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IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Etablissement public Salle de Concerts Grande-Duchesse Joséphine-Charlotte Philharmonie Luxembourg Orchestre Philharmonique du Luxembourg Saison 2013/14 1 Partenaires d’événements: Partenaire de programme: pour «Backstage» Partenaires média: Nous remercions nos partenaires qui, en associant leur image à la Philharmonie et à l‘Orchestre Philharmonique du Luxembourg et en soutenant leur programmation, permettent leur diversité et l’accès à un public plus large. Partenaire officiel: 2 Sommaire / Inhalt / Content IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Salle de Concerts Grande-Duchesse Jazz, World & Easy listening Jeunes publics Joséphine-Charlotte – Saison 2013/14 Jazz & beyond 88 1.2..3… musique (0–3 ans) 154 Philharmonie Luxembourg Autour du monde 96 Loopino (3–5 ans) 158 Orchestre Philharmonique du Luxembourg Ciné-Concerts 102 Bout’chou (3–5 ans) 162 Pops 106 Philou F (5–9 ans) 166 Bienvenue / Willkommen / Welcome 5 Chill at the Phil 112 Philou D (5–9 ans) 170 Brass Corporation 116 Musek erzielt (5–9 ans) 174 IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII OPL – Familles (7–12 ans) 178 Orchestre IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Miouzik (9–12 ans) 182 Special iPhil (13–17 ans) 186 OPL – Les grands rendez-vous 14 OPL – Aventure+ 18 Luxembourg Festival 122 IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII OPL – Matinées 22 take your time – rainy days 2013 124 Solistes Européens, Luxembourg OPL – Dating: 26 Musiques d’aujourd’hui 128 Cycle Rencontres SEL A 192 OPL – Festconcerten 30 On the border 132 Cycle Rencontres SEL B 194 Grands orchestres 34 Fräiraim 136 Camerata 196 Grands solistes 40 Orchestre de Chambre du Luxembourg 198 L’Orchestral 44 IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Les grands classiques 48 Transmettre la musique IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Voyage dans le temps – Service musique ancienne et baroque 52 Backstage 142 2 x hören 144 Informations pratiques 202 IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Yoga & Music 146 Praktische Informationen 206 Musique de chambre & Récitals Fondation EME – Practical information 210 Écouter pour Mieux s’Entendre 148 Soirées de Luxembourg 58 Calendrier / Kalendarium / Calendar 214 Rising stars 62 Quatuor à cordes 66 Artistes et ensembles / Künstler 244 Récital vocal 70 und Ensembles / Artists and ensembles Récital de piano 74 Amis de l’Orchestre Philharmonique 78 Impressum 254 du Luxembourg Autour de l’orgue 82 3 Bienvenue Madame, Monsieur, L’équilibre entre continuité et innovation marque C’est avec un merci très chaleureux à vous Chers amis de la musique, de multiples façons le programme de la saison tous, chère Madame, cher Monsieur, et avec 2013/14: avec une envergure et une hauteur une grande considération pour le talent et Nous sommes très heureux de vous présenter de vue exemplaires, Emmanuel Krivine, chef l’engagement personnel de mes collègues ici les concerts de l’Orchestre Philharmonique en titre et directeur artistique de l’Orchestre et collaborateurs, que je quitte en août 2013 du Luxembourg, de la Philharmonie et des Philharmonique du Luxembourg, modèle la mes fonctions de directeur fondateur de la partenaires de coopération les plus réguliers sonorité de l’orchestre, qui attend par ailleurs Philharmonie Luxembourg et en remets la pour la saison 2013/14. Comme c’était déjà le au cours de la saison 2013/14 quelques chefs direction artistique et administrative aux mains cas pour les saisons passées, la Philharmonie très prometteurs pour leurs débuts à la tête de du nouveau directeur. Luxembourg, l’OPL et leurs partenaires misent l’OPL. Dans les séries de concerts permettant sur la continuité et l’innovation. d’entendre à la Philharmonie les meilleurs Successeur de Matthias Naske, je me réjouis orchestres du monde, avec des chefs et solistes quant à moi de prendre au début de la saison C’est la recherche de l’excellence artistique charismatiques, vous découvrirez quelques 2013/14 mes fonctions de directeur de l’Éta- qui guide notre programmation. C’est elle qui, noms qui, la saison