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Ernst Kovacic Biography Biography Violin / Conductor Conductor
Ikon Arts Management Ltd Suite 114, Business Design Centre 52 Upper Street , London N1 0QH t: +44 (0)20 7354 9199 f: +44 (0)870 130 9646 [email protected] m Ernst Kovacic Biography www.ikonarts.com Violin / Conductor “‘One of the most creative and accomplished violinists worldwide” The Sunday Times Website www. ernstkovacic.com Contact Pippa Patterson Email pippa @ikonarts.com Vienna, with its fruitful tension between tradition and innovation, inspires the Austrian violinist and conductor Ernst Kovacic. A regular visitor to Britain, Ernst Kovacic has worked with all of the major UK orchestras, most recently appearing with the BBC Scottish Symphony Orchestra performing Gyorgy Ligeti’s Violin Concerto and later performing Tchaikovsky’s Violin Concerto with the Ulster Orchestra. Ernst Kovacic is a leading performer throughout Europe and the USA. His recent guest engagements include appearances with the Vienna Philharmonic and Vienna Symphony, Rotterdam Philharmonic Orchestra, Czech Philharmonic, Prague Symph ony, Detroit Symphony, Budapest Symphony, Netherlands Radio Philharmonic, Tivoli Symphony and the Radio Symphony Orchestras of Berlin, Bayerischer Rundfunk, Sudwestfunk, Hessischer Rundfunk, Norddeutscher Rundfunk and the Konzerthausorchester Berlin among many others. Ernst makes frequent international festival appearances. He gave a critically /acclaimed performance of the Schoenberg Violin Concerto at the BBC Proms and has appeared at the Edinburgh Festival, the major festivals of Berlin, Vienna and Salzburg, as well as the Ultima Oslo and Prague Autumn Festivals. Increasingly busy as a conductor, Ernst has been the artistic director of the Le opoldinum Chamber Orchesta in Wroclaw, Poland since 2007. He has directed the Scottish Chamber Orchestra, Ulster Orchestra, Northern Sinfonia, Camerata Salzburg, Deutsche Kammerphilharmonie, Klangforum, Ensemble Modern, Stuttgart Chamber Orchestra, Camera ta Bern, Camerata Nordica, Zagreb Philharmonic and the Taipei Symphony Orchestra. -
STRAVINSKY's NEO-CLASSICISM and HIS WRITING for the VIOLIN in SUITE ITALIENNE and DUO CONCERTANT by ©2016 Olivia Needham Subm
STRAVINSKY’S NEO-CLASSICISM AND HIS WRITING FOR THE VIOLIN IN SUITE ITALIENNE AND DUO CONCERTANT By ©2016 Olivia Needham Submitted to the graduate degree program in School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________________ Chairperson: Paul Laird ________________________________________ Véronique Mathieu ________________________________________ Bryan Haaheim ________________________________________ Philip Kramp ________________________________________ Jerel Hilding Date Defended: 04/15/2016 The Dissertation Committee for Olivia Needham certifies that this is the approved version of the following dissertation: STRAVINSKY’S NEO-CLASSICISM AND HIS WRITING FOR THE VIOLIN IN SUITE ITALIENNE AND DUO CONCERTANT ________________________________________ Chairperson: Paul Laird Date Approved: 04/15/2016 ii ABSTRACT This document is about Stravinsky and his violin writing during his neoclassical period, 1920-1951. Stravinsky is one of the most important neo-classical composers of the twentieth century. The purpose of this document is to examine how Stravinsky upholds his neoclassical aesthetic in his violin writing through his two pieces, Suite italienne and Duo Concertant. In these works, Stravinsky’s use of neoclassicism is revealed in two opposite ways. In Suite Italienne, Stravinsky based the composition upon actual music from the eighteenth century. In Duo Concertant, Stravinsky followed the stylistic features of the eighteenth century without parodying actual music from that era. Important types of violin writing are described in these two works by Stravinsky, which are then compared with examples of eighteenth-century violin writing. iii Igor Stravinsky (1882-1971) was born in Oranienbaum (now Lomonosov) in Russia near St. -
