DOCSLIB.ORG

Program Notes © 2019

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Program Notes © 2019 23 Season 2018-2019 Thursday, March 14, at 7:30 Saturday, March 16, at 8:00 The Philadelphia Orchestra Yannick Nézet-Séguin Conductor James McVinnie Organ Muhly Register, Concerto for Organ and Orchestra (In one movement) First Philadelphia Orchestra performances—Philadelphia Orchestra co-commission Intermission Tchaikovsky Manfred, Symphony in Four Scenes after Byron’s Dramatic Poem, Op. 58 I. Lento lugubre II. Vivace con spirito III. Andante con moto IV. Allegro con fuoco This program runs approximately 1 hour, 45 minutes. LiveNote® 2.0, the Orchestra’s interactive concert guide for mobile devices, will be enabled for these performances. These concerts, and the Organ Postludes, are part of the Fred J. Cooper Memorial Organ Experience, supported through a generous grant from the Wyncote Foundation. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. 24 Please join us following these concerts for a free Organ Postlude featuring Peter Richard Conte. Sullivan/transcr. Ennis Overture to The Mikado Debussy/transcr. Roques Prèmiere arabesque Rheinberger from Organ Sonata No. 11, Op. 148: I. Agitato Sousa/transcr. Conte “The Gladiator” March 25 ® Getting Started with LiveNote 2.0 » Please silence your phone ringer. » Make sure you are connected to the internet via a Wi-Fi or cellular connection. » Download the Philadelphia Orchestra app from the Apple App Store or Google Play Store. » Once downloaded open the Philadelphia Orchestra app. » Tap “OPEN” on the Philadelphia Orchestra concert you are attending. » Tap the “LIVE” red circle. The app will now automatically advance slides as the live concert progresses. Helpful Hints » You can follow different tracks of content in LiveNote. While you are in a LiveNote content slide you can change tracks by selecting the tabs in the upper left corner. Each track groups content by a theme. For example, “The Story” track provides historical information about the piece and composer. “The Roadmap” track gives the listener more in-depth information about the orchestration and music theory behind the piece. *Note: Some pieces only contain one track. » Tap in the middle of the screen to display player controls such as Glossary, Brightness, Text Size, and Share. » Tap a highlighted word in yellow or select the “Glossary” in the player controls to take you to an in-depth glossary of musical terms. » If during the concert the content slides are not advancing, or you have browsed to other slides, you can tap the “LIVE” button in the bottom right corner to get to the current live slide. LiveNote is funded by the John S. and James L. Knight Foundation, the National Endowment for the Arts, and the William Penn Foundation. 26 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra Philadelphia is home and orchestra, and maximizes is one of the preeminent the Orchestra continues impact through Research. orchestras in the world, to discover new and The Orchestra’s award- renowned for its distinctive inventive ways to nurture winning Collaborative sound, desired for its its relationship with its Learning programs engage keen ability to capture the loyal patrons at its home over 50,000 students, hearts and imaginations of in the Kimmel Center, families, and community audiences, and admired for and also with those who members through programs a legacy of imagination and enjoy the Orchestra’s area such as PlayINs, side-by- innovation on and off the performances at the Mann sides, PopUP concerts, concert stage. The Orchestra Center, Penn’s Landing, free Neighborhood is inspiring the future and and other cultural, civic, Concerts, School Concerts, transforming its rich tradition and learning venues. The and residency work in of achievement, sustaining Orchestra maintains a Philadelphia and abroad. the highest level of artistic strong commitment to Through concerts, tours, quality, but also challenging— collaborations with cultural residencies, presentations, and exceeding—that level, and community organizations and recordings, the on a regional and national by creating powerful musical Orchestra is a global cultural level, all of which create experiences for audiences at ambassador for Philadelphia greater access and home and around the world. and for the US. Having engagement with classical been the first American Music Director Yannick music as an art form. orchestra to perform in the Nézet-Séguin’s connection The Philadelphia Orchestra People’s Republic of China, to the Orchestra’s musicians serves as a catalyst for in 1973 at the request has been praised by cultural activity across of President Nixon, the both concertgoers and Philadelphia’s many ensemble today boasts critics since his inaugural communities, building an five-year partnerships with season in 2012. Under his offstage presence as strong Beijing’s National Centre for leadership the Orchestra as its onstage one. With the Performing Arts and the returned to recording, with Nézet-Séguin, a dedicated Shanghai Media Group. In