DOCSLIB.ORG

Orquestra Sinfónica

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Orquestra Sinfónica Reafirmar a estratégia seguida pela Fundação, mantendo a estrutura essencial da Casa da Música: - os Agrupamentos Residentes (Orquestra Sinfónica, Orquestra Barroca, Coro e Remix Ensemble); - o Serviço Educativo; Adaptar a programação, contribuindo para o ajustamento da Conta de Exploração: - prescinde do tradicional concerto cénico, em Setembro, passando a um concerto do Remix Ensemble; - reduz 1 concertos de Jazz, 1 concerto no Ciclo de Piano, 1 concerto de ensemble convidado, 1 concerto de world music; - a música pop, rock e world concretizar-se-á exclusivamente no âmbito da Programação Extra; - reduz os gastos do plano de Marketing e comunicação, em 40.000 euros; Complementar a *PROGRAMAÇÃO PRÓPRIA com outros concertos realizados em parcerias com promotores externos; Aumentar os preços dos Bilhetes dos concertos, quer através do aumento dos preços de venda, quer reduzindo os descontos concedidos, mas previligiando os espectadores mais assíduos; Previlegiar os concertos de música contemporânea na estratégia de captação de novos públicos; Focar a estratégia de marketing e comunicação, cada vez mais, na captação e fidelização de públicos, segmentando-os mais e especializando a mensagem e o veículo para cada tipo de público; Estabelecer uma estratégia que permita manter o mecenato acima dos 2,1 milhões de euros; Insistir na procurar fontes de financiamento alternativas, tal como os Fundos da União Europeia, quer os destinados a Portugal, quer os destinados às artes e à cultura; Aumentar as receitas das actividades comerciais, visando melhorar os resultados; Manter os níveis de gastos de pessoal e de funcionamento, explorando todas as oportunidades para a sua redução; O valor total do mecenato não está garantido, sendo a incerteza na ordem do 400.000 euros. O valor total dos apoios directos à programação não está garantido, sendo a incerteza na ordem do 50.000 euros; O aumento da receita de bilheteira decorrente do aumento de preços de venda ao público e a redução de descontos nos concertos da programação própria pode ter impacto negativo no número total de bilhetes vendidos, cujo impacto pode ir até de na ordem dos 30.000 euros. A maior exigência orçamental associadas às actividades comerciais. A Fundação Casa da Música tomou conhecimento dos novos termos da Norma Contabilística e de Relato Financeiro para o sector não lucrativo, aprovados pelo Aviso 8256/2015, publicados no Diário da República, 2.º série, em 29 de Julho de 2015. Esta Norma vem estabelecer que todos os activos intangíveis, cuja vida útil é indefinida, passem a ser amortizados num período máximo de 10 anos. Assim, no caso concreto da Fundação Casa da Música, em que o valor dos activos intangíveis com vida útil indefinida é estimado em 2,1 milhões de euros, a alteração da Norma tem consequências directas no aumento do valor das amortizações e no agravamento do resultado líquido negativo do exercício, prejudicando-o em 210.000 euros. Valores em Euros P2015 CONTA DE EXPLORAÇÃO 2012 2013 2014 O2015 O2016 O16-O15 O16-P15 (18/9/2015) TOTAL DE RENDIMENTOS 13.036.247 12.152.301 12.411.851 12.404.116 12.886.974 12.523.440 119.324 -363.534 Variação dos Rendimentos -883.946 259.550 -7.735 482.858 -363.534 TOTAL DE GASTOS -13.251.290 -13.370.055 -12.443.249 -12.404.116 -12.433.522 -12.173.440 230.676 260.082 Variação dos Gastos -118.764 926.806 