Boston Symphony Orchestra Concert Programs, Summer
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Noah Gemeinde . Mein Praktikum in Der Noah Gemeinde Christuskirche Gitter/Hohenrode . Wegerneuerung Heilige Dreifaltigkeit
MÄRZ BIS JUNI 2020 Noah Gemeinde . Mein Praktikum in der Noah Gemeinde Christuskirche Gitter/Hohenrode . Wegerneuerung Heilige Dreifaltigkeit . Die Kontorei der Heiligen Dreifaltigkeit probt wieder St. Mariae-Jakobi . Besuch im Hospiz Salzgitter IMPRESSUM INHALT Grußwort 03 Ausgabe 24 März bis Juni 2020 Die Taufe - mehr als nur Wasser 04 Checkliste zur Taufe S.08 / Pfarrverband stärkt Ehrenamt? S.9 / · HERAUSGEBER Die evangelisch-lutherischen Ausstellung in Groß Flöthe S.9 / Vorankündigung für Pfingsten S. 9 / Kirchengemeinden in Salzgitter-Süd: Weltgebetstag 2020 S.10 / Ansprechpartner S.10 / Frauenhilfe Veranstaltungen S.11 / Noah-Gemeinde Christuskirche Gitter/Hohenrode Musikalische Veranstaltungen S.12 / Ökumene S.14 / Evangelische Jugend S.15 Heilige Dreifaltigkeit St. Mariae-Jakobi Gottesdienste 20 · DRUCK Gemeindebriefdruckerei 29393 Groß Oesingen Aus der Christuskirchengemeinde Gitter/Hohenrode 24 · LAYOUT Neues aus der Frauenhilfe S.24 / Posaunenchor Gitter auf Wandertour im Südharz S.25 / Astrid Schäfer, Salzgitter Krippenspiel 2019 S.26 / Wegerneuerung S.27 / Einladung Osterfrühstück S.27 / [email protected] Titelfoto: Finn Schäfer Freud und Leid S.27 / Ansprechpartner S.27 · ANZEIGENREDAKTION Birgit Holst, Salzgitter Aus der Gemeinde Noah 29 [email protected] Mein Praktikum in der Noah Gemeinde S.29 / Der neue Sozialdezernent zu Besuch S.29 / 0 53 41 / 3 68 35 Ulrike Schaare-Kringer, Salzgitter Neues aus der Rasselbande S.30 / Einladung vom Kita Elternchor S.30 / [email protected] Aktuelle Angebote des Familienzentrums KunterBund S.31 / · REDAKTIONSSCHLUSS Nachruf für Ursula Moldenhauer S.32 / Freud und Leid S.32 / Advent anders S.33 / für die nächste Ausgabe: 15.05.2020 Ansprechpartner S.33 · AUFLAGE 7920 Exemplare zur kostenlosen Verteilung Aus der Gemeinde St. -
CHAN 10110 BOOK.Qxd 20/4/07 4:19 Pm Page 2
CHAN 10110 Front.qxd 20/4/07 4:19 pm Page 1 CHAN X10110 CHANDOS CLASSICS CHAN 10110 BOOK.qxd 20/4/07 4:19 pm Page 2 John Ireland (1879–1962) 1 Vexilla Regis (Hymn for Passion Sunday)* 11:54 2 Greater Love Hath No Man† 6:51 3 These Things Shall Be‡ 22:12 Lebrecht Collection Lebrecht 4 A London Overture 13:36 5 The Holy Boy (A Carol of the Nativity) 2:43 6 Epic March 9:13 TT 67:11 Paula Bott soprano*† Teresa Shaw contralto* James Oxley tenor* Bryn Terfel bass-baritone*†‡ Roderick Elms organ* London Symphony Chorus*†‡ John Ireland London Symphony Orchestra Richard Hickox 3 CHAN 10110 BOOK.qxd 20/4/07 4:19 pm Page 4 and Friday before Easter – and what we cannot sketch was ready during April. Ireland Ireland: Orchestral and Choral Works have – the ceremonies on the Saturday before remarked that he felt the words were ‘an Easter as practised by the Roman Church – expression of British national feeling at the something absolutely agelong & from present time’. In fact he had earlier made a John Nicholson Ireland was born near nineteen-year-old Ireland was then still a everlasting – the rekindling of Fire – Lumen quite different setting of these words for Manchester and spent most of his life in student of Stanford’s, and was assistant Christi. The Motherland Song Book published in London, though with interludes in the Channel organist at Holy Trinity Church, Sloane Square, 1919. The composer made a few adjustments Islands and Sussex. His was a life of restricted London. -
1 Madama Butterfly I Personaggi E Gli Interpreti