four celebrated CDs on body of musicians, and one 2018 the Orchestra traveled the prestigious Deutsche of the nation’s richest arts to Europe and Israel. The Grammophon label, ecosystems, the Orchestra Orchestra annually performs continuing its history of has launched its HEAR at Carnegie Hall while also recording success. The initiative, a portfolio of enjoying summer residencies Orchestra also reaches integrated initiatives that in Saratoga Springs and Vail. thousands of listeners on the promotes Health, champions For more information on radio with weekly broadcasts music Education, eliminates The Philadelphia Orchestra, on WRTI-FM and SiriusXM. barriers to Accessing the please visit www.philorch.org. 6 Music Director Chris Lee Music Director Yannick Nézet-Séguin will lead The Philadelphia Orchestra through at least the 2025-26 season, an extraordinary and significant long-term commitment. Additionally, he became the third music director of the Metropolitan Opera, beginning with the 2018-19 season. Yannick, who holds the Walter and Leonore Annenberg Chair, is an inspired leader of The Philadelphia Orchestra. His intensely collaborative style, deeply rooted musical curiosity, and boundless enthusiasm, paired with a fresh approach to orchestral programming, have been heralded by critics and audiences alike. The New York Times has called him “phenomenal,” adding that under his baton, “the ensemble, famous for its glowing strings and homogenous richness, has never sounded better.” Yannick has established himself as a musical leader of the highest caliber and one of the most thrilling talents of his generation. He has been artistic director and principal conductor of Montreal’s Orchestre Métropolitain since 2000, and in summer 2017 he became an honorary member of the Chamber Orchestra of Europe. He was music director of the Rotterdam Philharmonic from 2008 to 2018 (he is now honorary conductor) and was principal guest conductor of the London Philharmonic from 2008 to 2014. He has made wildly successful appearances with the world’s most revered ensembles and has conducted critically acclaimed performances at many of the leading opera houses. Yannick signed an exclusive recording contract with Deutsche Grammophon (DG) in May 2018. Under his leadership The Philadelphia Orchestra returned to recording with four CDs on that label. His upcoming recordings will include projects with The Philadelphia Orchestra, the Metropolitan Opera, the Chamber Orchestra of Europe, and the Orchestre Métropolitain, with which he will also continue to record for ATMA Classique. Additionally, he has recorded with the Rotterdam Philharmonic on DG, EMI Classics, and BIS Records, and the London Philharmonic for the LPO label. A native of Montreal, Yannick studied piano, conducting, composition, and chamber music at Montreal’s Conservatory of Music and continued his studies with renowned conductor Carlo Maria Giulini; he also studied choral conducting with Joseph Flummerfelt at Westminster Choir College. Among Yannick’s honors are an appointment as Companion of the Order of Canada; an Officer of the Order of Montreal; Musical America’s 2016 Artist of the Year; the Prix Denise-Pelletier; and honorary doctorates from the University of Quebec in Montreal, the Curtis Institute of Music, Westminster Choir College of Rider University, McGill University, and the University of Pennsylvania. To read Yannick’s full bio, please visit philorch.org/conductor. 27 Soloist Magnús Andersen Organist James McVinnie makes his Philadelphia Orchestra debut with these performances. His boundless approach to music has led him to collaborations with some of the world’s leading composers, producers, and performers in classical, contemporary, popular, and experimental music. Nico Muhly, Tom Jenkinson (Squarepusher), Martin Creed, Richard Reed Parry of Arcade Fire, Shara Nova, David Lang, and Bryce Dessner, among others, have written works for him. Mr. McVinnie is a member of the Icelandic record label/collective Bedroom Community. Cycles, his debut recording of music written for him by Mr. Muhly, was released on the label in 2013. An album of music by Philip Glass, The Grid, was released on Orange Mountain Music in summer 2018. Mr. McVinnie’s recent performance highlights include a solo recital at the Walt Disney Concert Hall in Los Angeles and a subsequent concerto debut with the Los Angeles Philharmonic and Esa-Pekka Salonen in the orchestra’s Reykjavik Festival. At London’s Barbican Centre Mr. McVinnie led the first performance of Mr. Glass’s Music in Twelve Parts by any group other than the composer’s own ensemble. His collaboration with Tom Jenkinson (Squarepusher) was presented at Amsterdam’s Concertgebouw by the 2017 Holland Festival. He also gave the first performances ofRegister by Mr. Muhly with the Los Angeles Philharmonic in February 2018. In January 2019 he gave the world premiere of Mr. Glass’s new Symphony No. 12 with the Los Angeles Philharmonic and John Adams conducting. He also performs the Symphony with the London Contemporary Orchestra in May 2019.
