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.

Sunday, February 19, 2017

In the Midst of Life. Music from the Baldwin Partbooks I – Contrapunctus, Owen Rees (Audio video)






















Early music needs another British vocal ensemble like a meerkat needs car insurance. It's a field that's already standing-room only, with long-established groups jostling with younger rivals for space. But Contrapunctus are special. Their first disc, "Libera nos: The Cry of the Oppressed" (Signum, 11/13), was seriously, startlingly good: the intimacy of The Cardinall's Musick, the rich, glowing tone of The Sixteen and the textual drama of Stile Antico. Their second disc proves that this was no one-off.

It's a shame that both the group's name and the rather earnest cover of "In the Midst of Life" (subtitled "Music from the Baldwin Partbooks, Vol. 1") may dissuade casual listeners from exploring the contents, because they would find much to delight here. This first selection from the rich Baldwin repertoire (Latin-texted English church music) broods on mortality, death and judgement. Works by Byrd, Tallis, Parsons and Sheppard feature alongside the odd wildcard – Dericke Gerarde's Sive vigilem is a quietly extraordinary discovery.

Contrapunctus play a long game with this often slow-paced, meditative repertoire. These are understated performances whose moment-to-moment drama is less striking than the long, aching arcs they achieve over five or six minutes – director Owen Rees shows his experience here, making a case for a conductor in a climate in which musical democracy is increasingly king.

Choral blend is mossy-soft and balance immaculate, perfect for the yearning loveliness of Taverner's Quemadmodum or Sheppard's Media vita. After two discs of penitence, however, I'd love to hear something a bit more rhythmic, more energetic in their next release. If Contrapunctus can do vivid attack as well as they do misty piety, they may find themselves setting the bar in this repertoire.

Alexandra Coghlan (gramophone.co.uk)



Υπό τη διεύθυνση του ειδικού στη μουσική του δέκατου έκτου και δέκατου έβδομου αιώνα, Owen Rees, το βρετανικό φωνητικό σύνολο παλαιάς μουσικής, Contrapunctus, ερμηνεύει μοτέτα από την πλούσια συλλογή έργων εκκλησιαστικής μουσικής της Αγγλικής Αναγέννησης, με λατινικά κείμενα, Baldwin Partbooks, των σπουδαίων συνθετών Ουίλιαμ Μπερντ, Ρόμπερτ Πάρσονς, Ουίλιαμ Μάντι, Τζον Τάβερνερ, Τόμας Τάλις, Ντέρικ Γκέραρντ και Τζον Σέπαρντ. Τα μοτέτα έχουν ως θέμα τους τη θνητότητα, την αγωνία του θανάτου και του αιώνιου μαρτυρίου ενόψει της Ημέρας της Κρίσεως, καθώς και τη λαχτάρα της ψυχής να συναντήσει το Θεό.

Η ηχογράφηση του άλμπουμ "In the Midst of Life. Music from the Baldwin Partbooks I" έγινε στην Εκκλησία του Αγίου Μιχαήλ και Όλων των Αγγέλων, στην Οξφόρδη, τον Ιανουάριο του 2014 και κυκλοφόρησε από την Signum Classics το 2015, αποσπώντας εξαιρετικές κριτικές.



In the Midst of Life
Music from the Baldwin Partbooks I

1. William Byrd (1539/40-1623): Circumdederunt me
2. Robert Parsons (c.1535-1572): Libera me, Domine
3. William Byrd: Audivi vocem de caelo
4. William Mundy (c.1529-1591): Sive vigilem
5. Robert Parsons: Peccantem me quotidie
6. John Taverner (c.1490-1545): Quemadmodum a 6
7. Thomas Tallis (c.1505-1585): Nunc dimittis a 5
8. Dericke Gerarde (1485-1580): Sive vigilem
9. Robert Parsons: Credo quod redemptor
10. John Sheppard (c.1515-1558): Media vita

Contrapunctus
Conductor: Owen Rees

Recorded at Church of St Michael and All Angels, Oxford, United Kingdom, in January 2014.

