, and its unprecedented record of innovation in recording technologies and outreach. The Orchestra has maintained an unparalleled unity in artistic leadership with only seven music directors throughout its history: Fritz Scheel (1900-07), Carl Pohlig (1907-12), Leopold Stokowski (1912-41), Eugene Ormandy (1936-80), Riccardo Muti (1980-92), Wolfgang Sawallisch (1993-2003), and Christoph Eschenbach (2003-08). This rich tradition is carried on by Charles Dutoit, who was appointed chief conductor and artistic adviser of The Philadelphia Orchestra from the 2008-09 season through the 2011-12 season. Mr. Dutoit has a long-standing relationship with the Orchestra, having made his debut with the ensemble in 1980. Highlights of his first season include the Opening Night Concert, featuring pianist Martha Argerich; performances of Berlioz’s Romeo and Juliet and Requiem, part of Mr. Dutoit’s four-year focus on the works of that composer; the U.S. premiere of Krzysztof Penderecki’s – more – PAGE 4 Michael Tilson Thomas makes his Philadelphia Orchestra subscription debut Concerto grosso No. 1 for three cellos, part of the Orchestra’s celebration of Mr. Penderecki’s 75th birthday; and Honegger’s Symphony No. 3 (“Liturgical”). During his tenure, Mr. Dutoit will also focus on the music of the Ballets Russes, beginning in the 2008-09 season with performances of Stravinsky’s complete music to The Firebird. Recent Philadelphia Orchestra highlights include the opening of the Orchestra’s Online Music Store, www.thephiladelphiaorchestra.com; regular broadcasts on NPR; a series of critically acclaimed recordings led by Mr. Eschenbach and released in partnership with Ondine Records; and a $125 million endowment campaign. The Philadelphia Orchestra annually touches the lives of more than one million music lovers worldwide through its performances, publications, recordings, and broadcasts. The Orchestra presents a subscription season in Philadelphia each year from September to May, in addition to education and community partnership programs, and appears annually at Carnegie Hall. Its summer schedule includes an outdoor series at Philadelphia’s Mann Center for the Performing Arts, free Neighborhood Concerts, and residencies at the Bravo! Vail Valley
Load more

Recommended publications
  • Season 2018-2019 the Philadelphia Orchestra
    Season 2018-2019 The Philadelphia Orchestra Saturday, June 15, at 8:00 Sunday, June 16, at 2:00 Yannick Nézet-Séguin Conductor Richard Woodhams Oboe Ricardo Morales Clarinet Daniel Matsukawa Bassoon Jennifer Montone Horn Mozart Sinfonia concertante in E-flat major, K. 297b, for winds and orchestra I. Allegro II. Adagio III. Andantino con variazioni—Andante The June 15 concert is sponsored by Ralph Muller. The June 16 concert is sponsored by John McFadden and Lisa Kabnick. 24 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra Philadelphia is home and orchestra, and maximizes is one of the preeminent the Orchestra continues impact through Research. orchestras in the world, to discover new and The Orchestra’s award- renowned for its distinctive inventive ways to nurture winning Collaborative sound, desired for its its relationship with its Learning programs engage keen ability to capture the loyal patrons at its home over 50,000 students, hearts and imaginations of in the Kimmel Center, families, and community audiences, and admired for and also with those who members through programs a legacy of imagination and enjoy the Orchestra’s area such as PlayINs, side-by- innovation on and off the performances at the Mann sides, PopUP concerts, concert stage. The Orchestra Center, Penn’s Landing, free Neighborhood is inspiring the future and and other cultural, civic, Concerts, School Concerts, transforming its rich tradition and learning venues. The and residency work in of achievement, sustaining Orchestra maintains a Philadelphia and abroad. the highest level of artistic strong commitment to Through concerts, tours, quality, but also challenging— collaborations with cultural residencies, presentations, and exceeding—that level, and community organizations and recordings, the on a regional and national by creating powerful musical Orchestra is a global cultural level, all of which create experiences for audiences at ambassador for Philadelphia greater access and home and around the world.