Load more

Recommended publications
  • The Transformation of Pushkin's Eugene Onegin Into Tchaikovsky's Opera
    THE TRANSFORMATION OF PUSHKIN'S EUGENE ONEGIN INTO TCHAIKOVSKY'S OPERA Molly C. Doran A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2012 Committee: Eftychia Papanikolaou, Advisor Megan Rancier © 2012 Molly Doran All Rights Reserved iii ABSTRACT Eftychia Papanikolaou, Advisor Since receiving its first performance in 1879, Pyotr Il’yich Tchaikovsky’s fifth opera, Eugene Onegin (1877-1878), has garnered much attention from both music scholars and prominent figures in Russian literature. Despite its largely enthusiastic reception in musical circles, it almost immediately became the target of negative criticism by Russian authors who viewed the opera as a trivial and overly romanticized embarrassment to Pushkin’s novel. Criticism of the opera often revolves around the fact that the novel’s most significant feature—its self-conscious narrator—does not exist in the opera, thus completely changing one of the story’s defining attributes. Scholarship in defense of the opera began to appear in abundance during the 1990s with the work of Alexander Poznansky, Caryl Emerson, Byron Nelson, and Richard Taruskin. These authors have all sought to demonstrate that the opera stands as more than a work of overly personalized emotionalism. In my thesis I review the relationship between the novel and the opera in greater depth by explaining what distinguishes the two works from each other, but also by looking further into the argument that Tchaikovsky’s music represents the novel well by cleverly incorporating ironic elements as a means of capturing the literary narrator’s sardonic voice.
    [Show full text]
  • Tchaikovsky's Romeo and Juliet
    Tchaikovsky’s Romeo and Juliet: A Schleiermacherian Interpretation Emer Nestor This article will discuss the application of Friedrich Daniel Ernst Schleiermacher’s (1768-1834) hermeneutical methods to a general reading of Tchaikovsky’s fantasy-overture, Romeo and Juliet. The German philosopher gave a lecture series on hermeneutics at the University of Berlin in 1819, and from his research on the subject he invariably redefined this field of philosophical thinking. The central elements of his ‘whole and parts’ theory will be discussed as an alternative mode of investigative music analysis. Richard E. Palmer presents six modern definitions of hermeneutics as follows: 1) The theory of biblical exegesis 2) General philological methodology 3) The science of all linguistic understanding 4) The methodological foundation of Geisteswissenschaften 5) Phenomenology of existence and of existential understanding 6) The systems of interpretation, both recollective and iconoclastic used by man to reach the meaning behind myths and symbols.1 The term ‘hermeneutics’ is a word which is prominent in theological, philosophical and literary circles but relatively new to the discipline of musicology.2 Ian Bent asserts that it ‘came to prominence in writing about music implicitly in the nineteenth century and explicitly in the early twentieth century’.3 He remarks that no author in the nineteenth century 1 Richard E. Palmer.: Hermeneutics: Interpretation Theory in Schleiermacher, Dilthey, Heidegger and Gadamer (Evanstown: Northwestern University Press, 1969), 3 3 - Hereafter referred to as Palmer: Hermeneutics. 2 For a more in-depth discussion of hermeneutics see Kurt Mueller-Vollmer: The Hermeneutics Reader: Texts of the German Tradition from the Enlightenment to the Present (Oxford: Basil Blackwell, 1986).