Contrasts International Contemporary Music Festival Lviv / 01-11.10.2015
musical art of the XXI century CONTRASTS INTERNATIONAL CONTEMPORARY MUSIC FESTIVAL LVIV / 01-11.10.2015 01.10.2015 / Thursday 19:00 / S. Lyudkevych Concert Hall / MUSICAL PREMIERES OF 21ST CENTURY Academia Lviv Chamber Orchestra/UA Arthur Mykytka/UA, artistic manager & concert master / Myroslav Skoryk/UA, artistic director Gryphon Trio/CA: Annalee Patipatanakoon, violin Roman Borys, cello James Parker, piano Zhanna Masliak/UA, flute Zoia Khodan/UA, flute Ricardo Calderoni/BR, conductor Ihor Pylatiuk/UA, conductor Heitor Villa-Lobos/BR/1887-1959/ Aria from Bachianas Brasileiras No. 5 (1938/45)▲ Transcription for string orchestra by Myroslav Skoryk (1984) Edmundo Villani-Côrtes/BR/*1930/ Catedral da Sé for string orchestra (1955)▲ Ricardo Calderoni/BR Double Concerto for two flutes and orchestra (1980)▲ Claudio Santoro/BR/1919-1989/ Ponteio for string orchestra (1953)▲ Vladimir Genin/RU-DE/*1958/ Threnody for the Victims in Ukraine for strings (2014)** Vitaly Vyshynsky/UA/*1983/ Dodes’ka-den for string orchestra and percussion (2011)▲ Bohdana Frolyak/UA/*1968/ Music of Dreams for violin, cello, piano and string orchestra (2015)* * - world premiere ** - Ukrainian premiere ▲ - for the first time on Contrasts Performance of Gryphon Trio was made possible with support from the Ukrainian Canadian Foundation of Taras Shevchenko 02.10.2015 / Friday 11:00 / Art-café Kvartyra 35 Coffee with a composer: Alexander Shchetynsky/UA conversation on the theme: What is opera? moderator – Vitaly Vyshynskyi/UA 16:00 / Foyer of Lviv Philharmonic / Opening -
Chamber Music Society of Lincoln Center
Chamber Music Society of Lincoln Center Saturday, April 18, 2015 8 p.m. 7:15 p.m. – Pre-performance discussion Regina A. Quick Center for the Arts www.quickcenter.com ~INTERMISSION~ COPLAND ................................ Two Pieces for Violin and Piano (1926) K. LEE, MCDERMOTT ANNE-MARIE MCDERMOTT, piano STRAVINSKY ................................Concertino for String Quartet (1920) DAVID SHIFRIN, clarinet AMPHION STRING QUARTET, HYUN, KRISTIN LEE, violin SOUTHORN, LIN, MARICA AMPHION STRING QUARTET KATIE HYUN, violin DAVID SOUTHORN, violin COPLAND ............................................Sextet for Clarinet, Two Violins, WEI-YANG ANDY LIN, viola Viola, Cello, and Piano (1937) MIHAI MARICA, cello Allegro vivace Lento Finale STRAVINSKY ..................................... Suite italienne for Cello and Piano SHIFRIN, HYUN, SOUTHORN, Introduzione: Allegro moderato LIN, MARICA, MCDERMOTT Serenata: Larghetto Aria: Allegro alla breve Tarantella: Vivace Please turn off cell phones, beepers, and other electronic devices. Menuetto e Finale Photographing, sound recording, or videotaping this performance is prohibited. MARICA, MCDERMOTT COPLAND ...............................Two Pieces for String Quartet (1923-28) AMPHION STRING QUARTET, HYUN, SOUTHORN, LIN, MARICA STRAVINSKY ............................Suite from Histoire du soldat for Violin, Clarinet, and Piano (1918-19) The Soldier’s March Music to Scene I Music to Scene II Tonight’s performance is sponsored, in part, by: The Royal March The Little Concert Three Dances: Tango–Waltz–Ragtime The Devil’s Dance Great Choral Triumphal March of the Devil K. LEE, SHIFRIN, MCDERMOTT Notes on the Program by DR. RICHARD E. RODDA Two Pieces for String Quartet Aaron Copland Suite italienne for Cello and Piano Born November 14, 1900 in Brooklyn, New York. Igor Stravinsky Died December 2, 1990 in North Tarrytown, New York. -
