Saison 2019 2020

Total Page:16

File Type:pdf, Size:1020Kb

Saison 2019 2020 3 € 3 SAISON 2019 • 2020 Programme trimestriel Mars • Juin 2020 3 ONPL © Marc Roger ORCHESTRE NATIONAL DES PAYS DE LA LOIRE En septembre 1971, l’Orchestre Philharmonique et le public. Isaac Karabtchevsky privilégie le des Pays de la Loire donnait ses premiers grand répertoire de la fin du XIXe siècle et du concerts à Nantes et à Angers sous la direction début du XXe siècle (Tchaïkovski, Mahler, Stra- de Pierre Dervaux. vinski, Bartók). Créé à l’initiative de Marcel Landowski, directeur Sous sa direction, l’orchestre effectue une de la musique au Ministère de la Culture, cet tournée triomphale en Allemagne (mars 2006). orchestre original était constitué de la réunion de L’ONPL donne en avril 2008 trois concerts en l’orchestre de l’opéra de Nantes et de l’orchestre Chine sous la direction d’Alain Lombard suivis de la Société des Concerts Populaires d’Angers. d’une dizaine de concerts au Japon dans le Ainsi, depuis l’origine, cet orchestre présente la cadre de La Folle Journée de Tokyo. particularité d’avoir son siège dans deux villes En septembre 2010, le chef d’orchestre améri- avec sa centaine de musiciens répartis par cain John Axelrod est nommé directeur musical moitié à Angers et à Nantes. de l’Orchestre National des Pays de la Loire. Pierre Dervaux est son premier directeur musical. Les programmes proposés par John Axelrod Il lui imprime d’emblée une « couleur française » sont à son image : ouverts sur le monde ! marquée par les enregistrements de Vincent En février 2011, sous sa direction, l’ONPL anime d’Indy, Henri Rabaud et Gabriel Pierné. la soirée des Victoires de la musique classique Cette orientation est poursuivie par Marc Soustrot et du jazz à la Cité des congrès de Nantes et, qui lui succède pendant dix-huit ans, de 1976 en mai 2012, la soirée de gala des International à 1994. Avec lui l’orchestre fait de nombreuses Classical Music Awards (ICMA). tournées (USA, Pologne, Roumanie, Italie, etc.). Depuis septembre 2014, Pascal Rophé est le Le Néerlandais Hubert Soudant, directeur directeur musical de l’ONPL. musical de 1994 à 2004, donne à l’orchestre Né à Paris, il apporte depuis plusieurs années de nouvelles bases, privilégiant le répertoire une contribution importante aux grandes œuvres classique viennois (Mozart, Haydn, Beethoven) du répertoire d’orchestre, de Wolfgang Amadeus et élargit son audience. L’orchestre devient Mozart à Claude Debussy en passant par Franz « national » en 1996 et donne des concerts en Schubert et Richard Wagner. Allemagne, en Hongrie, à Salzbourg et en Chine. Aujourd’hui, l’Orchestre National des Pays de Le Brésilien Isaac Karabtchevsky devient le la Loire est l’un des orchestres connaissant la quatrième directeur musical en septembre 2004. plus forte audience en Europe. Il bénéficie du Dès son arrivée, il crée, à côté de l’orchestre, soutien financier du Conseil régional des Pays un chœur amateur afin d’élargir le répertoire de la Loire, du Ministère de la Culture, des Villes aux grandes œuvres vocales et aux oratorios de Nantes et d’Angers et des Départements de et de nouer un lien plus fort entre l’orchestre Loire-Atlantique, Maine-et-Loire et Vendée. 