68Th ANNUAL REPORT
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Gubaidulina EU 572772 Bk Gubaidulina EU 26/07/2011 07:59 Page 1
572772 bk Gubaidulina EU_572772 bk Gubaidulina EU 26/07/2011 07:59 Page 1 Anders Loguin Øyvind Gimse Anders Loguin studied percussion at the Royal Øyvind Gimse is Artistic Leader of the Trondheim Soloists and a distinguished College of Music in Stockholm, and conducting in cellist and orchestral leader. After studies with Walter Nothas, Frans Helmerson Sweden, Finland and the United States. He and William Pleeth, he held the position of solo cellist in the Trondheim Sofia frequently conducts orchestras and ensembles in Symphony Orchestra for seven years. He has toured as a soloist with the Sweden and abroad. He was a founding member of Trondheim Soloists in Norway, Britain, Italy and Spain. His performances with the percussion ensemble Kroumata, and left the Anne-Sophie Mutter and the Trondheim Soloists throughout Europe and at the ensemble in 2008, co-founding the Carnegie Hall in 1999, as well as the recordings with her and the ensemble for GUBAIDULINA ensemble Glorious Percussion, which gave the DG, have received the highest critical acclaim. In addition his own work as world première of Sofia Gubaidulina’s work of the Artistic Leader of the Trondheim Soloists has resulted in the group receiving no same name for five percussionists and less than five GRAMMY® nominations for their last two recordings. In 2004 orchestra. Loguin participated in the world Gimse joined Sofia Gubaidulina as soloist in her work On the Edge of the première concerts of Fachwerk in 2009. Since 1977 Abyss at the Trondheim Chamber Music Festival and during the world Photo: Brita Carlens he has been professor and head of the percussion première concert performances of Fachwerk with Geir Draugsvoll and the department at the Royal College of Music in Stockholm. -
KSENIJA SIDOROVA Classical Accordion Nordheim Bach Berio Scarlatti Mozart Schnittke Takahashi Piazzolla KSENIJA SIDOROVA Classical Accordion FOREWORD
KSENIJA SIDOROVA classical accordion Nordheim Bach Berio Scarlatti Mozart Schnittke Takahashi Piazzolla KSENIJA SIDOROVA classical accordion FOREWORD 01 Arne Nordheim FLASHING 07’21 Music has been my passion since early childhood, and thanks to my grandmother J. S. Bach OVERTURE IN THE FRENCH STYLE, BWV.831 I learnt the accordion. Classical accordion is still a young instrument, and 02 Adagio maestoso - Allegro - Adagio 07’04 unfortunately the image of its folk roots still remains. It will probably be a while 03 Luciano Berio SEQUENZA XIII “CHANSON” 09’15 before the phrase “I play the classical accordion” doesn’t sound unusual or funny! The classical accordion is a wonderfully expressive instrument and the repertoire on Domenico Scarlatti SONATA IN D MINOR, K.77 04 Moderato e cantabile - Minuetto 05’09 this CD ranges from Baroque music to Contemporary, including works which have quickly become core repertoire pieces Domenico Scarlatti SONATA IN D MAJOR, K.33 (Berio’s Sequenza , Nordheim’s Flashing ) 05 Allegro 03’12 balanced along transcriptions of solo 06 W. A. Mozart 12 VARIATIONS “AH, VOUS DIRAIS-JE, MAMAN”, 08’45 and orchestral music. In the past six K.265/300 e years of my studies in London I was Alfred Schnittke REVIS FAIRY TALE fortunate to meet many wonderful 07 i Chichikov's Childhood 02’09 people, and to perform and record with 08 ii Officials 02’22 fantastic musicians. 09 iii Waltz 03’15 10 iv Polka 02’33 This CD recording would not have been Yuji Takahashi LIKE A WATER BUFFALO possible without David and Mary 11 i Like a Water Buffalo (poem: Wendy Poussard) 01’02 Bowerman, recording producer 12 ii Like a Water Buffalo 09’30 Alexander Van Ingen, Professor Owen Murray and the support of my family. -
CMA at Transformer Station — Norwegian Accordionist Frode Haltli by Mike Telin