Journal of History Culture and Art Research (ISSN: 2147-0626) Tarih Kültür Ve Sanat Araştırmaları Dergisi Vol
Journal of History Culture and Art Research (ISSN: 2147-0626) Tarih Kültür ve Sanat Araştırmaları Dergisi Vol. 9, No. 4, December 2020 DOI: 10.7596/taksad.v9i4.2817 Citation: Berehova, O., Volkov, S. (2020). Modern Opera of the Late 20th- Early 21st Centuries: World Trends and Ukrainian Realities. Journal of History Culture and Art Research, 9(4), 217-235. doi:http://dx.doi.org/10.7596/taksad.v9i4.2817 Modern Opera of the Late 20th- Early 21st Centuries: World Trends and Ukrainian Realities Olena Berehova1, Sergii Volkov2 Abstract The ways of transformation of the opera genre at the new historical stage of its development are traced. The integrative aspects of the interaction of opera with other musical genres and types of art, features of the content, aesthetics, genre and style principles, stylistics of modern opera art are revealed. It was found that the basis of the latest operas are historical and mythological, biblical and fairy-tale, tragic and comic plots, masterpieces of ancient and modern drama, prose, and poetry. A wide panoramic review of operas created in recent decades has shown that among the topics that concern artists today, the most relevant are: the greatness and decline of the spiritual leader, the ephemerality of human life, indifference and coldness of modern society, depressing human loneliness, loss of identity, man's destiny in the world, crime and punishment, repentance for sins committed, carnal passions and violence, decomposition and self-destruction of the individual, idealized love, dreams, memory, the subconscious -
The Fourteenth Season: Russian Reflections July 15–August 6, 2016 David Finckel and Wu Han, Artistic Directors Experience the Soothing Melody STAY with US
The Fourteenth Season: Russian Reflections July 15–August 6, 2016 David Finckel and Wu Han, Artistic Directors Experience the soothing melody STAY WITH US Spacious modern comfortable rooms, complimentary Wi-Fi, 24-hour room service, fitness room and a large pool. Just two miles from Stanford. BOOK EVENT MEETING SPACE FOR 10 TO 700 GUESTS. CALL TO BOOK YOUR STAY TODAY: 650-857-0787 CABANAPALOALTO.COM DINE IN STYLE Chef Francis Ramirez’ cuisine centers around sourcing quality seasonal ingredients to create delectable dishes combining French techniques with a California flare! TRY OUR CHAMPAGNE SUNDAY BRUNCH RESERVATIONS: 650-628-0145 4290 EL CAMINO REAL PALO ALTO CALIFORNIA 94306 Music@Menlo Russian Reflections the fourteenth season July 15–August 6, 2016 D AVID FINCKEL AND WU HAN, ARTISTIC DIRECTORS Contents 2 Season Dedication 3 A Message from the Artistic Directors 4 Welcome from the Executive Director 4 Board, Administration, and Mission Statement 5 R ussian Reflections Program Overview 6 E ssay: “Natasha’s Dance: The Myth of Exotic Russia” by Orlando Figes 10 Encounters I–III 13 Concert Programs I–VII 43 Carte Blanche Concerts I–IV 58 Chamber Music Institute 60 Prelude Performances 67 Koret Young Performers Concerts 70 Master Classes 71 Café Conversations 72 2016 Visual Artist: Andrei Petrov 73 Music@Menlo LIVE 74 2016–2017 Winter Series 76 Artist and Faculty Biographies A dance lesson in the main hall of the Smolny Institute, St. Petersburg. Russian photographer, twentieth century. Private collection/Calmann and King Ltd./Bridgeman Images 88 Internship Program 90 Glossary 94 Join Music@Menlo 96 Acknowledgments 101 Ticket and Performance Information 103 Map and Directions 104 Calendar www.musicatmenlo.org 1 2016 Season Dedication Music@Menlo’s fourteenth season is dedicated to the following individuals and organizations that share the festival’s vision and whose tremendous support continues to make the realization of Music@Menlo’s mission possible. -