4 5 SOMMAIRE MARS 2020 MARS 2020 AVRIL 2020 MAI 2020 JUIN 2020 NANTES ANGERS ANGERS ANGERS ANGERS MERCREDI 25, JEUDI 26 JEUDI 26, VENDREDI 27 JEUDI 9, VENDREDI 10 JEUDI 14, DIMANCHE 17 VENDREDI 19, SAMEDI 20 18 28 38 54 68 © Ji © Sarah Hazlegrove © Julien Mignot © Simon Pauly © Kasskara DGG LES GRANDS CLASSIQUES LAMBERT WILSON ÉPOPÉE LA MESSE SOIRÉE VIENNOIS CHANTE KURT WEILL ROMANTIQUE DE ROSSINI IMPÉRIALE WOLFGANG A. MOZART KURT WEILL HECTOR BERLIOZ GIOACCHINO ROSSINI LUDWIG VAN BEETHOVEN (1756-1791) (1900-1950) (1803-1869) (1792-1868) (1770-1827) Symphonie n°35 «Haffner» Opéra de Quat’sous Harold en Italie Petite messe solennelle Concerto pour piano n°5 « L’empereur » Grandeur et décadence Antoine Tamestit alto Amina Edris soprano Krystian Zimerman piano JOSEPH HAYDN de la ville de Mahagonny Corinne Bahuaud mezzo Chansons allemandes (1732-1809) Yu Shao ténor Symphonie n°5 Happy end MAURICE RAVEL Mikhail Timoshenko basse Concerto pour violoncelle n°1 (1875-1937) Marie Galante Chœur de l’ONPL, Valérie Fayet BEN GLASSBERG Marc Coppey violoncelle Valses nobles et sentimentales Chansons françaises chef de chœur DIRECTION La valse Street Scene FRANZ SCHUBERT Love life DOMINGO HINDOYAN PASCAL ROPHÉ (1797-1828) DIRECTION Lady in the dark DIRECTION Symphonie n°3 Lambert Wilson chant THEODOR GUSCHLBAUER BRUNO FONTAINE DIRECTION PIANO ET DIRECTION LA REVUE L’ORCHESTRE - Publication trimestrielle Ligne éditoriale et rédaction des textes : Impression : N°ISSN : 1282-8025 - N° 3 - mars à juin 2020 Catherine Moulé, déléguée à la Communication et au Marketing, Edicolor Print (35) Couverture imprimée sur Directeur de la publication : Séverine Clavel, adjointe à la déléguée à la Communication et au papier Tatami (Fedrigoni), Intérieur imprimé sur papier Antoine Chéreau (Président de l’ONPL) Marketing, Stéphane Friédérich, musicologue Magno Matt blanc (Sappi) Conception / réalisation / rédaction : Conception et réalisation graphique : Gabrielle George, Crédits photos des musiciens et du chœur de Service Communication et Marketing de l’ONPL chargée de Communication graphique de l’ONPL l’ONPL : Marc Roger / ONPL 6 7 LES MUSICIENS DE L’ORCHESTRE NATIONAL DES PAYS DE LA LOIRE PASCAL ROPHÉ DIRECTEUR MUSICAL © Marc Roger › HAUTBOIS › VIOLONS SUPERSOLISTES Bernard BONNET et Alexandre MÈGE Hautbois solo Constantin SERBAN • Julien SZULMAN Jean-François LOUIS et Jean-Philippe MARTEAU Cor anglais solo › VIOLONS › CLARINETTES Anne CLÉMENT et Marie-Lien N’GUYEN Premier violon solo, jouant co-soliste Jean-Daniel BUGAJ et Sabrina MOULAÏ Clarinette solo Daniel ISPAS et Marie-José POULLOT Chef d’attaque des seconds violons Maguy GIRAUD Petite clarinette solo Annie BATALLA • Sébastien CHRISTMANN Enzo FERRARATO Clarinette basse solo Reynald HERRAULT et Claire MICHELET Violon second soliste Julie ABITON • Claire ALADJEM • Tanya ATANASOVA • Pierre BALDASSARE › BASSONS Florent BÉNIER • Caroline BLOT • Dominique BODIN • Sophie BOLLICH Ignacio ECHEPARE et Gaëlle HABERT Basson solo Ségolène BRUN-LONJON • Benjamin CHARMOT • Olivier COURT Antoine BLOT et Jean DETRAZ Contrebasson solo Violaine DELMAS • Madoka FUTABA • Sabine GABBE • Paul HIEU Miwa KAMIYA • Patricia MACÉ • Tatiana MESNIANKINE › CORS Charlotte PUGLIESE • Thierry RAMEZ • Marie-Pascale VELOPPÉ Pascale VILLETTE Pierre-Yves BENS et Nicolas GAIGNARD Cor solo Dominique BELLANGER • Grégory FOURMEAU • David MACÉ › ALTOS Florian REFFAY Xavier JEANNEQUIN et Grégoire LEFEBVRE Alto solo › TROMPETTES ONPL © Marc Roger Catherine FÉVAI