    [Show full text]
  • Rachmaninoff, Paganini, & the Piano; a Conversation
    Rachmaninoff, Paganini, & the Piano; a Conversation Tracks and clips 1. Rachmaninoff in Paris 16:08 a. Niccolò Paganini, 24 Caprices for Solo Violin, Op. 1, Michael Rabin, EMI 724356799820, recorded 9/5/1958. b. Sergey Rachmaninoff (SR), Rapsodie sur un theme de Paganini, Op. 43, SR, Leopold Stokowski, Philadelphia Orchestra (PO), BMG Classics 09026-61658, recorded 12/24/1934 (PR). c. Fryderyk Franciszek Chopin (FC), Twelve Études, Op. 25, Alfred Cortot, Deutsche Grammophon Gesellschaft (DGG) 456751, recorded 7/1935. d. SR, Piano Concerto No. 3 in d, Op. 30, SR, Eugene Ormandy (EO), PO, Naxos 8.110601, recorded 12/4/1939.* e. Carl Maria von Weber, Rondo Brillante in E♭, J. 252, Julian Jabobson, Meridian CDE 84251, released 1993.† f. FC, Twelve Études, Op. 25, Ruth Slenczynska (RS), Musical Heritage Society MHS 3798, released 1978. g. SR, Preludes, Op. 32, RS, Ivory Classics 64405-70902, recorded 4/8/1984. h. Georges Enesco, Cello & Piano Sonata, Op. 26 No. 2, Alexandre Dmitriev, Alexandre Paley, Saphir Productions LVC1170, released 10/29/2012.† i. Claude Deubssy, Children’s Corner Suite, L. 113, Walter Gieseking, Dante 167, recorded 1937. j. Ibid., but SR, Victor B-24193, recorded 4/2/1921, TvJ35-zZa-I. ‡ k. SR, Piano Concerto No. 3 in d, Op. 30, Walter Gieseking, John Barbirolli, Philharmonic-Symphony Orchestra, Music & Arts MACD 1095, recorded 2/1939.† l. SR, Preludes, Op. 23, RS, Ivory Classics 64405-70902, recorded 4/8/1984. 2. Rachmaninoff & Paganini 6:08 a. Niccolò Paganini, op. cit. b. PR. c. Arcangelo Corelli, Violin Sonata in d, Op. 5 No. 12, Pavlo Beznosiuk, Linn CKD 412, recorded 1/11/2012.♢ d.
    [Show full text]
  • What Is Conductorcise® ?
    WHAT IS CONDUCTORCISE® ? Place yourself in the sneakers of an orchestra conductor and raise your baton to a mighty Sousa march, an impetuous Strauss polka, or an elegant Tchaikovsky waltz as you enjoy a great musical workout. CONDUCTORCISE® is a combination aerobic workout, symphonic performance, and music history lesson that swings to the sounds of the masters. A unique program recognized internationally by health and fitness experts, CONDUCTORCISE® fosters upper body fitness that can help strengthen your heart and open your ears and mind in a natural, invigorating workout. This low-impact fitness fusion for all ages stimulates the cardio-vascular system, energizes and engages the senses and creates balance, stretching, blood circulation and brain stimulation throughout the workout. Learn basic conducting techniques, improve cognitive and listening skills, and discover the lives and work of great composers, as you keep your body and mind in tune, relieve stress and secure balance, increase circulation, manage diabetes, and build upper body strength. The brain child of clarinetist/Conductor David Dworkin, it’s an exhilarating and unique alternative to “traditional” exercise programs that has successfully traveled the globe. The only program of its kind in the world, Dworkin has brought it to pre-school children, teenagers, healthy seniors, and those in assisted- living facilities, as well as stroke, wheelchair bound, and Alzheimer’s patients and beyond, allowing participants to keep ones “body and mind in tune.” Who Leads CONDUCTORCISE®: Maestro David Dworkin Maestro David Dworkin has led orchestras across America and abroad, and served as conductor and Artistic Consultant of three PBS Television documentaries in the series Grow Old With Me, including “The Poetry of Aging,” featuring Richard Kiley, Julie Harris, and James Earl Jones.