PIANO KAPUSTIN: a Recap of Recent Classical Releases
HAL LEONARD WIN T ER 2019 UPDATE NIKOLAI Within this newsletter you will find PIANO KAPUSTIN: a recap of recent classical releases. HUMORESQUE, The following classical catalogs are JOHANN SEBASTIAN OP. 75 distributed by Hal Leonard: BACH/JOHANNES Schott BRAHMS: CHACONNE The Humoresque Op. 75 Alphonse Leduc FROM PARTITA NO. 2 IN D — composed in 1994 — is Associated Music MINOR considered one of the most Publishers ARRANGEMENT FOR PIANO, difficult pieces by Kapustin. Boosey & Hawkes LEFT-HAND Presented in the standard jazz Bosworth Music form, the variations sound like Henle Urtext Edition Bote & Bock The D-minor Chaconne is improvisations, influenced by undoubtedly the most famous McCoy Tyner’s style, but are minutely through-composed. Chester Music movement of all of Bach’s 6 49046035 ......................................................................$16.99 DSCH Sonatas and Partitas for violin. Editio Musica Budapest So it is hardly surprising that it has seen many arrangements. Editions Durand Johannes Brahms marvelled at how a single staff of music could SERGEI RACHMANINOFF: offer “a whole world of the deepest thoughts and the mightiest PIANO SONATA NO. 2 IN Editions Max Eschig emotions.” He promptly made his own arrangement for piano, B-FLAT MINOR, OP. 36 Editions Musicales left hand alone. 1913 & 1931 VERSIONS Transatlantique 51481187 ........................................................................$11.95 ed. Dominik Rahmer, fing. Editions Salabert Marc-André Hamelin Ediciones Henle Urtext Edition Joaquín Rodrigo FRÉDÉRIC CHOPIN: Includes both Rachmaninoff’s Edward B. Marks SCHERZI original 1913 version and Music Company ed. Norbert Müllemann edited 1931 version of this Eulenburg fing. Hans-Martin Theopold substantial piece, with Forberg Henle Urtext Edition fingerings by Marc-André 51480886 ........................$25.95 Hamelin. -
Violin Syllabus / 2013 Edition
VVioliniolin SYLLABUS / 2013 EDITION SYLLABUS EDITION © Copyright 2013 The Frederick Harris Music Co., Limited All Rights Reserved Message from the President The Royal Conservatory of Music was founded in 1886 with the idea that a single institution could bind the people of a nation together with the common thread of shared musical experience. More than a century later, we continue to build and expand on this vision. Today, The Royal Conservatory is recognized in communities across North America for outstanding service to students, teachers, and parents, as well as strict adherence to high academic standards through a variety of activities—teaching, examining, publishing, research, and community outreach. Our students and teachers benefit from a curriculum based on more than 125 years of commitment to the highest pedagogical objectives. The strength of the curriculum is reinforced by the distinguished College of Examiners—a group of fine musicians and teachers who have been carefully selected from across Canada, the United States, and abroad for their demonstrated skill and professionalism. A rigorous examiner apprenticeship program, combined with regular evaluation procedures, ensures consistency and an examination experience of the highest quality for candidates. As you pursue your studies or teach others, you become not only an important partner with The Royal Conservatory in the development of creativity, discipline, and goal- setting, but also an active participant, experiencing the transcendent qualities of music itself. In a society where our day-to-day lives can become rote and routine, the human need to find self-fulfillment and to engage in creative activity has never been more necessary. -