1 G V M e i r a a s i d c o n o a e Madama Butterfly m m o o r a i Versione originale del 17 febbraio 1904 g i P B n u a u l c Giacomo Puccini e t c t d e i e n r l i f 1 l 7 y f e Stagione d’Opera 2016 / 2017 b b r a i o 1 9 0 4 S t a g i o n e d ’ O p e r a 2 0 1 6 / 2 0 1 7 Madama Butterfly Versione originale del 17 febbraio 1904 Tragedia giapponese in due atti Musica di Giacomo Puccini Libretto di Luigi Illica e Giuseppe Giacosa (da John L. Long e David Belasco) Nuova produzione Teatro alla Scala EDIZIONI DEL TEATRO ALLA SCALA TEATRO ALLA SCALA PRIMA RAPPRESENTAZIONE Mercoledì 7 dicembre 2016, ore 18 REPLICHE dicembre Sabato 10 Ore 20 – TurNo B Martedì 13 Ore 20 – TurNo A VeNerdì 16 Ore 20 – TurNo C DomeNica 18 Ore 20 – TurNo D VeNerdì 23 Ore 20 – TurNo E REPLICHE gennaio 2017 Martedì 3 Ore 20 – Fuori abboNameNto DomeNica 8 Ore 15 – Fuori abboNameNto ANteprima dedicata ai GiovaNi LaScalaUNDER30 Domenica 4 dicembre 2016, ore 18 SOMMARIO 5 Madama Butterfly . Il libretto 40 Il soggetto ArgumeNt – SyNopsis – Die HaNdluNg – ࠶ࡽࡍࡌ – Сюжет Claudio Toscani 53 Giacomo PucciNi Marco Mattarozzi 56 L’opera iN breve Claudio Toscani 58 La musica Virgilio Bernardoni 62 La prima Butterfly , uN ricoNoscimeNto morale all’Autore. UNa possibilità iN più di ascolto, coNfroNto e coNosceNza INtervista a Riccardo Chailly 67 “UNa vera sposa...”? INgaNNo e illusioNe Nella prima Arthur Groos scaligera di Madama Butterfly 83 Madama Butterfly, uNa tragedia iN kimoNo Michele Girardi 99 Come eseguire Madama Butterfly Dieter Schickling 110 Madama Butterfly alla Scala dal 1904 al 2007 Luca Chierici 137 Alvis HermaNis e Madama Butterfly Olivier Lexa Il gesto della fragilità 167 Riccardo Chailly 169 Alvis HermaNis 170 Leila Fteita 171 Kris t¯ıNe Jur j¯aNe 172 Gleb FilshtiNsky 173 INeta SipuNova 174 Alla Sigalova 175 Olivier Lexa 176 Madama Butterfly . -
Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr. -
HBO and the HOLOCAUST: CONSPIRACY, the HISTORICAL FILM, and PUBLIC HISTORY at WANNSEE Nicholas K. Johnson Submitted to the Facul
HBO AND THE HOLOCAUST: CONSPIRACY, THE HISTORICAL FILM, AND PUBLIC HISTORY AT WANNSEE Nicholas K. Johnson Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Master of Arts in the Department of History, Indiana University December 2016 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Master of Arts. Master’s Thesis Committee __________________________________ Raymond J. Haberski, Ph.D., Chair __________________________________ Thorsten Carstensen, Ph.D. __________________________________ Kevin Cramer, Ph.D. ii Acknowledgements First, I would like to thank the members of my committee for supporting this project and offering indispensable feedback and criticism. I would especially like to thank my chair, Ray Haberski, for being one of the most encouraging advisers I have ever had the pleasure of working with and for sharing his passion for film and history with me. Thorsten Carstensen provided his fantastic editorial skills and for all the times we met for lunch during my last year at IUPUI. I would like to thank Kevin Cramer for awakening my interest in German history and for all of his support throughout my academic career. Furthermore, I would like to thank Jason M. Kelly, Claudia Grossmann, Anita Morgan, Rebecca K. Shrum, Stephanie Rowe, Modupe Labode, Nancy Robertson, and Philip V. Scarpino for all the ways in which they helped me during my graduate career at IUPUI. I also thank the IUPUI Public History Program for admitting a Germanist into the Program and seeing what would happen. I think the experiment paid off. -
View / Open Bratslavsky Oregon 0171A 10830