Preview: CMA at Transformer Station — Norwegian accordionist Frode Haltli by Mike Telin On Sunday, April 27 beginning at 7:30 pm, CMA Concerts at Transformer Station presents Norwegian virtuoso classical accordionist Frode Haltli. The program features music by Hans Abrahamsen, Magnar Åm, Arne Nordheim and Aldo Clementi. “Even though this program is classical contemporary music, I think it reflects my interests in different kinds of music,” Haltli said during a telephone conversation from his home in Norway. “It’s not your ordinary contemporary music, it [ventures] out into many different directions.” If you’re wondering about the term “classical accordion” you’re not alone. The instrument has yet to be recognized in many parts of the world as one associated with classical music. So why is that different in Scandinavia? “It really is because of one person, Danish player Mogens Ellegaard. He was the first accordionist to introduce the instrument to real composers in Scandinavia. He really developed the accordion in a more classical way, although in my view it will never be a traditional “classical” instrument.” Perhaps not, but if you take a quick glance at Haltli’s repertoire list on his website, you will find many recognizable contemporary composers such as Berio, Lindberg, Pintscher, Gubaidulina and Zorn, all of whom have composed for the instrument. “Magnus Lindberg has written two fantastic pieces that I have played a lot. Also, Sofia Gubaibulina has written some very important works for the instrument. Now there is quite a lot of repertoire to choose from.” I ask him to talk me through his program. -
Music Media Multiculture. Changing Musicscapes. by Dan Lundberg, Krister Malm & Owe Ronström
Online version of Music Media Multiculture. Changing Musicscapes. by Dan Lundberg, Krister Malm & Owe Ronström Stockholm, Svenskt visarkiv, 2003 Publications issued by Svenskt visarkiv 18 Translated by Kristina Radford & Andrew Coultard Illustrations: Ann Ahlbom Sundqvist For additional material, go to http://old.visarkiv.se/online/online_mmm.html Contents Preface.................................................................................................. 9 AIMS, THEMES AND TERMS Aims, emes and Terms...................................................................... 13 Music as Objective and Means— Expression and Cause, · Assumptions and Questions, e Production of Difference ............................................................... 20 Class and Ethnicity, · From Similarity to Difference, · Expressive Forms and Aesthet- icisation, Visibility .............................................................................................. 27 Cultural Brand-naming, · Representative Symbols, Diversity and Multiculture ................................................................... 33 A Tradition of Liberal ought, · e Anthropological Concept of Culture and Post- modern Politics of Identity, · Confusion, Individuals, Groupings, Institutions ..................................................... 44 Individuals, · Groupings, · Institutions, Doers, Knowers, Makers ...................................................................... 50 Arenas ................................................................................................. -
Nato in Scozia, Owen Murray Ha Studiato Con Mogens Ellegaard Alla Royal Danish Academy of Music in Copenhagen
Nato in Scozia, Owen Murray ha studiato con Mogens Ellegaard alla Royal Danish Academy of Music in Copenhagen. Si è diplomato nel 1982 ed è poi tornado nel Regno Unito dove si èdedicato all’attività di insegnamento in corservatori di alto livello. Nel 1986 è stato invitato dalla Royal Academy of Music di Londra per fondare un dipartimento dedicato alla fisarmonica. Sotto I suoi insegnamenti, un elevato numero di artisti emergenti hanno raffinato la loro arte ed il suo lavoro come insegnante ha contribuito allo sviluppo della fisarmonica. Molti dei suoi studenti hanno vinto prestigiosi concorsi e hanno una carriera brillante. Nel 1993 gli è stata conferita una onorificenza di alto livello presso la Royal Academy of Music, e questo testimonia quanto il lavoro di Owen ha contribuito alla diffusione della musica per fisarmonica di alto livello. Owen Murray si è esibito con alcune delle orchestra più importanti del mondo tra cui la BBC Symphony Orchestra diretta da Sir Andrew Davis, Mark Elder (1998 Proms), Martyn Brabbins e Jiri Belohlavek, la BBC Concert Orchestra, la City of Birmingham Symphony Orchestra (CBSO) diretta da Sir Simon Rattle, la BBC National Orchestra of Wales, la London Philharmonic Orchestra, la Glyndebourne Opera Touring Orchestra diretta da Elgarth Howarth, la London Philharmonia Orchestra diretto da Martyn Brabbins, la Scottish Chamber Orchestra, la Paragon Ensemble (Glasgow), la Goldberg Ensemble (Manchester), la Royal Academy of Music Orchestra (London) diretto da Lynn Harrell e la SWF Sinfonieorchestra Baden-Baden (Germany), la Hungarian Radio Symphony Orchestra diretta da Adam Fischer e la Royal Danish Orchestra. Owen Murray si è esibito in alcuni dei principali festival del mondo tra cui l’Edinburgh International Festival, la BBC Proms alla Royal Albert Hall, London, la Huddersfield Contemporary Music Festival, Aldeburgh, il St. -
Honouring Every Note Nobody Knows When and Where A
Honouring every note Nobody knows when and where a musician is born. Then one day there he is with his accordion; alone on the big stage or in the concert hall surrounded by strings, in the smoky basement with enthusiastically improvising free jazz players, or with a Hardanger fiddler and a folk singer on a simple wooden stage erected for the occasion; Frode Haltli seats himself on his stool, perfectly self-assured, the accordion safely resting in his shoulder straps; a quietly satisfied smile spreads over his frank, disarming face, no antics, no gestures. Can one really demand so little attention? Just a few seconds pass. Then the music sounds out. Where is it coming from? From the first note, he sets us, the audience, free. He is already into the work, he has already taken us with him into the music. How does it happen? 'Duende' is an expression used in the flamenco tradition to define the state when the singer's personal sorrows and passions pervade the music and we, the audience, as if by a touch of grace, hear life itself in its grief, pain and rejoicing. A similar expression is used by traditional Norwegian fiddlers; 'å ha dåm i spelet', that is the moment when through the fiddle player the 'springar' or 'halling' dance tune starts to live its own life and turn into a kind of cathedral; every member of the audience knows when it happens and that they too are in the 'cathedral'. In these rare but unique moments the wings of the music touch us; we can never forget it, we shall always long for it. -
99 English Summary.Indd
ENGLISH SUMMARY E N G L I S H S U M M E R Y År 2004 gav Posten ut en serie postkort med Hagström-gitarrer som motiv. 1 E N G L I S H S U M M E R Y 2 ”HAGSTRÖM – MUSIC FOR MILLIONS” By Mikael Jansson © The Author and Uppsala Publishing House 2006 E N his is a summary in English of the content of this book, intended to Tguide the non-Swedish speaking reader through the history of the G Hagström music company, starting with founder Albin Hagström’s birth L in 1905 and to present day. There is also a complete set of translated captions. Thanks to Katarina Toborn for checking my translation. I Uppsala, Sweden, October 2006 S Mikael Jansson H S U M M E R Y LIST OF PICTURES Jan Runefelt (painting) 2 Arne Johansson 18 Hagströms arkiv/Anders Barke 4 Franz Ferdinand 144 Hagströms arkiv 8, 12, 28, 40 3 Albin Hagström in his 20s. The young entrepreneur ready to go into business. E N G L I S H S U M M E R Y 4 1905–1929 lbin Hagström was born on May 25, 1905 in Orsa, Sweden. The E Afollowing year, his family moved to the nearby Älvdalen village, where his father served as a forester. It seems that the young Albin was N very interested in accordions even as a child. A farmhand at the family G farm had a friend who was an able accordionist, and he taught Albin the basics of playing. -
“War of the Romantics: Liszt and His Rivals” OCTOBER 24-27, 2019