SAN DIEGO SYMPHONY ORCHESTRA a JACOBS MASTERWORKS CONCERT Fabien Gabel, Conductor April 1-2, 2017 CLAUDE DEBUSSY Printemps Très
SAN DIEGO SYMPHONY ORCHESTRA A JACOBS MASTERWORKS CONCERT Fabien Gabel, conductor April 1-2, 2017 CLAUDE DEBUSSY Printemps Très modéré Modéré IGOR STRAVINSKY Violin Concerto in D Major Toccata Aria I Aria II Capriccio Jeff Thayer, violin INTERMISSION DMITRI SHOSTAKOVICH Symphony No. 9 in E-flat Major, Op. 70 Allegro Moderato Presto Largo Allegretto MAURICE RAVEL Suite No. 2 from Daphnis and Chloé Printemps CLAUDE DEBUSSY Born March 25, 1862, Saint-Germain-en-Laye Died March 25, 1918, Paris Printemps, the first orchestral work by Debussy to find a place in the repertory, has an extremely curious history. In 1884 Debussy won first place in the Prix de Rome competition. That award, the highest possible honor for a French composition student, involved several years of study in Rome. But Debussy, 22 years old and a very difficult young man, hated Rome and resented the time he had to spend away from Paris–he spent the minimal possible amount of time in residence at the Villa Medici in the years 1885-86. One of the requirements of the Prix de Rome was that the winners had to send back to the French Academy a series of envois, works composed in Rome that showed their progress. Debussy, never one to put up with rules, made life difficult for the Academy. He wrote three works for chorus and orchestra, and two of these mysteriously vanished: the score to Printemps (for wordless chorus and orchestra) was burned “accidentally” in a fire at the printer’s shop, while the score to Zuleima was “lost”; only the score to The Blessed Damoiselle survived. -
Concert Program
Oksana Dyka, soprano Angelina Gadeliya, piano • Solomiya Ivakhiv, violin I. Bellini Vincenzo Bellini Casta Diva (1801-1835) from Norma (1831) Program Mozart Wolfgang Amadeus Mozart Porgi, amor, qualche ristoro (1756-1791) from The Marriage of Figaro (1786) Rossini Gioachino Rossini Selva opaca, Recitative and Aria (1792-1868) from Guglielmo Tell (William Tell, 1829) Ms. Dyka • Ms. Gadeliya II. Shchetynsky Alexander Shchetynsky An Episode in the Life of the Poet, (b. 1960) an afterword to the opera Interrupted Letter (2014) World Premiere Ms. Ivakhiv • Ms. Gadeliya III. From Poetry to Art Songs 1: Settings of poems by Taras Shevchenko Shtoharenko Andriy Shtoharenko Yakby meni cherevyky (1902-1992) (If I had a pair of shoes, 1939) Silvestrov Valentin Silvestrov Proshchai svite (b. 1937) (Farewell world, from Quiet Songs, 1976) Shamo Ihor Shamo Zakuvala zozulen’ka (1925-1982) (A cuckoo in a verdant grove, 1958) Skoryk Myroslav Skoryk Zatsvila v dolyni (b. 1938) (A guelder-rose burst into bloom, 1962) Mussorgsky Modest Mussorgsky Hopak (1839-1881) from the opera Sorochynsky Fair (1880) Ms. Dyka • Ms. Gadeliya 2 Program — INTERMISSION — I V. Beethoven Ludwig van Beethoven Allegro vivace (1770-1827) from Sonata in G Major, Op. 30 (1801-1802) Vieuxtemps Henri Vieuxtemps Désespoir (1820-1881) from Romances sans paroles, Op. 7, No. 2 (c.1845) Ms. Ivakhiv • Ms. Gadeliya V. From Poetry to Art Songs 2: Settings of poems by Taras Shevchenko Lysenko Mykola Lysenko Oy, odna ya odna (1842-1912) (I’m alone, so alone, 1882) Rachmaninov Sergei Rachmaninov Poliubila ya na pechal’ svoyu, (1873-1943) Op. 8, No. 4 (I have given my love, 1893) Stetsenko Kyrylo Stetsenko Plavai, plavai, lebedon’ko (1882-1922) (Swim on, swim on, dear swan, 1903) Dankevych Konstantyn Dankevych Halia’s Aria (1905-1984) from the opera Nazar Stodolia (1960) VI. -