et Hélène MALLE Alto second soliste Jean-Marie COUSINIÉ et Jérôme POURÉ Trompette solo Sophie BRIÈRE • Julien KUNIAN • Sylvain LEJOSNE • Olivier LEMASLE Bertrand NABOULET • Pascale PERGAIX • Damien SÉCHET Maxime FASQUEL et Eric DHENIN Cornet solo › VIOLONCELLES › TROMBONES Jacques BARBEZ et Jean-Sébastien SCOTTON Trombone solo Paul BEN SOUSSAN et Ruxandra SERBAN Violoncelle solo Marc MERLIN Thaddeus ANDRÉ et Won-Hae LEE Violoncelle second soliste Nicolas DESVOIS Trombone basse Ulysse ARAGAU • Émilie CORABŒUF • François GOSSET • Anaïs MAIGNAN Justine VERVELLE • Claude ZANOTTI › TUBAS › CONTREBASSES Maxime DUHEM Tuba solo Marie-Noëlle GLEIZES et Hervé GRANJON DE LÉPINEY Contrebasse solo Anne AELVOET-DAVERGNE et John DAHLSTRAND Contrebasse second soliste › TIMBALES ET PERCUSSIONS Éric COSTA • Mickaël MASCLET • Jean-Jacques ROLLEZ Nicolas DUNESME et Arnaud OSTER Timbales solo Abel BILLARD et Hans LOIRS Percussions solo › FLÛTES Gilles BREDA et Rémi VIGNET Flûte solo Amélie FEIHL et Mélanie PANEL Piccolo solo 8 9 LE CHŒUR DE L’ORCHESTRE NATIONAL DES PAYS DE LA LOIRE › ÉQUIPE PÉDAGOGIQUE Corinne BAHUAUD • Léonor LEPRÊTRE • Christine MONIMART Evelyn VERGARA › RÉGIE DU CHŒUR Anaïs COSSENET › SOPRANOS Nelly ABRAN • Sophie BARICHARD • Solenne BLANCHO Valérie BOISSELIER • Ségolène DE DIANOUS • Anna DENIS Marie-Reine DUPAS • Caroline FIORENTINI Anne-Laure FORGET • Marie-Françoise KNIBIELHY Teresa KOENIG • Marianne LABUSSIÈRE • Sylvie LECERF Valérie LUBIN • Véronique PATRIX • Cécilia PAUVERT © Marc Roger Corinne PELLERIN • Priscille RENARDET LAURENT Marie-Odile ROY-REGRAIN • Danièle SALHI • Marie SANSEN VALÉRIE FAYET Anne-Claire VACHON • Claire VIVIEN • Anaëlle YVIN CHEF DE CHŒUR › ALTOS Véronique BABOT • Céline BOISNARD • Jeanne BOISSELIER Maurane DAVID • Marion DE KERGOMMEAUX • Myriam DELCROIX Martine LAMBERT • Catherine LANG • Véronique LE LEVREUR Emma LEMASSON • Annie LEURIDAN • Sophie PERCHER Virginie RABILLER • Mélanie RIVAUD • Céline SOCEANU Muriel WEBER › TÉNORS Charles CASTETS • Emmanuel CHALBOS Alain COURTOIS • Loïc DEBAERT • David DELFIEU Guillaume FALCHERO • Bruno GALLET • Sylvain LAVERGNE Chœur de l’ ONPL © Marc Roger Florian LEGRAND • David LEMARÉCHAL Étienne FERCHAUD Régis TOURAY • Thomas ZABULON Assistant › BASSES chef de chœur Mécène du Chœur de l’Orchestre National Vincent BAZILLE • Pascal BERTIN • Olivier BRAUD des Pays de la Loire Rémi CORBIÈRE • Karl DELAUNAY • Benoit DURANTEAU Thibault MAIGNAN Joël FONTENEAU • Jean-Philippe GODIN • Romain GUIGUES Piano Christophe GUYET • Éric MICHAUD • Jean-Michel POSTAL Yannick POUPLARD • Jean RANDÉ • Benoit TRICHET 10 11 › PRÉSIDENCE ET DIRECTION Antoine CHÉREAU Président Michel AYROLES Administrateur général Nicolas BOISSELIER Administrateur adjoint Peggy MAHÉ Assistante de direction de l’administrateur général Ariane LINEL Assistante de direction de l’administrateur adjoint › SECRÉTARIAT GÉNÉRAL Véronique DOUAUD-CLOCHARD Responsable du service
Recommended publications
  • Download Booklet