Signum Classics 2015

Cover image: The tomb of Mary Queen of Scots, south isle of the Lady Chapel, c.1612-1613 (marble), Cure, Cornelius (d.1605) and Cure, William (d.1632). Westminster Abbey, London, UK. Photo by James Brittain.

(HD 1080p – Audio video)

















The repertory of Latin sacred works by Tudor composers is one of the musical glories of the Renaissance, but the survival of much of that repertory has hung by a strikingly slender thread, namely a few manuscript collections of polyphony compiled late in the sixteenth century, at a time when a significant portion of the music concerned had lost its original liturgical and devotional contexts as a result of the Reformation in England. This recording presents music from the greatest of these Elizabethan manuscript compilations, the Baldwin partbooks, and is the first of a series of recordings by Contrapunctus which will present a broad selection of music from the collection. This huge anthology – containing almost 170 works – was copied by John Baldwin between about 1575 and 1581, during the period that he held a tenor lay clerkship in the choir of St George's Chapel, Windsor. Baldwin would later go on to join the most prestigious choir in Tudor England, the Chapel Royal, and as a Gentleman of that chapel he sang at great state occasions such as the funeral of Queen Elizabeth I and the coronation of King James I. He died in 1615.

The Baldwin partbooks present a wonderfully rich survey of Latin-texted music composed in England over several decades, and the range of religious themes encompassed by the contents is extremely wide. Baldwin did not organise his collection by composer or by genre. Our approach in this series of recordings is twofold: first, to reflect in our selection of music for each disc the panoply of styles in the partbooks, ranging across the half century or so of musical history which is represented there; second, so that each disc is coherent, we focus in turn on several of the prominent religious themes represented in Baldwin's anthology. On this first disc we perform works concerned with mortality: the fear of death and eternal torment, anticipation of the Day of Judgement, and the soul's longing to meet God.

The Baldwin partbooks are particularly valuable because they preserve numerous pieces which survive in no other source, and also because the repertory covers such a long period, extending back well before the Reformation in England to the music of John Taverner (d.1545). Taverner – the foremost English composer active near the end of Henry VIII's reign – is abundantly represented in the partbooks. Without these partbooks we would have lost a major portion of the work of John Sheppard (who was active in the 1540s and 1550s), including his epic Media vita which is presented on this disc. Baldwin's collection also provides us with numerous pieces by a younger generation of musicians composing during the middle decades of the century and well into Elizabeth's reign, such as Robert Parsons and William Mundy. However, by far the most famous composers represented are Thomas Tallis (whose extraordinarily long career stretched from the middle of Henry VIII's reign to the 1580s) and Tallis's pupil William Byrd. The partbooks include a great many motets by Byrd, and a copy of Tallis's and Byrd's joint printed collection of motets, Cantiones sacrae (1575), is bound into the end of the manuscripts. We are thus extraordinarily fortunate that Baldwin's anthology survived (it is preserved today in the library of Christ Church, Oxford), although sadly one of the six partbooks which made up the set – the Tenor book – has been lost for some time. Since many of the pieces in the collection are known only from this source, their Tenor parts have to be reconstructed editorially, and this applies to four of the ten works on this recording: Peccantem me quotidie by Parsons, Gerarde's Sive vigilem, Tallis's setting of the Nunc dimittis, and Media vita by Sheppard. The task of reconstruction is made much easier when – as in most of Media vita – the Tenor carries the chant associated with the relevant text as a long-note cantus firmus, so that the modern editor can simply rebuild the Tenor part using that chant melody, and be confident that the music has thus been faithfully restored.

Awareness of mortality was a constant in Tudor society, and the townscape and soundscape presented ubiquitous reminders of death. These included (to cite just a few) the tolling of funeral bells, public executions, and processions taking the body of the deceased from their house through the streets to the church for burial. In the period before the Reformation the fear of purgatory had led to a great proliferation in Requiem rites and the music associated with them. The texts of several of the works on this recording – all three of the items by Robert Parsons and one of those by William Byrd – are from the Catholic liturgies for the dead. In setting Audivi vocem de caelo, an antiphon for Vespers of the Dead, Byrd marks dramatically the point at which the "voice from heaven" speaks the words "Blessed are the dead", introducing these words with a startling change of harmony, and turning to chordal writing but with the topmost voice anticipating the others: his use of this specific device recalls occurrences of it in the Lamentations of Tallis and Robert Whyte and in motets by these two composers setting texts of mourning or penitence. It is possible that Byrd's Audivi vocem, with its impassioned setting of "Blessed are the dead who die in the Lord", was written to commemorate one of the Catholic martyrs executed in the early 1580s, at around the time that Baldwin was compiling his partbooks. Such use of music in support of the Catholic cause was common in Byrd's output: although the composer served as Gentleman and Organist of Elizabeth's Chapel Royal, and was clearly one of the most valued musicians in her household, he remained loyal to the Catholic faith, and maintained close associations with Catholic members of the nobility and with Jesuits working in England. More than any English composer of the period, Byrd was able to mould imitative polyphonic textures to project the sense of a text with rhetorical power: in his motet Circumdederunt me the prayer for release ("libera animam meam") when surrounded by the fear of death and damnation which concludes the piece provides a wonderful example of such music "framed to the life of the words", as Byrd himself put it.

The three works by Robert Parsons on the recording, Libera me Domine, Credo quod redemptor meus vivit, and Peccantem me quotidie, are all settings of responsories for the service of Matins of the Dead, and Libera me also occurs during the ceremony of Absolution after the Requiem Mass. Parsons was appointed a Gentleman of the Chapel Royal in 1563, and died by drowning in the River Trent In January 1571/2. (William Byrd succeeded to his place in the Chapel Royal.) In Libera me Domine and Peccantem me quotidie Parsons incorporates the relevant plainchant melody, laid out as a cantus firmus in equal note-values, and assigned to the Tenor in Libera me Domine and to one of the Contratenor parts in Peccantem me quotidie. It is likely that Parsons wrote these works as liturgical items, before the relevant rites of the dead were swept away with the reestablishing of the English Book of Common Prayer in 1559: although we do not know when he was born, it seems probable that he was already active as a composer during the brief reign (1553-1558) of Elizabeth's sister, Mary I, a period when the official religion of the country returned to Catholicism. In his copy of Libera me Domine, made decades after the liturgical usefulness of this piece had disappeared in England, John Baldwin nevertheless indicated the original liturgical repetition of part of the text (from "quando caeli movendi sunt") after the "Dies irae" verse. Parsons likewise allowed for such a repetition in his setting of Peccantem me quotidie, but here the verse has to be supplied in plainsong, as is done on this recording. The repeated final section of polyphony includes the words "miserere mei Deus" ("Have mercy upon me, O God"), the opening of Psalm 50: like many other Continental and English composers, including Byrd, Parsons here refers to Josquin's famous "miserere" motif (with its simple but plaintive rise and fall of one note) used in his setting of Psalm 50, where the motif appears as an ostinato subject between every verse of the psalm. Parsons follows this sombre gesture with an impassioned musical outburst to highlight the final words of his text, "et salva me" ("and save me"). Parsons' Credo quod redemptor meus vivit, richly scored for six voices, is a freely-composed motet rather than a liturgical setting of a responsory: although the concluding section of text and music (from "et in carne mea") is once again repeated here, the simple ABB structure used here is one that was common in English motets and anthems of the period. In the texts of both Credo quod redemptor and Libera me Domine the believer contemplates the Day of Judgement. While in the first of these pieces the end of days is pictured with hope – "on the last day I shall arise out of the earth, and in my flesh I shall see God" – in Libera me Domine we are presented with a frightful vision of the "day of wrath" when God will come to judge the world through fire. Parsons' setting of the "Dies illa, dies irae" verse builds to a mighty climax – displaying the muscular leaping contours frequently used in English polyphony of this period – to highlight this dread-inspiring description of the end of the world.

The Day of Judgement is also the theme of the text Sive vigilem (a version of a famous passage attributed to St Jerome), in which the speaker seems constantly to hear, whether awake or asleep, the sound of the Last Trumpet and the angelic summons for the dead to arise and come to be judged. Baldwin copied two settings of this text into his partbooks, composed respectively by William Mundy and Dericke Gerarde. Mundy, who may have been of a similar age to Robert Parsons, served as a vicar choral at St Paul's Cathedral during the early years of Elizabeth's reign, and then joined the Chapel Royal in 1564 (soon after Parsons), remaining in royal service until his death in (probably) 1591. Gerarde, a Flemish composer working in England, was associated with two of the most important musical patrons of the Elizabethan period, Henry Fitzalan, Earl of Arundel, and his son-in-law Lord Lumley, and the composer's music is mainly preserved in manuscripts from their great collection which was held at Nonsuch Palace. The responses of Mundy and Gerarde to the dramatic nature of the Sive vigilem text are equally powerful, although Gerarde is much more expansive in his treatment of it. Gerarde highlights the sounding of the trumpet ("sonum tubae"), while Mundy makes the summons of the angel to the dead – "surgite mortui": "arise, ye dead" – a threefold climactic exhortation, each statement higher and more commanding.

The opening of Psalm 42, "Quemadmodum desiderat cervus", expresses the soul's yearning for its final meeting with God: "Just as the hart desires springs of water, so longs my soul for Thee, O God. My soul has thirsted for God, the living spring. When shall I come and appear before the face of God?" A six-voice work attributed to John Taverner survives in its various sources (one of which is the Baldwin partbooks) without text, but with the title or incipit Quemadmodum, and in 1925 H. B. Collins suggested that the opening two verses of the psalm could satisfactorily be fitted to Taverner's music, and that the piece should therefore be regarded as a vocal work rather than for instruments. In fact, although the piece seems very likely to be vocal in origin, there are passages in which it is far from obvious how best to fit the words to the music; this recording presents a fresh attempt to do so. The work is unusual among those attributed to Taverner, maintaining fully-scored, equal-voiced, and largely imitative texture throughout. The shaping of paragraphs is masterful, as for example in the rising sequential repetition of "ad te Deus" towards the end of the first part, and at "quando veniam" in the second.

The Baldwin partbooks are the only known source for a setting by Tallis of the Latin Nunc dimittis, which is paired there with a setting of the Magnificat. The Nunc dimittis is the "Canticle of Simeon" from Luke's Gospel: the aged Simeon, having seen his Saviour (the Christ-child), expresses his contentment to die in peace. The fact that Tallis sets the Latin text rather than the English version of the Book of Common Prayer raises the question of whether his setting was composed before the reintroduction of that Prayer Book in 1559 under Queen Elizabeth, or whether it reflects the appearance in 1560 of the Liber precum publicarum, a Latin version of the Book of Common Prayer. The piece follows the common practice – in settings of Latin canticles both on the Continent and in England before the Reformation – of providing polyphony for alternate verses only, leaving the others to be chanted (as on this recording) or possibly played instrumentally. Tallis's exuberant treatment of the text includes a particularly powerful threefold declamation of the phrase "et gloriam plebis tuae Israel" ("and for the glory of your people Israel").

The monumental work by Sheppard which concludes the present recording, Media vita, is a setting of an antiphon to the Nunc dimittis – beginning with the words "In the midst of life we are in death" – sung during the final part of the penitential season of Lent. The Nunc dimittis appears in chanted form in the midst of this vast polyphonic edifice. As is the case with so much of the liturgical polyphony by Sheppard and Tallis preserved in the Baldwin partbooks, Sheppard here builds his rich polyphonic textures and soaring lines around a slow-moving chant (in the Tenor part), but in Media vita the chant moves at half the pace that is common in such chant-based works by these composers, lending the piece its extraordinarily expansive character. The English delight in varied sonority is exemplified by the verses which follow the Nunc dimittis, the first two of which are for lower voices, while the last uses the characteristic English technique of gimell, dividing both the Treble and Mean voices into two, and supporting these just with the bassus line: this sound-world evokes – and surely evoked for John Baldwin – the musical splendours of the pre-Reformation church in England which his collection did so much to preserve.

Owen Rees, 2014



Coupling powerful interpretations with path-breaking scholarship, Contrapunctus presents music by the best known composers as well as unfamiliar masterpieces. The group's repertoire is drawn from England, the Low Countries, Spain, Portugal and Germany, particularly in the sixteenth and seventeenth centuries.  The scholarly facet of the group's work – including the discovery of long-lost music and reconstructions of original performing contexts – allows audiences to experience the first performances of many works in modern times.  Since its foundation in 2010, the group has appeared in many of the world's most prominent music festivals – the Utrecht Early Music Festival, the AMUZ Festival in Antwerp, the Festival van Vlaanderen in Mechelen, the Eborae Musica Festival and Setúbal Festival in Portugal, the concert series at De Bijloke in Ghent, and in the Martin Randall Festival of Spanish Music (Seville Cathedral), and alongside the Orchestra of the Age of Enlightenment. Contrapunctus is Vocal Consort in Residence at the University of Oxford. The group's debut disc "Libera nos: The Cry of the Oppressed" was released on the Signum Label in 2013 and was shortlisted for the Gramophone Early Music Award 2014. Contrapunctus' next recording project centres on the Baldwin Tudor Partbooks. A series of discs on the Signum label will present music from these partbooks. The first album "In the Midst of Life" featuring motets on the theme of mortality, was released in February 2015 to great critical acclaim. It was shortlisted for the Gramophone Early Music Award 2015, named Album of the Week in The Sunday Times, The Week, and on BBC Radio 3 CD Review. It was Editor's Choice in Gramophone and Choral and Song Choice in BBC Music Magazine.


Owen Rees is both performer and scholar, his scholarship consistently informing his performances. Through his extensive work as a choral director, he has brought to the concert hall and recording studio substantial repertories of magnificent Renaissance and Baroque music, including many previously unknown or little-known works from Spain and Portugal. His interpretations of these repertories have been acclaimed as "rare examples of scholarship and musicianship combining to result in performances that are both impressive and immediately attractive to the listener", and he has been described as "one of the most energetic and persuasive voices" in this field.

He has conducted at festivals worldwide, and is increasingly busy as a leader of workshops on performance of Renaissance polyphony. He has broadcast on BBC Radio 3 and 4, and on Portuguese, Spanish, and Norwegian radio. He has released CD recordings on the Hyperion, Signum, and Avie labels to consistently high critical acclaim and his work has been shortlisted for the Gramophone Early Music Award.

Owen Rees began his academic and conducting career as Organ Scholar at St Catharine's College, Cambridge, studying with Peter le Huray and Iain Fenlon. After a period as College Lecturer in Music at St Peter's College and St Edmund Hall, Oxford, he joined the Music Department at the University of Surrey, where he was promoted to the post of Reader. In 1997 he returned to Oxford, where – in addition to his posts of Fellow in Music at The Queen's College and Director of Music of the Choir of The Queen's College – he is Senior Research Fellow at Somerville College and a Professor in the Faculty of Music. His numerous published studies include work on the Spanish composers Cristóbal de Morales and Francisco Guerrero and the English composer William Byrd.


Image from the Baldwin Partbooks (Mundy, Sive vigilem, Ms 979, p. 152)





















See also / Δείτε επίσης

Antoine Busnoys: For the love of Jaqueline (Medieval love songs) – Sylvia Rhyne, Eric Redlinger (Audio video)

In Nativitate Domine: Festliche Weihnachtsmusik – Emma Kirkby, Susanne Rydén, Annegret Siedel (Audio video)

Heinrich Schütz: Christmas Vespers – Gabrieli Consort & Players, Paul McCreesh (Audio video)

Friday, February 17, 2017

Gabriela Lena Frank: Walkabout, Concerto for Orchestra | Leonard Bernstein: "I Got Rhythm" Variations, & Second Rhapsody | Charles Tomlinson Griffes: The White Peacock | Dmitri Shostakovich: Symphony No.1 in F minor – Sara Davis Buechner, Detroit Symphony Orchestra, Michelle Merrill – Saturday, February 18, 2017, 08:00 PM EST (GMT-5) / Sunday, February 19, 2017, 03:00 AM EET (UTC+2) – Live on Livestream









As Gershwin turned the corner from the 1920s – and the success of Rhapsody in Blue – to the 30s, the hues grew darker and the nation sank into Depression. The Second Rhapsody grew from music composed for a surreal New York dream sequence in the 1931 romantic comedy-musical Delicious, and became a sequel to its relative in blue.

With an active repertoire of more than 100 piano concertos, international pianist and educator Sara Davis Buechner performs the Second Rhapsody along with Gershwin's I've Got Rhythm Variations, another of his later works for piano and orchestra. Plus, a world premiere by DSO composer-in-residence Gabriela Lena Frank.

Saturday, February 18, 2017, 08:00 PM EST (GMT-5) / Sunday, February 19, 2017, 03:00 AM EET (UTC+2) – Live on Livestream



Υπό τη διεύθυνση της Αμερικανίδας Michelle Merrill, η Συμφωνική Ορχήστρα του Ντιτρόιτ παρουσιάζει τα έργα: "Walkabout: Concerto for Orchestra" της Gabriela Lena Frank, σε παγκόσμια πρεμιέρα· τις Παραλλαγές "I Got Rhythm" και τη «Δεύτερη Ραψωδία» του Λέοναρντ Μπερνστάιν· "The White Peacock", έργο 7 αρ. 1, του Αμερικανού συνθέτη Charles Tomlinson Griffes· και τέλος, τη Συμφωνία αρ. 1 σε Φα ελάσσονα, έργο 10, του  Ντμίτρι Σοστακόβιτς. Συμπράττει η Αμερικανίδα πιανίστρια Sara Davis Buechner.

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 19 Φεβρουαρίου 2017, στις 03:00 πμ (ώρα Ντιτρόιτ: Σάββατο 18 Φεβρουαρίου, 08:00 μμ), και θα μεταδοθεί ζωντανά από το Livestream.



Gershwin Rarities! The Rhapsody didn't end in Blue...

Gabriela Lena Frank (b. 1972)

♪ Walkabout: Concerto for Orchestra (2016) World Premiere


Leonard Bernstein (1918-1990)

♪ "I Got Rhythm" Variations (1933-1934)

♪ Second Rhapsody (1931)


Charles Tomlinson Griffes (1884-1920)

♪ The White Peacock, Op.7 No.1 (1919)


Dmitri Shostakovich (1906-1975)

♪ Symphony No.1 in F minor, Op.10 (1923-1925)

i. Allegretto  Allegro non troppo
ii. Allegro (moto pepetuo)
iii. Lento
iv. Finale. Allegro molto


Sara Davis Buechner, piano

Detroit Symphony Orchestra
Conductor: Michelle Merrill

(HD 720p)

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

Sunday, February 19, 2017, 03:00 AM EET (UTC+2)
[Detroit: Saturday, February 18, 2017, 08:00 PM EST (GMT-5)]

Live on Livestream


Sara Davis Buechner

















Walkabout: Concerto for Orchestra is inspired by my travels in Perú, my mother's homeland. Born in the States, I did not begin these fateful trips until my time as a graduate student at the University of Michigan where my teachers encouraged me to answer questions of identity that long persisted for me: What does it mean to be American born yet with such a motley crew of forbearers hailing from Lithuania, China, and Andean South America? For more than twenty years, I've been answering this question, with each piece raising yet more to address.

In four movements, Walkabout uses both musical and extra-musical influences. The first movement, Soliloquio Serrano, features our string principles prominently in an introspective yet lyrical "mountain soliloquy". The second movement is lively and bold, a portrait of "huaracas", the slingshot weapons favored by the soldiers employed during the 16th century in the dominant Inca empire. "Haillí", the Quechua word for "prayer", is our third movement and is both lyrical and passionate. The last movement, "Tarqueada" portrays, after a mysterious opening, one of my favorite scenes of Perú: A great parade of "tarka" flutists who can number up to a hundred at once. These musicians also blow whistles and beat a variety of different drums, creating a sonic effect of controlled chaos that never stops building.

Gabriela Lena Frank



Gershwin's set of variations on "I Got Rhythm" was his final concert piece, written for a demanding 1934 tour – 28 concerts in 28 cities in 28 days. The Variations were the only new music on the bill, and even these looked back to a hit number from Girl Crazy (1930). Ethel Merman had made her Broadway debut in the show, and her rendition of "I Got Rhythm" helped seal Girl Crazy's success and the song's fame.

