Julho 2011 | Mare Mostrum: Tradição E Inovação

Total Page:16

File Type:pdf, Size:1020Kb

Julho 2011 | Mare Mostrum: Tradição E Inovação 37º Festival do Estoril | Julho 2011 | Mare Mostrum: Tradição e Inovação 14 | 21.30 h. Centro Cultural de Cascais | Cascais 19 | 21.30 h. Sala Atlântico | Hotel Palácio | Estoril 27 | 21.30 h. Centro Cultural de Cascais | Cascais 15 a 16 Escola de Hotelaria e Turismo do Estoril | Estoril Mare Nostrum | De los Castillos y Calles de España Pontes no Mare Nostrum Mare Nostrum | Descobrir uma nova dinâmica 17 Centro Cultural de Cascais | Cascais HOPKINSON SMITH, guitarra barroca FABIO ZANON, guitarra SONOR ENSEMBLE 13º CONCURSO DE INTERPRETAÇÃO DO Gaspar Sanz | Três temas espanhóis; Europa em Miniatura Peter Philips| Cromatic Pavan and Galliard * LUIS AGUIRRE, maestro ESTORIL | PRÉMIO EL CORTE INGLÉS Francisco Guerau | Passacalles e Canarios Manuel Ponce | Variações sobre ‘Folia d’Espagne’ e Fuga FEDERICO JUSID, piano 15 e 16 | Provas eliminatórias das 10.00 h. às 13.00 h. Antonio de Santa Cruz | Jácaras Francisco Mignone | Três Estudos * Györy Ligeti | Antigas danças húngaras de salão * e das 15.00 h. às 19.00 h. | Gaspar Sanz | Cinco peças € 15,00 Robert Keeley | Encantamientos * Ernesto Halffter | Sérénade a Dulcinée * 17 Final: 16.30 h. entrada livre Seis Peças Latinoamericanas * € 15,00 Delfi n Colomé | Concerto clássico para piano e cordas * Eurico Carrapatoso | Cinco refl exões sobre Peer Gynt ** 20 | 21.30 h. Sala Atlântico | Hotel Palácio | Estoril Federico Jusid | Tango variações para piano e ensemble * € 15,00 20 | Museu da Música Portuguesa | Monte Estoril 16 | 21.30 h. Centro Cultural de Cascais | Cascais Tradição Europeia I Master class 10.00 h Melodramas THE GREENWICH TRIO 28 | 21.30 h. Sala Atlântico | Hotel Palácio | Estoril FABIO ZANON, guitarra , actriz , violino MANUELA DE FREITAS Lana Trotovsek Projecto MusMA II | Bicentenário de Franz Liszt SUSANA BORGES, actriz Stjepan Hauser, violoncelo NUNO VIEIRA DE ALMEIDA, piano Yoko Misumi, piano RICHARD FRANK, piano Franz Schubert | Despedida da terra Ludwig van Beethoven | Trio nº. 3, op.1 em Dó menor Franz Schubert | Fantasia Wanderer Franz Liszt | O cantor cego ; O monge triste Sergei Rachmaninov | Trio Elegiaco nº. 1, op. post. Marcell Dargay | Legendes nº. 3 ** João Madureira | A minha solidão vê-se melhor... € 15,00 Maurice Ravel | Trio em Lá menor € 15,00 Iluminada Pérez Frutos | Al-Azhar / Aromas de leyenda ** 22 | 21.30 h. Sala Atlântico | Hotel Palácio | Estoril Fazil Ohrun | Music for piano * 26 a 28 | Sala Estoril | Hotel Estoril Eden | Monte Estoril 17 | 16.30 h. Centro Cultural de Cascais | Cascais Tradição Europeia II Verdi-Liszt | Paráfrase da Ópera Ernani Novos talentos Chopin-Liszt | Canções Polacas nºs.1 e 5 WIENER MOZART TRIO Gounod-Liszt | Valsa da Ópera Fausto € 15,00 10º Encontro de Compositores: FINAL DO 13º CONCURSO DE Irina Auner, piano Mare Nostrum Andrea Padova, Itália | Fazil Orhun, Turquía | INTERPRETAÇÃO DO ESTORIL | Daniel Auner, violino Iluminada Pérez Frutos, Espanha | , violoncelo PRÉMIO EL CORTE INGLÉS Diethard Auner 29 | 21.30 h. Igreja dos Salesianos | Estoril Marcell Dargay, Hungria | Mateuz Ryczek, Polónia | Wolfgang Amadeus Mozart | Trio nº. 4, KV 542 em Mi Maior 1º Prémio do CIE 2010 Nana Forte, Eslovénia | Vít Zouhar, República Checa | Ludwig van Beethoven | Trio op. 70 nº 1 em Ré Maior João Godinho, Luis Tinoco, Bedrich Smetana | Trio em Sol menor, op. 15 € 15,00 ORQUESTRA METROPOLITANA João Madureira, Nuno Côrte-Real | Portugal 18 | 21.30 h. Centro Cultural de Cascais | Cascais DE LISBOA Caminhos de transição: Sec. XIX | XX 26 | 21.30 h. Centro Cultural de Cascais | Cascais MASSIMO PALUMBO, maestro Projecto MusMA I I Bicentenário de Franz Liszt SUELA MULAJ, violino ELENA DENISOVA, violino IVA BARBOSA, clarinete ALEXEI KORNIENKO, piano JOANA GAMA, piano Camille Saint-Saens | Une nuit à Lisbonne Robert Fuchs | Seis Intermezzi, Franz Liszt | Années de Pélerinage –Suisse Félix Mendelssohn | Concerto para violino Franz Liszt | Grand Duo concertant João Godinho | Fogo Posto (Arson) ** Wolfgang Amadeus Mozart | Concerto para clarinete Gustav Mahler | Satz, nicht zu schnell * Mateusz Ryczek | Sub-deep of The Night * € 15,00 Alexander von Zemlinsky | Serenade em Lá Maior Vit Zouhar | Knots for piano * * Estreia em Portugal Sala Atlântico - Hotel Palácio Centro Cultural de Cascais Museu da Música Portuguesa Igreja dos Salesianos * Transcrição para violino e piano, de Pavel Singer, Andrea Padova | Waterscape in motion ** ** Estreia absoluta do Quarteto com piano nº.1 € 15,00 Nana Forte | A broken car ** € 15,00.
Recommended publications
  • Violinist Lana Trotovsek Has Won Admiration for Her Expressive Playing and Unique Musicality
    Violinist Lana Trotovsek has won admiration for her expressive playing and unique musicality. The Washington Post has described her as ‘Radiant’ and praised her ‘clean, refined tone with musical sense of phrasing and impeccable intonation’. The Strad Magazine has mentioned her ‘true feel of live intuitive performance’ . She has captivated audiences with her ‘warm sound and formidable technique’ La Vanguardia and her talent of bringing ‘freshness, depth and insight’ Broad Street Review to her interpretations. Since her debut with the Mariinsky Theatre Orchestra under Valery Gergiev in 2012, Lana Trotovsek appeared with some of the world’s finest orchestras. In 2014, she toured with the Moscow Soloists and Yuri Bashmet and in 2016 she performed Prokofiev’s Violin Concerto No.1 with the London Symphony Orchestra under Gianandrea Noseda. Her recent schedule included the BBC 3 live recording of a Violin Concerto “Venus Blazing” composed by Deirdre Gribbin with the Ulster Orchestra in Belfast, Tchaikovsky violin concerto with the Royal Philharmonic Orchestra under Raphael Payare, a premiere of Hugo Wolf Violin Concerto in Congress Centre Villach in Austria, Mendelssohn violin concerto with the RTS Symphony Orchestra in the Shanghai Oriental Arts Centre as well as in Klagenfurt Konzerthaus with Carinthian Symphony Orchestra, and an evening recital in Wigmore Hall, which has been described as “remarkable” by the Strad magazine. Over the past few years Lana has collaborated with Tan Dun and Orchestra Teatro Verdi, the Shanghai and Slovenian Philharmonic, as well as Uros Lajovic and the Sarajevo Philharmonic Orchestra, the RTV Slovenia under George Pehlivanian, the Kalamazoo Symphony Orchestra, and the Chamber Orchestra of Philadelphia, where she was described as “an emerging voice to watch” by Philadelphia Inquirer.