    SUPER AUDIO CD Randall ScaRlata baRitone • company of muSic tölzeR KnabenchoR • choRuS Sine nomine tonKünStleR-OrcheSteR abSolute enSemble KRiStjan jäRvi Leonard Bernstein,December 1975 Leonard © Don Hunstein/Lebrecht Music & Arts Photo Library LEONARD BERNSTEIN (1918 –1990) MASS A Theatre Piece for Singers, Players and Dancers Text from the Liturgy of the Roman Mass Additional texts by Stephen Schwartz and Leonard Bernstein Randall Scarlata baritone (Celebrant) Company of Music (Street Chorus) Johannes Hiemetsberger chorus master Tölzer Knabenchor (Boys’ Choir) Georg Drexel (solo boy soprano) Gerhard Schmidt-Gaden chorus master Chorus sine nomine (Chorus) Johannes Hiemetsberger chorus master Absolute Ensemble Tonkünstler-Orchester Niederösterreich Alexander Gheorghiu concertmaster Kristjan Järvi 3 Company of Music Chorus master Johannes Hiemetsberger soprano Barbara Achammer (solo) Theresa Dlouhy (solo) Ruth Kraus* (solo) Claudia Meller Absolute Ensemble Elisabeth Wimmer drums/percussion Damien Bassman alto Heidemaria Gruber (solo) bass guitar Lenneke Willemsen* (solo) Mat Fieldes Susanne Katharina Hell Birte Dalbauer-Stokkebaek solo violin Maja Wambersky Vesselin Gellev tenor electric keyboard Bernd Fröhlich (solo) Matt Herskowitz Gernot Heinrich (solo) Bernd Hemedinger (solo) trombone Reinwald Kranner* (solo) Michael Seltzer Dave Moskin* (solo) Jean-Jacques Rousseau clarinet/saxophone Michiyo Suzuki baritone/bass André Bauer* (solo) Günter Haumer (solo) Jörg Espenkott Christoph Wiegelbeyer Clemens Kölbl *guest artist 4 Company of Music
    [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]
  • Guerra-Peixe's Symphony No. 2 Brasília (Part 1)
    RAMOS, Marcelo. (2018) Guerra-Peixe’s Symphony No. 2 Brasília (Part 1): A Historical Background. Per Musi. Belo Horizonte: UFMG. p.1- 14. SCIENTIFIC ARTICLE Guerra-Peixe’s Symphony No. 2 Brasília (Part 1): A Historical Background Sinfonia No. 2 Brasília de Guerra-Peixe (Parte 1): Antecedentes Históricos Marcelo Ramos de Souza Universidade Federal de Minas Gerais [email protected] Abstract: This article investigates the historical circunstances that led to the composition of Symphony No. 2 Brasília, by César Guerra-Peixe, written for symphony orchestra, mixed choir and an optional narrator. The piece was originally composed for a competition organized by the Radio Station of Ministry of Education in 1960 to celebrate the inauguration of the new Brazilian capitol, originating substantial controversy, hence the first prize was not awarded and a tie was registered between three candidates in second place: Guerra-Peixe, Guerra-Vicente, and Claudio Santoro – all of them became renowned composers of Brazilian music. The Symphony Brasília by Guerra-Peixe was subject of my doctoral project in three principal fronts: production of a performance edition of the full score and parts; performance of the work in the US and Brazil, aiming to correct eventual mistakes and spread the music; and a production of historical and analytical texts. Keywords: Guerra-Peixe; Symphony No. 2 Brasília; Brazilian music; Brazilian Nationalism. Resumo: O presente artigo aborda as circunstâncias históricas que culminaram com a composição da obra Sinfonia No. 2 Brasília, de César Guerra-Peixe, escrita para orquestra sinfônica, coro misto e um narrador opcional. A obra foi originalmente composta para um concurso organizado pelo MEC em 1960 para celebrar a inauguração da nova capital do Brasil, gerando uma substancial controvérsia, pois, além de não ter sido outorgado o prêmio de primeiro lugar, houve um empate entre três candidatos no segundo lugar: Guerra-Peixe, Guerra-Vicente e Claudio Santoro – todos eles compositores consagrados da música brasileira atual.
