DOCSLIB.ORG

Sir Simon Rattle

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sir Simon Rattle Wednesday 1 May 2019 7.30–9.30pm Barbican LSO SEASON CONCERT SIR SIMON RATTLE Stravinsky Symphonies of Wind Instruments Harrison Birtwistle The Shadow of Night HARMONIE Interval John Adams Harmonielehre Sir Simon Rattle conductor 6pm Barbican Hall LSO Platforms: Guildhall Artists LEHRE Free pre-concert recital Stravinsky Three Pieces for Solo Clarinet Stravinsky Suite from ‘The Soldier’s Tale’ Julia Raga Pascual clarinet Lyrit Milgram violin Ryan Drucker piano Welcome Latest News On Our Blog symphonic music of Sibelius and Mahler, and THE LSO IN LATIN AMERICA JOHN ADAMS’ HARMONIELEHRE the rich harmonic world of early Schoenberg. Composed in 1985, Harmonielehre has This May, the LSO tours to Latin America In the age of synth pop, Live Aid and become a classic in the repertoire. for the first time in the Orchestra’s history. Madonna’s Material Girl, how was a composer With concerts in Bogotá, Medellín, Lima, to write large-scale orchestral music for the Earlier tonight, students from the Guildhall Buenos Aires, Montevideo and Santiago, concert hall? Composed in 1985, John Adams’ School performed chamber music by Sir Simon Rattle conducts performances Harmonielehre is one of the most significant Stravinsky in a short recital as part of the of Mahler’s Fifth Symphony and Berlioz’s examples of a composer grappling with the LSO Platforms series. These concerts are Symphonie fantastique. Later in 2019, the idea of a symphony in the 20th century. free to attend before selected LSO season Orchestra tours to Ireland, California, Central concerts and provide a platform for the Europe and Asia. Follow us on social media ARTIST PORTRAIT: DANIIL TRIFONOV elcome to tonight’s LSO concert at musicians of the future. for behind-the-scenes updates. the Barbican. In this performance, Piano superstar Daniil tells us about his LSO Music Director Sir Simon Rattle I hope that you enjoy the concert and that facebook.com/londonsymphonyorchestra life away from the concert stage, and the draws together Stravinsky’s Symphonies of you will join us again soon. This month instagram.com/londonsymphonyorchestra experiences that made him love music: from Wind Instruments with the Orchestra’s first Sir Simon Rattle conducts two more twitter.com/londonsymphony rock and jazz to the films of Andrei Tarkovsky performance of Sir Harrison Birtwistle’s concerts at the Barbican before the LSO and Scriabin’s ‘The Poem of Ecstasy’. The Shadow of Night, composed in 2001, charts new territory on its first tour to Latin and John Adams’ Harmonielehre in the America in the Orchestra’s 115-year history. Read these articles and more at second half. lso.co.uk/blog In keeping with the 2018/19 season’s theme of ‘roots and origins’, The Shadow of Night is a piece for which Harrison Birtwistle found inspiration in the music of John Dowland, a Kathryn McDowell CBE DL Renaissance composer whose works have Managing Director been influential to British composers writing in the 20th century and beyond. Completing the concert, John Adams’ Please ensure all phones are switched off. Harmonielehre pays homage to the history Photography and audio/video recording of the symphony, looking back to the great are not permitted during the performance. 2 Welcome 1 May 2019 Tonight’s Concert In Brief Sir Simon Rattle with the LSO onight’s concert opens with Romantic symphony, variously representing Thursday 20 June 7.30–9.45pm Saturday 14 September 7.30–9.30pm Stravinsky’s Symphonies of Wind moods of yearning, isolation and ecstasy Barbican Barbican Instruments, composed in 1920 in with the compositional processes of memory of Claude Debussy. Its name uses minimalism – slowly transforming ostinatos, LSO + GUILDHALL SCHOOL: BRUCKNER SEASON OPENING ‘symphony’ in the sense of ‘sounds together’; hypnotic rhythms and obliquely shifting the piece unfolds in short, contrasting tonality – invoking with melodic contours and Vaughan Williams Fantasia on a Theme by Emily Howard Antisphere (world premiere)* sections played by different combinations orchestral climaxes of Mahler, the sparsity of Thomas Tallis Colin Matthews Violin Concerto of instruments and is scored for expanded Sibelius’ Fourth Symphony and the complex Grainger Lincolnshire Posy for Winds Walton Symphony No 1 orchestral woodwind and brass, making use harmonies of Schoenberg’s Gurrelieder. Bruckner Symphony No 4 of the rare alto flute and alto clarinet. Sir Simon Rattle conductor Sir Simon Rattle conductor Leila Josefowicz violin The Shadow of Night is, in Harrison PROGRAMME CONTRIBUTORS London Symphony Orchestra Birtwistle’s own words, ‘a slow and reflective Guildhall School Musicians *Commissioned for Sir Simon Rattle and the LSO nocturne, exploring the world of melancholy Anthony Burton is a former producer and by the Barbican as understood and celebrated by Elizabethan presenter for BBC Radio 3, now a freelance Generously supported by Baker