39.133 -29.406 260.082 RESULTADO ANTES DE AMORTIZAÇÕES E PROVISÕES -215.043 -1.217.754 -31.398 0 453.452 350.000 350.000 -103.452 RL (RESULTADO LÍQUIDO) -541.757 -1.673.011 -781.902 -750.000 -266.548 -585.000 165.000 -318.452 Valores em Euros P2015 CONTA DE EXPLORAÇÃO 2012 2013 2014 O2015 O2016 O16-O15 O16-P15 (18/9/2015) FINANCIAMENTO PÚBLICO (Estado + CMP + GAMP) 7.220.000 7.220.000 7.220.000 7.250.000 7.250.000 7.230.000 -20.000 -20.000 MECENATO E PATROCÍNIOS 2.744.802 2.102.424 2.026.885 2.426.000 2.064.000 2.139.000 -287.000 75.000 EVENTOS 1.141.760 1.183.649 1.237.111 1.086.317 1.643.547 1.175.325 89.008 -468.222 ACTIVIDADES COMERCIAIS 1.478.505 1.332.815 1.692.575 1.394.591 1.709.427 1.780.969 386.378 71.542 GANHOS FINANCEIROS 451.180 313.413 235.281 247.208 220.000 198.146 -49.062 -21.854 TOTAL DE RENDIMENTOS 13.036.247 12.152.301 12.411.851 12.404.116 12.886.974 12.523.440 119.324 -363.534 Variação dos Rendimentos -883.946 259.550 -7.735 482.858 -363.534 PESSOAL -7.075.048 -6.883.120 -6.645.275 -6.677.566 -6.447.258 -6.511.973 165.593 -64.715 EVENTOS -3.766.527 -4.179.172 -3.532.218 -3.563.014 -3.714.902 -3.423.150 139.864 291.752 FUNCIONAMENTO -1.804.105 -1.748.413 -1.656.780 -1.698.627 -1.723.250 -1.689.404 9.223 33.846 ACTIVIDADES COMERCIAIS -561.305 -509.722 -574.508 -436.909 -520.112 -520.623 -83.714 -511 PROJECTOS 0 -6.438 0 0 0 0 0 0 ENCARGOS FINANCEIROS -44.305 -43.190 -34.468 -28.000 -28.000 -28.290 -290 -290 TOTAL DE GASTOS -13.251.290 -13.370.055 -12.443.249 -12.404.116 -12.433.522 -12.173.440 230.676 260.082 Variação dos Gastos -118.764 926.806 39.133 -29.406 260.082 RESULTADO ANTES DE AMORTIZAÇÕES E PROVISÕES -215.043 -1.217.754 -31.398 0 453.452 350.000 350.000 -103.452 RL (RESULTADO LÍQUIDO) -541.757 -1.673.011 -781.902 -750.000 -266.548 -585.000 165.000 -318.452 Valores em Euros P2015 TOTAL RECEITAS COM REDUÇÃO MAIS SIGNIFICATIVA 2011 2012 2013 2014 O2016 (18/9/2015) FINANCIAMENTO ESTADO PORTUGUÊS -1.500.000 -3.000.000 -3.000.000 -3.000.000 -3.000.000 -3.000.000 -16.500.000 MECENATO E PATROCÍNIOS -587.576 -413.115 -362.000 -1.362.691 TOTAL -1.500.000 -3.000.000 -3.587.576 -3.413.115 -3.362.000 -3.000.000 -17.862.691 RESULTADO LÍQUIDO 0 -541.757 -1.673.011 -781.902 -266.548 -585.000 -3.848.217 DESVIO ACOMODADO 1.500.000 2.458.243 1.914.565 2.631.213 3.095.452 2.415.000 14.014.474 O Conselho de Fundadores autorizou que, enquanto o Estado Português mantiver o corte do subsídio anual face ao estabelecido no Decreto-Lei 18/2006, de 26 de Janeiro, se recorresse ao Fundo do Património Fundacional para financiar a insuficiência da Conta de Exploração, até ao valor das amortizações e provisões registadas no ano. O resultado líquido negativo do exercício de 2016 ascenderá a -585.000 euros. Contudo, verifica-se que não existe justificação para recorrer ao Fundo do Património Fundacional neste valor, dado de 210.000 euros correspondem a amortizações dos activos intangíveis, de vida útil indefinida, que não carecem de reposição ao longo do tempo. Assim, o recurso ao Fundo do Património Fundacional limitar-se-á a 375.000 euros. Valores em Euros P2015 TOTAL PATRIMÓNIO FUNDACIONAL 2011 2012 2013 2014 O2016 (18/9/2015) UTILIZAÇÃO AUTORIZADA PELO CONS. FUNDADORES -541.755 -2.900.000 -752.362 -935.000 -5.129.117 UTILIZAÇÃO EFECTIVA -541.755 -1.673.005 -782.520 -266.548 -375.000 -3.638.828 UTILIZAÇÃO EFECTIVA ACUMULADA -541.755 -2.214.760 -2.997.280 -3.263.828 -3.638.828 VALOR DO FUNDO (FINAL DO ANO) 