    [Show full text]
  • New on Naxos | November 2014
    NEW ON The World’s Leading ClassicalNAXOS Music Label NOVEMBER 2014 A MONTH OF RICHES This Month's Highlights © 2014 Naxos Rights US, Inc. • Contact Us: [email protected] www.naxos.com • www.classicsonline.com • www.naxosmusiclibrary.com • blog.naxos.com NEW ON NAXOS | NOVEMBER 2014 2.110353 Playing Time 1:41:00 7 47313 53535 4 Fritz KREISLER (1875–1962) © Robert Romik Kraggerud Plays Kreisler Henning Kraggerud Henning Kraggerud plays works by Fritz Kreisler Works arr. by Nils Thore Røsth Henning Kraggerud, Violin Oslo Camerata Playing on Fritz Kreisler’s own ‘Bergonzi’ violin (from c. 1740), the Norwegian Henning Kraggerud, who began playing the violin at the brilliant young violinist Henning Kraggerud presents a programme age of seven, later studied with Camilla Wicks and Emanuel Hurwitz, of Kreisler’s compositions for violin. Filmed in the intimate thus tapping into American and mid-European traditions of playing. surroundings of Oslo’s historic ‘Old Lodge’, this is a world premiere He has, however, always maintained strong connections with his recording of many of these arrangements for violin and orchestra. native land. A recipient of the prestigious Grieg Prize, he appears Kraggerud introduces the works himself, and leads the Oslo frequently at Norway’s major festivals playing both violin and viola. Camerata in a sparkling, thrilling concert. Kraggerud, who is greatly inspired by Ysaÿe’s compositions, hailing him as possibly the greatest violinist-composer, is also active as a composer himself (producing several cadenzas as well as original Supplementary Promotional Materials works) and is a keen exponent of new music. Directing and conducting • Video trailer activities have seen him work with the Zürich Chamber Orchestra and • Key release kit at the City of London Festival with the Britten Sinfonia.
    [Show full text]
  • Download Booklet
    SUPER AUDIO CD Randall ScaRlata baRitone • company of muSic tölzeR KnabenchoR • choRuS Sine nomine tonKünStleR-OrcheSteR abSolute enSemble KRiStjan jäRvi CHSA 5070(2) LEONARD BERNSTEIN (1918 –1990) MASS A Theatre Piece for Singers, Players and Dancers Text from the Liturgy of the Roman Mass Additional texts by Stephen Schwartz and Leonard Bernstein © Don Hunstein/Lebrecht Music & Arts Photo Library Randall Scarlata baritone (Celebrant) Company of Music (Street Chorus) Johannes Hiemetsberger chorus master Tölzer Knabenchor (Boys’ Choir) Georg Drexel (solo boy soprano) Gerhard Schmidt-Gaden chorus master Chorus sine nomine (Chorus) Johannes Hiemetsberger chorus master Absolute Ensemble Tonkünstler-Orchester Niederösterreich Alexander Gheorghiu concertmaster Kristjan Järvi Leonard Bernstein, December 1975 3 Company of Music Chorus master Johannes Hiemetsberger soprano Barbara Achammer (solo) Theresa Dlouhy (solo) Ruth Kraus* (solo) Claudia Meller Absolute Ensemble Elisabeth Wimmer drums/percussion Damien Bassman alto Heidemaria Gruber (solo) Ursula Pramberger bass guitar Lenneke Willemsen* (solo) Mat Fieldes Susanne Katharina Hell Birte Dalbauer-Stokkebaek solo violin Maja Wambersky Vesselin Gellev tenor electric keyboard Bernd Fröhlich (solo) Matt Herskowitz Gernot Heinrich (solo) Bernd Hemedinger (solo) trombone Reinwald Kranner* (solo) Michael Seltzer Dave Moskin* (solo) Jean-Jacques Rousseau clarinet/saxophone Michiyo Suzuki baritone/bass André Bauer* (solo) Company of Music Günter Haumer (solo) Jörg Espenkott Christoph Wiegelbeyer Clemens
    [Show full text]
  • Anstaltungen Auf Schloss Grafenegg Entwickelt Haben