    [Show full text]
  • Treble Voices in Choral Music
    loft is shown by the absence of the con• gregation: Bach and Maria Barbara were Treble Voices In Choral Music: only practicing and church was not even in session! WOMEN, MEN, BOYS, OR CASTRATI? There were certain places where wo• men were allowed to perform reltgious TIMOTHY MOUNT in a "Gloria" and "Credo" by Guillaume music: these were the convents, cloisters, Legrant in 1426. Giant choir books, large and religious schools for girls. Nuns were 2147 South Mallul, #5 enough for an entire chorus to see, were permitted to sing choral music (obvious• Anaheim, California 92802 first made in Italy in the middle and the ly, for high voices only) among them• second half of the 15th century. In selves and even for invited audiences. England, choral music began about 1430 This practice was established in the with the English polyphonic carol. Middle Ages when the music was limited Born in Princeton, New Jersey, Timo• to plainsong. Later, however, polyphonic thy Mount recently received his MA in Polyphonic choral music took its works were also performed. __ On his musi• choral conducting at California State cue from and developed out of the cal tour of Italy in 1770 Burney describes University, Fullerton, where he was a stu• Gregorian unison chorus; this ex• several conservatorios or music schools dent of Howard Swan. Undergraduate plains why the first choral music in Venice for girls. These schools must work was at the University of Michigan. occurs in the church and why secular not be confused with the vocational con• compositions are slow in taking up He has sung professionally with the opera servatories of today.
    [Show full text]
  • Loose Adaptation for Chamber Orchestra (2013, Commissioned by Festival Berlioz) by Arthur Lavandier (Born in 1987)
    LE BALCON SYMPHONIE FANTASTIQUE Loose adaptation for chamber orchestra BERLIOZ | LAVANDIER Le Balcon New Label — Le Balcon French national release : September 20th, 2016 CD BOX : TRANSAURAL VERSION – 3D SURROUND MIX FOR LOUDSPEAKERS- DOWNLOAD CODE INCLUDED FOR BINAURAL VERSION -3D SURROUND MIX FOR HEADPHONES Concerts : Théâtre de l’Athénée Sep 24 & 25, 2016 — Festival de Pâques de Deauville Apr 15, 2017 Teatro Mayor Jun 9, 2017 — Théâtre de Carcassonne Dec 8, 2017 — Opéra de Lille Mar 25, 2018 press [at] lebalcon.com PRESENTATION Hector Berlioz (1803-1869) Symphonie fantastique op. 14 (1830) Loose adaptation for chamber orchestra (2013, commissioned by Festival Berlioz) by Arthur Lavandier (born in 1987) In commissioning the Balcon ensemble for an ‘interpretation’ of the Symphonie Fantastique, the Festival Berlioz took a considerable risk. Given the size of the orchestra, a ‘transcription’, an ‘adaptation’ was necessary or in Arthur Lavandier’s words a ‘recreation’ – a term that we will retain since it was he who undertook this hazardous task. It is not a case of Berlioz against Lavandier, and the contrary even less so. It is an ‘encounter of a third kind’, a mosaic challenge, an open-minded tribute, an orchestral game, and shared laughter despite the centuries that divide them both. We could also say that it was like a fan- tasy film re-make. LE BALCON CONDUCTOR, MAXIME PASCAL PRODUCTION AND EDITORIAL CONCEPT, FLORENT DEREX SOLO VIOLIN, YOU JUNG HAN FLUTE, CLAIRE LUQUIENS OBOE, YE CHANG JUNG CLARINET, IRIS ZERDOUD BASSOON, JULIEN ABBES
    [Show full text]
  • Symphony and Symphonic Thinking in Polish Music After 1956 Beata
    Symphony and symphonic thinking in Polish music after 1956 Beata Boleslawska-Lewandowska UMI Number: U584419 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U584419 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Declaration This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signedf.............................................................................. (candidate) fa u e 2 o o f Date: Statement 1 This thesis is the result of my own investigations, except where otherwise stated. Other sources are acknowledged by footnotes giving explicit references. A bibliography is appended. Signed:.*............................................................................. (candidate) 23> Date: Statement 2 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed: ............................................................................. (candidate) J S liiwc Date:................................................................................. ABSTRACT This thesis aims to contribute to the exploration and understanding of the development of the symphony and symphonic thinking in Polish music in the second half of the twentieth century.