2019 AMERICAN LISZT SOCIETY FESTIVAL “War of the Romantics: Liszt and his Rivals” OCTOBER 24-27, 2019 music.asu.edu AMERICAN LISZT SOCIETY www.americanlisztsociety.net A non-profit tax exempt organization under the provisions President of section Jay Hershberger 501 (c) (3) of Concordia College the Internal Music Department Revenue Moorhead, MN 56562 Code [email protected] Vice President Alexandre Dossin Greetings Dear Lisztians! University of Oregon School of Music & Dance Eugene, OR 97403-1225 On behalf of the board of directors of the American Liszt Society, it is an honor to welcome you to [email protected] the 2019 American Liszt Society Festival at the Arizona State University School of Music. We extend Executive/ Membership our gratitude to the Herberger Institute of Design and the Arts, Dr. Steven Tepper, Dean, to the School Secretary Justin Kolb of Music, Dr. Heather Landes, Director, and to our festival director, Dr. Baruch Meir, Associate Professor www.justinkolb.com 1136 Hog Mountain Road of Piano, for what promises to be a memorable and inspirational ALS festival. Dr. Meir has assembled Fleischmanns, NY 12430 a terrific roster of performers and scholars and the ALS is grateful for his artistic and executive oversight [email protected] of the festival events. Membership Secretary Alexander Djordjevic PO Box 1020 This year’s festival theme, War of the Romantics: Liszt and His Rivals brings together highly acclaimed Wheaton, IL 60187-1020 [email protected] guest artists, performances of important staples in the piano repertoire, a masterclass in the spirit of Liszt as creator of the format, informative lecture presentations, and a concert of choral masterpieces. -
The Fourth International Piano Master Competition
THE FOURTH INTERNATIONAL PIANO MASTER COMPETITION MARCH-APRIL 1983 ISRAEL THE ARTHUR RUBINSTEIN INTERNATIONAL MUSIC SOCIETY ' THE FOURTH INTERNATIONAL PIANO MASTER COMPETITION MARCH-APRIL 1983 ISRAEL . THE NEW JEWISH NATION HAS FELT, FROM ITS’ EARLIEST BEGINNING, THAT HOMELAND AND CULTURE ARE TWO CONCEPTIONS WHICH CANNOT BE SEPARATED FROM EACH OTHER. ARTHUR RUBINSTEIN For Israel this fourth Arthur Rubinstein International Piano Master Competition is an event of deep and moving significance. It is bound up with many aspects of our nation's life, even beyond the Competition's world-wide artistic importance and the aesthetic delight it gives to great numbers We see it this year as a fitting memorial to the great musician, humanist, superbly charming man and dedicated Jew who shed his luster upon it ever since its initiation in 1974. We in Israel have benefitted from Arthur Rubinstein's special, generous concern for young talents in the country, and we are happy that young artists from many countries are to participate 1n the Competition. Their presence and the remarkable panel of judges underscore the international nature of music and Israel's place in that great world - a place consonant with Israel's dedication to the arts and the enhancement of human life. May the fourth Rubinstein Competition fulfil its hopes Yitzhak Navon Jerusalem, January 25, 1983 Mr. J. Bistritzky The Arthur Rubinstein International Piano Master Competition P.O. Box 29MW Tel Aviv Dear Mr. Bistritzky, I wish to acknowledge with thanks receipt of your letter of January 12, 1983. Certainly, if I am able to do so, I will attend the special concert to mark the close of the Competition which bears the great artist's name. -
PINOCCHIO Opéra Sur Un Livret De Joël Pommerat D’Après Carlo Collodi Musique De Philippe Boesmans
PINOCCHIO Opéra sur un livret de Joël Pommerat d’après Carlo Collodi Musique de Philippe Boesmans LA MONNAIE / DE MUNT Pinocchio Opéra de Philippe Boesmans sur un livret de Joël Pommerat © Editions Jobert, 2017, Paris. Adapté de Pinocchio de Joël Pommerat © Actes Sud, 2008. PRODUCTION D’OUVERTURE de la Monnaie rénovée / OPENINGSPRODUCTIE van de gerenoveerde Muntschouwburg PRODUCTION / PRODUCTIE La Monnaie / De Munt COPRODUCTION / COPRODUCTIE Festival d’Aix-en-Provence, Opéra de Dijon, Opéra national de Bordeaux 5, 7, 8, 12, 13, 15 & 16 SEPT 2017 — 20:00 10 SEPT 2017 — 15:00 LA MONNAIE / DE MUNT PINOCCHIO Opéra sur un livret de Joël Pommerat d’après Carlo Collodi Musique de Philippe Boesmans Commande conjointe du Festival d’Aix-en-Provence et de la Monnaie / Gezamenlijke opdracht van het Festival d’Aix-en-Provence en van de Munt Création / Creatie: Grand Théâtre de Provence, Aix-en-Provence, 3/7/2017 Direction musicale / Muzikale leiding PATRICK DAVIN Mise en scène / Regie JOËL POMMERAT Décors et éclairages / Decor en belichting ÉRIC SOYER Costumes / Kostuums ISABELLE DEFFIN Vidéo / Video RENAUD RUBIANO Le directeur de la troupe, STÉPHANE DEGOUT premier escroc, deuxième meurtrier, le directeur de cirque Le père, troisième meurtrier, VINCENT LE TEXIER le maître d’école Le pantin CHLOÉ BRIOT Deuxième escroc, YANN BEURON le directeur de cabaret, le juge, premier meurtrier, le marchand d’ânes La chanteuse de cabaret, le mauvais élève JULIE BOULIANNE La fée MARIE-EVE MUNGER Musiciens de scène / Toneelmuziek FABRIZIO CASSOL PHILIPPE THURIOT TCHA -