    DIPLOMARBEIT Titel der Diplomarbeit ZUR ENTWICKLUNG DER MUSIKVERANSTALTUNGEN IN GRAFENEGG Schlosskonzerte damals – Musik-Festival heute (1971 – 2009) Verfasserin Vera Frisch – Neubauer angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, 2009 Studienkennzahl lt. Studienblatt. A 092 316 Studienrichtung lt. Studienblatt: Musikwissenschaft Betreuer: Ass. -Prof. Dr. Michael Weber II DANKSAGUNG Ein ganz besonderer Dank gilt meinem Professor Ass.- Prof. Dr. Michael Weber. Durch seine gute fachliche Beratung und Hilfestellungen fühlte ich mich während meines gesamten Arbeitsprozesses recht geleitet. Ich erhielt wichtige Orientierungshilfen, aber auch genügend Freiraum, die eigene Erkenntnis zu gewinnen. Während meiner Arbeit war ich stets auf Zeitzeugenberichte angewiesen. HR Friedrich Pescher und HR Dr. Willander lieferten mir sehr wichtige Informationen. Danke dafür! Besonderer Dank gilt Herrn Dr. Gerhard Großberger, der mich mit einem unermüdlichen Einsatz immer mit sehr notwendigen Informationen versorgte und mich während meines gesamten Schreibprozesses allzeit unterstützte. Herrn Rudolf Buchbinder danke ich recht herzlich für das persönliche und überaus interessante Interview! Ebenso möchte ich mich bei allen Mitarbeitern der Grafenegg Kulturbetriebs GmbH für alle Hilfestellungen bedanken. Besonders bei Geschäftsführer Johannes Neubert, Ulrike Niehoff, Julia Ornetsmüller, Edith Schweitzer und Alexander Moore. Schlossherrn Tassilo Metternich-Sándor danke ich für seine Unterstützung. Sein Vater Franz Albrecht Metternich-Sándor empfing mich noch in den Schlossräumlichkeiten, um ein persönliches Interview mit ihm aufzeichnen zu können. Leider ist Franz Albrecht Metternich-Sándor später plötzlich verstorben. Bei Frau Grete Traunfellner bedanke ich mich auch aufs herzlichste. Sie half mir immer wichtiges Archivmaterial im Schloss Grafenegg zu bekommen. Großer Dank gebührt auch meinem Mann Hannes und meinen Eltern, die mir moralisch zur Seite standen, stets ein offenes Ohr hatten und mir immer den Rücken stärkten.
    [Show full text]
  • VILLA-LOBOS Symphony No
    Heitor VILLA-LOBOS Symphony No. 10 ‘Ameríndia’ Leonardo Neiva, Baritone • Saulo Javan, Bass São Paulo Symphony Orchestra and Choir • Isaac Karabtchevsky Heitor Villa-Lobos (1887-1959) founding of the city of São Paulo. Curiously, the score is Anchieta’s aim was in fact to protect the indigenous Symphony No. 10 ‘Ameríndia’ (Sumé, Father of Fathers) dated 1952, which has misled some writers as to the date peoples from the slave trade operated by the Portuguese of the anniversary itself; and, as things worked out, its colonists, even offering himself as a hostage to the native eminently personal. Villa-Lobos, who worshipped Bach premiere was given in Paris, in 1957. The Brazilian Indians during peace negotiations with the Portuguese in Villa-Lobos, 1955. and regarded his music as a legacy for all humanity, premiere took place six months later in São Paulo’s 1563. It is said that during this period of captivity he followed his example and strove to develop an idiom that Theatro Municipal. worked a number of miracles and also wrote his De Beata would both find a place on the world stage and play a key The difficulties involved in classifying this work begin Virgine Dei Matre, an epic poem (over 5000 lines long) in rôle in establishing a national Brazilian musical culture. with the title page, which bears two subtitles, Sinfonia praise of the Virgin Mary, by inscribing it with a stick on Just as Bach had his clearly demarcated stylistic Ameríndia and Sumé Pater Patrium. The description the sand and memorizing it, only committing it to paper boundaries, Villa-Lobos too, throughout his career, ‘Oratorio for soloists, chorus and orchestra’ makes clear it after his release.