    [Show full text]
  • History of Music
    HISTORY OF MUSIC THE ROMANTIC ERA Created by J. Rogers (2015) 2 GOWER COLLEGE SWANSEA MUSIC Table of Contents Romantic Era Introduction (1830 – 1910) ............................................. 4 Programme Music ........................................................................................ 5 Concert Overture .............................................................................................. 5 Programme Symphony ....................................................................................... 6 Symphonic Poem ................................................................................................. 9 Romantic Piano Music ............................................................................... 11 Lieder and Song-cycles .............................................................................. 12 Opera and Music Dramas ......................................................................... 15 Italian Opera ..................................................................................................... 15 Music Dramas ................................................................................................... 16 Leitmotifs in The Ring ..................................................................................... 17 GOWER COLLEGE SWANSEA 3 MUSIC History of Music The History of Music can be broadly divided into separate periods of time, each with its own characteristics or musical styles. Musical style does not, of course, change overnight. It can often be a gradual process
    [Show full text]
  • Tchaikovsky.Pdf
    Tchaikovsky CD 1 1 Orchestrion It wasn’t unusual, in the middle of the 19th century, to hear sounds like that coming from the drawing rooms of comfortable, middle-class families. The Orchestrion, one of the first and grandest of mass-produced mechanical music-makers, was one of the precursors of the 20th century gramophone. It brought music into homes where otherwise it might never have been heard, except through the stumbling fingers of children, enduring, or in some cases actually enjoying, their obligatory half-hour of practice time. In most families the Orchestrion was a source of pleasure. But in one Russian household, it seems to have been rather more. It afforded a small boy named Piotr Ilyich Tchaikovsky some of his earliest glimpses into a world, and a language, which was to become (in more senses then one), his lifeline. One evening his French governess, Fanny Dürbach, went into the nursery and found the tiny child sitting up in bed, crying. ‘What’s the matter?’ she asked – and his answer surprised her. ‘This music’ he wailed, ‘this music!’ She listened. The house was quiet. ‘No. It’s here,’ cried the boy – he pointed to his head. ‘It’s here, and I can’t make it go away. It won’t leave me.’ And of course it never did. ‘His sensitivity knew no bounds and so one had to deal with him very carefully. Every little trifle could upset or wound him. He was a child of glass. As for reproofs and admonitions (with him there could be no question of punishments), what would have been water off a duck’s back to other children affected him deeply, and if the degree of severity was increased only the slightest, it would upset him alarmingly.’ Despite his outwardly happy appearance, peace of mind is something Tchaikovsky rarely knew, from childhood to his dying day.