McKenzie poets and composers’. The music sounds writer and editor. He has written programme Sunday 15 September 7–9pm characteristically modern on its surface, notes on thousands of works of all periods. Thursday 27 June 7.30–9.25pm Barbican and the inspiration of John Dowland’s ‘In Saturday 29 June 7.30–9.25pm darkness let me dwell’ can be heard in the Paul Griffiths has been a critic for nearly Barbican MESSIAEN piece’s basic musical materials: the first 40 years, including for The Times and The three notes of Dowland’s song are quoted in New Yorker, and is an authority on 20th and THE CUNNING LITTLE VIXEN Messiaen Éclairs sur l’Au-delà the early piccolo’s solo, and are woven into 21st-century music. Among his books are the fabric of the piece. studies of Boulez, Ligeti and Stravinsky. Janáček The Cunning Little Vixen (semi-staged) Sir Simon Rattle conductor He also writes novels and librettos. Closing the concert, John Adams’ Sir Simon Rattle conductor Supported by the Art Mentor Foundation Lucerne Harmonielehre is one of the most significant Peter Sellars director examples of a composer grappling with the Lucy Crowe Vixen idea of a symphony. In this work Adams Gerald Finley Forester succeeded in re-engaging with a genre he Sophia Burgos Fox, Chocholka admired without compromising his own Peter Hoare Schoolmaster, Cock, Mosquito compositional style and identity. The piece Jan Martiník Badger, Parson recreates the affective worlds of the late- Produced by LSO and Barbican Tonight’s Concert 3 Igor Stravinsky Symphonies of Wind Instruments Original 1920 version / note by Anthony Burton travinsky described his Symphonies — LA REVUE MUSICALE of Wind Instruments as ‘an austere ‘Stravinsky, the chameleon-musician, the man of a thousand-and-one styles, ritual which is unfolded in terms of • Henry Prunières founded music magazine short litanies between different groups of has bequeathed us a totally unified treasury of rhythm.’ La Revue Musicale in 1920. The magazine homogeneous instruments’. The starting- Aaron Copland published new compositions, mostly by point for its composition was the death — French composers, in eleven annual issues, of his friend Claude Debussy in 1918. The and was famous for the quality of its editing, closing chorale, arranged for piano, was The title of ‘symphonies’ does not refer Tempo III does not appear until about typesetting and illustration. published in December 1920, in a special to traditional symphonic procedures, but halfway through the piece, and is used edition of the magazine La Revue Musicale • is used in its older sense of ‘sounding chiefly in two episodes in rapidly changing The magazine also included articles about called Tombeau de Claude Debussy. But together’. The work is constructed in a series metres – the first reminiscent of the music and dance, and additionally published by the time this appeared, Stravinsky of short, intercut segments in different orgiastic dances of The Rite, the second 81 music supplements. Much of the music had already completed the parent work, tempi and colours – a highly original lighter on its feet. featured was composed specially for the dedicated ‘to the memory of Claude Achille procedure in 1920, which may have owed magazine, including works which have since Debussy.’ It was first performed in London something to the then new art of film Meanwhile the slow-crotchet version of been missed out of catalogues of composers’ the following June under Serge Koussevitzky. editing or ‘montage’, and which has had a Tempo I disappears from the mix, except complete works. Production ended in 1939 profound influence on many later composers in two short interjections of brass chords; with the events of World War II. The work is scored for enlarged orchestral (including Harrison Birtwistle). but these prove to be anticipations of the woodwind and brass sections. In its original memorial chorale, which emerges at full form, the woodwind included alto flute and There are three related tempi: Tempo II, half length to bring the work to a solemn end. • the rare alto clarinet. Stravinsky chose not as fast as Tempo I; Tempo III, twice as fast. to publish the score of this version during Tempo I has two different aspects: with a his lifetime. But in 1945, he made a radically changing quaver beat, it is associated with revised version, among other things removing an incisive bell-like figure dominated by high the alto flute and alto clarinet, and giving a clarinets; with a more regular crotchet pulse, much sharper edge to many of its attacks. it is associated with slow-moving chord This revision, published in 1947, became the progressions for the full ensemble. Tempo II standard version. But the original version brings a series of winding, Russian-sounding remained available in sets of proof parts, and melodies (reminiscent of Stravinsky’s 1913 The was preferred by several leading conductors; Rite of Spring) for small groups of woodwind, it eventually appeared in print in 2001.
Load more

Recommended publications
  • London Symphony Orchestra with Sir Simon Rattle, Music Director
    LONDON SYMPHONY ORCHESTRA WITH SIR SIMON RATTLE, MUSIC DIRECTOR PROGRAM BARTÓK Concerto for Orchestra (1881 – 1945) Duke Bluebeard’s Castle VILLA-LOBOS Bachianas Brasileiras No. 5 (1887 – 1959) MAHLER Symphony No. 4 in G Major (1860 – 1911) PROGRAM NOTES Written by Dan Ruccia BÉLA BARTÓK CONCERTO FOR ORCHESTRA Times were rough for Béla Bartók in 1943. He and his wife, pianist Ditta Pázstory, had migrated to the United States in 1940 to escape the pro-Nazi regime in Hungary, but had found limited success as performers. To survive, Bartók did some ethnomusicological work at Columbia and occasionally lectured there and at and Harvard, but he was generally unsatisfied with his situation. To make matters worse, his health had recently deteriorated; in February 1943, he collapsed after a lecture at Harvard. When he was admitted to the hospital, he weighed only 87 pounds. It wasn’t clear how much longer he had to live. Initially, the nature of Bartók’s illness was unclear. Early diagnoses included tuberculosis and polycythemia. It was only in April 1944 that doctors pinned down his actual diagnosis—chronic myeloid leukemia—but by then, there was little that could be done. In May 1943, conductor Serge Koussevitzky of the Boston Symphony commissioned a new orchestral work from Bartók through the recently formed Koussevitzky Music Foundation. The ailing composer was initially hesitant; he did not want to take a commission that he might not be able to finish. But Koussevitzky insisted that the commission was a fait accompli and the money could only go to Bartók. With the commission in hand, it seems that Bartók became energized.
    [Show full text]
  • ARSC Journal
    A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers.
    [Show full text]
  • 1 the Roots of Birtwistle's Theatrical Expression
    Cambridge University Press 978-0-521-89534-7 - Harrison Birtwistle’s Operas and Music Theatre David Beard Excerpt More information 1 The roots of Birtwistle’s theatrical expression: from Pantomime to Down by the Greenwood Side With six major operas, around eight music dramas, and a body of incidental music to his name, Harrison Birtwistle has made a significant contribution to contemporary opera and music theatre during a period that spans more than forty years. This study is concerned not only to reflect the importance of these stage works by examining them in some detail but also to convey their varied musical and intellectual worlds. Previous studies have rightly focused on Birtwistle’s perennial concerns, such as myth, ritual, cyclical journeys, varied repetition, verse–refrain structures, instrumental role-play, layers and lines.1 These characteristics highlight consistency throughout Birtwistle’s oeuvre and are a mark of his formalist stance. By contrast, this book is motivated by a belief that the stage works – in which instrumental and physical drama, song and narrative are combined – demand interpre- tation from multiple, inter-disciplinary perspectives. While not denying obvious or important relations between works, what follows is rather more focused on differences: Birtwistle’s choice of contrasting narrative subjects, his collaborations with nine librettists, his varied pre-compositional ideas and working methods, his experience with different directors, producers and others, all distinguish one stage work from another. A recurring theme is therefore a consideration of ways in which Birtwistle’s initial concepts are informed, altered or conveyed differently in each case. Moreover, as ideas evolve, from the composer’s musical sketches to the final production, mul- tiple meanings accrue that are particular to each drama.
    [Show full text]
  • Michael Hurd
    SRCD.363 STEREO DDD MICHAEL HURD (1928- 2006) Michael Hurd Choral Music Volume 1 Choral Music Volume 1 1 (1987) SATB/organ 7’54” 2 (1987) SATB 6’07” (1996) SATB 9’55” 3 I Antiphon 1’03” 4 II The Pulley 3’13” 5 III Vertue 2’47” 6 IV The Call 1’05” 7 V Exultation 1’47” 8 (1987) SATB/organ 3’00” (1994) SATB 20’14” 9 I Will you Come? 2’00” Vasari Singers 10 II An Old Song 3’12” 11 III Two Pewits 2’06” Jeremy Backhouse, conductor 12 IV Out in the Dark 3’07” 13 V The Dark Forest 2’28” 14 VI Lights Out 4’28” 15 VII Cock-Crow 0’54” 16 VIII The Trumpet 1’59” Vasari Singers Jeremy Backhouse, conductor c © 20 SRCD.363 SRCD.363 1 Michael Hurd was born in Gloucester on 19 December 1928, the son of a self- (1966) SSA/organ 11’14” employed cabinetmaker and upholsterer. His early education took place at Crypt 17 I Kyrie eleison 1’39” Grammar School in Gloucester. National Service with the Intelligence Corps involved 18 II Gloria in excelsis Deo 3’17” a posting to Vienna, where he developed a burgeoning passion for opera. He studied 19 III Sanctus 1’35” at Pembroke College, Oxford (1950-53) with Sir Thomas Armstrong and Dr Bernard 20 IV Benedictus 1’40” Rose and became President of the University Music Society. In addition, he took 21 V Agnus Dei 3’03” composition lessons from Lennox Berkeley, whose Gallic sensibility may be said to have (1980) SATB 5’39” influenced Hurd’s own musical language, not least in the attractive and witty Concerto 22 I Captivity 2’34” da Camera for oboe and small orchestra (1979), which he described in his programme 23 II Rejection 1’03” note as a homage to Poulenc’s ‘particular genius’.
    [Show full text]
  • Program Notes: Inspiration & Impact
    CABRILLO FESTIVAL Program Notes: Inspiration & Impact Lola Montez Does the and she glides from the stage of sensory and expressive overload. Spider Dance (2016) overwhelmed with applause, At its premiere in March of 2012, the first third and smashed spiders, John Adams of the piece was largely a trope on the Opus (b. 1947) and radiant with parti-colored skirts, [World Premiere] 131 C# minor quartet’s scherzo and suffered smiles, graces, cobwebs and glory. from just this problem. After a moody opening of tremolo strings and fragments of the Ninth Commissioned by the musicians of the Cabrillo Lola Montez Does the Spider Dance was Symphony signal octave-dropping motive, Festival Orchestra in honor of Marin Alsop commissioned by members of the Cabrillo Festival Orchestra in celebration of Marin the solo quartet emerged as if out of a haze, The Irish-born actress and dancer Eliza Gilbert Alsop’s twenty five seasons as music director, playing the driving foursquare figures of that (1821—1861) achieved international fame and it is dedicated to her. scherzo material that almost immediately went under the name “Lola Montez, the Spanish through a series of strange permutations. Dancer.” After a controversial career on the —John Adams continent, including a sojourn in Bavaria This original opening never satisfied me. The where she become both the lover as well as clarity of the solo quartet’s role was often political advisor to King Ludwig, she returned Absolute Jest (2011) buried beneath the orchestral activity resulting in what sounded to me too much like “chatter.” to London, where she eloped with and married John Adams (b.
    [Show full text]
  • Gardner • Even Orpheus Needs a Synthi Edit No Proof
    James Gardner Even Orpheus Needs a Synthi Since his return to active service a few years ago1, Peter Zinovieff has appeared quite frequently in interviews in the mainstream press and online outlets2 talking not only about his recent sonic art projects but also about the work he did in the 1960s and 70s at his own pioneering computer electronic music studio in Putney. And no such interview would be complete without referring to EMS, the synthesiser company he co-founded in 1969, or namechecking the many rock celebrities who used its products, such as the VCS3 and Synthi AKS synthesisers. Before this Indian summer (he is now 82) there had been a gap of some 30 years in his compositional activity since the demise of his studio. I say ‘compositional’ activity, but in the 60s and 70s he saw himself as more animateur than composer and it is perhaps in that capacity that his unique contribution to British electronic music during those two decades is best understood. In this article I will discuss just some of the work that was done at Zinovieff’s studio during its relatively brief existence and consider two recent contributions to the documentation and contextualization of that work: Tom Hall’s chapter3 on Harrison Birtwistle’s electronic music collaborations with Zinovieff; and the double CD Electronic Calendar: The EMS Tapes,4 which presents a substantial sampling of the studio’s output between 1966 and 1979. Electronic Calendar, a handsome package to be sure, consists of two CDs and a lavishly-illustrated booklet with lengthy texts.
    [Show full text]
  • Joana Carneiro Music Director
    JOANA CARNEIRO MUSIC DIRECTOR Berkeley Symphony 17/18 Season 5 Message from the Music Director 7 Message from the Board President 9 Message from the Executive Director 11 Board of Directors & Advisory Council 12 Orchestra 15 Season Sponsors 16 Berkeley Sound Composer Fellows & Full@BAMPFA 18 Berkeley Symphony 17/18 Calendar 21 Tonight’s Program 23 Program Notes 37 About Music Director Joana Carneiro 39 Guest Artists & Composers 43 About Berkeley Symphony 44 Music in the Schools 47 Berkeley Symphony Legacy Society 49 Annual Membership Support 58 Broadcast Dates 61 Contact 62 Advertiser Index Media Sponsor Gertrude Allen • Annette Campbell-White & Ruedi Naumann-Etienne Official Wine Margaret Dorfman • Ann & Gordon Getty • Jill Grossman Sponsor Kathleen G. Henschel & John Dewes • Edith Jackson & Thomas W. Richardson Sarah Coade Mandell & Peter Mandell • Tricia Swift S. Shariq Yosufzai & Brian James Presentation bouquets are graciously provided by Jutta’s Flowers, the official florist of Berkeley Symphony. Berkeley Symphony is a member of the League of American Orchestras and the Association of California Symphony Orchestras. No photographs or recordings of any part of tonight’s performance may be made without the written consent of the management of Berkeley Symphony. Program subject to change. October 5 & 6, 2017 3 4 October 5 & 6, 2017 Message from the Music Director Dear Friends, Happy New Season 17/18! I am delighted to be back in Berkeley after more than a year. There are three beautiful reasons for photo by Rodrigo de Souza my hiatus. I am so grateful for all the support I received from the Berkeley Symphony musicians, members of the Board and Advisory Council, the staff, and from all of you throughout this special period of my family’s life.
    [Show full text]
  • Atlanta Chamber Players, "Music of Norway"
    ATLANTA CHAMBER PLAYERS Music of Norway featuring Efe Baltacigil, cello David Coucheron and Helen Hwaya Kim, violins Julie Coucheron and Elizabeth Pridgen, piano Monday, March 6, 2017 at 8 pm Dr. Bobbie Bailey & Family Performance Center, Morgan Hall Eighty-ninth Concert of the 2016-17 Concert Season program JOHAN HALVORSEN (1864-1935) Concert Caprice on Norwegian Melodies David Coucheron and Helen Hwaya Kim, violins EDVARD GRIEG (1843-1907) Andante con moto in C minor for Piano Trio David Coucheron, violin Efe Baltacigil, cello Julie Coucheron, piano EDVARD GRIEG Violin Sonata No. 3 in C minor, Op. 45 Allegro molto ed appassionato Allegretto espressivo alla Romanza Allegro animato - Prestissimo David Coucheron, violin Julie Coucheron, piano INTERMISSION JOHAN HALVORSEN Passacaglia for Violin and Cello (after Handel) David Coucheron, violin Efe Baltacigil, cello EDVARD GRIEG Cello Sonata in A minor, Op. 36 Allegro agitato Andante molto tranquillo Allegro Efe Baltacigil, cello Elizabeth Pridgen, piano featured musician FE BALTACIGIL, Principal Cello of the Seattle Symphony since 2011, was previously Associate Principal Cello of The Philadelphia Orchestra. EThis season highlights include Brahms' Double Concerto with the Oslo Radio Symphony and Vivaldi's Double Concerto with the Seattle Symphony. Recent highlights include his Berlin Philharmonic debut under Sir Simon Rattle, performing Bottesini’s Duo Concertante with his brother Fora; performances of Tchaikovsky’s Variations on a Rococo Theme with the Bilkent & Seattle Symphonies; and Brahms’ Double Concerto with violinist Juliette Kang and the Curtis Symphony Orchestra. Baltacıgil performed a Brahms' Sextet with Itzhak Perlman, Midori, Yo-Yo Ma, Pinchas Zukerman and Jessica Thompson at Carnegie Hall, and has participated in Yo-Yo Ma’s Silk Road Project.
    [Show full text]
  • Folk Roots, Urban Roots
    Thursday 13 December 2018 7.30–9.55pm Barbican Hall LSO SEASON CONCERT FOLK ROOTS, URBAN ROOTS Bartók Hungarian Peasant Songs Szymanowski Harnasie Interval Stravinsky Ebony Concerto Osvaldo Golijov arr Gonzalo Grau Nazareno Bernstein Prelude, Fugue and Riffs ROOTS & Sir Simon Rattle conductor Edgaras Montvidas tenor Chris Richards clarinet Katia and Marielle Labèque pianos Gonzalo Grau percussion Raphaël Séguinier percussion London Symphony Chorus ORIGINS Simon Halsey chorus director In celebration of the life of Jeremy Delmar-Morgan Streamed live on youtube.com/lso Recorded by BBC Radio 3 for broadcast on Tuesday 18 December Welcome Jeremy Delmar-Morgan In Memory 1941–2018 We are also delighted to welcome Katia and Jeremy Delmar-Morgan was a member of Marielle Labèque, who perform Nazareno, the LSO Advisory Council for over 20 years, a double piano suite drawn from Osvaldo a Director of LSO Ltd from 2002 to 2013, and Golijov’s La Pasión según San Marco, thereafter a Trustee of the LSO Endowment arranged by Gonzalo Grau, who appears Trust. He was also Honorary President of alongside Raphaël Séguinier as one of this the Ronald Moore Sickness and Benevolent evening’s percussion soloists. We then close Fund, where he brought invaluable advice with Prelude, Fugue and Riffs by the LSO’s to the LSO musicians on the investment former President, Leonard Bernstein, with strategy for the fund. After studying LSO Principal Clarinet Chris Richards as soloist. medicine at Cambridge he went into the City for a career in stock-broking, latterly elcome to this LSO concert at Tonight’s concert is performed in combining the two in the financing of the Barbican.
    [Show full text]
  • Taking Flight Beginning with a Tribute to Lindbergh, the St
    TAKING FLIGHT BEGINNING WITH A TRIBUTE TO LINDBERGH, THE ST. LOUIS SYMPHONY EXPRESSES THE SPIRIT OF ST. LOUIS. BY EDDIE SILVA DILIP VISHWANAT David Robertson Begin with a new beginning. The St. Louis Symphony’s 2016-17 season, its 137th, starts with the turn of a propeller, a steep rise into uncluttered skies, and a lonely, perilous journey that changed how people lived, thought, and dreamed. Charles Lindbergh’s silvery craft was christened The Spirit of St. Louis, and pilot and aircraft made their historic flight together across the Atlantic 90 years ago. The name “Spirit of St. Louis” also reflects upon the daring and innovation of a few St. Louisans early in the 20th century. It also speaks to St. Louis now, near the beginning of a new century amidst a whirlwind of innovation that turns more swiftly than a propeller. The St. Louis Symphony, Music Director David Robertson has remarked often, embodies that spirit: innovative, daring, risk-taking, enduring, agile, resourceful—give it an engine and a pair of wings and you’ll see Paris by morning. Kurt Weill’s The Flight of Lindbergh opens the 2016-17 season (September 16-17). Described as a “radio cantata,” it is one of the early collaborations between Weill and Bertolt Brecht, who created the classic The Threepenny Opera as well as other distinctive Brecht/Weill productions. KMOX’s Charlie Brennan provides the radio expertise as narrator of The Flight of Lindbergh. This 1929 work, written in the flush of inspiration that followed Lindbergh’s 6 Taking Flight achievement, will feel fresh, new, and innovative in 2016.
    [Show full text]
  • Bournemouth Symphony Orchestra Announce Electrifying 2019/20 Season Strauss’ Masterpiece the Pinnacle of a High-Octane Year: Karabits, Montero and More
    Bournemouth Symphony Orchestra Announce Electrifying 2019/20 Season Strauss’ masterpiece the pinnacle of a high-octane year: Karabits, Montero and more 2 October 2019 – 13 May 2020 Kirill Karabits, Chief Conductor of the Bournemouth Symphony Orchestra [credit: Konrad Cwik] EMBARGO: 08:00 Wednesday 15 May 2019 • Kirill Karabits launches the season – his eleventh as Chief Conductor of the BSO – with a Weimar- themed programme featuring the UK premiere of Liszt’s melodrama Vor hundert Jahren • Gabriela Montero, Venezuelan pianist/composer, is the 2019/20 Artist-in-Residence • Concert staging of Richard Strauss’s opera Elektra at Symphony Hall, Birmingham and Lighthouse, Poole under the baton of Karabits, with a star-studded cast including Catherine Foster, Allison Oakes and Susan Bullock • The Orchestra celebrates the second year of Marta Gardolińska’s tenure as BSO Leverhulme Young Conductor in Association • Pianist Sunwook Kim makes his professional conducting debut in an all-Beethoven programme • The Orchestra continues its Voices from the East series with a rare performance of Chary Nurymov’s Symphony No. 2 and the release of its celebrated Terterian performance on Chandos • Welcome returns for Leonard Elschenbroich, Ning Feng, Alexander Gavrylyuk, Steven Isserlis, Simone Lamsma, John Lill, Carlos Miguel Prieto, Robert Trevino and more • Main season debuts for Jake Arditti, Stephen Barlow, Andreas Bauer Kanabas, Jeremy Denk, Tobias Feldmann, Andrei Korobeinikov and Valentina Peleggi • The Orchestra marks Beethoven’s 250th anniversary, with performances by conductors Kirill Karabits, Sunwook Kim and Reinhard Goebel • Performances at the Barbican Centre, Sage Gateshead, Cadogan Hall and Birmingham Symphony Hall in addition to the Orchestra’s regular venues across a 10,000 square mile region in the South West Bournemouth Symphony Orchestra announces its 2019/20 season with over 140 performances across the South West and beyond.
    [Show full text]
  • Britten Connections a Guide for Performers and Programmers
    Britten Connections A guide for performers and programmers by Paul Kildea Britten –Pears Foundation Telephone 01728 451 700 The Red House, Golf Lane, [email protected] Aldeburgh, Suffolk, IP15 5PZ www.brittenpears.org Britten Connections A guide for performers and programmers by Paul Kildea Contents The twentieth century’s Programming tips for 03 consummate musician 07 13 selected Britten works Britten connected 20 26 Timeline CD sampler tracks The Britten-Pears Foundation is grateful to Orchestra, Naxos, Nimbus Records, NMC the following for permission to use the Recordings, Onyx Classics. EMI recordings recordings featured on the CD sampler: BBC, are licensed courtesy of EMI Classics, Decca Classics, EMI Classics, Hyperion Records, www.emiclassics.com For full track details, 28 Lammas Records, London Philharmonic and all label websites, see pages 26-27. Index of featured works Front cover : Britten in 1938. Photo: Howard Coster © National Portrait Gallery, London. Above: Britten in his composition studio at The Red House, c1958. Photo: Kurt Hutton . 29 Further information Opposite left : Conducting a rehearsal, early 1950s. Opposite right : Demonstrating how to make 'slung mugs' sound like raindrops for Noye's Fludde , 1958. Photo: Kurt Hutton. Britten Connections A guide for performers and programmers 03 The twentieth century's consummate musician In his tweed jackets and woollen ties, and When asked as a boy what he planned to be He had, of course, a great guide and mentor. with his plummy accent, country houses and when he grew up, Britten confidently The English composer Frank Bridge began royal connections, Benjamin Britten looked replied: ‘A composer.’ ‘But what else ?’ was the teaching composition to the teenage Britten every inch the English gentleman.
    [Show full text]