    [Show full text]
  • VILLA-LOBOS Symphony No
    Heitor VILLA-LOBOS Symphony No. 1 ‘O Imprevisto’ Symphony No. 2 ‘Ascensão’ São Paulo Symphony Orchestra Isaac Karabtchevsky Heitor Villa-Lobos (1887–1959) themes are re-worked throughout all the movements of a The listener does not need to read the entire script, since Symphony No. 1 ‘O Imprevisto’ · Symphony No. 2 ‘Ascensão’ composition. This formal model was adopted by a more the symphony does not remotely appear to follow it, and resourceful Villa-Lobos in several works from his youth, to consider it to be a programmatic work is verging on the The first symphony composed on Brazilian soil by a such as the Trio No. 3 (1918), Symphony No. 2 (1917–44) absurd. However, it must be pointed out that this renowned composer was probably the Funeral Symphony and, in a more flexible way, Symphonies Nos. 3 and 4, dominant mood of egomania and mysticism in the early (1790) by the priest José Maurício Nunes Garcia. In fact written in 1919, but it is virtually non-existent in his mature 20th century – one only has to think of Scriabin, Holst or this is a kind of single movement overture that does not works, including his symphonies from No. 6 onwards. Mahler – is also an important part of the ‘Brazilianness’ of appear to have had immediate successors, in a century This formal proposition is just a minor part of a very Villa-Lobos, who gradually transformed it into a dominated by religious music and opera. More interesting musical theorisation. A staunch conservative, pantheistic vision of the Brazilian landscape and sought to significantly – at least for Villa-Lobos, it seems – was both in music and politics, in 1894 Vincent d’Indy founded translate it into musical terms.
    [Show full text]
  • Camargo the MUSIC of BRAZIL GUARNIERI Choros • 1 Seresta
    Camargo THE MUSIC OF BRAZIL GUARNIERI Choros • 1 Seresta Olga Kopylova, Piano • Alexandre Silvério, Bassoon Claudia Nascimento, Flute • Davi Graton, Violin São Paulo Symphony Orchestra • Isaac Karabtchevsky Camargo Guarnieri (1907–1993) About This Series Choros • 1 The series The Music of Brazil is part of the project Brasil em Concerto , developed by the Brazilian Ministry of Foreign Brazil and the world, according to Guarnieri 5 – Cururu (to use an Amerindian motif), (one Affairs in order to promote music by Brazilian composers dating back to the 18th century. Around 100 orchestral works could imagine an African dance to use an Afro- from the 19th and 20th centuries will be recorded by the Minas Gerais Philharmonic Orchestra, the Goiás Philharmonic Mozart Camargo Guarnieri was born in 1907 in Tietê Brazilian motif), (of no specific speed); Orchestra and the São Paulo Symphony Orchestra. Further recordings of chamber and vocal music will gradually be (State of São Paulo). His father, an Italian immigrant and 6 – Dobrado (or Samba , or Maxixe ), (quick duple added to this collection. music lover, not only named his sons after great metre or imposing finale). composers (Mozart, Verdi, Rossine and Belline, the latter ... And since I am considering large-scale pieces, The works were selected according to their historical importance for Brazilian music and the existence of recordings. two both spelt with a final e instead of an i), but had no it is easy to avoid sonata form, toccata form, etc. Most of the works recorded for the series have never had recordings available outside Brazil; many others will have their qualms about moving to the Brazilian capital in 1922 to much misinterpreted today...’ 1 world premiere recordings.
    [Show full text]
  • NOE Weihnachtsorat
    orchester niederösterreich WEIHNACHTSORATORIUM Freitag, 9. 12. 2005, 19.30 Uhr Wiener Neustadt, Arena Nova Classic 3. Konzert im Abonnement Samstag, 10. 12. 2005, 19.30 Uhr Festspielhaus St. Pölten, Großer Saal 2. Konzert im Abonnement «Tonkünstler Spezial» Sonntag, 11. 12. 2005, 18.30 Uhr Schloss Grafenegg, Alte Reitschule Bonuskonzert Joseph Leopold von Eybler (1765 – 1846) Die Hirten bei der Krippe zu Bethlehem Oratorium in zwei Teilen für Soli, Chor und Orchester (1794) Erster Teil Einleitung. Maestoso Recitativo (Sopran und Tenor). Aria (Tenor). Allegro Recitativo (Alt). Andante con moto Aria (Alt). Andante Quartetto. Adagio Coro. Allegro Recitativo (Sopran). Andante Aria (Sopran). Adagio - Allegro moderato Chor der Engel. Andantino – Piu Allegro Pause Zweiter Teil Recitativo (Sopran) Aria (Sopran). Andantino Recitativo (Alt) Terzett (Tenor, Bass, Sopran). Andante – Poco piu Lento – Largo Quartetto. Andante Recitativo (Bass). Aria (Bass). Allegro con fuoco Recitativo (Tenor). Andante Coro. Allegro vivace – Piu Allegro Tonkünstler-Orchester Niederösterreich Sunhae Im (Sopran) Barbara Hölzl (Alt) Markus Schäfer (Tenor) Wolfgang Bankl (Bass) Wiener Kammerchor Michael Grohotolsky Choreinstudierung Martin Haselböck Dirigent 2 JOSEPH LEOPOLD VON EYBLER Recitativo (Alt) Die Hirten bei der Sie nahen, wie tränet ihr Blick, Krippe zu Bethlehem nein, sie fassen nicht ihr Glück. Sie nahen mit bebendem Schritt, o lasst mich kommen mit. ERSTER TEIL Hingestreckt zu deinen Füßen, neugebornes Himmelskind, Einleitung küssen sie mit heißer Lippe deine Windeln, deine Krippe. Recitativo (Sopran) Decken dich vor Frost und Wind. Herauf, o Sonne säume nicht, Nun greifen sie nach ihren Gaben, beflügle deinen Lauf. des Kindes Dürftigkeit zu laben, Bestrahl das Kind mit deinem Licht, mit den Gaben reichen sie die Herzen ihm.