    [Show full text]
  • Iolanta Bluebeard's Castle
    iolantaPETER TCHAIKOVSKY AND bluebeard’sBÉLA BARTÓK castle conductor Iolanta Valery Gergiev Lyric opera in one act production Libretto by Modest Tchaikovsky, Mariusz Treliński based on the play King René’s Daughter set designer by Henrik Hertz Boris Kudlička costume designer Bluebeard’s Castle Marek Adamski Opera in one act lighting designer Marc Heinz Libretto by Béla Balázs, after a fairy tale by Charles Perrault choreographer Tomasz Wygoda Saturday, February 14, 2015 video projection designer 12:30–3:45 PM Bartek Macias sound designer New Production Mark Grey dramaturg The productions of Iolanta and Bluebeard’s Castle Piotr Gruszczyński were made possible by a generous gift from Ambassador and Mrs. Nicholas F. Taubman general manager Peter Gelb Additional funding was received from Mrs. Veronica Atkins; Dr. Magdalena Berenyi, in memory of Dr. Kalman Berenyi; music director and the National Endowment for the Arts James Levine principal conductor Co-production of the Metropolitan Opera and Fabio Luisi Teatr Wielki–Polish National Opera The 5th Metropolitan Opera performance of PETER TCHAIKOVSKY’S This performance iolanta is being broadcast live over The Toll Brothers– Metropolitan Opera International Radio Network, sponsored conductor by Toll Brothers, Valery Gergiev America’s luxury in order of vocal appearance homebuilder®, with generous long-term marta duke robert support from Mzia Nioradze Aleksei Markov The Annenberg iol anta vaudémont Foundation, The Anna Netrebko Piotr Beczala Neubauer Family Foundation, the brigit te Vincent A. Stabile Katherine Whyte Endowment for Broadcast Media, l aur a and contributions Cassandra Zoé Velasco from listeners bertr and worldwide. Matt Boehler There is no alméric Toll Brothers– Keith Jameson Metropolitan Opera Quiz in List Hall today.
    [Show full text]
  • Late Romantic Period 1850-1910 • Characteristics of Romantic Period
    Late Romantic Period 1850-1910 • Characteristics of Romantic Period o Emotion design over intellectual design o Individual over society o Music increased in length and changed emotion often in the same piece • Hector Berlioz (1803-1869) o French composer o Known for writing for large orchestras, sometimes over 1000 musicians o An Episode in the Life of an Artist (Symphonie Fantastique) • Convinced that his love is spurned, the artist poisons himself with opium. The dose of narcotic, while too weak to cause his death, plunges him into a heavy sleep accompanied by the strangest of visions. He dreams that he has killed his beloved, that he is condemned, led to the scaffold and is witnessing his own execution. The procession advances to the sound of a march that is sometimes sombre and wild, and sometimes brilliant and solemn, in which a dull sound of heavy footsteps follows without transition the loudest outbursts. At the end of the march, the first four bars of the idée fixe reappear like a final thought of love interrupted by the fatal blow. • Richard Wagner (1813-1883) o German composer and theatre director o Known for opera – big dramatic works • Built his own opera house in order to be able to accommodate his works • Subjects drawn from Norse mythology o Lohengrin – Bridal Chorus o Die Walkure • Franz Liszt (1811-1886) o Hungarian composer and virtuoso pianist o Used gypsy music as basis for compositions o Created modern piano playing technique o Invented the form of Symphonic Poem or Tone Poem Music based on art, literature, or other “nonmusical” idea One movement with several ‘ideas’ that move freely throughout the piece o Hungarian Rhapsody No.
    [Show full text]
  • Hector Berlioz Harold in Italy, Op. 16
    PROGRAM NOTES by Phillip Huscher Hector Berlioz Born December 11, 1803, Côte-Saint-André, France. Died March 8, 1869, Paris, France. Harold in Italy, Op. 16 Berlioz composed Harold in Italy in 1834. The first performance was given on November 23 of that year in Paris. The score calls for solo viola and an orchestra consisting of two flutes and piccolo, two oboes and english horn, two clarinets, four bassoons, four horns, two cornets and two trumpets, three trombones and tuba, timpani, snare drum, triangle, cymbals, harp, and strings. Performance time is approximately forty-two minutes. The Chicago Symphony Orchestra's first performances of Berlioz's Harold in Italy were given on subscription concerts at the Auditorium Theatre on March 11 and 12, 1892 with August Junker as soloist and Theodore Thomas conducting. At one of the first performances of his blockbuster Symphonie fantastique, Hector Berlioz noticed that a man stayed behind in the empty concert hall after the ovations had ended and the musicians were packing up to go home. He was, as Berlioz recalls in his Memoirs, "a man with long hair and piercing eyes and a strange, ravaged countenance, a creature haunted by genius, a Titan among giants, whom I had never seen before, the first sight of whom stirred me to the depths." The man stopped Berlioz in the hallway, grabbed his hand, and "uttered glowing eulogies that thrilled and moved me to the depths. It was Paganini." Paganini, is, of course, Italian-born Nicolò Paganini, among the first of music's one-name sensations. In 1833, the year he met Berlioz, Paganini was one of music's greatest celebrities, known for the almost superhuman virtuosity of his violin playing as well as his charismatic, commanding presence.