OLCZAK Solo and Chamber Music for Accordion Mea
KRZYSZTOF OLCZAK Solo and Chamber Music for Accordion Mea 1598 book digipack 135x120.indd 1 15.10.2019 15:30:33 Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku Ⓒ DUX, DUX 1598, 2019 Nagranie zrealizowano w sali koncertowej Akademii Muzycznej im. Stanisława Moniuszki Gdańsku 1-6 oraz w sali koncertowej Państwowej Szkoły Muzycznej I stopnia im. Fryderyka Chopina w Wejherowie 7-⓮ w listopadzie 2018 roku. Recorded at the Concert Hall of The Stanisław Moniuszko Academy of Music in Gdańsk 1-6 and at the Concert Hall of The Fryderyk Chopin State Music School in Wejherowo 7-⓮, November, 2018. CEZARY JOCZYN, ANNA KASPRZYCKA Reżyseria nagrania, montaż, mastering | Recording supervision & sound engineering, editing, mastering MICHAŁ KUBICKI Tłumaczenia | Translations BARTOSZ KOŁACZKOWSKI Zdjęcie na okładce | Cover photo RAFAŁ DYMERSKI Projekt graficzny i skład | Graphic design & page layout MARCIN TARGOŃSKI Redakcja | Editor DUX Recording Producers Morskie Oko 2, 02-511 Warsaw, Poland | www.dux.pl, e-mail: [email protected] 1598 book digipack 135x120.indd 2 15.10.2019 15:30:33 Krzysztof Olczak Solo and Chamber Music for Accordion Mea 1598 book digipack 135x120.indd 3 15.10.2019 15:30:33 Mea to tytuł utworu otwierającego prezentowane tu wydanie wieloodcinkowej formy objawiają się wszystkie dystynktywne kompozycji Krzysztofa Olczaka, gdańskiego kompozytora cechy tego języka, uważane za najbardziej charakterystyczne i akordeonisty, długoletniego pedagoga Akademii Muzycznej zarówno przez słuchaczy, jak i przez dotychczasowych bada- im. Stanisława Moniuszki w obu tych dziedzinach, członka czy muzyki gdańskiego artysty. Dominujące wśród tych cech Związku Kompozytorów Polskich oraz Polskiego Stowarzy- są: koncentracja na rytmie, upodobanie do dezintegracji mate- szenia Muzyki Elektroakustycznej. -
The Accordion in the 19Th Century, Which We Are Now Presenting, Gorka Hermosa Focuses on 19Th C
ISBN 978-84-940481-7-3. Legal deposit: SA-104-2013. Cover design: Ane Hermosa. Photograph on cover by Lituanian “Man_kukuku”, bought at www.shutterstock.com. Translation: Javier Matías, with the collaboration of Jason Ferguson. 3 INDEX FOREWORD: by the Dr. Pr. Helmut Jacobs................................................................ 5 INTRODUCTION......................................................................................................... 7 CHAPTER I: Predecessors of the accordion.............................................................. 9 I.1- Appearance of the free reed instruments in Southeast Asia.................... 10 I.2- History of the keyboard aerophone instruments: The organ................... 13 I.3- First references to the free reed in Europe.............................................. 15 I.4- The European free reed: Christian Gottlieb Kratzenstein....................... 17 I.5- The modern free reed instrument family................................................ 18 CHAPTER II: Organologic history of the accordion............................................... 21 II.1- Invention of the accordion..................................................................... 21 II.1.1- Demian’s accordion..................................................................... 21 II.1.2- Comments on the invention of the accordion. ............................ 22 II.2- Organologic evolution of the accordion................................................ 24 II.3- Accordion Manufacturers.....................................................................