5.025.052 4.328.366 2.876.871 2.144.351 1.952.804 1.442.804 VARIAÇÃO ANUAL (VALOR) 75.000 -696.686 -1.451.495 -732.520 -191.548 -510.000 VARIAÇÃO ANUAL (%) -14% -34% -25% -9% -26% Valores em Euros P2015 RENDIMENTOS O2015 P15-O15 (18/9/2015) RENDIMENTOS com desvios negativos: FINANCIAMENTO PÚBLICO (Estado + CMP + GAMP) 7.250.000 7.250.000 0 • Mecenato - 362 k€; MECENATO E PATROCÍNIOS 2.426.000 2.064.000 -362.000 • Result. Financeiros - 27 k€ EVENTOS 1.086.317 1.643.547 557.230 ACTIVIDADES COMERCIAIS 1.394.591 1.709.427 314.836 GANHOS FINANCEIROS 247.208 220.000 -27.208 RENDIMENTOS com desvios positivos: TOTAL DE RENDIMENTOS 12.404.116 12.886.974 482.858 • Apoio Directos à Programação + 557 k€; Variação dos Rendimentos -7.735 482.858 • Actividades Comerciais + 315 k€; PESSOAL -6.677.566 -6.447.258 230.308 EVENTOS -3.563.014 -3.714.902 -151.888 FUNCIONAMENTO -1.698.627 -1.723.250 -24.623 GASTOS com desvios negativos: ACTIVIDADES COMERCIAIS -436.909 -520.112 -83.203 • Associados a eventos – 152 k€; PROJECTOS 0 0 0 • Gastos de Funcionamento -24 k€ ENCARGOS FINANCEIROS -28.000 -28.000 0 • Actividades Comerciais – 83 k€; TOTAL DE GASTOS -12.404.116 -12.433.522 -29.406 Variação dos Gastos 39.133 -29.406 GASTOS com desvios positivos: • Custos de Pessoal + 230 k€; RESULTADO ANTES DE AMORTIZAÇÕES E PROVISÕES 0 453.452 453.452 AMORTIZAÇÕES / PROVISÕES -750.000 -720.000 30.000 OUTROS, PROVISÕES E AJUSTAMENTOS 0 0 0 MENOS NECESSIDADE DE RECORRER AO FUNDO DE PROVISÃO FUNDO DE SUSTENTABILIDADE 0 0 0 PATRIMÓNIO FUNDACIONAL, APENAS 483 k€ RL (RESULTADO LÍQUIDO) -750.000 -266.548 483.452 Valores em Euros P2015 RUBRICAS O2015 O2016 O16-O15 O16-P15 (18/9/2015) Evoluções Positivas face a P2015 FINANCIAMENTO PÚBLICO (Estado + CMP + GAMP) 7.250.000 7.250.000 7.230.000 -20.000 -20.000 MECENATO E PATROCÍNIOS 2.426.000 2.064.000 2.139.000 -287.000 75.000 • Mecenato +75 k€ EVENTOS 1.086.317 1.643.547 1.175.325 89.008 -468.222 • Resultados Comerciais + 71 k€ ACTIVIDADES COMERCIAIS 1.394.591 1.709.427 1.780.969 386.378 71.542 • Gastos com o Pessoal + 292 k€ GANHOS FINANCEIROS 247.208 220.000 198.146 -49.062 -21.854 • Gastos do Funcionamento +34 k€ TOTAL DE RENDIMENTOS 12.404.116 12.886.974 12.523.440 119.324 -363.534 Variação dos Rendimentos -7.735 482.858 -363.534 PESSOAL -6.677.566 -6.447.258 -6.511.973 165.593 -64.715 Variações Negativas face a P2015 EVENTOS -3.563.014 -3.714.902 -3.423.150 139.864 291.752 FUNCIONAMENTO -1.698.627 -1.723.250 -1.689.404 9.223 33.846 • Câmara do Porto -20 k€; • ACTIVIDADES COMERCIAIS -436.909 -520.112 -520.623 -83.714 -511 Apoio Directos à Programação - 468 k€ PROJECTOS 0 0 0 0 0 ENCARGOS FINANCEIROS -28.000 -28.000 -28.290 -290 -290 Aumento das Amortizações face a P2015 TOTAL DE GASTOS -12.404.116 -12.433.522 -12.173.440 230.676 260.082 Variação dos Gastos 39.133 -29.406 260.082 • Amortizações - 210 k€; RESULTADO ANTES DE AMORTIZAÇÕES E PROVISÕES 0 453.452 350.000 350.000 -103.452 AMORTIZAÇÕES / PROVISÕES -750.000 -720.000 -935.000 -185.000 -215.000 FINANCIAMENTO DA CONTA DE EXPLORAÇÃO OUTROS, PROVISÕES E AJUSTAMENTOS 0 0 0 0 0 ATRAVÉS DO FUNDO DE PATRIMÓNIO PROVISÃO FUNDO DE SUSTENTABILIDADE 0 0 0 0 0 FUNDACIONAL 375 k€ RL (RESULTADO LÍQUIDO) -750.000 -266.548 -585.000 165.000 -318.452 PORTUGAL 2020 A Fundação Casa da Música tem vindo a explorar possíveis oportunidades de financiamento da sua actividade através do Programa PORTUGAL 2020, com particular incidência no Programa Operacional NORTE 2020.