FROM EPHEMERAL TO LEGITIMATE: AN INQUIRY INTO TELEVISION’S MATERIAL TRACES IN ARCHIVAL SPACES, 1950s -1970s by LAUREN MICHELLE BRATSLAVSKY A DISSERTATION Presented to the School of Journalism and Communication and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy September 2013 DISSERTATION APPROVAL PAGE Student: Lauren Michelle Bratslavsky Title: From Ephemeral to Legitimate: An Inquiry into Television’s Material Traces in Archival Spaces, 1950s -1970s This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the School of Journalism and Communication by: Dr. Janet Wasko Chairperson Dr. Carol Stabile Core Member Dr. Julianne Newton Core Member Dr. Daniel Pope Institutional Representative and Kimberly Andrews Espy Vice President for Research and Innovation; Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded September 2013 ii © 2013 Lauren M. Bratslavsky This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs (United States) License. iii DISSERTATION ABSTRACT Lauren Michelle Bratslavsky Doctor of Philosophy School of Journalism and Communication September 2013 Title: From Ephemeral to Legitimate: An Inquiry into Television’s Material Traces in Archival Spaces, 1950s -1970s The dissertation offers a historical inquiry about how television’s material traces entered archival spaces. Material traces refer to both the moving image products and the assortment of documentation about the processes of television as industrial and creative endeavors. By identifying the development of television-specific archives and collecting areas in the 1950s to the 1970s, the dissertation contributes to television studies, specifically pointing out how television materials were conceived as cultural and historical materials “worthy” of preservation and academic study. -
Inszenierungen Des Traumerlebens Fiktionale Simulationen Des Träumens in Deutschsprachigen Erzähl- Und Dramentexten (1890 Bis 1930)
Inszenierungen des Traumerlebens Fiktionale Simulationen des Träumens in deutschsprachigen Erzähl- und Dramentexten (1890 bis 1930) Dissertation zur Erlangung des akademischen Grades Doctor philosophiae (Dr. phil.) vorgelegt dem Rat der Philosophischen Fakultät der Friedrich-Schiller-Universität Jena von Laura Bergander, Magistra Artium (M. A.) geboren am 9. Juni 1985 in Berlin 2016 Gutachter: 1. Prof. Dr. Stefan Matuschek (Friedrich-Schiller-Universität Jena) 2. PD Dr. Stephan Pabst (Friedrich-Schiller-Universität Jena) Vorsitzender der Promotionskommission: Prof. Dr. Lambert Wiesing (Friedrich-Schiller- Universität Jena) Tag der mündlichen Prüfung: 1. Februar 2017 Inhaltsverzeichnis Vorwort Annäherung an das Phänomen des Traumerlebens in der Literatur – thematischer Zugang, 1 Fragestellungen, methodische Vorgehensweise I Systematischer Teil – Traumerleben als Natur- und Kulturphänomen 15 1 Naturphänomen Traum und empirisches Traumerleben 15 2 Schwellenabgrenzungen: Vom Natur- zum Kulturphänomen Traum 21 2.1 Kategorialer Abstand und ontologischer Traumdiskurs 21 2.2 Traum – Literatur: Analogiebildungen und Schnittpunkte 28 II Historischer Teil – Ästhetische Entdeckung des Traumes seit dem 18. Jahrhundert 42 1 Der Traum im Zeitalter der Aufklärung 44 1.1 Zwischen Desinteresse, Faszination und Gefahr: Philosophischer Traumdiskurs, 44 Popularaufklärung, Anthropologie, Erfahrungsseelenkunde 1.2 Siegeszug der Einbildungskraft: Traumdarstellungen von Johann Gottlob Krüger 49 und Georg Christoph Lichtenberg 2 Traumdiskurse seit den 1790er Jahren 57 2.1 Jean Paul und die poetologische Entdeckung des Traumes 57 2.2 Diskursives Umfeld: Naturphilosophie, Traum als Natursprache und 65 animalischer Magnetismus 3 Vom „wachen Träumen“ zum Kontrollverlust und zurück: Literarische Darstellungen 72 des Traumerlebens aus der ersten Hälfte des 19. Jahrhunderts 3.1. Novalis‘ Traum von der blauen Blume in Heinrich von Ofterdingen (1802) 72 3.2. Kreatürliche Abgründe in E.T.A. -