    [Show full text]
  • Chicago Presents Symphony Muti Symphony Center
    CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI zell music director SYMPHONY CENTER PRESENTS 17 cso.org1 312-294-30008 1 STIRRING welcome I have always believed that the arts embody our civilization’s highest ideals and have the power to change society. The Chicago Symphony Orchestra is a leading example of this, for while it is made of the world’s most talented and experienced musicians— PERFORMANCES. each individually skilled in his or her instrument—we achieve the greatest impact working together as one: as an orchestra or, in other words, as a community. Our purpose is to create the utmost form of artistic expression and in so doing, to serve as an example of what we can achieve as a collective when guided by our principles. Your presence is vital to supporting that process as well as building a vibrant future for this great cultural institution. With that in mind, I invite you to deepen your relationship with THE music and with the CSO during the 2017/18 season. SOUL-RENEWING Riccardo Muti POWER table of contents 4 season highlight 36 Symphony Center Presents Series Riccardo Muti & the Chicago Symphony Orchestra OF MUSIC. 36 Chamber Music 8 season highlight 37 Visiting Orchestras Dazzling Stars 38 Piano 44 Jazz 10 season highlight Symphonic Masterworks 40 MusicNOW 20th anniversary season 12 Chicago Symphony Orchestra Series 41 season highlight 34 CSO at Wheaton College John Williams Returns 41 CSO at the Movies Holiday Concerts 42 CSO Family Matinees/Once Upon a Symphony® 43 Special Concerts 13 season highlight 44 Muti Conducts Rossini Stabat mater 47 CSO Media and Sponsors 17 season highlight Bernstein at 100 24 How to Renew Guide center insert 19 season highlight 24 Season Grid & Calendar center fold-out A Tchaikovsky Celebration 23 season highlight Mahler 5 & 9 24 season highlight Symphony Ball NIGHT 27 season highlight Riccardo Muti & Yo-Yo Ma 29 season highlight AFTER The CSO’s Own 35 season highlight NIGHT.
    [Show full text]
  • You Conducted the Vienna Philharmonic in Their Annual Ball at the Musikverein, the Day Before Yesterday
    Interview with conductor Semyon Bychkov Tutti-magazine: You conducted the Vienna Philharmonic in their annual ball at the Musikverein, the day before yesterday. What did you take away from the experience ? Semyon Bychkov: It was an extraordinary experience, it is hard to find words to describe it. The women and the debutantes were dressed in sumptuous ball gowns and the atmosphere made it feel as if one were in the 19th century. For someone like me who sometimes wishes they’d lived in the 18th or 19th centuries, the evening reminded me of a style approrpriate to a particularly beautiful past. As I’ve said many times to your colleagues, I would be very happy if this beautiful and joyful spirit could be shared by as many people as possible and offer an alternative to the vulgarity and violence which occur daily in the world today. As I was leaving on tour with the Vienna Philharmonic, I arrived to drop my things off at the Great Hall of the Musikverein in the afternoon – the following day we would be playing in Hamburg at the Elbphilharmonie - the Hall was deserted and the view was so extraordinary that I couldn’t resist taking some photographs : all the stalls seats had been removed and replaced by flowers and tables. Of course I also noticed the wall covered with photographs of conductors who had worked with the orchestra, and thought: «So here is the conductors’ wall of fame»… That evening, immediately after our concert, everything that had been installed was moved to the large empty space under the floor of the Hall.
    [Show full text]