prochaine, prennent pour blissement public Salle de Concerts Grande- soir après soir, à travers les différents genres la première fois le chemin de la Philharmonie. Duchesse Joséphine-Charlotte et de diriger à musicaux qui forment le programme, assure la Ouverte à la nouveauté, l’équipe de la salle est l’avenir, avec l’équipe expérimentée et en étroite continuité. C’est elle également qui fonde votre constamment à la recherche de jeunes talents concertation avec les membres du Conseil confiance en la Philharmonie et en l’Orchestre prometteurs venus du Luxembourg et d’autres d’administration et leur président Pierre Ahlborn, Philharmonique du Luxembourg. Cette confiance pays, de formats de concerts novateurs et de la Philharmonie et l’Orchestre Philharmonique – conjointement avec celle du Gouvernement nouvelles formes de médiation. Un élément cen- du Luxembourg. Le but demeure inchangé – luxembourgeois et de nos partenaires commer- tral y est lié: l’expérience fascinante du concert – allier continuité et innovation! ciaux – est le bien le plus précieux de l’organi- la perception d’un événement artistique sous sation. Se montrer digne de cette confiance, ses formes les plus diverses, le désir commun, chaque soir, avec cœur et professionnalisme, toujours vivant, de la musique. Matthias Naske Stephan Gehmacher est ce qui motive les collaborateurs artistiques, techniques et administratifs et c’est leur but commun. photo: Christophe van Biesen photo: Christophe van Philharmonie 5 Willkommen Sehr geehrte Damen und Herren, Die Balance von Kontinuität und Innovation Mit einem herzlichen Dank an Sie alle, verehrte liebe Musikfreunde, prägt das Programm der Saison 2013/14 auf Damen und Herren, und mit großer Achtung vielfältige Weise: Mit beispielgebender Größe vor dem Geschick und dem persönlichem Ein- wir freuen uns sehr, Ihnen hier die Konzerte und Weitsicht arbeitet der Chefdirigent und satz der Kollegen und Mitarbeiter verabschiede des Orchestre Philharmonique du Luxembourg, künstlerische Leiter Emmanuel Krivine an der ich mich als Gründungsintendant der Philharmo- der Philharmonie und der engsten Kooperations- Klangkultur des Orchestre Philharmonique du nie Luxembourg und übergebe die künstlerische partner der Saison 2013/14 vorzustellen. Wie in Luxembourg, das zugleich in der Saison 2013/14 und organisatorische Gesamtleitung im August den vorangegangenen Spielzeiten setzen die mit einigen vielversprechenden Dirigenten- 2013 an den neuen Intendanten. Philharmonie Luxembourg, das OPL und ihre debüts aufwartet. Auch in den Konzertreihen, Partner dabei auf Kontinuität und Innovation. in denen die bedeutenden Orchester der Welt Und als Nachfolger von Matthias Naske freue mit charismatischen Dirigenten und Solisten in ich mich meinerseits, mit Beginn der Spielzeit Die konsequente Ausrichtung der Planung an der Philharmonie zu erleben sind, werden Sie 2013/14 die Leitung des Établissement public künstlerischer Exzellenz gibt uns dabei die einige Namen entdecken, die in der kommenden Salle de Concerts Grande-Duchesse Josephine- Orientierung. Sie ist es, die in der von Abend Saison erstmals den Weg in die Philharmonie Charlotte übernehmen zu dürfen und gemein- zu Abend wechselnden Programmgestaltung finden. Dem Neuen gegenüber offen, sucht sam mit dem bewährten Team sowie in enger für Kontinuität quer durch alle musikalischen das Team des Hauses kontinuierlich nach viel- Abstimmung mit dem Präsidenten Pierre Ahlborn Genres sorgt. Und sie bildet die Grundlage für versprechenden jungen Talenten aus Luxemburg und Mitgliedern des Verwaltungsrates die Phil- das Vertrauen, das Sie der Philharmonie und wie auch aus anderen Ländern, nach innovativen harmonie und das Orchestre Philharmonique dem Orchestre Philharmonique du Luxembourg Konzertformaten und neuen Formen der Vermitt- du Luxembourg in die Zukunft zu führen. gegenüber entwickeln. Ihr Vertrauen – gemein- lung. Verbindender Mittelpunkt bleibt dabei Das Ziel bleibt unverändert – Kontinuität und sam mit jenem der Luxemburger Regierung stets das faszinierende Konzerterlebnis – die Innovation zu verbinden! und der Wirtschaftspartner – sind das wert- Wahrnehmung künstlerischen Geschehens in vollste Gut der Organisation. Sich