    [Show full text]
  • Masterclasses
    INCONTRO INTERNAZIONALE DI GIOVANI MUSICISTI INTERNATIONAL MEETING OF YOUNG MUSICIANS XXXIV edizione - 2017 Corsi di perfezionamento MASTERCLASSES luglio agosto 23 july 5 august Riva del Garda - Trento - IT Corsi di perfezionamento CANTO SINGING mietta SIGHELE VIOLONCELLO CELLO natalia GUTMAN RESIDENT ORCHESTRA FLAUTO FLUTE “ORCHESTRA DELLA PACE” paolo TABALLIONE DELLA BOSNIA ERZEGOVINA CLARINETTO CLARINET calogero PALERMO DIREZIONE D’ORCHESTRA ORCHESTRAL CONDUCTING isaac KARABTCHEVSKY MASTERCLASSES canto Singing mietta PIANISTI ACCOMPAGNATORI Sighele PIANO ACCOMPANISTS RAFFAELE CENTURIONI STELLA SON TEMA DEL CORSO: repertorio a libera scelta SUBJECT OF THE COURSE: free choice repertoire DURATA DEL CORSO: 26.07 - 02.08.2017 COURSE DURATION: 26.07 - 02.08.2017 AUDIZIONE: 26.07.2017 ore 10.00 AUDITION: 26.07.2017 at 10.00 a.m Nata a Rovereto (TN), ha studiato a Trento e alla scuola del Teatro Born in Rovereto (Province of Trento), she studied in the city of Trento dell’Opera di Roma, vincendo nel 1959 il Concorso “Voci Nuove” dello and in Rome at the local Opera School and in 1959 she won the Spoleto Sperimentale di Spoleto. Ha debuttato al Festival dei Due Mondi in “Voci Nuove” Competition. Her debut was in La Bohème at the “Festi- La Bohème, sotto la direzione di Thomas Schippers, regia di Giancar- val dei Due Mondi” conducted by Thomas Schippers and directed by lo Menotti. Oltre al repertorio pucciniano, ha eseguito anche quello Giancarlo Menotti. As well as Puccini, her repertoire includes, French, francese, slavo e russo (Bizet, Charpentier, Massenet, Tchaikovsky, Slavonic and Russian composers such as Bizet, Massenet, Charpen- Janácek, Musorgskij) ed è stata fine interprete del Settecento italia- tier, Tchaikovsky, Musorgskij, Janácek.
    [Show full text]
  • Pause-Concert Beethoven
    DOSSIER DOCUMENTÉ – Un projet ONPL en partenariat avec Musique et Danse en Loire-Atlantique L’ONPL DES COULISSES AU CONCERT PAUSE-CONCERT BEETHOVEN CONCERT : JEUDI 12 NOVEMBRE 2020 – 12H30 NANTES, LA CITE, SALLE 2000 0 TABLE DES MATIERES Le projet .................................................................................................................................................................. 2 Parcours « Côté coulisses » ................................................................................................................................. 2 Le concert ............................................................................................................................................................ 3 L’œuvre au programme .......................................................................................................................................... 4 Ludwig Van Beethoven, Symphonie n°4 en si bémol majeur, op.60 .................................................................. 4 Ludwig Van Beethoven (1770-1827) ............................................................................................................... 4 Symphonie n°4 en si bémol majeur ................................................................................................................ 5 Qu’est-ce qu’une symphonie ? ................................................................................................................... 6 Comparaison de la version orchestrale et de la version pour musique de chambre .................................
    [Show full text]