    [Show full text]
  • Roger Sametz
    Press Quotes Ives Concord Symphony & Copland Organ Symphony Recording Released February 8, 2011 “To listen to "A Concord Symphony" - Charles Ives' pathbreaking "Concord" Sonata, brilliantly orchestrated by the late Henry Brant - is to feel an exhilarating sense of discovery and dramatic vigor, an explosive dynamism that emanates from all the participants. Ives' music, first of all, retains its distinctive combination of pugnacious bluster and sentimental lyricism in this new guise, while adding a layer of world-embracing ambition that is unique to the symphonic tradition. Brant's orchestral palette is never less than ingenious, but there's a sense of Promethean struggle audible in his efforts that fits perfectly with Ives' late-Romantic mind-set. Finally, Thomas and the orchestra, recorded live in Davies Symphony Hall, convey every bit of the score's boisterous vitality in a performance of magnificent virtuosity - it's a landmark achievement. Copland's Organ Symphony, with soloist Paul Jacobs, also gets a majestic reading. ” -Joshua Kosman, San Francisco Chronicle “There is no finer conductor of Ives or Copland today than Michael Tilson Thomas, and it's so fulfilling to see him doing what he does best on the San Francisco Symphony's own label… Davies Symphony Hall has a spectacular organ that's very well captured by the engineers. Paul Jacobs plays beautifully; his instrument "fits" into the general sonic framework very naturally, while Thomas and the orchestra play as if to the manner born. A great disc.” - David Hurwitz, Classics Today.com Regarding Copland’s Organ Symphony: “…Paul Jacobs faultlessly exploits this fine score.
    [Show full text]
  • [email protected] CHRISTOPH ESCHENBACH to CO
    FOR IMMEDIATE RELEASE March 7, 2018 Contact: Katherine E. Johnson (212) 875-5700; [email protected] CHRISTOPH ESCHENBACH TO CONDUCT THE NEW YORK PHILHARMONIC MOZART’s Piano Concerto No. 22 with TILL FELLNER in His Philharmonic Debut BRUCKNER’s Symphony No. 9 April 19, 21, and 24, 2018 Christoph Eschenbach will conduct the New York Philharmonic in a program of works by Austrian composers: Mozart’s Piano Concerto No. 22, with Austrian pianist Till Fellner as soloist in his Philharmonic debut, and Bruckner’s Symphony No. 9 (Ed. Nowak), Thursday, April 19, 2018, at 7:30 p.m.; Saturday, April 21 at 8:00 p.m.; and Tuesday, April 24 at 7:30 p.m. German conductor Christoph Eschenbach began his career as a pianist, making his New York Philharmonic debut as piano soloist in Mozart’s Piano Concerto No. 24 in 1974. Both Christoph Eschenbach and Till Fellner won the Clara Haskil International Piano Competition, in 1965 and 1993, respectively. Mr. Fellner subsequently recorded Mozart’s Piano Concerto No. 22 on the Claves label in collaboration with the Clara Haskil Competition. The New York Times wrote of Mr. Eschenbach’s conducting Bruckner’s Symphony No. 9 with the New York Philharmonic in 2008: “Mr. Eschenbach, a compelling Bruckner interpreter, brought a sense of structure and proportion to the music without diminishing the qualities of humility and awe that make it so gripping. … the orchestra responded with playing of striking power and commitment.” Artists Christoph Eschenbach is in demand as a distinguished guest conductor with the finest orchestras and opera houses throughout the world, including those in Vienna, Berlin, Paris, London, New York, Boston, Chicago, Los Angeles, Milan, Rome, Munich, Dresden, Leipzig, Madrid, Tokyo, and Shanghai.
    [Show full text]
  • 'Dream Job: Next Exit?'