    [Show full text]
  • And Progress to St Martin's Chamber Music Competition Final
    Competition Final: Tuesday 27 April, 7.30pm Thank you Iceland: Finalists Defy 'Act of God' and progress to St Martin's Chamber Music Competition Final The Piatti String Quartet, Greenwich Trio and Elixir Trio will perform in their bid to become the first ever winners of St Martin's Chamber Music Competition in partnership with Making Music. After making it through the preliminary and semi−final rounds, the three groups will compete for the coveted prize. Piatti String Quartet, stranded in France by the cloud of volcanic ash which wreaked havoc for travellers across Europe last week, drove through the night to a ferry from Dunkirk in order to make their scheduled semi−final last Tuesday 20 April. While those stranded were cursing Iceland's volcanic activity, The Greenwich Trio are newly converted fans of the volcano. As the reserve ensemble for the semi−final of the competition, they were called on Monday 19 April when it became clear that unfortunately, not all semi−finalists would make it back to London to perform, and were offered a place in the semi−final the next day. Their performance of excerpts from Beethoven's Archduke Piano Trio and Ravel Piano Trio in A minor impressed the panel with its vivacity, passion and technical brilliance. Paris based Elixir Trio according to one semi−final panellist, gave the "most extraordinarily moving and engaging" performance of the slow movement from Francaix's Piano Trio to secure their place in Tuesday's final. "We gave them extra points for the violinist's blue hair" joked another panellist, then hastening to add that actually, it was the groups musical performance which saw them succeed.
    [Show full text]
  • Clarinetfest® 2015 — Madrid
    Antonio Romero and his time ClarinetFest® 2015 — madrid Volume 42, Number 2 March 2015 ABOUT THE COVER… FEATURES CLARINETFEST® 2015 – MADRID, SPAIN / JULY 22–26, 2015 by Héctor Abella . 30 Antonio Romero (engraving from his Method, 2nd ed . Library of the Royal Superior MÁXIMO MUÑOZ PAVÓN: Conservatory in Madrid, signature 1/190); A BENCHMARK OF THE CLARINET IN SPAIN by Carlos Javier Fernández Cobo . 34 Romero System clarinet by Lefêvre, Paris, DON’T GIVE ME DAPHNIS: ca. 1867. Gift of William J. Maynard, AN INJURY RECOVERY GUIDE FOR CLARINETISTS Massapequa Park, New York, 1996. by Mary Alice Druhan, with Kristin Keesey, and Debbie Gillespie . 36 (Photo by Bill Willroth, Sr., courtesy of National Music HYSTERICALLY SPEAKING by Eric Hoeprich . 39 Museum, University of South Dakota, NMM 5924) A PERSPECTIVE ON ENRIQUE CALVIST (1851–1897) INDEX OF ADVERTISERS by Àngel Lluís Ferrando Morales . 40 SPANISH CLARINET MUSIC: AMB Clarinet . 46 THE PATH FROM ROMERO TO TODAY by Gregory Barrett . 44 Ann Arbor Clarinet Connection . 46 KLEZMER DANCES FOR CLARINET, Aria International Summer Academy . 96 STRINGS, PERCUSSION AND TUBA by Eugene Kavadlo . 53 AW-Reeds GbR . 45 THE ROMERO-SYSTEM CLARINET: Belgian Clarinet Academy . 93 HISTORICAL NOTES AND OTHER INQUIRIES by Pedro Rubio . 54 Brannen Woodwinds . 25 AN INTERVIEW WITH JOSÉ ANTONIO TOMÁS PÉREZ by Carlos J. Casadó . 60 Brevard Music Center . 14 Brixton Publications . 84 MIGUEL YUSTE (1870–1947): THE SEARCH FOR HIS WORKS by Malena McLaren . 64 Buffet Group USA . IFC RESTORING ALEC WILDER’S ORIGINALS by Glenn Bowen . 67 California Clarinet Clinic . 50 PATRICE SCIORTINO AND HIS WORKS WITH CLARINET by Jean-Marie Paul .