dieses Ver- seinen vielfältigen Formen, die gemeinsame, trauens mit Professionalität und Herz an jedem immer lebendige Sehnsucht nach Musik. Matthias Naske Stephan Gehmacher Abend neu als würdig zu erweisen, ist den künstlerischen, technischen und administra- tiven Mitarbeitern Ansporn und gemeinsame Orientierung. photo: Eric Chenal Eric photo: Grand Foyer 6 7 8 Welcome Ladies and gentlemen, The balance between continuity and innovation It is with heartfelt gratitude to all of you, Ladies Dear music-lovers, characterises the programme of the 2013/14 and Gentlemen, and with great respect for the season in many ways. With visionary verve ability and commitment of all colleagues that We are delighted to present the concerts of Principal Conductor and Artistic Director I take my leave as founding Director General the Orchestre Philharmonique du Luxembourg, Emmanuel Krivine
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    Season 2014/15 Christoph Willibald Gluck EZIO EZIO PARNASSUS ARTS PRODUCTIONS Christoph Willibald Gluck EZIO and Lukáš Trpišovský), and broadcast by Clasart TV, Munich, this production promises to restore this powerful drama to its rightful place in Gluck‘s output. For many years Gluck was almost a one-opera composer, famous only for Orfeo ed Euridice, the archetypal “reform opera”, that cast aside the ancien régime conventions of Italian opera seria. In recent decades, his later French works have also entered the mainstream repertoire, but the opere serie of his early career have been unjustly neglected. Christoph Willibald von Gluck was born in Erasbach, Bavaria on 2 July 1714, the son of a forester. Shortly afterwards the family moved to Bohemia, and, though he claimed to have been “obsessed with music” from an early age, in 1731 Gluck went to study law and mathematics at the Charles University in Prague. There he came into contact with the city’s lively musical life, in which imported Italian opera played an important part. By 1737 he was a composition student of Gluck’s Ezio is a new co-production Giovanni Battista Sammartini in Milan, by Parnassus Arts and the exciting where his first opera, Artaserse, was young ensemble Collegium 1704, who, premiered in 1741. An important career under the incisive leadership of their breakthrough came in 1748, when he conductor Vaclav Luks, have already was summoned to the Viennese court gained a reputation as one of the most to compose a setting of Metastasio’s impressive baroque groups from the Semiramide riconosciuta for the birthday Czech Republic.
  • The Evolution of Jommelli's Operatic Style

    The Evolution of Jommelli's Operatic Style

    The Evolution of Jommelli's Operatic Style BY MARITA P. McCLYMONDS T HAS LONG BEEN HELD that Jommelli's style changed radically dur- 1ing his sojourn in Stuttgart, and that the change was due to German influences. The origins of this thesis go back to the early 1770s. Jommelli had completed sixteen years (1753 to 1769) in the service of the Duke of Wiirttemberg, first in Stuttgart and later in Ludwigsburg. He had then returned to his native village of Aversa, and begun to write operas for Naples and Rome. Charles Burney, who was in Naples in 1770 and heard Demofoonte performed there, claimed that Jommelli had three stylistic periods: Before he went to Germany, the easy and graceful flow of Vinci and Per- golesi pervaded all his productions; but when he was in the service of the Duke of Wiirttemberg, finding the Germans were fond of learning and com- plication, he changed his style in compliance with the taste and expectations of his audience; and on his return to Italy, he tried to thin and simplify his dramatic Music, which, however, was still so much too operose for Italian ears. It is questionable how much of the music from Jommelli's Stutt- gart years either Burney or his Italian contemporaries actually knew. Judging from the scarcity of surviving copies of those operas as com- pared with the large number of extant manuscripts of his early and late works, the Stuttgart operas were probably not widely known out- side of Germany. More than likely, Burney was basing the above statements on hearsay rather than on actual knowledge.