Load more

Recommended publications
  • Sofia Gubaidulina AUSSERDEM Prokofjew, Denissow, Kantscheli, Geringas, Chatschaturjan U.A
    AUSGABE 1. 2020 GEBURTS- UND GEDENKTAGE 90. GEBURTSTAG 2021 Sofia Gubaidulina AUSSERDEM Prokofjew, Denissow, Kantscheli, Geringas, Chatschaturjan u.a. INHALT / CONTENT Liebe Leserinnen, 03 / 22 liebe Leser, Sofia Gubaidulina 90. Geburtstag im Jahr 2021 die russische Komponistin Jelena Firssowa sagte ein- 06 / 24 mal über die von ihr bewunderte Sofia Gubaidulina, Georgische Musik sie sei eine „Schamanin in der Musik”, eine der tief- des 20. Jahrhunderts gründigsten und interessantesten Komponistinnen Kantscheli, Zinzadse, der Gegenwart. Im Jahr 2021 begeht Gubaidulina Nassidse ihren 90. Geburtstag. In diesem Magazin, das Kompo- nistenjubiläen der bervorstehenden Jahre 2021 und 08 / 26 2022 zum Inhalt hat, berichten wir von neuesten Sergej Prokofjew Werken Gubaidulinas und veröffentlichen zudem ein zum 130. Geburtstag dieser Komponistin gewidmetes Exklusiv-Interview 12 mit dem Dirigenten Kent Nagano. 100. Geburtstage von Francisco Tanzer & Stanisław Lem Ein weiteres Jubiläum steht uns mit Sergej Prokof- jews 130. Geburtstag im April 2021 bevor. Wir ver- 14 / 29 binden einen Rückblick auf die spektakuläre Neuin- 10. Todestag von szenierung von Prokofjews Oper „Die Verlobung im Karen Chatschaturjan Kloster” an der Staatsoper Berlin 2019 mit Kurzdar- stellungen ausgewählter Werke. 15 / 29 Edison Denissow Der 25. Todestag des Russen Edison Denissow, aus- 25. Todestag am 24. November 2021 gewählte Gedenktage von Komponisten aus Georgien 18 / 30 und zwei 100. Geburtstage von bedeutenden Text- Jubiläen litauischer dichtern wie Stanisław Lem und Francisco Tanzer Interpreten und Komponisten sind weitere Themen dieser Ausgabe. David Geringas & Bronius Kutavičius Wir wünschen Ihnen eine interessante Lektüre und viele Entdeckungen, 20 / 32 News Winfried Jacobs 19 Geschäftsführer Geburts- und Kennen Sie auch die anderen Gedenktage 2021 Hefte des SIKORSKI Magazins? 21 Vorschau 2022 IMPRESSUM FOTONACHWEISE Titel Sofia Gubaidulina © Priska Ketterer S.
    [Show full text]
  • Hilbert Circle Theatre
    HILBERTCIRCLETHEATRE KRZYSZTOFURBAŃSKI MUSIC DIRECTOR | JACKEVERLY PRINCIPAL POPS CONDUCTOR Vadim Gluzman Plays Bruch Bronfman Plays Beethoven Sibelius Symphony No. 5 Music of U2 Side-by-Side The Sounds of Simon & Garfunkel MARCH | VOLUME 5 Jump in, IT’SJump PERFECT in, From diving into our heated pool to joining neighbors for a day trip From divingIT’S into our heated PERFECTpool to joining neighbors for a day trip Careful planning, talent and passion are on to taking a dance class, life feels amazingly good here. Add not-for- Fromto taking diving IT’Sa dance into our class, heated life feels PERFECTpool amazingly to joining goodneighbors here. for Add a day not-for- trip pro t ownership, a local board of directors, and CCAC accreditation, display at today’s performance. proFromto t takingownership, diving a danceinto a our local class, heated board life feels pool of directors,amazingly to joining andgood neighbors CCAC here. forAddaccreditation, a daynot-for- trip and Marque e truly is the place to be. proto ttaking ownership, a dance a local class, board lifeand feels ofMarque directors,amazingly e and trulygood CCAC ishere. the accreditation, Add place not-for- to be. pro t ownership, a local board of directors, and CCAC accreditation, At Citizens Energy Group, we understand the value of working hard and Marque e truly is the place to be. behind the scenes to deliver quality on a daily basis. We strive to To learn more, call, visit our websiteand Marque or stop e truly by isour the community. place to be. replicate that ensemble effort in our work and are proud to support To learn more, call, visit our website or stop by our community.