The Article Under Consideration Deals with the Meaning of Film Music in the Work of Ukrainian Composers in the Cultural Context
UDC 78.01-791.43.01 А. Ovsiannikova-Тrel CULTURAL ASPECTS OF THE STUDY OF THE FILM MUSIC OF UKRAINIAN COMPOSERS The article under consideration deals with the meaning of film music in the work of Ukrainian composers in the cultural context. The origins of composer's practice in Ukrainian cinema and their influence on the subsequent development of film music are discussed. An attempt was made to identify the problem field of cultural studies of the cinematic music of Ukrainian composers (film music as sounding reality, the communicative function of the musical-sound image and etc.), including the modern ones – V. Silvestrov, O. Kiva, V. Guba, A. Shchetinsky. Keywords: film music, cinematograph, musical-sound image, composer's practice, author's music, applied music. In the rich and diverse world of the music culture of Ukraine of the 20th century, the creativity of professional composers, representing the national academic tradition, is of main importance. Names of the classicists of Ukrainian music – Borys Lyatoshynsky, Platon and George Mayborod, K. Dankevich, Igor Shamo, Ivan Karabits, Yevgen Stankovych, Myroslav Skorik, Vladimir Guba, Valentyn Silvestrov – are related to our primary, traditional ideas about the national originality and identity of Ukrainian music. And as usual, we are familiar mainly with the traditional genres of musical art, which constitute the main and undoubtedly the most valuable part of the creative heritage of the listed composers – symphonies, operas, chamber music, choral works. However, in the work of almost every one of the above-mentioned composers, there is a less serious (due to its applied function) and simpler (in comparison with the author's classics) kind of musical art that reveals to us one more aspect of their talent. -
Hybridity in Flute Music of Four Contemporary Composers
HYBRIDITY IN FLUTE MUSIC OF FOUR CONTEMPORARY COMPOSERS Yeji Kim A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS December 2012 Committee: Marilyn Shrude, Advisor Robert W. Midden Graduate Faculty Representative Mary Natvig John Sampen © 2012 Yeji Kim All Rights Reserved iii ABSTRACT Marilyn Shrude, Advisor Hybridity is a concept that is widely discussed in the field of cultural studies. The term can be applied to anything that exhibits a fusion or mixture of elements and fades the demarcation between the elements. In music it is evident in the fusion of such disparate elements as old and new styles; electronic and acoustic media; Western and non-Western music; audio and visual components; classical and popular music; and the use of quotation. These elements are often combined in works that contribute to a hybrid musical vocabulary with a distinctive style, so that the points of departure are often blurred. Many recently composed works for flute demonstrate hybridity. The purpose of this document is to explore the concept of hybridity as evidenced in the flute works of four contemporary American composers and flutists: Cynthia Folio (b. 1954), Anne La Berge (b. 1955), Janice Misurell-Mitchell (b. 1946), and Maggi Payne (b. 1945). The study examines what brought about their hybrid approach to composition, as well as the relationship between their roles as both creator and presenter of works that demonstrate hybridity. Extensive email interviews, consultation of available sources, and analyses of compositions are the essential research tools.