    [Show full text]
  • Download City Events, February 2016
    _____________________________________________________________________________________________________________ February 2016 Published by FCC in conjunction with the Archdeaconry of London www.cityevents.website _____________________________________________________________________________________________________________ Sword Rests of the City The historic churches of the City of London contain many unusual and interesting furnishings and fittings. Among the most intriguing are the sword rests which are present in so many of the churches in the “square mile”, but in very few other locations in the country. Sword rests, or sword stands as they are sometimes called, were originally installed in City churches to hold the Lord Mayor's sword of state when he visited a different church every Sunday, a practice which ceased in 1883. The Lord mayor would be accompanied by various officers of the City, including the swordbearer, who would place the ceremonial sword upright in a sword rest, most commonly attached to the front pews. The oldest surviving rest dates from 1664 and the majority were installed in the 18th and 19th centuries. There are 58 surviving sword rests originating from City churches or livery halls. Two thirds of these can be seen in City churches, four are in livery halls, while the remainder are either in storage in churches or in museums . Two can be seen in All Hallows Twickenham, a Wren church rebuilt in the suburbs in 1939. All the sword rests, with the exception of that in St Michael Cornhill, are surmounted by a royal crown and almost all have the City’s coat of arms prominently displayed. Many also show the royal arms, the coat of arms of at least one Lord Mayor and, in a number of cases, the arms of the livery company of which dthe Lor Mayor was a member.
    [Show full text]
  • Autumn Season Sept
    Autumn Season Sept - Dec 2021 from our audience: “what a joy to find ourselves sitting once again inside our favourite Conway Hall, immersed in the music of yet another delightful group of first-class musicians.” Support us In order to continue to fulfil our ethos of You can help us to continue our work by “affordable classical music for all”, philanthropic donating today. The generosity that you may support is ever more significant to the bright provide will not just benefit Conway Hall as a future of our concert series. By supporting our cultural organisation, but also help the roster of concerts, you will be playing a vital role in professional musicians we work with continue to enabling us to deliver inspiring concerts for many realise their lifelong ambitions. years to come, and memorable experiences for new and long-lasting audiences. How to Donate: In return for your generosity, we can offer exclusive benefits that get you We are extremely grateful for the support closer to our concerts, including: of our current distinguished patrons who are • Patrons’ receptions after key concerts renowned musicians, actors and broadcasters. • The opportunity to attend rehearsals By supporting our series you will join a family • Meet the Artists after the concert of dedicated, generous people who share a • Acknowledgment in our concert programmes common passion and enthusiasm for music. and on our website Whatever your interests or background, we can build a close,rewarding relationship with you. You can make a one-off donation online here: bit.ly/concertsdonation Not only do we provide a performance platform for established chamber groups, but we also You can also donate by cheque, payable give a springboard for the next generation of to “Conway Hall Ethical Society”, sent to: young artists to make their mark on the classical Conway Hall Sunday Concerts, music stage.