The Wedding of Kevin Roon & Simon Yates Saturday, the Third of October
The wedding of Kevin Roon & Simon Yates Saturday, the third of October, two thousand and nine Main Lounge The Dartmouth Club at the Yale Club New York City Introductory Music Natasha Paremski & Richard Dowling, piano Alisdair Hogarth & Malcolm Martineau, piano Welcome David Beatty The Man I Love music by George Gershwin (1898–1937) arranged for piano by Earl Wild (b. 1915) Richard Dowling, piano O Tell Me the Truth About Love W. H. Auden (1907–1973) Catherine Cooper I Could Have Danced All Night from My Fair Lady music by Frederick Loewe (1901–1988) lyrics by Alan Jay Lerner (1918–1986) Elizabeth Yates, soprano Simon Yates, piano Sonnet 116 William Shakespeare (1564–1616) Lilla Grindlay Allemande from the Partita No.4 in D major, BWV 828 Johann Sebastian Bach (1685–1750) Jeremy Denk, piano Prayer of St. Francis of Assisi Eileen Roon from Liebeslieder Op. 52 Johannes Brahms (1833–1897) text by Georg Friedrich Daumer (1800–1875) translations © by Emily Ezust Joyce McCoy, soprano Jennifer Johnston, mezzo-soprano Matthew Plenk, tenor Eric Downs, bass-baritone Alisdair Hogarth & Malcolm Martineau, piano number 8 Wenn so lind dein Auge mir When your eyes so gently und so lieblich schauet, and so fondly gaze on me, jede letzte Trübe flieht, every last sorrow flees welche mich umgrauet. that once had troubled me. Dieser Liebe schöne Glut, This beautiful glow of our love, lass sie nicht verstieben! do not let it die! Nimmer wird, wie ich, Never will another love you so treu dich ein Andrer lieben. as faithfully as I. number 9 Am Donaustrande On the banks of the Danube, da steht ein Haus, there stands a house, da schaut ein rosiges and looking out of it Mädchen aus. -
Summer 2012 Boston Symphony Orchestra
boston symphony orchestra summer 2012 Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 131st season, 2011–2012 Trustees of the Boston Symphony Orchestra, Inc. Edmund Kelly, Chairman • Paul Buttenwieser, Vice-Chairman • Diddy Cullinane, Vice-Chairman • Stephen B. Kay, Vice-Chairman • Robert P. O’Block, Vice-Chairman • Roger T. Servison, Vice-Chairman • Stephen R. Weber, Vice-Chairman • Vincent M. O’Reilly, Treasurer William F. Achtmeyer • George D. Behrakis • Alan Bressler • Jan Brett • Susan Bredhoff Cohen, ex-officio • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Nancy J. Fitzpatrick • Michael Gordon • Brent L. Henry • Charles H. Jenkins, Jr. • Joyce G. Linde • John M. Loder • Carmine A. Martignetti • Robert J. Mayer, M.D. • Aaron J. Nurick, ex-officio • Susan W. Paine • Peter Palandjian, ex-officio • Carol Reich • Edward I. Rudman • Arthur I. Segel • Thomas G. Stemberg • Theresa M. Stone • Caroline Taylor • Stephen R. Weiner • Robert C. Winters Life Trustees Vernon R. Alden • Harlan E. Anderson • David B. Arnold, Jr. • J.P. Barger • Leo L. Beranek • Deborah Davis Berman • Peter A. Brooke • Helene R. Cahners • James F. Cleary† • John F. Cogan, Jr. • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett • Mrs. John H. Fitzpatrick • Dean W. Freed • Thelma E. Goldberg • Mrs. Béla T. Kalman • George Krupp • Mrs. Henrietta N. Meyer • Nathan R. Miller • Richard P. Morse • David Mugar • Mary S. Newman • William J. Poorvu • Irving W. Rabb† • Peter C. Read • Richard A. Smith • Ray Stata • John Hoyt Stookey • Wilmer J. Thomas, Jr. • John L. Thorndike • Dr. Nicholas T. Zervas Other Officers of the Corporation Mark Volpe, Managing Director • Thomas D. -
Program Aida