    [Show full text]
  • MUSICAL CENSORSHIP and REPRESSION in the UNION of SOVIET COMPOSERS: KHRENNIKOV PERIOD Zehra Ezgi KARA1, Jülide GÜNDÜZ
    SAYI 17 BAHAR 2018 MUSICAL CENSORSHIP AND REPRESSION IN THE UNION OF SOVIET COMPOSERS: KHRENNIKOV PERIOD Zehra Ezgi KARA1, Jülide GÜNDÜZ Abstract In the beginning of 1930s, institutions like Association for Contemporary Music and the Russian Association of Proletarian Musicians were closed down with the aim of gathering every study of music under one center, and under the control of the Communist Party. As a result, all the studies were realized within the two organizations of the Composers’ Union in Moscow and Leningrad in 1932, which later merged to form the Union of Soviet Composers in 1948. In 1948, composer Tikhon Khrennikov (1913-2007) was appointed as the frst president of the Union of Soviet Composers by Andrei Zhdanov and continued this post until the collapse of the Soviet Union in 1991. Being one of the most controversial fgures in the history of Soviet music, Khrennikov became the third authority after Stalin and Zhdanov in deciding whether a composer or an artwork should be censored or supported by the state. Khrennikov’s main job was to ensure the application of socialist realism, the only accepted doctrine by the state, on the feld of music, and to eliminate all composers and works that fell out of this context. According to the doctrine of socialist realism, music should formalize the Soviet nationalist values and serve the ideals of the Communist Party. Soviet composers should write works with folk music elements which would easily be appreciated by the public, prefer classical orchestration, and avoid atonality, complex rhythmic and harmonic structures. In this period, composers, performers or works that lacked socialist realist values were regarded as formalist.
    [Show full text]
  • Cello Concerto (1990)
    RUSSIAN, SOVIET & POST-SOVIET CONCERTOS A Discography of CDs and LPs Prepared by Michael Herman Edited by Stephen Ellis Composers A-G RUSTAM ABDULLAYEV (b. 1947, UZBEKISTAN) Born in Khorezm. He studied composition at the Tashkent Conservatory with Rumil Vildanov and Boris Zeidman. He later became a professor of composition and orchestration of the State Conservatory of Uzbekistan as well as chairman of the Composers' Union of Uzbekistan. He has composed prolifically in most genres including opera, orchestral, chamber and vocal works. He has completed 4 additional Concertos for Piano (1991, 1993, 1994, 1995) as well as a Violin Concerto (2009). Piano Concerto No. 1 (1972) Adiba Sharipova (piano)/Z. Khaknazirov/Uzbekistan State Symphony Orchestra ( + Zakirov: Piano Concerto and Yanov-Yanovsky: Piano Concertino) MELODIYA S10 20999 001 (LP) (1984) LEV ABELIOVICH (1912-1985, BELARUS) Born in Vilnius, Lithuania. He studied at the Warsaw Conservatory and then at the Minsk Conservatory where his composition teacher was Vasily Zolataryov. After graduation from the latter institution, he took further composition courses with Nikolai Miaskovsky at the Moscow Conservatory. He composed orchestral, vocal and chamber works. Piano Concerto in E minor (1976) Alexander Tutunov (piano)/ Marlan Carlson/Corvallis-Oregon State University Symphony Orchestra ( + Piano Trio, Aria for Viola and Piano and 10 Romances) ALTARUS 9058 (2003) Aria for Violin and Chamber Orchestra (1973) Mikhail Shtein (violin)/Alexander Polyanko/Minsk Chamber Orchestra ( + Vagner: Clarinet Concerto and Alkhimovich: Concerto Grosso No. 2) MELODIYA S10 27829 003 (LP) (1988) MusicWeb International Last updated: August 2020 Russian, Soviet & Post-Soviet Concertos A-G ISIDOR ACHRON (1891-1948) Piano Concerto No.
    [Show full text]
  • Jelena Firsova August 2019
    Jelena Firsova August 2019 Jelena Firsova was born in St. Petersburg and studied at the Moscow Conservatory with Alexander Pirumov (composition), Yuri Cholopov (analysis) and Nikolai Raskatov (orchestration). From 1975 she was in intensive musical contact with Edison Denisov, who also introduced her to Philipp Herschkowitz, one of the Webern pupils, who emigrated from Moscow to Vienna. Beginning 1979 her works were first performed with great success in the West. In the same year, she and her husband, the composer Dmitri Smirnov, were attacked by the Soviet Composers Union as "not Soviet-worthy". In 1990, together with Edison Denisov, she co-founded the Russian Society for New Music (ASM). In the course of the Perestroika, Elena Firsova first received permission to travel abroad and moved to England in 1991, where she lives with her family and works as a lecturer and freelance composer. Firsova is a master of the contemporary compositional techniques, and her compositional language is by no means one- sidedly oriented in style and expression. She further develops the ideas of the Second Viennese School and attaches particular importance to melodic motifs. To date has created more than 100 works, including operas, cantatas, concerts, orchestral works, as well as chamber music. She received a composition commission for the Expo 2000. Her "Akhmatova Requiem" was premiered on September 2003 at the Berliner Konzerthaus am Gendarmenmarkt. Text sources: Sikorski and Boosey & Hawkes. Photos: Up Boosey & Hawkes, right in February 1989 with Sofia Gubaidulina, Edison Denisov, and Dmitri Smirnov. Photo D. Smirnov. Oxana Arkaeva ©. All rights reserved. 1 8 Questions for Jelena Firsova August 2019.
    [Show full text]
  • Polystylism and Narrative Potential in the Music of Alfred Schnittke
    POLYSTYLISM AND NARRATIVE POTENTIAL IN THE MUSIC OF ALFRED SCHNITTKE by JEAN-BENOIT TREMBLAY B.Arts (education musicale), Universite Laval, 1999 B.Mus (mention en histoire), Universite Laval, 1999 M.Mus (musicologie), Universite Laval, 2001 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Music, emphasis in musicology) THE UNIVERSITY OF BRITISH COLUMBIA April 2007 © Jean-Benoit Tremblay, 2007 ABSTRACT This dissertation examines the narrative potential created by polystylism in selected works of Alfred Schnittke. "Polystylism," the combination of many styles in a single work, is Schnittke's answer to a compositional crisis that he experienced as a young Soviet composer. Polystylistic works often present blunt juxtapositions of styles that cannot be explained by purely musical considerations. I argue that listeners, confronted with those stylistic gaps, instinctively attempt to resolve them by the construction of a narrative. Three works, each showing different approaches to polystylism, are examined. The Symphony No. 1, which constitutes a kind a polystylistic manifesto, presents a number of exact quotations of Beethoven, Grieg, Tchaikovsky and Chopin among others. It also makes uses of the Dies Irae and of various stylistic allusions. The result is a work in which Schnittke, asking how to write a Symphony, eventually kills the genre before resurrecting it. Elaborated from a fragment of a pantomime by Mozart, Mo^-Art is a reflection on the opposition between the old and the new, between the past and the present. The work builds upon the plurality of styles already present in Mozart's music.
    [Show full text]
  • Smirnov, Dimitri Trinity Music
    Trinity Music, Op. 57 (1990) Dimitri Smirnov “This composition was commissioned by the Verdehr Trio and was composed in Ruza, a small place near Moscow. The three instruments−clarinet, violin, and piano−are treated here as a triunity, threefold unity, some equality, three units joining up in one super instrument with a triple nature: woodwind, string, and keyboard, a kind of perfection, a small model of The Holy Trinity created in the universe. The music is very soft and quiet. It is the music of half-tints and smooth, delicate motion, of careful attentive listening into sounds and half-pauses, with the atmosphere of contemplation and mystery.” ─Dimitri Smirnov The world premiere of Trinity Music was on March 9, 1991 at Caja D Ahorros d’Avila, Avila, Spain. During the Verdehr Trio’s winter tour to the Soviet Union in 1990, they met and performed for prominent Soviet composers in Moscow and became acquainted with Dimitri Smirnov and his wife, Elena Firsova, also a composer who wrote Verdehr-Terzett for the Trio in 1991. The mood of Trinity Music is mysterious, and eerie effects are created by the clarinet producing double sonorities in the opening with triple sonorities and single tones of different colors occurring in the cadenza later in the work. A spatial-like quality pervades throughout the entire work with bell tones in the piano and harmonics in the violin. Contrasting rhythms in all three instruments lead to an electrifying climax and cadenza. The composition concludes much as it begins, mysterious, quiet, and ethereal. Dimitri Smirov (born 1948, Minsk, Belaruse) was born into a family of opera singers.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1989
    I nfflfn ^(fe£k i^£to^ Wfr EDITION PETERS »8@ ^^ '^^ ^p52^ RECENT ADDITIONS TO OUR CONTEMPORARY MUSIC CATALOGUE P66905 George Crumb Gnomic Variations $20.00 Piano Solo P66965 Pastoral Drone 12.50 Organ Solo P67212 Daniel Pinkham Reeds 10.00 Oboe Solo P67097 Roger Reynolds Islands From Archipelago: I. Summer Island (Score) 16.00 Oboe and Computer-generated tape* P67191 Islands from Archipelago: II. Autumn Island 15.00 Marimba Solo P67250 Mathew Rosenblum Le Jon Ra (Score) 8.50 Two Violoncelli P67236 Bruce J. Taub Extremities II (Quintet V) (Score) 12.50 Fl, CI, Vn, Vc, Pf P66785 Charles Wuorinen Fast Fantasy (Score)+ 20.00 Violoncello and Piano P67232 Bagatelle 10.00 Piano Solo + 2 Scores neededforperformance * Performance materials availablefrom our rental department C.F. PETERS CORPORATION I 373 Park Avenue South, New York, NY 10016 • (212) 686-4147 J 1989 FESTIVAL OF CONTEMPORARY MUSIC Oliver Knussen, Festival Coordinator 4. J* Sr* » sponsored by the TANGLEWOOD MUSIC CENTER Leon Fleisher, Artistic Director Gilbert Kalish, Chairman of the Faculty I Lukas Foss, Composer-in-Residence Oliver Knussen, Coordinator of Contemporary Music Activities Bradley Lubman, Assistant to Oliver Knussen Richard Ortner, Administrator James E. Whitaker, Chief Coordinator Harry Shapiro, Orchestra Manager Works presented at this year's Festival were prepared under the guidance of the following Tanglewood Music Center Faculty: Frank Epstein Joel Krosnick Lukas Foss Donald MacCourt Margo Garrett Gustav Meier Dennis Helmrich Peter Serkin Gilbert Kalish Yehudi Wyner Oliver Knussen 1989 Visiting Composer/Teachers Bernard Rands Dmitri Smirnov Elena Firsova Peter Schat Tod Machover Kaija Saariaho Ralph Shapey The Tanglewood Music Center is maintained for advanced study in music and sponsored by the Boston Symphony Orchestra.
    [Show full text]
  • Compact Discs / DVD-Blu-Ray Recent Releases - Spring 2017
    Compact Discs / DVD-Blu-ray Recent Releases - Spring 2017 Compact Discs 2L Records Under The Wing of The Rock. 4 sound discs $24.98 2L Records ©2016 2L 119 SACD 7041888520924 Music by Sally Beamish, Benjamin Britten, Henning Kraggerud, Arne Nordheim, and Olav Anton Thommessen. With Soon-Mi Chung, Henning Kraggerud, and Oslo Camerata. Hybrid SACD. http://www.tfront.com/p-399168-under-the-wing-of-the-rock.aspx 4tay Records Hoover, Katherine, Requiem For The Innocent. 1 sound disc $17.98 4tay Records ©2016 4TAY 4048 681585404829 Katherine Hoover: The Last Invocation -- Echo -- Prayer In Time of War -- Peace Is The Way -- Paul Davies: Ave Maria -- David Lipten: A Widow’s Song -- How To -- Katherine Hoover: Requiem For The Innocent. Performed by the New York Virtuoso Singers. http://www.tfront.com/p-415481-requiem-for-the-innocent.aspx Rozow, Shie, Musical Fantasy. 1 sound disc $17.98 4tay Records ©2016 4TAY 4047 2 681585404720 Contents: Fantasia Appassionata -- Expedition -- Fantasy in Flight -- Destination Unknown -- Journey -- Uncharted Territory -- Esme’s Moon -- Old Friends -- Ananke. With Robert Thies, piano; The Lyris Quartet; Luke Maurer, viola; Brian O’Connor, French horn. http://www.tfront.com/p-410070-musical-fantasy.aspx Zaimont, Judith Lang, Pure, Cool (Water) : Symphony No. 4; Piano Trio No. 1 (Russian Summer). 1 sound disc $17.98 4tay Records ©2016 4TAY 4003 2 888295336697 With the Janacek Philharmonic Orchestra; Peter Winograd, violin; Peter Wyrick, cello; Joanne Polk, piano. http://www.tfront.com/p-398594-pure-cool-water-symphony-no-4-piano-trio-no-1-russian-summer.aspx Aca Records Trios For Viola d'Amore and Flute.
    [Show full text]
  • Galina Ustvolskaya, Sofia Gubaidulina, and the Pursuit of Spiritual Freedom in the Soviet Union
    To Be Totally Free: Galina Ustvolskaya, Sofia Gubaidulina, and the Pursuit of Spiritual Freedom in the Soviet Union Kathleen Renee Regovich Advisor: Gurminder Kaur Bhogal, Music Submitted in Partial Fulfillment of the Prerequisite for Honors in Music 2016 © 2016 Kathleen Renee Regovich 2 Table of Contents Introduction ..................................................................................................................................... 5 Chapter 1: Gender, Music, and the Soviet Union ........................................................................... 8 Chapter 2: Galina Ustvolskaya (1919-2006) ............................................................................... 36 Chapter 3: Sofia Gubaidulina (b. 1931) ........................................................................................ 66 Conclusion .................................................................................................................................... 91 Appendix ..................................................................................................................................... 100 Bibliography ............................................................................................................................... 107 Table of Figures Figure 1: Galina Ustvolskaya and Sofia Gubaidulina ..................................................................... 4 Figure 2: A graphic depiction of the structure of Stimmen… Verstummen… . ............................. 82 3 “I am no bird; and no net ensnares me;
    [Show full text]
  • Jelena Firssowa in Moskau, Wo Sie Auch Zunächst Als Komponistin Wirkte
    Firssowa, Jelena union zunächst wenig Verbreitung finden. Schon bald wurde sie jedoch im Westen populär und bekannt, wes- halb sie als eine von „Chrennikows Sieben“ gerügt wur- de. Doch in den letzten Jahren vor dem Zusammenbruch der Sowjetunion wurden ihre Werke auch in Moskau im- mer präsenter. Inzwischen lebt sie mit ihrer Familie in England. Sie er- hält regelmäßig Kompositionsaufträge. Ihre poetische und filigrane Klangsprache ist eng verwo- ben mit der Lyrik Ossip Mandelstams, sowohl textlich als auch stilistisch. Orte und Länder Ihre erste Musikausbildung und ihr Studium absolvierte Jelena Firssowa in Moskau, wo sie auch zunächst als Komponistin wirkte. 1991 emigrierte sie mit ihrer Fami- lie nach England und unterrichtete Komposition in Keele Jelena Firssowa und Manchester. Sie hat heute ihren Wohnsitz in Eng- land. Jelena Firssowa Biografie Varianten: Jelena Firsowa, Jelena Olegowna Firssowa, Jelena Olegowna Firsowa Jelena Firssowa wurde am 21. März 1950 in Leningrad geboren. Ihr Vater, Oleg Borissowitsch Firssow, war ein * 21. März 1950 in Leningrad (heute St. Petersburg), bekannter theoretischer Physiker, ihre Mutter unterrich- tete ebenfalls Physik. Erste musikalische Eindrücke er- Komponistin und Kompositionslehrerin hielt sie durch ihren Vater, der sich für Tango und Fox- trott begeisterte. Nachdem die Familie 1956 nach Moskau gezogen war, be- „Komponieren ist für mich mühevoll, es ist fast immer kam sie Klavierunterricht und überraschte als Elfjährige ein quälender und schmerzhafter Prozeß. Sehr selten ihre Familie mit ihrer ersten Komposition („Trojka“). geht es mir leicht von der Hand, doch davon hängt die Daraufhin empfahl ihr der Komponist Roman Ledenjew, Qualität der Musik, soweit ich es beurteilen kann, nicht Kompositionsunterricht zu nehmen.
    [Show full text]
  • Bessonnitsa Insomnia—A Mandelstam Album Chamber Music by Elena Firsova, Sofia Gubaidulina, Edison Denisov and Valentin Silvestrov
    Bessonnitsa Insomnia—A Mandelstam Album Chamber music by Elena Firsova, Sofia Gubaidulina, Edison Denisov and Valentin Silvestrov Maacha Deubner, Soprano KAPmodern-Ensemble Bessonnitsa Insomnia A Mandelstam Album Chamber music by Elena Firsova, Sofia Gubaidulina, Edison Denisov and Valentin Silvestrov Maacha Deubner, Soprano Katia Tchemberdji, Piano · Ehrengard von Gemmingen, Violoncello KAPmodern-Ensemble World Premiere Recordings Sofia Gubaidulina (*1931) Brief an die Dichterin Rimma Dalos for Soprano and Violoncello (1985) 01 . (01'45) 02 . (02'45) Elena Firsova (*1950) “Sorrows” (Tristia II) for Soprano and Violoncello, op. 145 (2013) to Maacha Deubner 03 . (08'41) Elena Firsova “Starry flute” – Monolog für Flöte solo, op. 56 (1992) to Aurèle Nicolet 04 . (06'13) Elena Firsova “Towards the starlight” for Soprano and String Quartet, op. 173 (2017) World Premiere 05 I hate the starlight’s . (03'13) 06 How slow the horses go . (03'04) 07 To read only children’s books . (07'44) Elena Firsova “For Slava” for Double Bass, op. 120a (2007/2018) to the memory of Mstislav Rostropovich 08 . (04'29) Edison Denisov (1929–1996) “At the turning point” for Soprano and Piano (1979) 09 Night . (00'50) 10 The Name of God . (01'15) 11 Winter Journey . (02'45) 12 Silence (Silentium) . (03'22) Valentin Silvestrov (*1937) “Bessonnitsa. Homer” for Soprano and Piano to Larissa Bondarenko 13 . (05'02) Elena Firsova “On the Path to Winter” for Piano solo, op. 180 (2019) to Natasha Shanteur 14 . (06'27) Elena Firsova “From the Voronezh Notebooks” – Cantata for Soprano and String Quartet on Poems by Ossip Mandelstam, op. 121 (2009) 15 Prelude .
    [Show full text]