    [Show full text]
  • Download Booklet
    Page 1 Stjepan Hauser PORTRAIT with Yoko Misumi Piano Page 2 Page 3 Luigi Boccherini (1743-1805) Rimsky-Korsakov and other Russian composers gave PORTRAIT Cello Sonata in G way to a thoroughly personal idiom which included a Works for Cello and Piano pronounced lyricism, expressive breadth, structural Luigi Boccherini, born in Lucca in 1743, was the ingenuity and a tonal palette of rich, distinctive Stjepan Hauser - Cello Yoko Misumi - Piano leading cello virtuoso of his day. As Pablo Casals once orchestral colors. Vocalise is one of the best known recalled it “Boccherini is Mozart of the cello”, his pieces in the classical music repertoire. It was music is pure, heavenly beautiful and virtuosic. The published in 1912 as the last of his Fourteen Songs, Luigi Boccherini sonatas for cello were written as a music he could Op. 34. originally written as a wordless exercise for Sonata No 3 in G Major G.5 display his talents when touring. The first movement singers, designed to work on a specific aspect of range [1] Largo 2:57 is a simple singing movement while second is notable or technique. It proved to be an immediate favourite of [2] Allegro alla militare 3:24 for the vigorous military rhythms. Third movement is singers, and Rachmaninov returned to the piece, [3] Tempo di Minuetto 3:48 menuet like and is typically gracious in stile. revising it slightly, and creating a series of instrumental arrangements. The Vocalise proved to be enduringly popular and exists in hundreds of Gabriel Faure Gabriel Faure (1845-1924) arrangements for everything from choir and orchestra [4] Apres un Reve 4:23 Apres un Revé Op 7 No 1 (1877) to saxophone quartet to solo accordion.
    [Show full text]
  • Duets with Piano
    Technological University Dublin ARROW@TU Dublin Conference papers Conservatory of Music and Drama 2018 Ira-Paul Schwarz. Impressions of a Cloud and Romantic Mementos: Duets with Piano. Paul Roe Technological University Dublin, [email protected] Follow this and additional works at: https://arrow.tudublin.ie/aaconmuscon Part of the Music Education Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Roe, P. (2015) Ira-Paul Schwarz. Impressions of a Cloud and Romantic Mementos: Duets with Piano in The Clarinet, Vol.42 No 2, March 2015. doi:10.21427/mvva-gf26 This Review is brought to you for free and open access by the Conservatory of Music and Drama at ARROW@TU Dublin. It has been accepted for inclusion in Conference papers by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License Antonio Romero and his time ClarinetFest® 2015 — madrid Volume 42, Number 2 March 2015 ABOUT THE COVER… FEATURES CLARINETFEST® 2015 – MADRID, SPAIN / JULY 22–26, 2015 by Héctor Abella . 30 Antonio Romero (engraving from his Method, 2nd ed . Library of the Royal Superior MÁXIMO MUÑOZ PAVÓN: Conservatory in Madrid, signature 1/190); A BENCHMARK OF THE CLARINET IN SPAIN by Carlos Javier Fernández Cobo . 34 Romero System clarinet by Lefêvre, Paris, DON’T GIVE ME DAPHNIS: ca. 1867. Gift of William J. Maynard, AN INJURY RECOVERY GUIDE FOR CLARINETISTS Massapequa Park, New York, 1996. by Mary Alice Druhan, with Kristin Keesey, and Debbie Gillespie .
    [Show full text]
  • Download Booklet
    Page 1 The Greenwich Trio Ludwig van Beethoven Piano Trio Op.70, No.2 in E flat Felix Mendlessohn-Bartholdy Piano Trio C minor, Op.66 Lana Trotovšek - violin Stjepan Hauser - cello Yoko Misumi - piano Page 2 Page 3 When it comes to the medium of the piano trio, shortly after Beethoven had completed his 6th Beethoven's contribution was truly pioneering. Symphony. He had been requested by his publishers, Although both, Haydn and Mozart wrote Breitkopf and Härtel to follow the success of his prolifically for the genre before him, the "Pastoral" Symphony with more piano sonatas, but The Greenwich Trio relationship in their works was not of an equal instead he delivered two piano trios, thirteen years nature between piano and strings. The Trio after writing his first set of piano trios, op.1 Nos 1-3. Op.70 No.2 stood for a long time in the shadow The Op.70 pair was composed in 1808/9, while he was Ludwig van Beethoven of its better known predecessor, the "Ghost" living in the Vienna house of the Countess Erdődy. An Piano Trio Op. 70, No. 2 in E flat trio, Op.70 No.1. For 19th-century taste at the ardent lover of art, she had introduced him to much of time it was apparently not regarded as serious Vienna's aristocracy, which was of great importance to enough - too gay, too amusing. The music Beethoven's financial livelihood. Not surprisingly, she [1] Poco sostenuto - Allegro ma non troppo 11:11 theorist Adolf Bernhard Marx saw the Op.70 was one of the most important people in the [ ] No.2 Trio as "Nothing as exciting and composer's life, and he dedicated these works to 2 Allegretto 5:41 entertaining music".
    [Show full text]
  • Sunday Concerts Spring Season 2021
    Spring Season Jan - May 2021 from our audience: “an amazing acoustic and very welcoming... a distinctive character with a long and proud history as a venue for classical music concerts” Support us In order to continue to fulfil our ethos of You can help us to continue our work by “affordable classical music for all”, philanthropic donating today. The generosity that you may support will be ever more significant to the provide will not just benefit Conway Hall as a bright future of our concert series. By supporting cultural organisation, but also help the roster of our concerts, you will be playing a vital role in professional musicians we work with continue to enabling us to deliver inspiring concerts for many realise their lifelong ambitions. years to come, and memorable experiences for new and long-lasting audiences. How to Donate: In return for your generosity, we can offer exclusive benefits that get you We are extremely grateful for the support closer to our concerts, including: of our current distinguished patrons who are • Patrons’ receptions after key concerts renowned musicians, actors and broadcasters. • The opportunity to attend rehearsals Supporting our series means that you will join • Meet the Artists after the concert a family of dedicated, generous people who • Acknowledgment in our concert programmes share a common passion and enthusiasm for and on our website music. Whatever your interests or backgrounds, we can build a close and rewarding You can make a one-off donation online here: relationship with you. sundayconcerts.ticketsolve.com/products/ donation Not only do we provide a performance platform for established chamber groups, but we also You can also donate by cheque, payable give a springboard for the next generation of to “Conway Hall Ethical Society”, sent to: young artists to make their mark on the classical Conway Hall Sunday Concerts, 25 Red Lion music stage.
    [Show full text]
  • Friends of the City Churches, Church of St Magnus the Martyr, Lower Thames Street, London EC3R 6DN, Tel
    ____________________________________________________________________________________________________________________________________________________ February 2013 Published by the FCC in conjunction with the Archdeaconry of London www.cityevents.co.uk The Roman Influence on Wren’s City Churches Christopher Wren, in designing his City churches after the Great Fire, used, where possible, the principles of classical architecture, not the Gothic style which had dominated church architecture in England prior to the Reformation. There were effectively no churches in England that could serve as an example for him. Wren had visited Paris in 1665, where he had seen the domed churches of Lemercier’s Sorbonne and Mansart’s Val de Grace. The main source of classical church design, however, lay in Rome, where great architects like Bramante, Bernini and Borromini had been building domed churches in the classical style. Many of these buildings were known to Wren through a book of engravings by Giovanni Falda, “Chiese di Roma”, the 1675 edition of which is known to have been in his possession. Wren also had copies of the works of Serlio (from the 16th century) and Vitruvius (1st century BC), the latter being the only contemporary written authority on the buildings of ancient Rome. Wren’s biggest churches, such as St Bride Fleet Street, St Andrew Holborn and Christ Church Newgate Street, were built in the style of ancient Roman basilicas, with a three-aisled interior and barrel or groin-vaulted ceilings. The origins of his other church designs, particularly the steeples, are less obvious. The interior of St Mary le Bow is of an unusual, three-bay design. There is, however, a strong resemblance to the Basilica of Constantine and Maxentius in the Roman Forum, and it seems likely that this was the model used by Wren for the famous church of the Bow Bells.
    [Show full text]
  • Hoffmeister's Magic Flute
    HOFFMEISTER’S MAGIC FLUTE · Vol. I SOMMCD 0620 Chamber Music by Franz Anton Hoffmeister (1754-1812) HOFFMEISTER’S Boris Bizjak flute · Lana Trotovšek violin MAGIC FLUTE Piatti Quartet: Nathaniel Anderson-Frank violin, Michael Trainor violin/viola* Volume I Tetsuumi Nagata viola, Jessie Ann Richardson cello Quartet in C minor [13:22] 8 II Adagio 3:43 Chamber Music by for Flute, Violin and Cello, H.5929 9 III Allegretto 4:00 1 I Allegro 6:05 Franz Anton Hoffmeister Trio (Sonata) in D major [11:25] 2 II Andante 3:16 for Flute, Violin and Cello, Op.11 No.3 3 III Allegro non molto 4:01 bl I Allegro 5:15 Trio (Sonata) in B flat major [15:25] bm II Adagio 3:29 for Flute, Violin and Cello, Op.11 No.2 bn III Allegretto 2:41 4 I Allegro 7:00 Flute Quintet in E flat major [17:09] 5 II Andante 3:43 for Flute, Violin, Two Violas* and Cello, Op.3 6 III Allegretto-Allegro 4:42 bo I Allegro 7:25 Duetto in G major [14:00] bp II Andante 4:45 for Flute and Violin bq III Allegretto 4:59 7 I Allegro 6:17 Total duration: 71:26 Recorded live at St Nicholas Church, Thames Ditton on December 2-3, 2019 Producer: Siva Oke Recording Engineer: Oscar Torres Boris Bizjak flute Front cover: Frederick the Great, Flute concert at Sanssouci, 1852. Adolph Friedrich Erdmann von Menzel © Lebrecht Music Arts / Bridgeman Images Design: Andrew Giles Booklet Editor: Michael Quinn Lana Trotovšek violin © & 2020 SOMM RECORDINGS · THAMES DITTON · SURREY · ENGLAND Piatti Quartet DDD Made in the EU orn in Rottenburg am Neckar, some 50 kilometres south-west of Stuttgart, a variation on it for piano.
    [Show full text]
  • TOCC0305DIGIBKLT.Pdf
    EDUARD NÁPRAVNÍK, FORGOTTEN CZECH-RUSSIAN MASTER by Anastasia Belina In the west Eduard Frantsevich Nápravník (1839–1916) is arguably one of the least well known among the major musical figures of Tsarist Russia. Although a prolific composer, prominent conductor and excellent pianist, he made his largest contribution as chief conductor of the Russian opera at the Mariinsky Theatre in St Petersburg (then the Russian capital), a post he held for a little over half a century, and it is for his performances of both European and Russian operas and symphonic repertoire that he is best remembered. Although the English-language literature on Nápravník is scarce (there is no biography other than in Russian), there are a number of Russian-language sources, which include biographies, published selections of his letters, memoirs and notebooks. Nápravník was a prolific correspondent, exchanging over 12,000 letters with over 500 of the prominent personalities of his day. Among his Russian correspondents were Pyotr and Modest Tchaikovsky, Rimsky-Korsakov, Balakirev, Glazunov, Musorgsky, Anton and Nikolay Rubinstein, Glinka’s sister Ludmila Shestakova, the famous Russian singers Fyodor Chaliapin, Fyodor Stravinsky (father of Igor) and Ivan Melnikov and many others. His international correspondents included Joachim, Mahler, Nikisch, Saint-Saëns and Weingartner, to name only a few. Not only did Nápravník meticulously preserve these letters; most helpfully for the historian, he often drafted his replies on the backs of the letters or envelopes, which makes it possible to establish the content of his responses when they do not survive. Although some of these letters have been published in various Russian-language sources, the majority remain in the Russian 2 archives.1 From 1863 Nápravník kept a diary, in which he recounted daily events, both personal and, of course, professional.
    [Show full text]