AÏDA ANNONSE Giuseppe Verdi AÏDA Opera i fire akter Libretto av Antonio Ghislanzoni Fremføres på originalspråket italiensk Sommeropera på Bergenhus Festning 14., 16., 18. og 20. august 2005 Regissør: Sandro Santillo Scenografi- og kostymedesigner: Kentaur Dirigent/kunstnerisk leder: Anne Randine Øverby Aïda: Galina Gorchakova Radames: Ernesto Grisales Amneris: Eugenie Grunewald Amonasro: Anooshah Golesorkhi Ramfis: Arutjun Kotchinian Konge: Balátz Póka Yppersteprestinne: Sylvia Skeie Vik Budbærer: Daniel Icobescu Prester, prestinner, tjenere, feltherrer, soldater, slaver, egyptiske fanger, egyptiske folk: Timisoara Filharmoniske Kor Bergen Operakor Fra VNOs Barnekor Ragazzi: Randi Emilie Dahlen, Marie Stølsbotn, Susanne Grønner, Ina Rokne Midtun, Teresia M. S. Aarskog, Laura Agathe Moberg, Ida Ludvigsen, Grete Iren Grønner, Alette Jervell Pettersen Små barn: Åshild Øyro, ,Laura Hagen Aadland, Kaja Rønning Statister: Birthe Gundersen, Alexandra Hoff, Korinnstudering: Anne Randine Øverby, Repetitør: Sabrina Trosje Orkester: Timisoara Filharmoniske Orkester Lysdesign: Lysteknikk: AVAB CAC Bergen; Jørgen Lystrup, Per Rye Ravnestad, Lyddesign: Peter Dan Lydteknikk: AVAB CAC Bergen; Karim Balgobin, Terje Ellefsen. Scenografiassistent: Peter Hala’sh Kostymeassistent: Antonia Baranyai Sceneteknikk: Sverre Hus, Stig Thorsen, Espen Tufta Søm/påkledning: Guri-Marie Johnsen, Aud Engevik, Gunn-Bente Solstrand Hår/maske: Tove Ingebrigtsen, Tonny Garmannslund, Kristine Fjose, Marit Pedersen Inspisient: Annlaug Hus Støttet av Norsk Kulturråd Bakgrunn AïDA er en stor opera med en forhistorie og tilblivelse som ikke står tilbake operaens handling når det gjelder dramatikk. I 1867 ble Egypt lagt under tyrkisk herredømme, en tilstand som vedvarte frem til 1914. 2 år senere ble Suez-kanalen åpnet, og i denne forbindelsen ønsket khediven Ismael Pasha å bestille en ny opera fra en av samtidens ledende operakomponister. Fremføringen av operaen skulle samtidig innvie den nye italienske operaen i Kairo, som khediven hadde latt bygge. -
Ideazione E Coordinamento Della Programmazione a Cura Di Massimo Di Pinto Con La Collaborazione Di Leonardo Gragnoli
Ideazione e coordinamento della programmazione a cura di Massimo Di Pinto con la collaborazione di Leonardo Gragnoli gli orari indicati possono variare nell'ambito di 4 minuti per eccesso o difetto Martedì 7 febbraio 2017 00:00 - 02:00 euroclassic notturno schubert, franz (1797-1828) sei danze tedesche (D 820) orchestraz di anton webern dall'orig. per pf. in la bem mag - in la bem mag - in la bem mag - in si bem mag - in si bem mag - in si bem mag. luxembourg philharmonic orch dir. justin brown (reg. lussemburgo, 20/12/1996) durata: 8.56 RSL radio televisione lussemburghese larsson, lars-erik (1908-1986) croquiser, sei schizzi per pf op. 38 capriccioso - grazioso - semplice - scherzando - espressivo - ritmico. marten landström, pf durata: 11.59 SR radio svedese bruch, max (1838-1920) kol nidrei, per vcl e orch op. 47 adam krzeszowiec, vcl; polish radio symphony orch dir. lukasz borowicz (reg. varsavia, 21/04/2013) durata: 12.26 PR radio polacca poulenc, francis (1899-1963) sept chansons per coro la blanche neige - à peine défigurée - par une nuit nouvelle - tous les droits - belle et ressemblante - marie - luire. jutland chamber choir dir. mogens dahl durata: 12.59 DR radiotelevisione di stato danese händel, georg friedrich (1685-1759) concerto in si bem mag per arpa e orch op. 4 n. 6 (HWV 294) andante, allegro - larghetto - allegro moderato. sofija ristic, arpa; slovenian radio television symphony orch dir. pavle despalj durata: 13.06 RTVS radiotelevisione slovena elgar, edward (1857-1934) sea pictures op. 37 sea slumber song - in haven - sabbath morning at sea - where corals lie - the swimmer. -
FRENCH SYMPHONIES from the Nineteenth Century to the Present
FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen.