Πρόσωπα της Κλασικής Μουσικής
Μεγάλες ορχήστρες, κορυφαίοι μαέστροι, καταξιωμένοι και νέοι σολίστες, όπερα, σπουδαίοι λυρικοί καλλιτέχνες, διάσημα σύνολα μουσικής δωματίου, κινηματογραφικές ταινίες, ντοκιμαντέρ, ξεχωριστές παραστάσεις, ζωντανές αναμεταδόσεις, εκδηλώσεις, μουσικά νέα, κριτικές δίσκων και πολλά άλλα, πάντα με επίκεντρο την Κλασική Μουσική.

Live on Livestream

Live on Livestream
COMING SOON: Matthew Bourne's Swan Lake, 2012 – Richard Winsor, Dominic North, Nina Goldman (HD 1080p)

Live on Livestream

Live on Livestream

Δευτέρα, 5 Δεκεμβρίου 2016

Gustav Mahler: Kindertotenlieder – Ewa Podleś, Warsaw Philharmonic Orchestra, Jacek Kaspszyk (HD 1080p)














The leading Polish coloratura contralto Ewa Podleś interprets the song cycle "Kindertotenlieder" by Gustav Mahler. Warsaw Philharmonic Orchestra directed by distinguished Polish conductor Jacek Kaspszyk. Recorded at Warsaw Philharmonic Concert Hall in Warsaw. Poland, February 19, 2016.



Η κορυφαία Πολωνή κολορατούρα κοντράλτο Ewa Podleś ερμηνεύει τον κύκλο τραγουδιών "Kindertotenlieder" του Γκούσταβ Μάλερ. Τη Φιλαρμονική Ορχήστρα της Βαρσοβίας διευθύνει ο διακεκριμένος Πολωνός μαέστρος Jacek Kaspszyk. Η συναυλία δόθηκε στο Μέγαρο Μουσικής της Φιλαρμονικής της Βαρσοβίας στις 19 Φεβρουαρίου 2016.



Gustav Mahler (1860-1911)

♪ Kindertotenlieder (1901-1904)

Lyrics by Friedrich Rückert (1788-1866)

i. Nun will die Sonn' so hell aufgeh'n [00:57]*
ii. Nun seh' ich wohl, warum so dunkle Flammen [06:57]
iii. Wenn dein Mütterlein tritt zur Tür herein [12:11]
iv. Oft denk' ich, sie sind nur ausgegangen [17:12]
v. In diesem Wetter, in diesem Braus [20:40]

Ewa Podleś, contralto

Warsaw Philharmonic Orchestra
Conductor: Jacek Kaspszyk

Warsaw Philharmonic Concert Hall, Poland, February 19, 2016

With English, Polish and German subtitles

(HD 1080p)

* Start time of each track / Χρόνος έναρξης του κάθε κομματιού















Mahler was an expert on the deaths of children. Seven of his thirteen siblings died in infancy, and his favorite brother, Ernst, died at thirteen. We do not know when Mahler first read the Kindertotenlieder by Friedrich Rückert (1788-1866), but he was ready for them. In 1901, when he composed the first, second, and fifth songs of the cycle, Mahler had no children of his own and was not yet married. In 1904, when he completed the cycle, he was the father of two daughters, Maria, going on two, and Anna, just born. Alma Mahler was appalled that the father of two healthy children should write Kindertotenlieder; when Maria died of diphtheria in the summer of 1907, Alma was convinced that her husband had tempted fate. Rückert’s own children, Ernst and Luise, died in 1836. The 423 Kindertotenlieder were the poet’s response to this catastrophe.



Ο κύκλος τραγουδιών "Kindertotenlieder" (Τραγούδια για τα νεκρά παιδιά) του Γκούσταβ Μάλερ, βασίζεται σε ποιήματα του Φρίντριχ Ρίκερτ (Friedrich Rückert).

Ο Γερμανός λόγιος, ανατολιστής και ποιητής Φρίντριχ Ρίκερτ είχε γράψει 428 ποιήματα αφιερωμένα στα δύο μικρά παιδιά του που πέθαναν. Ο Μάλερ διάλεξε πέντε από αυτά και τα μελοποίησε. Ο Μάλερ είχε έντεκα αδέλφια, από τα οποία έξι πέθαναν σε μικρή ηλικία. Το 1901 μελοποίησε το πρώτο, τρίτο και τέταρτο ποίημα, το 1904 ολοκλήρωσε τον κύκλο με την μελοποίηση του δεύτερου και τέταρτου ποιήματος.

Από το 1900 και μετά, η ποίηση του Ρίκερτ έγινε βασικό στοιχείο του έργου του Μάλερ.















Ewa Podleś is one of the world's leading contraltos, equally successful in the worlds of opera and concert music. Her voice possesses the rich, flexible, perhaps even masculine, quality that separates the true contralto from the mezzo-soprano, and which has invited comparison to the likes of Marilyn Horne, Kathleen Ferrier, and Marian Anderson. Her range, both musically and vocally, has made her succesful in a variety of genres and styles, including the operas of Rossini and Verdi, the songs of Chopin, and a broad selection of Russian repertoire.

The daughter of a successful Polish contralto, Podleś first attracted attention while still a student in her native Warsaw, where she was engaged by the local company to sing Rosina in Rossini's Barber of Seville. Her career developed quickly, and she began to make international appearances as early as 1982. The lighter quality that characterized her voice early on allowed for excellent performances of such roles as Rossini's Cenerentola and Bizet's Carmen as well as some lighter Russian roles. However, as her voice developed it took on a more characteristic dark quality that opened up a wider selection of parts, including Verdi's Eboli (Don Carlos) and Ulrica (Un Ballo in maschera). Her signature performance has for some time been the title role in Rossini's Tancredi. She also sings La Donna del Lago and L'Italiana in Algeri. She has a very effective recital program called "Rossini Arias for Contralto", which she has sung with the Moscow Chamber Orchestra in New York's Carnegie Hall.


Podleś' recordings have been well received, including a disc of Chopin songs with pianist Garrick Ohlsson, Melodies Russes (Grand Prix de L'Academie Française du Disque), and Tancredi (nominated for a Grammy).


Source: Rovi Staff (allmusic.com)

Κυριακή, 4 Δεκεμβρίου 2016

Coming Soon: Matthew Bourne's Swan Lake, 2012 – Richard Winsor, Dominic North, Nina Goldman (HD 1080p)














COMING SOON

Matthew Bourne's Swan Lake, 2012

Richard Winsor..........The Swan / The Stranger
Dominic North..........The Prince
Nina Goldman..........The Queen
Steve Kirkham..........The Press Secretary
Madelaine Brennan..........The Girlfriend
Joseph Vaughan..........The Young Prince

Music: Pyotr Ilyich Tchaikovsky

The New London Orchestra
Conductor: David Lloyd-Jones

Director & Choreographer: Matthew Bourne
Set & Costume Designer: Lez Brotherston

(HD 1080p)


Watch the trailer / Δείτε το trailer



When it premiered at Sadler's Wells in 1995, Matthew Bourne's triumphant modern re-interpretation of Swan Lake turned tradition upside down, taking the dance world by storm. Now firmly crowned as a modern day classic, this iconic production is perhaps best-known for replacing the traditional female corps de ballet with a menacing male ensemble.

Matthew Bourne blends dance, humor and spectacle with extravagant, award-winning designs by Lez Brotherston, to create a provocative and powerful Swan Lake for our times.

Collecting over 30 international theatre awards including three Tonys, Swan Lake has been acclaimed as a landmark achievement on the international stage. It has become the longest running ballet in the West End and on Broadway and enjoyed four hugely successful tours in the UK, thrilling audiences all over the world.


Richard Winsor














See also / Δείτε επίσης

Pyotr Ilyich Tchaikovsky: Swan Lake – Adam Cooper, Scott Ambler, Fiona Chadwick – Matthew Bourne, Peter Mumford (1996, HD 1080p)

Σάββατο, 3 Δεκεμβρίου 2016

Kurt Weill: The Seven Deadly Sins | William Walton: Façade Orchestral Suite No.1, & Symphony No.1 in B flat minor – Storm Large, Detroit Symphony Orchestra, Leonard Slatkin – Sunday, December 4, 2016, 3:00 AM – Live on Livestream

Called "sensational" by The New York Times in her 2013 Carnegie Hall debut with the DSO, larger-than-life personality and vocalist Storm Large reprises her starring role as "Anna" (and her multiple personalities!) in Kurt Weill's thrilling, satirical Seven Deadly Sins. Leonard Slatkin leads this theatrical masterpiece, framed by acclaimed works of avant-garde English composer William Walton.

Detroit: Saturday, December 3, 2016, 8:00 PM



Υπό τη διεύθυνση του διάσημου Αμερικανού μαέστρου Λέοναρντ Σλάτκιν, η Συμφωνική Ορχήστρα του Ντιτρόιτ παρουσιάζει το έργο των Κουρτ Βάιλ και Μπέρτολτ Μπρεχτ, «Τα επτά θανάσιμα αμαρτήματα», με ερμηνεύτρια την Αμερικανίδα τραγουδίστρια Στορμ Λάρτζ, καθώς επίσης και δύο έργα ενός από τους σημαντικότερους Άγγλους συνθέτες, του Γουίλιαμ Γουόλτον: τη Σουίτα αρ. 1 (Façade), και τη Συμφωνία αρ. 1 σε Σι ύφεση ελάσσονα.

Η συναυλία, διάρκειας δύο ωρών, θα λάβει χώρα στην αίθουσα συναυλιών Orchestra Hall στο Max M. Fisher Music Center στο Ντιτρόιτ των Ηνωμένων Πολιτειών, την Κυριακή 4 Δεκεμβρίου 2016, στις 3:00 πμ (ώρα Ντιτρόιτ: Σάββατο 3 Δεκεμβρίου, 8:00 μμ), και θα μεταδοθεί ζωντανά από το Livestream.



William Walton (1902-1983)

♪ Façade, Suite No.1, for orchestra (1926)

i. Polka
ii. Valse
iii. Swiss Yodeling Song
iv. Tango – Pasodoblé
v. Tarantella. Sevillana


Kurt Weill (1900-1950)

♪ The Seven Deadly Sins (1933)

Storm Large, vocalist
Hudson Shad, vocal quartet


William Walton

♪ Symphony No.1 in B flat minor (1935)

i. Allegro assai
ii. Scherzo: Presto con malizia
iii. Andante con malinconia
iv. Maestoso – Allegro, brioso ed ardentemente – Vivacissimo – Maestoso


Detroit Symphony Orchestra
Conductor: Leonard Slatkin

(HD 720p)

Live from Orchestra Hall, Max M. Fisher Music Center, Detroit

Sunday, December 4, 2016, 3:00 AM (EET, UTC+02:00)
(Detroit: Saturday, December 3, 2016, 8:00 PM)

Live on Livestream


Photo by Laura Domela
Storm Large was born in 1969, and raised in suburban Southborough, Massachusetts. Since around age five, she started singing and writing songs. She graduated in 1987 from St Mark's School, a prestigious private school whose alumni include Ben Bradlee, Prince Hashim of Jordan, and Franklin Delano Roosevelt III. Her father Henry Large was a history teacher there, as well as the football team coach before he retired.

After high school, she attended the American Academy of Dramatic Arts in New York, where she earned an associate degree in 1989.

In the early 1990s Large moved to California and the San Francisco Bay Area.

Large moved to Portland, Oregon in 2002, originally planning to quit music and attend the Western Culinary Institute, but at the urging of friends and in particular Frank Faillace, owner of the Portland rock club Dante's, she began singing again with a band she called "The Balls".

Large is bisexual, though she dislikes the term and instead calls herself "sexually omnivorous".

While in San Francisco Storm formed the bands Flower SF, Storm and Her Dirty Mouth, and Storm, Inc. Storm also performed with Michael Cavaseno as the duo Storm and Michael or Storm and Friends.

Storm, Inc. featured Shaunna Hall of 4 Non Blondes and P-Funk fame as a rhythm guitarist. Shaunna was featured on The Calm Years LP and toured with the band for a few months after the album's release.

On January 12, 2012, Storm published a memoir titled Crazy Enough. It is an expansion on her cabaret show produced by Portland Center Stage. The book, published by Free Press, is an account of her growing up with a mother with psychological issues, her stint as a competitive rower, and her eventual successes.

Source: en.wikipedia.org


Storm Large: musician, actor, playwright, author, awesome. She shot to national prominence in 2006 as a finalist on the CBS show Rock Star: Supernova, where despite having been eliminated in the week before the finale, Storm built a fan base that follows her around the world to this day.

Storm spent the 90s singing in clubs throughout San Francisco. Tired of the club scene, she moved to Portland to pursue a new career as a chef, but a last minute cancellation in 2002 at the Portland club "Dante's" turned into a standing Wednesday night engagement for Storm and her new band, The Balls. It wasn't long before Storm had a cult-like following in Portland, and a renewed singing career that was about to be launched onto the international stage.

Storm made her debut as guest vocalist with the band Pink Martini in April 2011, singing four sold-out concerts with the National Symphony Orchestra at the Kennedy Center in Washington, DC. She continues to perform with the band, touring nationally and internationally, and she was featured on their CD, Get Happy. Storm has also sung with Grammy winner k.d. lang, pianist Kirill Gerstein, punk rocker John Doe, singer/songwriter Rufus Wainwright, and Rock and Roll Hall of Famer George Clinton.

She debuted with the Oregon Symphony in 2010, and has returned for sold out performances each year thereafter. Storm made her Carnegie Hall debut in May 2013, singing Weill's Seven Deadly Sins with the Detroit Symphony as part of the Spring for Music festival. The NY Times called her "sensational", and the classical music world instantly had a new star.

In 2007, she took a career departure and starred in Portland Center Stage's production of Cabaret with Wade McCollum. The show was a smash hit, earning Large glowing reviews. Her next endeavor, the autobiographical musical memoir, Crazy Enough, played to packed houses in 2009 during its unprecedented 21-week sold out run in Portland. Storm went on to perform a cabaret version of the show to critical acclaim at the Edinburgh Fringe Festival, Adelaide Festival in Australia, and Joe's Pub in New York. Her memoir, Crazy Enough, was released by Simon and Schuster in 2012, named Oprah's Book of the Week, and awarded the 2013 Oregon Book Award for Creative Nonfiction.

Storm is featured in Rid of Me, a film by Portlander James Westby, starring Katie O'Grady and Theresa Russell. In November and December of 2010, she starred at the Mark Taper Forum with Katey Sagal and Michael McKean in Jerry Zak's production of Harps and Angels, a musical featuring the work of Randy Newman.

In the 2013-2014 season Storm and her band, Le Bonheur performed in many new cities around the country, including Las Vegas, Boston, Minneapolis in a evening called "Taken By Storm" In June 2014, she appeared at the Ojai Festival with the exciting new orchestra, The Knights and the vocal ensemble Hudson Shad. Later in the summer she debuts at the Grant Park Music Festival in Chicago.

In the Fall of 2014, Storm & Le Bonheur released a record designed to capture their sublime and subversive interpretations of the American Songbook. Entitled simply, "Le Bonheur" and released on Pink Martini's, Heinz Records, the recording will be a collection of tortured and titillating love songs; beautiful, familiar, yet twisted... much like the lady herself. Storm and her band will hit the road in support of this new release. Storm also makes her debut with The New York Pops Orchestra at Carnegie Hall, The Cincinnati Symphony, The Houston Symphony and The RTE Concert Orchestra in Dublin amongst others. Storm is also busy creating a new musical with The Public Theater in New York City.

Source: stormlarge.com


Storm Large, Detroit Symphony Orchestra, Leonard Slatkin














Kurt Weill: The Seven Deadly Sins

Elizabeth West and Peter Darrell co-founded Western Theatre Ballet in 1957. They aimed to find new audiences for ballet, performing in theatres that large companies did not visit. It was their ambition to commission ballets reflecting the spirit of the day and, crucially, to revitalise ballet's theatrical dimension (hence the word "theatre" in the company's name). Lord Harewood's invitation to perform at the Edinburgh Festival in 1961 was an important recognition of what Western Theatre Ballet had achieved. The programme they chose was daunting for a small company: Kenneth MacMillan's version of Brecht/Weill's Seven Deadly Sins, along with Salade choreographed by Peter Darrell and Le Renard choreographed by Alfred Rodrigues. A particular strength of the evening was the designs, which for all three ballets were overseen by Barry Kay. Ian Spurling was MacMillan's designer, his set constructed, rather than consisting of painted cloths and flats, the seven locales of Anna's sins announced on large lettered cubes moved around the stage by the cast.

The Seven Deadly Sins, which Berthold Brecht and Kurt Weill wrote after they fled Nazi Germany (it was their final collaboration), is an excoriating assault on capitalist morality. It was conceived as a satirical ballet chanté and first commissioned by Boris Kochno and George Balanchine in 1933. The work had been largely forgotten until Balanchine revived it in 1958.

Its heroine, Anna is a split personality, presented in MacMillan's ballet as two sisters. The singing Anna is all rational calculation. Her counterpart, the dancing Anna, is instinctive, natural, unguarded and generous. Anna is despatched into the world to "make good". The deadly sins from which her sister has to save her are the instincts that stand in the way of success. The two sisters, really one, journey around the America of Brecht's imagination encountering a different sin in each city. Each humane impulse of the dancing Anna (Anya Linden) is stigmatised as a deadly sin by the singing Anna's voice of reason (Cleo Laine). Virtue subsists only in acquiring money, symbolised by the home in Louisiana to which they eventually return.

Lotte Lenya was to have been MacMillan's Singing Anna, as she had been both in the 1933 and in the 1958 revivals. She had not understood that the choreography would be new and withdrew from the production to be replaced by Cleo Laine. For The Times the ballet made the strongest impression of the evening. "Whether or not we agree with Brecht", the review (unsigned) continued, "that there is anything specifically bourgeois about this immorality, the piece should make us profoundly uncomfortable. That it did not tonight was partly due to Mr Kenneth MacMillan's and Mr Ian Spurling's all too brilliant evocation of the world of Pabst's films, which now seem safely quaint, and partly to the invincible warmth of Miss Cleo Laine's singing. The final horror should lie in the fact that Anna I thinks of herself not as hard-bitten but as a pillar of morality: no room here for a heart of gold, or even a heart at all".

A music critic, Peter Heyworth reviewed the premiere for The Observer. "What was conceived in rage is swaddled in pity and savage satire is reduced to piquant paradox." However, Andrew Porter of The Financial Times came to MacMillan's defence. "It is not The Seven Deadly Sins, one feels, that Brecht and Weill intended. On its own terms, however, if not on theirs, MacMillan's choreography is filled with brilliance and invention and the whole presentation, in Ian Spurling's extremely clever set, is exciting."

Source: kennethmacmillan.com


Κουρτ Βάιλ: Τα Επτά Θανάσιμα Αμαρτήματα

Το μονόπρακτο «τραγουδισμένο μπαλέτο» (ballet chant) «Τα επτά θανάσιμα αμαρτήματα» είναι «καρπός» της συνεργασίας του Κουρτ Βάιλ με τον Μπέρτολτ Μπρεχτ. Το έργο, το οποίο βασίζεται σε σενάριο που επεξεργάστηκαν ο Έντουαρντ Τζέιμς με τον Μπορίς Κοκνό, πρωτοπαρουσιάστηκε στο Θέατρο των Ηλυσίων Πεδίων το 1933. Η χορογραφία ήταν του Ζορζ Μπαλανσίν και η μουσική διεύθυνση του Μορίς Αμπραβανέλ. Πρωταγωνιστούσαν η Λότε Λένια και η χορεύτρια Τίλι Λος. Την ίδια χρονιά παρουσιάστηκε στο Λονδίνο, στο Savoy Theatre, υπό τον τίτλο Anna - Anna. Η Λότε Λένια, χήρα πλέον του Κουρτ Βάιλ, τραγούδησε το ρόλο της Αννα και τη δεκαετία του '50. Τον ίδιο ρόλο έχουν τραγουδήσει και οι Marianne Faithfull, Elise Ross, Anne Sofie von Otter, Teresa Stratas και Anja Silja.

Πρόκειται για ένα πολύ δυνατό πολιτικό έργο, που καυτηριάζει την εκμετάλλευση του ανθρώπου – στην προκειμένη περίπτωση με πρόσχημα την αμαρτία. Η υπόθεση αφορά δύο αδελφές, την Άννα I και την Άννα II, που ταξιδεύουν σε επτά πόλεις των ΗΠΑ, προκειμένου να συγκεντρώσουν χρήματα, ώστε η οικογένειά τους να χτίσει ένα σπίτι στις όχθες του Μισισιπή. Σε κάθε μία από τις πόλεις, οι δύο αδελφές έρχονται αντιμέτωπες με ένα θανάσιμο αμάρτημα.

To ποιητικό κείμενο είναι σατιρικό: το σημαντικό ηθικό ζήτημα τίθεται καθώς η Άννα II φέρεται ενάντια σε αυτό που θεωρείται «ηθικό», μόνον όταν δε διαπράττει ένα από τα θανάσιμα αμαρτήματα. Έτσι, για την άρνησή της να δουλέψει σε καμπαρέ, της καταλογίζουν «υπερηφάνεια», ενώ η επιθυμία της να παντρευτεί εκείνον που αγαπά και όχι εκείνον που της επιβάλουν, ερμηνεύεται ως «λαγνεία».


William Walton: Symphony No.1 in B flat minor

Walton began to compose his Symphony No.1 in B flat minor in the early part of 1932 at the request of Sir Hamilton Harty, conductor of the Hallé Orchestra. Conveying this news to his friend Siegfried Sassoon, Walton wrote: "I may be able to knock Bax off the map". Having written two concertos and a big choral work (Belshazzar's Feast), he wanted to compose a large-scale piece of "absolute" music, with the Beethovenian symphony as his ideal. Work on it progressed slowly, chiefly at Ascona, Switzerland, where he was living with a young widow, Baroness Imma von Doernberg, and in October 1932 he told Dora Foss, wife of his publisher Hubert Foss, that "it shows definite signs of being on the move, a little spasmodic perhaps, but I have managed to get down about forty bars which for me is really saying something". The symphony originally began with an Allegro version of what is now the first subject of the slow movement. In its place Walton began the work with the haunting rhythmic figure we now know so well. But by December he was "stuck" at "an octave on A". It was at this point that he told Harty there was no chance of the symphony being ready by April, the date for which the conductor had planned the premiere. Harty had just left the Hallé to become conductor of the London Symphony Orchestra and was especially anxious for the publicity and prestige associated with giving the first performance of a major work by a young composer regarded as foremost in his generation.

Another year passed during which three movements were completed. Walton told Christabel Aberconway, one of his close friends, that he thought he had "brought off something a bit A1 extra". But the last movement gave him immense trouble, not least because he had spent much of the summer of 1934 writing his first film score (Escape Me Never) for an irresistible fee. Harty, whose plans for the premiere had again been disrupted, announced in November 1934 that the Symphony would be performed on 3 December without a finale. He wrote to Foss: "Why don't you go over to Switzerland and wrest poor W.W.'s Baroness away from him so that he can stop making overtures to her and do a symphony for me instead!" The three-movement version was a success but it was only a stop-gap. Walton wrote to his friend Patrick Hadley that he was determined that the finale should be up to the standard of the rest. "I've burnt about three finales... and it is only comparatively lately that I've managed to get going on what I hope is the last attempt."

Unfortunately the impression persisted at the time of the three-movement performance that Walton could not think of a finale, a misconception he inadvertently fostered by admitting that he "had to wait for the right mood and could not think of the right thing to do". In fact while working on the slow movement he had already begun the finale. Its beginning and magnificent coda were composed by December 1934. He was dissatisfied with the middle section until Constant Lambert suggested a fugal episode. The symphony was finished by 31 August. It was played in full on 6 November 1935 when Harty conducted the BBC Symphony Orchestra in the Queen's Hall, London. None of the above would matter much if it had not led to a critical litany that the finale was "tacked on" and did not fit the rest of the work. On the contrary, it seems to be the only right and proper end to the Symphony, the inevitable resolution of all that has gone before and Walton himself thought it was the best movement.

The opening of the Symphony, with the drum roll on B flat, the harmony on the horns, the rhythmic and throbbing crescendo in the strings and the oboe's repeated-note melody, is among the most exciting starts to a symphony ever written. It precipitates a passionate, frenzied drama, in which there is little lyrical respite and in which strings and brass tear the heart out of the themes, worrying at them as if they had caused some harm. One could analyse this movement in terms of intervals, pedal points and ostinati, but a personal drama was clearly at the root of this score. A friend remarked: "The trouble was that William changed girlfriends between movements". Some time in 1934 Imma left him for another man and he fell in love with Alice, Viscountess Wimborne, with whom he lived happily until her death in 1948. In spite of the break-up, Walton retained the dedication of the Symphony to Imma.

In the scherzo, marked Presto con malizia, the "malicious" designation is no illusion. Walton's sharply accented rhythms convey good humour in Portsmouth Point and Façade. Here there is spite, stinging and lashing. It gives way, in the slow movement, to the solo flute's desolate melancholy which, in an Allegro version, was the first part of the work to be composed. A second important theme is played by solo clarinet over pizzicato strings. The climax of the movement is a passage of full orchestral fury which dies down to leave the flute alone with its lament in C sharp minor. The finale's B flat wrenches us back to reality and confidence. The majestic introduction is succeeded by a busy Allegro, but phrases from the "crown imperial" opening recur and it comes as no surprise, after the fugue, when the majestic music returns. A distant poignant trumpet call is but a momentary interruption in the salvoes of strings, brass and drums which bring the symphony to its dramatic close.

The Symphony enjoyed an ecstatic reception from musicians, critics and public. It was recorded a month after the first performance. Walton was now established as the "white hope" of English music and he was an obvious choice to be asked to compose a march for the Coronation of King George VI in 1937. But he was under no illusions and said prophetically in 1939: "Today's white hope is tomorrow's black sheep". Six years later, when the Second World War was over, he found himself out of favour with the new generation of critics, for whom Schoenberg's atonality was the flavour of the decade, and superseded by Benjamin Britten, eleven years his junior, whose opera Peter Grimes had swept all before it in 1945.

Source: Michael Kennedy, 2011 (hyperion-records.co.uk)


Storm Large sings Kurt Weill's The Seven Deadly Sins














Photo by Laura Domela














Past Events / Προηγούμενες Εκδηλώσεις

The King's Singers: Christmas Songbook – The Greene Space, New York – Thursday, December 1, 2016, 2:00 AM – Live on Livestream

Prokofiev, a Russian Giant – MSU Symphony Orchestra, Kevin Noe – Tuesday, November 29, 2:30 AM – Live on Livestream

Gaetano Donizetti: L'elisir d'amore – MSU Symphony Orchestra, Marcello Cormio – MSU Opera Theatre, Melanie Helton – Sunday, November 20, 10:00 PM – Live on Livestream


Pyotr Ilyich Tchaikovsky: Piano Concerto No.1 in B flat minor | Béla Bartók: Concerto for Orchestra – Kirill Gerstein, Detroit Symphony Orchestra, Jun Märkl – Sunday, November 20, 2016, 3:00 AM – Live on Livestream


Gaetano Donizetti: L'elisir d'amore – MSU Symphony Orchestra, Marcello Cormio – MSU Opera Theatre, Melanie Helton – Saturday, November 19, 2016, 2:30 AM – Live on Livestream


Ludwig van Beethoven: Symphony No.4 in B flat major | Gustav Mahler: Das Lied von der Erde – Detroit Symphony Orchestra, Louis Langrée – Sunday, November 13, 2016, 3:00 AM – Live on Livestream


George Frideric Handel: Alcina – McGill Baroque Orchestra, Early Music Area, Hank Knox, Patrick Hansen – Tuesday, November 8, 2:30 AM – Live on Livestream


George Frideric Handel: Alcina – McGill Baroque Orchestra, Early Music Area, Hank Knox, Patrick Hansen – Sunday, November 6, 9:00 PM – Live on Livestream


Giacomo Puccini: La Bohème – Maribel Salazar, Mario Rojas, Orquesta & Coro del Teatro de Bellas Artes, Enrique Patron de Rueda – Monday, November 7, 2016, 1:00 AM – Live on Livestream


Anne Nispel and Elden Little interpret songs by Ralph Vaughan Williams, Franz Schubert, Gabriel Fauré, Ned Rorem, Samuel Barber, Carlos Gustavino, Jayme Ovalle and Miguel Sandoval – Sunday, November 6, 2016, 02:00 AM – Live on Livestream


Jennifer Johnston and Joseph Middleton interpret songs by Gustav Mahler, Richard Wagner and Franz Liszt – Saturday, November 5, 2016, 09:30 PM – Live on Livestream


Ian Buckle plays Frédéric Chopin: Prelude in C sharp minor, & Claude Debussy: Préludes, Book I – Friday, November 4, 2016, 03:00 PM – Live on Livestream


Jean Sibelius: Valse triste | Édouard Lalo: Symphonie espagnole in D minor | Johannes Brahms: Symphony No.2 in D major – Ray Chen, Orquesta Sinfónica Nacional, Christian Vásquez – Rebroadcast / Livestream


Παρασκευή, 2 Δεκεμβρίου 2016

Daniil Trifonov plays Johann Sebastian Bach, Ludwig van Beethoven and Franz Liszt (Carnegie Hall, 2014)
















Russian pianist Daniil Trifonov tackled pieces by three giants of the keyboard, opening the program with Johann Sebastian Bach's Fantasy and Fugue for Organ in G minor, BWV 542 (transcribed for piano by Franz Liszt), followed by Ludwig van Beethoven's Piano Sonata No.32 in C minor, Op.111, and Franz Liszt's incredibly daunting Transcendental Études, S.139.

Recorded at Carnegie Hall, Isaac Stern Auditorium / Ronald O. Perelman Stage, December 9, 2014



Ο Ρώσος πιανίστας Ντάνιηλ Τριφόνοφ, ένα από τα ανερχόμενα αστέρια της κλασικής μουσικής σκηνής, 25 χρόνων σήμερα και νικητής ήδη σε πολλούς διεθνείς διαγωνισμούς πιάνου, ερμηνεύει τη Φαντασία και Φούγκα σε Σολ ελάσσονα για εκκλησιαστικό όργανο, BWV 542, του Γιόχαν Σεμπάστιαν Μπαχ, σε μεταγραφή για πιάνο από τον Φραντς Λιστ, τη Σονάτα για πιάνο σε Ντο ελάσσονα, έργο 111, του Λούντβιχ βαν Μπετόβεν, και τις Transcendental Études, S.139, του Φραντς Λιστ. Στο ανκόρ, χαρίζει στο κοινό του το τελευταίο κομμάτι (Alla Reminiscenza) από τον πρώτο κύκλο, έργο 38, του έργου Forgotten Melodies του Νικολάι Μέντνερ.

Το ρεσιτάλ δόθηκε στο Κάρνεγκι Χολ της Νέας Υόρκης, στην ιστορική αίθουσα Isaac Stern Auditorium / Ronald O. Perelman Stage, στις 9 Δεκεμβρίου 2014.



Johann Sebastian Bach (1685-1750)

♪ Fantasy and Fugue for Organ in G minor, BWV 542 (1720? / trans. Franz Liszt, S.463)

i. Fantasia
ii. Fugue


Ludwig van Beethoven (1770-1827)


♪ Piano Sonata No.32 in C minor, Op.111 (1821-1822)

i. Maestoso – Allegro con brio ed appassionato
ii. Arietta: Adagio molto, semplice e cantabile


Franz Liszt (1811-1886)


♪ Transcendental Études, S.139 (1851)

i. Preludio in C major
ii. Fusées in A minor
iii. Paysage in F major
iv. Mazeppa in D minor
v. Feux follets in B flat major
vi. Vision in G minor
vii. Eroica in E flat major
viii. Wilde Jagd in C minor
ix. Ricordanza in A flat major
x. Appassionata in F minor
xi. Harmonies du soir in D flat major
xii. Chasse-neige in B flat minor


Encore:


Nikolai Medtner (1880-1951)

♪ Alla Reminiscenza, from Forgotten Melodies I, Op.38 (1919-1922)


Daniil Trifonov, piano

Carnegie Hall, Isaac Stern Auditorium / Ronald O. Perelman Stage, December 9, 2014

(HD 720p)


Moments before Daniil Trifonov performs, profound silence invariably takes possession of his audience. Its intensity depends not on concert hall convention; rather, it arises naturally from the Russian pianist's power to transcend the mundane and communicate music's timeless capacity to bind communities together. Out of that silence comes a rare kind of music-making. "What he does with his hands is technically incredible", observed one commentator shortly after Trifonov's triumph in the final of the International Tchaikovsky Competition in Moscow in 2011. "It's also his touch – he has tenderness and also the demonic element. I never heard anything like that." That view was expressed not by a professional critic but by one of the world's greatest pianists, Martha Argerich. She concluded that her young colleague was in possession of "everything and more", an opinion that has since been boldly underlined in print, online and over the airwaves by a succession of previewers and reviewers. The Washington Post wrote of the "visceral experience" of hearing Trifonov's playing; the Süddeutsche Zeitung, meanwhile, described his debut concert at last year's Verbier Festival as "a real culture shock", such was its blend of poetic insight, wit, nuance and inventive brilliance.

In February 2013, Deutsche Grammophon announced the signing of an exclusive recording agreement with Daniil Trifonov. His debut recital for the yellow label, recorded live at Carnegie Hall, combines Liszt's formidable Sonata in B minor, Scriabin's Sonata No.2 in G sharp minor, Op.19, the "Sonata-Fantasy", and Chopin's 24 Preludes Op.28. Future plans include concerto albums and further recital recordings. "The moment I signed to Deutsche Grammophon is, of course, perhaps the most significant event in my life to date", he recalls. "It's the greatest honour to record my first CD for the label, especially in such a great hall as Carnegie Hall."

Since winning the Tchaikovsky Competition, Trifonov has travelled the world as recitalist and concerto soloist. His list of credits include debut recitals at Carnegie Hall, Wigmore Hall, the Berlin Philharmonie, London's Queen Elizabeth Hall, the Auditorium du Louvre in Paris, Tokyo's Opera City, the Zurich Tonhalle and a host of other leading venues. He has also appeared with the Vienna Philharmonic, the London Symphony Orchestra, the New York Philharmonic Orchestra, the Philharmonia, the Mariinsky Orchestra, the Boston Symphony Orchestra, the Chicago Symphony Orchestra, the Israel Philharmonic Orchestra, the Orchestre Philharmonique de Radio France, the Royal Philharmonic Orchestra and the Cleveland Orchestra. Forthcoming debuts include concerto performances with the Los Angeles Philharmonic Orchestra, the Philadelphia Orchestra, the San Francisco Symphony and the Moscow Philharmonic.

For all the demands of his busy performance schedule, Trifonov still finds time to study with Sergei Babayan and take composition lessons at the Cleveland Institute of Music. "I'm looking forward to future projects with Deutsche Grammophon", he says. Exploring the vast piano literature, he adds, is the work of a lifetime. "In the coming years I hope to learn as many new pieces as possible and also leave time for composition, as composing partly influences piano playing."

Daniil Trifonov was born in Nizhny Novgorod on 5 March 1991. The old system of Soviet communism and the once mighty Union of Soviet Socialist Republics had been dissolved by the time Daniil's parents, both of them professional musicians, celebrated their son's first birthday. For all the social and economic upheavals of the time, the Trifonovs recognised their son's prodigious musical talents and supported his formal training. "I started playing piano when I was five and was also composing and always playing some concerts", Daniil recalls. He gave his first performance with orchestra at the age of eight, an occasion etched in the soloist's memory by the loss of one of his baby teeth midway through the concert. "It was quite an experience! But the first understanding of how important piano playing is for me came when I broke my left arm at the age of 13. I was going to a piano lesson. It was winter and very slippery, so I fell down and broke my arm and could not play normally for more than three weeks."

Physical injury focused young Daniil's mind on what making music meant to him. It also heightened his emotional connection to the piano and its repertoire. Scriabin's impassioned music – mystical, transcendent and technically demanding – became a near-obsession of Trifonov's early teens. The composer's harmonic language and vibrant tone colours touched the aspiring performer's soul and inspired him to enter Moscow's Fourth International Scriabin Competition, where the 17-year-old secured fifth prize. Inspiration also flowed from Trifonov's study of historic recordings of great pianists, which he borrowed from his teacher Tatiana Zelikman at Moscow's famous Gnessin School of Music. "When I was studying with Tatiana Zelikman in Moscow she had a great collection of old recordings and a lot of LPs, so I was fed by those recordings." Trifonov absorbed lasting lessons from the recorded legacy of Rachmaninov, Cortot, Horowitz, Friedman, Sofronitsky and other representatives of a golden age of pianism. "Among pianists who inspire me nowadays are Martha Argerich, Grigory Sokolov and Radu Lupu", he adds.

Daniil Trifonov himself became an inspiration in the summer of 2011. He began by winning the 13th Arthur Rubinstein International Piano Master Competition in Tel-Aviv before returning home to secure first prize, the Gold Medal, and Grand Prix at the XIV International Tchaikovsky Competition. Trifonov also won the Audience Award and the Award for the best performance of a Mozart concerto. His work was already known to influential critics and concert promoters thanks to his appearance a year earlier at the prestigious International Chopin Piano Competition in Warsaw. The media's broad and deep response to his Moscow victory guaranteed that the whole world knew about the 20-year-old Russian. "Mr Trifonov has scintillating technique and a virtuosic flair", noted the New York Times. "He is also a thoughtful artist... [who] can play with soft-spoken delicacy, not what you associate with competition conquerors." At the beginning of 2012, cultural commentator Norman Lebrecht heralded the young man's meteoric progress and neatly described him as "A pianist for the rest of our lives".

Source: daniiltrifonov.com
















At a glance

Tonight's program features masterpieces by three giants of the keyboard. Each was known in his day as a virtuoso performer, as well as a revered and influential composer. Their works not only transformed the forms in which they composed, but also impacted the works of their immediate and distant successors. Liszt's transcription of Bach's Fantasy and Fugue for Organ in G minor, BWV 542, is a testament to the genius of both composers, contrasting free-form expression with highly structured musical thought. Beethoven's Piano Sonata No.32 in C minor, Op.111 – his last sonata and one of his last works for piano – pushes the capabilities of the piano as an instrument, the compositional boundaries of the time, and the interpretive abilities of the performer. Finally, each of Liszt's fiendishly and legendarily difficult Transcendental Études, S.139, is a miniature tone poem, depicting a specific narrative theme and showcasing the composer's dramatic and poetic side along with his virtuosic technique.


Johann Sebastian Bach: Fantasy and Fugue for Organ in G minor, BWV 542 (trans. Franz Liszt, S. 463)

During his lifetime, Bach's travels were confined to a relatively small geographical area, but his legacy and influence as a composer span centuries. He was able to synthesize and perfect the ideas of previous composers and bring the Baroque style to its height. His keyboard compositions are unrivaled for their inventiveness and perfect counterpoint, and his exploration of the well-tempered tuning system – which allowed keyboardists to play in any key signature without any scale degree sounding perceptively out of tune, therefore giving composers a free hand to write music that moved among distant tonal areas – allowed him to expand the harmonic breadth and depth of keyboard literature.

While Liszt's original compositions are vital to the piano and symphonic repertoire, he is also famous for his piano transcriptions of everything from symphonies to opera arias. In fact, about half of his 800 or so compositions are treatments of works by other composers. His transcriptions helped popularize musical masterpieces, including orchestral works of Berlioz and Beethoven (allowing them to be heard by people without access to orchestral performances), and even helped revive an appreciation of Bach's music in the 19th century.

Through transcriptions – the adaptation of an original work by another composer for a different instrument – two musical minds separated across time enter into a dialogue. Similar to a philosopher or scientist considering pre-existing theories, transcriptions bring a new perspective to original musical material through the examiner's new insight. Tonight's transcription of Bach's Fantasy and Fugue for Organ in G Minor, BWV 542, is a testament to the genius of both Bach and Liszt. The work contrasts free-form expression with highly structured musical thought. The Fantasy ponders, almost in a stream-of-consciousness fashion (including chromatic explorations), musical ideas hinted at or used at various points in the Fugue. The Fugue then organizes the materials into a robust contrapuntal discussion. The chromatic episodes in the Fantasy show off the virtues of well-tempered tuning, while the Fugue features some of Bach's best contrapuntal writing.

One can experience a profound melding of inspirational and intellectual thought when listening to these two movements, as improvisational fancy converges with logic and reason. Liszt's restraint in this transcription shows his reverence for Bach, and his genius shines through in the cleverness of his piano coloring, sustaining techniques, and voicing of the fugue material to re-create the clarity of the original. Liszt's piano transcription also creates a more intimate, distilled experience than the original version for organ.


Ludwig van Beethoven: Sonata No.32 in C minor, Op.111

Beethoven, like Bach and Liszt, is an iconic musical figure known for his compositional genius, keyboard virtuosity, and the influence he had on composers and performers of future generations. Like Bach, Beethoven was able to synthesize previous compositional styles and bend them to his own artistic will. Rather than perfecting a style, however, Beethoven pushed the evolution of composition from the Classical era into the Romantic. Like his successor Liszt, Beethoven's innovations in formal structure, development of material, and virtuoso piano technique influenced composers well into the 20th century. There are few genres of music that he did not master, and his works in each category often set a new standard for everyone who followed. His piano sonatas and concertos are considered the core of the Classical and early-Romantic keyboard repertoire.

The Piano Sonata No.32 in C Minor, Op.111, is Beethoven's final piano sonata and one of his last works for piano. A quarter-century earlier, he composed his first sonata, at which point he set out on a compositional path that transformed piano literature. While the Sonata No.1, dedicated to Haydn, is innovative, it is based on imitation and appreciation of his contemporaries. By the time he wrote the Sonata No.32, however, Beethoven was pushing the capabilities of the piano as an instrument, the compositional boundaries of the time, and the interpretive abilities of the performer. Though the sonata was composed late in Beethoven's life, some of its material shows up in sketchbooks dating back to 1801. For some 20 years, Beethoven's creative cauldron boiled with the ideas – some used, some discarded – that eventually led him to this masterpiece.

From the outset, Op.111 is a study in contrasts. The first movement is full of passionate bravura passages as well as moments of questioning, as if in the manner of a desperate philosopher. The second movement, simple and songlike, possesses Beethoven's inimitable ability to celebrate the profound and spiritual. Its beautiful opening theme is repeated in four subsequent variations, each more celebratory, and ends reverent and mystified – the philosopher's joyful reward for his earlier desperate searching.


Franz Liszt: Transcendental Études, S.139

Liszt was a leader in the Romantic era and an icon of 19th-century compositional development, pianistic virtuosity, and musical thought. He developed new methods of form and technique, employed radical harmonic ideas, invented the symphonic poem, and furthered the concept of thematic transformation – all of which influenced his contemporaries and future composers alike. With his sensational technique and charm, he was also the leading piano virtuoso of his time, and he used his fame to promote the music of others, including his colleagues Berlioz and Wagner, and to preserve the music of the past, including that of Bach, Handel, Schubert, and Beethoven. Yet, at the height of his career, he gave up performing to pursue composition, teaching, and conducting. As musicologist and Liszt expert Alan Walker wrote, "He contained in his character more of the ideals and aspirations of the 19th century than any other major musician".

Like many of his works, Liszt's Études d'exécution transcendante (Transcendental Études) took a long time to reach their final form. He wrote three versions of the pieces, the first in 1826, followed by reworked versions in 1837 and 1851 – the first revision to make the music more elaborate and challenging, and the final one to simplify it. The set is dedicated to Carl Czerny, Liszt's teacher and a noted composer of piano etudes. Organized in a distinct tonal plan, the 12 etudes are arranged in pairs, each of which marries a piece in a major key with a piece in its relative minor key. The following pair then proceeds in the major and minor key signatures a fifth below their counterparts in the preceding pair: C major and A minor, F major and D minor, B flat major and G minor, E flat major and C minor, A flat major and F minor, and D flat major and B flat minor. While Chopin tackled pianistic issues in each of his etudes – for example, sixths, octaves, or arpeggios – each of the fiendishly and legendarily difficult movements of Liszt's Transcendental Études is a miniature tone poem, depicting a specific narrative theme and showcasing the composer's dramatic and poetic side along with his virtuosic technique.

With the exception of the second and 10th movements, each etude is given a descriptive title that hints at its narrative content. The extremely brief "Preludio" opens the cycle with bombastic chords and cascading arpeggios, creating a formidable introduction to the work. The second movement has a Paganini-esque toccata quality, leaping throughout the entire range of the instrument with radiant and devilish energy, which is then contrasted starkly with the gentle, legato character of "Paysage" ("Landscape"), which follows. Lord Byron's poem "Mazeppa", in which a Cossack receives a wild ride through the night while strapped naked to a galloping horse as punishment for having an affair with a noblewoman, is depicted in Liszt's movement of the same name. "Feux follets" ("Will-o'-the-Wisps") is a study in nimbleness and a playful musical portrait of the atmospheric, flickering lights that often appear over bogs or marshes at twilight. The dark and somber "Vision", which often hints at the first four notes of the medieval "Dies irae" chant, was called a musical painting "of the funeral of the first Napoleon, advancing with solemn and imperial pomp" by pianist-composer Ferruccio Busoni.

"Eroica", perhaps a reference to Beethoven's Symphony No.3 of the same name and key signature, is filled with youthful defiance and virtuosity, though it is not as difficult as some of the other etudes in the set. The exhilarating "Wilde Jagd" ("Wild Hunt") also presents formidable challenges to the pianist, who must retain clarity in the melody amidst the fury and fireworks all around. "Ricordanza" ("Remembrance") is contrastingly elegiac, lyrical, and nostalgic, full of lush melodies that undergo thematic transformation throughout. The 10th etude, marked Allegro agitato molto, is restless and tempestuous, with a violent breathlessness. "Harmonies du soir" ("Evening Harmonies") offers a lovely tapestry of lush harmonic passion, followed by the final etude, "Chasse neige" ("Snow Plow"). This study in octaves and tremolos builds increasingly in complexity, while portraying the frenzy of a deep, swirling storm of snow and ice. It is a powerful end to a provocative and cohesive cycle of miniature musical portraits.

Source: Dr. ToniMarie Marchioni (carnegiehall.org)



Η τελευταία Σονάτα για πιάνο του Μπετόβεν, αρ. 32 σε Ντο ελάσσονα, έργο 111, είναι ένα έργο πολύ ιδιαίτερο. Έχει μονάχα δύο μέρη, μα σε αυτά τα μέρη ο συνθέτης λέει κάποια πράγματα που δεν έχει πει στα προηγούμενα και «πιο ολοκληρωμένα» έργα του. Η Σονάτα έργο 111 είναι ένας τιτάνιος πειραματισμός πάνω στο πρόβλημα της μορφής, και όσον αφορά στις πέντε τελευταίες Σονάτες για πιάνο του Μπετόβεν, τούτη έρχεται σαν κατακλείδα σ' αυτές και κατά μία έννοια συνιστά Coda, κλείσιμο, σε όσα δοκιμάζονται στην επιβλητική Σονάτα αρ. 29 σε Σι ύφεση μείζονα, έργο 106, τη γνωστή ως "Hammerklavier", αλλά και στο σύνολο του πιανιστικού του έργου.

Το πρώτο μέρος (Maestoso, Allegro con brio ed αppαssiοnαto), αρχίζει με πολύ δυνατά ακόρντα, τα οποία σε συνδυασμό με τις τρίλιες που ακολουθούν, κάνουν, θα λέγαμε, υπαινιγμό τόσο για την πραγματικότητα της τρέλας όσο και για τον παραλογισμό της ανθρώπινης ύπαρξης. Το ίδιο ακριβώς σχολιάζουν και τα αρπίσματα στην Ντο ελάσσονα που ακολουθούν, ενώ οι οκτάβες στην μπάσα περιοχή του πιάνου είναι πραγματικές «σφυριές» που καρφώνουν τα καρφιά σε μια βαριά και καταθλιπτική επιτάφια πλάκα. Εδώ, το «μοτίβο του πεπρωμένου» είναι πολύ πιο ξεκάθαρο απ' όσο στο πρώτο μέρος της Πέμπτης Συμφωνίας του συνθέτη.

Το δεύτερο μέρος της Σονάτας (Arietta: Adagio molto semplice e centebile) είναι ένα θέμα με παραλλαγές – μια άσκηση μετρήματος κι εκτέλεσης ιδιαίτερα δύσκολη για κάθε πιανίστα. Το ξεκίνημα του δεύτερου μέρους, το γνωστό: ντο-σολ-σολ, ρε-σολ-σολ, είναι σαν ένας αποχαιρετισμός στην ψυχή που θανατώθηκε στον τριπλό αγώνα της για επιβίωση, συμφιλίωση με τον εαυτό της και λύτρωση. Θ' ακολουθήσουν οι παραλλαγές – πραγματικά σπαράγματα –, η πάλη για την ανάδυση της ψυχής από το μνήμα, καθώς και η διαδικασία μετουσίωσής της από ατομική ουσία σε συμφιλιωτική δύναμη των πάντων, σε οικουμενικό και πανανθρώπινο πνεύμα. Βρισκόμαστε στην περιοχή του φωτός, καθώς όμως «όπου υπάρχει πολύ φως οι σκιές είναι εντονότερες» (Γκαίτε), είμαστε πάντα στο χώρο του τραγικού, της αποξένωσης, των «ενδιάμεσων καταστάσεων», όπου η ανθρώπινη πραγματικότητα παραδίδεται στην ετερότητα, μη γνωρίζοντας ακόμη το πραγματικό της πεπρωμένο, με την έννοια της τελικής κατάληξης, μα συμφιλιωμένη απόλυτα με τα βαθύτερά της αιτήματα.

Ο Τόμας Μαν που αφιερώνει μερικές θαυμάσιες σελίδες του «Δόκτορος Φάουστους» στον σχολιασμό του εν λόγω κομματιού, είναι της γνώμης πως προς το τέλος του δεύτερου μέρους σημειώνεται μία αξιοσημείωτη αλλαγή: Με την παρεμβολή ενός «ντο δίεση» στο αρχικό θέμα ντο-σολ-σολ, ρε-σολ-σολ (πριν από το ρε), αλλάζει ολόκληρο το ύφος της σύνθεσης. Τα «λόγια» του μεγάλου συνθέτη γλυκαίνουν, πραΰνονται, σαν να θέλουν να μας προσφέρουν ένα παρηγορητικό και συνάμα μελαγχολικό και καθησυχαστικό χάδι. Κατά τον Τόμας Μαν, έτσι σηματοδοτείται και το τέλος και η τελείωση της Σονάτας και της μορφής της Σονάτας. Γι' αυτό καθίσταται τελείως περιττό ένα τρίτο μέρος στο έργο αυτό, που τελικά δεν γράφτηκε.

Πηγή: Δήμος Μαρουδής (enet.gr)

















Photos by Dario Acosta


See also / Δείτε επίσης

Wolfgang Amadeus Mozart: Piano Concerto No.23 in A major – Daniil Trifonov, Israel Camerata Jerusalem, Avner Biron

Πέμπτη, 1 Δεκεμβρίου 2016

More than 15,000 visits to the Blog, in November 2016
















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Τετάρτη, 30 Νοεμβρίου 2016

The King's Singers: Christmas Songbook – The Greene Space, New York – Thursday, December 1, 2016, 2:00 AM – Live on Livestream

In an exclusive New York appearance, The King's Singers, one of the world’s most celebrated vocal ensembles – consummate entertainers with a delightfully British wit –, perform selections from their new album, Christmas Songbook, featuring a mix of traditional carols and modern-day classics with a hint of swing.

New York: Wednesday, November 30, 2016, 7:00 PM



Σε μιαν αποκλειστική εμφάνιση στη Νέα Υόρκη, το βραβευμένο με Γκράμι, διάσημο βρετανικό a cappella φωνητικό σύνολο The King's Singers παρουσιάζει ένα πρόγραμμα με σύγχρονα και παραδοσιακά χριστουγεννιάτικα τραγούδια από το νέο τους άλμπουμ "Christmas Songbook".

Η συναυλία θα λάβει χώρα στο The Greene Space της Νέας Υόρκης, την Πέμπτη 1 Δεκεμβρίου 2016, στις 2:00 πμ (ώρα Νέας Υόρκης: Τετάρτη 30 Νοεμβρίου 2016, 7:00 μμ), και θα μεταδοθεί ζωντανά από το Livestream.



The King's Singers: Christmas Songbook

1. It's Beginning to Look a Lot Like Christmas (Meredith Wilson, arr. Alexander L'Estrange)
2. In the Bleak Midwinter (Gustav Holst, arr. Alexander L'Estrange)
3. Veni, Veni, Emmanuel (Trad., arr. Philip Lawson)
4. The Crown of Roses (Piotr Ilyich Tchaikovsky, arr. Jeremy Lubbock)
5. Bogoroditsye Dyevo / Rejoice, O Mother of God (Arvo Pärt)
6. It Came Upon a Midnight Clear (Trad., arr. Robert Rice)
7. Still, Still, Still (Trad., arr. Alexander L'Estrange)
8. Sleigh Ride (Leroy Anderson, arr. Alexander L'Estrange)
9. White Christmas (Irving Berlin, arr. Robert Rice)
10. The Little Boy that Santa Claus Forgot (M. Carr, T. Connor and J. Leach, arr. Alexander L'Estrange)
11. Frosty vs Rudolph: The Reboot (W. Rollins, S. Nelson and J. Marks)
12. Silent Night  (Franz Gruber, arr. Keith Roberts)
13. Have Yourself a Merry Little Christmas (H. Martin and R. Blane)

The King's Singers:
Patrick Dunachie, first countertenor – Joined September 2016
Timothy Wayne-Wright, countertenor – Joined January 2009
Julian Gregory, tenor – Joined September 2014
Christopher Bruerton, baritone – Joined January 2012
Christopher Gabbitas, baritone – Joined February 2004
Jonathan Howard, bass – Joined September 2010

Live from The Greene Space, New York

Duration: 1 hour, 15 minutes / Διάρκεια: 1 ώρα και 15 λεπτά

(HD 720p)

Thursday, December 1, 2016, 2:00 AM (EET, UTC+02:00)
(New York: Wednesday, November 30, 2016, 7:00 PM)

Live on Livestream


Photo by Andy Staples
















The King's Singers are an entertaining six-man vocal ensemble that tours the world singing a variety of repertory to appreciative listeners. The group was formed in 1965 by a few of the choral scholars of the Choir of King's College, Cambridge. They had decided to make a private recording of some of the secular music they had been working on, calling themselves "Schola Cantorum Pro Musica Profana in Cantabridgiense". They commissioned 100 pressings to keep and give to friends and families. From this start, the six (Martin Lane, Alastair Hume, Neil Jenkins, Richard Salter, Simon Carrington, and Brian Kay) decided to undertake a tour, and booked themselves as "Six Choral Scholars from King's College".

All at Once Well Met: English Madrigals. The tour was a success, and a new name – the King's Singers, suggested by an Argo Records executive – was chosen. Their first concert officially took place on May 1, 1968. By 1971, the King's Singers had drawn considerable attention in England and began making their first recordings. By Appointment and The King's Music appeared in 1971 and 1972, respectively. In the 1980s, the King's Singers experienced their first personnel changes, but the group's popularity remained high, bolstered by a heavy touring schedule that even included an appearance on Johnny Carson's Tonight Show. Then-recent recordings, like their All at Once Well Met: English Madrigals (1985) and Beatles Connection (1986), achieved impressive sales.

The King's Singers continue to entertain audiences with their music, maintaining their meticulous style through numerous changes in their lineup. The longest-serving member of the group was Alastair Hume, who remained with the King's Singers until the end of their 1992 season. Several former members, such as Nigel Short and Gabriel Crouch, have established successful solo careers. Members of the 2016-2017 season included Patrick Dunachie and Timothy Wayne-Wright, countertenors; Julian Gregory, tenor; Christopher Bruerton and Christopher Gabbitas, baritones; and Jonathan Howard, bass.

Simple GiftsThe King's Singers have made several dozen recordings of a wide variety of music for several labels, everything from madrigals and motets to Japanese folk songs to a cappella arrangements of pop songs. They have also commissioned a large number of new compositions from composers such as Luciano Berio, György Ligeti, Toru Takemitsu, James MacMillan, and Gabriela Lena Frank. They also teach masterclasses and summer programs for young musicians. In 2009, the King's Singers won a Grammy Award for their recording Simple Gifts, on the Signum label. They were also part of Eric Whitacre's 2012 Grammy-winning recording Light & Gold. The King's Singers continue to perform, frequently to sold-out audiences, and make recordings that are not only critically admired but also much loved by fans.

Source: Rovi Staff (allmusic.com)
















Past Events / Προηγούμενες Εκδηλώσεις

Kurt Weill: The Seven Deadly Sins | William Walton: Façade Orchestral Suite No.1, & Symphony No.1 in B flat minor – Storm Large, Detroit Symphony Orchestra, Leonard Slatkin – Sunday, December 4, 2016, 3:00 AM – Live on Livestream

Prokofiev, a Russian Giant – MSU Symphony Orchestra, Kevin Noe – Tuesday, November 29, 2:30 AM – Live on Livestream

Gaetano Donizetti: L'elisir d'amore – MSU Symphony Orchestra, Marcello Cormio – MSU Opera Theatre, Melanie Helton – Sunday, November 20, 10:00 PM – Live on Livestream

Pyotr Ilyich Tchaikovsky: Piano Concerto No.1 in B flat minor | Béla Bartók: Concerto for Orchestra – Kirill Gerstein, Detroit Symphony Orchestra, Jun Märkl – Sunday, November 20, 2016, 3:00 AM – Live on Livestream


Gaetano Donizetti: L'elisir d'amore – MSU Symphony Orchestra, Marcello Cormio – MSU Opera Theatre, Melanie Helton – Saturday, November 19, 2016, 2:30 AM – Live on Livestream


Ludwig van Beethoven: Symphony No.4 in B flat major | Gustav Mahler: Das Lied von der Erde – Detroit Symphony Orchestra, Louis Langrée – Sunday, November 13, 2016, 3:00 AM – Live on Livestream


George Frideric Handel: Alcina – McGill Baroque Orchestra, Early Music Area, Hank Knox, Patrick Hansen – Tuesday, November 8, 2:30 AM – Live on Livestream


George Frideric Handel: Alcina – McGill Baroque Orchestra, Early Music Area, Hank Knox, Patrick Hansen – Sunday, November 6, 9:00 PM – Live on Livestream

Giacomo Puccini: La Bohème – Maribel Salazar, Mario Rojas, Orquesta & Coro del Teatro de Bellas Artes, Enrique Patron de Rueda – Monday, November 7, 2016, 1:00 AM – Live on Livestream


Anne Nispel and Elden Little interpret songs by Ralph Vaughan Williams, Franz Schubert, Gabriel Fauré, Ned Rorem, Samuel Barber, Carlos Gustavino, Jayme Ovalle and Miguel Sandoval – Sunday, November 6, 2016, 02:00 AM – Live on Livestream


Jennifer Johnston and Joseph Middleton interpret songs by Gustav Mahler, Richard Wagner and Franz Liszt – Saturday, November 5, 2016, 09:30 PM – Live on Livestream


Ian Buckle plays Frédéric Chopin: Prelude in C sharp minor, & Claude Debussy: Préludes, Book I – Friday, November 4, 2016, 03:00 PM – Live on Livestream


Jean Sibelius: Valse triste | Édouard Lalo: Symphonie espagnole in D minor | Johannes Brahms: Symphony No.2 in D major – Ray Chen, Orquesta Sinfónica Nacional, Christian Vásquez – Rebroadcast / Livestream