  • Niccolò Porpora, His Operas and Disciples

    Niccolò Porpora, His Operas and Disciples

    Niccolò Porpora, his operas and disciples Niccolò Porpora, his operas and disciples Radu-Corneliu FĂGĂRĂŞAN1 Abstract: Niccolò Porpora was a famous singing teacher and composer with notoriety in the glory age of the castrati singers. He composed 50 operas; applying the formula specific to the baroque era, with simple recitatives and aria da capo, representing the basis of the early 18th century in the Italian opera, which gave many opportunities to the singers to assert themselves and become the true stars on the stages from all over the Europe. The well-known opera seria, introduced with great success in lyrical theaters, was the ideal platform for some singers who possessed a consistent vocal technique, managing to capture the audience's attention with extraordinary breathing power and their register of more than two octaves, even over three for some of them. Porpora's pupils were recognized as personalities that marked a historical time, identified with the pre-classical period, among the most important being: Farinelli, Caffarelli, Appianino, Salimbeni, Porporino and others. Key-words: singer, opera, libretto, Naples 1. Introduction Niccolò Porpora (Nicola Giacinto Antonio Porpora) was born in Naples in 1686 on 17 August. During that time, the city was ranked as the world's capital of music. Alessandro Scarlatti was a famous composer, more than anyone else, the one who introduced the Italian da capo aria, with movements allegro-largo-allegro, being the piece of resistance in the opera seria. Porpora was a skilled exponent of Alessandro Scarlatti, and his influence was perpetuated by his disciples. He was the son of Caterina and Carlo Porpora, the latter a Neapolitan bookseller.
  • 2017 – Volume 1

    2017 – Volume 1

    The George Washington University Historical Review 2017 – Volume 1 1 Editorial Board Editor-in-Chief Jordan D. Cassel ‘18 Managing Editor Harrison W. Grauso ‘18 Senior Editors Madison R. Cilluffo ‘18 Samuel G. Kramer ‘17 Zachary Ross ‘18 Associate Editors Alison Beachman ‘20 Julia N. Brown ‘20 Isabella Bucchi ‘19 Emma K. Shindell ‘20 Webmasters Andrea Marshall ‘15 Samuel A. Nohra ‘18 The Advisory Board Tyler Anbinder, Professor of History Seth LaShier, Doctoral Student, Department of History Ben Vinson III, Dean of the Columbian College of Arts and Sciences 2 Letter from the Editors Our publication team hopes you enjoy the four articles that were chosen by The George Washington University Historical Review. On behalf of all the editors and advisors, we must thank Alison C. Dundore, Ciaran Lithgow, Samuel B. Tiratto, and Spencer Wong for their trust and patience in allowing us to publish their scholarship. The support of the history department has been tremendous. Professor Tyler Anbinder’s guidance since the conception of the journal cannot go unnoticed. Since the beginning, he devoted an enormous amount of time and energy to the journal and it is much appreciated. And thanks to Dean Ben Vinson III for being a fierce advocate and advisor. Lastly, we are grateful to the faculty who shared their expert knowledge. Mount Vernon. Conservative politics. Islamic poetry. The Vienna Opera House. Our first issue covers both depth and breadth in terms of world regions and periods in time. George Washington’s contributions to American agriculture in the eighteenth century, conservative ethics during the Cold War Era, Islamic reactions to twelfth century crusaders, and cultural politics in the Habsburg Empire from the mid-seventeenth century to the turn of the nineteenth century are covered by our authors.