    Understanding Bach, 9, 9–24 © Bach Network UK 2014 ‘Dream Job: Next Exit?’: A Comparative Examination of Selected Career Choices by J. S. Bach and J. F. Fasch BARBARA M. REUL Much has been written about J. S. Bach’s climb up the career ladder from church musician and Kapellmeister in Thuringia to securing the prestigious Thomaskantorat in Leipzig.1 Why was the latter position so attractive to Bach and ‘with him the highest-ranking German Kapellmeister of his generation (Telemann and Graupner)’? After all, had their application been successful ‘these directors of famous court orchestras [would have been required to] end their working relationships with professional musicians [take up employment] at a civic school for boys and [wear] “a dusty Cantor frock”’, as Michael Maul noted recently.2 There was another important German-born contemporary of J. S. Bach, who had made the town’s shortlist in July 1722—Johann Friedrich Fasch (1688–1758). Like Georg Philipp Telemann (1681–1767), civic music director of Hamburg, and Christoph Graupner (1683–1760), Kapellmeister at the court of Hessen-Darmstadt, Fasch eventually withdrew his application, in favour of continuing as the newly- appointed Kapellmeister of Anhalt-Zerbst. In contrast, Bach, who was based in nearby Anhalt-Köthen, had apparently shown no interest in this particular vacancy across the river Elbe. In this article I will assess the two composers’ positions at three points in their professional careers: in 1710, when Fasch left Leipzig and went in search of a career, while Bach settled down in Weimar; in 1722, when the position of Thomaskantor became vacant, and both Fasch and Bach were potential candidates to replace Johann Kuhnau; and in 1730, when they were forced to re-evaluate their respective long-term career choices.
    [Show full text]
  • Juilliard Orchestra Marin Alsop, Conductor Daniel Ficarri, Organ Daniel Hass, Cello
    Saturday Evening, January 25, 2020, at 7:30 The Juilliard School presents Juilliard Orchestra Marin Alsop, Conductor Daniel Ficarri, Organ Daniel Hass, Cello SAMUEL BARBER (1910–81) Toccata Festiva (1960) DANIEL FICARRI, Organ DMITRI SHOSTAKOVICH (1906–75) Cello Concerto No. 2 in G major, Op. 126 (1966) Largo Allegretto Allegretto DANIEL HASS, Cello Intermission CHRISTOPHER ROUSE (1949–2019) Processional (2014) JOHANNES BRAHMS (1833–97) Symphony No. 2 in D major, Op. 73 (1877) Allegro non troppo Adagio non troppo Allegretto grazioso Allegro con spirito Performance time: approximately 1 hour and 50 minutes, including an intermission This performance is made possible with support from the Celia Ascher Fund for Juilliard. The taking of photographs and the use of recording equipment are not permitted in this auditorium. Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving). Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. Juilliard About the Program the organ’s and the orchestra’s full ranges. A fluid approach to rhythm and meter By Jay Goodwin provides momentum and bite, and intricate passagework—including a dazzling cadenza Toccata Festiva for the pedals that sets the organist’s feet SAMUEL BARBER to dancing—calls to mind the great organ Born: March 9, 1910, in West Chester, music of the Baroque era. Pennsylvania Died: January 23, 1981, in New York City Cello Concerto No. 2 in G major, Op. 126 DMITRI SHOSTAKOVICH In terms of scale, pipe organs are Born: September 25, 1906, in Saint Petersburg different from every other type of Died: August 9, 1975, in Moscow musical instrument, and designing and assembling a new one can be a challenge There are several reasons that of architecture and engineering as complex Shostakovich’s Cello Concerto No.
    [Show full text]
  • ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS from the LEADERSHIP
    ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS FROM THE LEADERSHIP The New York Philharmonic’s 2019–20 season certainly saw it all. We recall the remarkable performances ranging from Berlioz to Beethoven, with special pride in the launch of Project 19 — the single largest commissioning program ever created for women composers — honoring the ratification of the 19th Amendment. Together with Lincoln Center we unveiled specific plans for the renovation and re-opening of David Geffen Hall, which will have both great acoustics and also public spaces that can welcome the community. In March came the shock of a worldwide pandemic hurtling down the tracks at us, and on the 10th we played what was to be our final concert of the season. Like all New Yorkers, we tried to come to grips with the life-changing ramifications The Philharmonic responded quickly and in one week created NY Phil Plays On, a portal to hundreds of hours of past performances, to offer joy, pleasure, solace, and comfort in the only way we could. In August we launched NY Phil Bandwagon, bringing live music back to New York. Bandwagon presented 81 concerts from Chris Lee midtown to the far reaches of every one of the five boroughs. In the wake of the Erin Baiano horrific deaths of Black men and women, and the realization that we must all participate to change society, we began the hard work of self-evaluation to create a Philharmonic that is truly equitable, diverse, and inclusive. The severe financial challenge caused by cancelling fully a third of our 2019–20 concerts resulting in the loss of $10 million is obvious.
    [Show full text]
  • Frederica Von Stade
    FREDERICA VON STADE Mezzo-soprano Described by the New York Times as "one of America's finest artists and singers," Frederica von Stade continues to be extolled as one of the music world's most beloved figures. Known to family, friends, and fans by her nickname "Flicka," the mezzo-soprano has enriched the world of classical music for three decades. Miss von Stade's career has taken her to the stages of the world's great opera houses and concert halls. She began at the top, when she received a contract from Sir Rudolf Bing during the Metropolitan Opera auditions, and since her debut in 1970 she has sung nearly all of her great roles with that company. In January 2000, the company celebrated the 30th anniversary of her debut with a new production of The Merry Widow specifically for her, and in 1995, as a celebration of her 25th anniversary, the Metropolitan Opera created for her a new production of Pelléas et Mélisande. In addition, Miss von Stade has appeared with every leading American opera company, including San Francisco Opera, Lyric Opera of Chicago, and Los Angeles Opera. Her career in Europe has been no less spectacular, with new productions mounted for her at Teatro alla Scala, Royal Opera Covent Garden, the Vienna State Opera, and the Paris Opera. She is invited regularly by the finest conductors, among them Claudio Abbado, Charles Dutoit, James Levine, Kurt Masur, Riccardo Muti, Seiji Ozawa, André Previn, Leonard Slatkin, and Michael Tilson Thomas, to appear in concert with the world's leading orchestras, including the Boston Symphony Orchestra, Chicago Symphony, Cleveland Orchestra, New York Philharmonic, Philadelphia Orchestra, San Francisco Symphony, London Symphony Orchestra, Washington's National Symphony, and the Orchestra of La Scala.
    [Show full text]
  • TEM Issue 16 Cover and Front Matter
    TEMPSUMMER O1950 CONTENTS • NOTES AND NEWS SERGE KOUSSEVITZKY * MUSIC FESTIVALS BRITISH FESTIVALS : SOME COMMENTS ON THEIR CUSTOMS Donald Mitchell THE NORDIC MUSIC FESTIVALS : 1888-1938 Jiirgen Balzer ITALIAN MUSIC FESTIVALS Guido M. Gatti MUSICAL LIFE IN GERMANY SINCE THE WAR Walther Harth TANGLEWOOD AFTER TEN YEARS Ralph Hawkes * PRODUCING ELEKTRA Stephen Beinl BOOK GUIDE NUMBER QUARTERLY 16TWO SHILLINGS Downloaded from https://www.cambridge.org/core. IP address: 170.106.40.40, on 24 Sep 2021 at 10:17:38, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S0040298200043369 His Masters Voice" Special lAst €€€€- The contents of the " Special List" are of great interest to the serious record buyer, for they represent the best of international recorded art that is not included in the General Record Catalogue. In many cases " Special List" recordings are the only versions available. They explore the high- ways and byways of music with fascinating results. Available from " His Master's Voice" Dealers to Special Order. Here are the latest additions:— RAVEL SCHONBERG Quartet in F Major Verklarte Nacht, Op. 4 Paganini Quartet - DB 9452-5 St. Louis Symphony Orchestra cond. by Vladimir Golschmann JANACEK DB 9280-3 Sinfonietta Czech Philharmonic Orchestra SCHUBERT conducted by Rafael Kubelik Quartet in G Major — Op. 161 C 7671-3 Hungarian String Quartet BRAHMS DB 9331-5 Concerto No. 1 in D Minor STRAVINSKY Claudia Arrau and The Rite of Spring The Philharmonia Orchestra San Francisco Symphony Orch. HIS MASTERS VOICE conducted by Basil Cameron conducted by Pierre Monteux DB 9250-55 DB 9409-12 All records in Automatic Couplings only THE GRAMOPHONE COMPANY LIMITED.
    [Show full text]
  • DECEMBER 2019 — 110Th Anniversary Issue
    THE DIAPASON DECEMBER 2019 — 110th Anniversary Issue Dunwoody United Methodist Church Dunwoody, Georgia Cover feature on pages 22–24 PHILLIP TRUCKENBROD CONCERT ARTISTS ANTHONY & BEARD ADAM J. BRAKEL THE CHENAULT DUO PETER RICHARD CONTE CONTE & ENNIS DUO LYNNE DAVIS ISABELLE DEMERS CLIVE DRISKILL-SMITH DUO MUSART BARCELONA JEREMY FILSELL MICHAEL HEY HEY & LIBERIS DUO CHRISTOPHER HOULIHAN DAVID HURD MARTIN JEAN HUW LEWIS RENÉE ANNE LOUPRETTE ROBERT MCCORMICK BRUCE NESWICK ORGANIZED RHYTHM RAéL PRIETO RAM°REZ JEAN-BAPTISTE ROBIN BENJAMIN SHEEN HERNDON SPILLMAN ^^d/E,/E> 2019 W®ÙÙ^͘çWÊÄã &®ÙÝãWÙ®þt®ÄÄÙ >ÊĦóÊÊ'ÙÄÝ /ÄãÙÄã®ÊĽKÙ¦Ä ÊÃÖã®ã®ÊÄ ò®½½®Äã«h͘^͘ ¦®ÄĮĦ®ÄÝçÃÃÙ JOSHUA STAFFORD CAROLE TERRY JOHANN VEXO BRADLEY HUNTER WELCH IT’S ALL ABOUT THE ART ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ 860-560-7800 ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚͬWŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Tenth Year: No. 12, A milestone, indeed! Whole No. 1321 In December 1909, Siegfried E. Gruenstein published in DECEMBER 2019 Chicago and distributed far afi eld the fi rst issue of The Diapa- Established in 1909 son. The current issue, our 1,321st, marks 110 years of qual- Stephen Schnurr ISSN 0012-2378 ity publishing of news of all matters related to the organ and 847/954-7989; [email protected] church music worlds. Can you bring to mind another journal www.TheDiapason.com An International Monthly Devoted to the Organ, that has been doing this monthly for over a century? the Harpsichord, Carillon, and Church Music We could not put this issue together without you—your Speaking of subscriptions subscription, your advertisement, your articles and news items, There will be slight adjustments to subscription rates on CONTENTS your support.
    [Show full text]
  • Fall/Winter 2002/2003
    PRELUDE, FUGUE News for Friends of Leonard Bernstein RIFFS Fall/ Winter 2002 Bernstein's Mahler: A Personal View @ by Sedgwick Clark n idway through the Adagio £male of Mahler's Ninth M Symphony, the music sub­ sides from an almost desperate turbulence. Questioning wisps of melody wander throughout the woodwinds, accompanied by mut­ tering lower strings and a halting harp ostinato. Then, suddenly, the orchestra "vehemently burst[s] out" fortissimo in a final attempt at salvation. Most conductors impart a noble arch and beauty of tone to the music as it rises to its climax, which Leonard Bernstein did in his Vienna Philharmonic video recording in March 1971. But only seven months before, with the New York Philharmonic, His vision of the music is neither Nearly all of the Columbia cycle he had lunged toward the cellos comfortable nor predictable. (now on Sony Classical), taped with a growl and a violent stomp Throughout that live performance I between 1960 and 1974, and all of on the podium, and the orchestra had been struck by how much the 1980s cycle for Deutsche had responded with a ferocity I more searching and spontaneous it Grammophon, are handily gath­ had never heard before, or since, in was than his 1965 recording with ered in space-saving, budget-priced this work. I remember thinking, as the orchestra. Bernstein's Mahler sets. Some, but not all, of the indi­ Bernstein tightened the tempo was to take me by surprise in con­ vidual releases have survived the unmercifully, "Take it easy. Not so cert many times - though not deletion hammerschlag.
    [Show full text]