Gershwin wrote the Variations in December 1933 and January 1934 while he was working on Porgy and Bess. The original version of the Variations was conceived for the tour's band, the 35-member Leo Reisman Orchestra. Gershwin was the soloist for the work's premiere at the tour's first stop, in Boston on January 14, 1934. William C. Schoenfeld reworked Gershwin's original for large orchestra when the work was published in 1953.

On his radio show Music by Gershwin, the composer explained that the work was in seven distinct parts – an introduction, the melody, four variations, and a finale. He continued, "After the introduction by the orchestra [beginning with a solo clarinet], the piano plays the theme rather simply. The first variation is a very complicated rhythmic pattern played by the piano while the orchestra takes the theme. The next variation is in waltz time [slow, with sighing violins and the piano marking the rhythm]. The third [beginning with chinoiserie from the xylophone and cymbals] is a Chinese variation in which I imitate Chinese flutes played out of tune... Next the piano plays the rhythmic variation [largely reimagined by Schoenfeld as a jazzy, clarinet-led interlude] in which the left hand plays the melody and the right plays it straight, on the theory that you shouldn't let one hand know what the other is doing. Then comes the finale". It's a riotous ending to Porgy and Bess' lighthearted counterpart, a crowd-pleaser rather than any grand summation of Gershwin's art as a concert-hall composer.

Source: John Mangum  (laphil.com)



Second Rhapsody premiered at Symphony Hall, Boston, on January 29, 1932.  Boston Symphony Orchestra, Serge Koussevitzky (conductor), George Gershwin (piano).

In November 1930, George and Ira Gershwin arrived in Hollywood to write the score for their first movie, Delicious. Besides the songs, George was asked to compose an instrumental piece to underscore a sequence where the film's immigrant heroine wanders through a somewhat menacing Manhattan. In the end, only six minutes of what was originally entitled Rhapsody in Rivets was used in Delicious, but George – never wanting good work to go to waste – believed that his score deserved an additional life as his next work for the concert hall. Upon his return to New York, while also working on the score for Of Thee I Sing, he completed the Second Rhapsody, and prepared it for its Boston debut under the baton of Serge Koussevitzky. Though greeted with cheers from the opening night audience and described as descriptive of an "...America of untrammeled manners and cocktail energy", the Second Rhapsody never reached into the hearts of its listeners the way the Rhapsody in Blue did eight years earlier.

Source: gershwin.com



Charles Tomlinson Griffes was born September 17, 1884, in Elmira, New York, and died April 8, 1920, in New York City. He composed The White Peacock as a work for solo piano from May 30 through June 8, 1915, with slight revisions following; in that form it was premiered February 23, 1916, by pianist Winifred Christie at the Punch and Judy Theatre in New York City. Griffes created the orchestral version in 1919, substantially finishing it on June 5 of that year; it was first performed on June 22, 1919, in a ballet staging at the Rivoli Theatre in New York, with Ernő Rapée conducting. It received its concert premiere on December 19, 1919, with Leopold Stokowski conducting the Philadelphia Orchestra at the Academy of Music in Philadelphia. The score calls for two flutes (second doubling piccolo), two oboes, two clarinets, two bassoons, two horns, three trumpets, two trombones, timpani, tam-tam, suspended cymbal, two harps, celesta, and strings.

Source: sfsymphony.org



First symphonies are generally unsuccessful, or at least questionably successful as compositions. The Brahms First and the Prokofiev "Classical" Symphony are exceptions, not least because in the former instance the composer completed the work when he was 42, and in the latter because the pastiche nature of the piece reflected Prokofiev's youthful inclination toward surprises and stimulated his natural ability to write memorable melodies. Shostakovich's First Symphony is light in mood, like Prokofiev's, but is written in a thoroughly modern, if conservative vein.

Shostakovich was 19 when he completed the piece, which he used as his graduation exercise for the Leningrad Conservatory. While he was working on it, he considered calling it "Symphony-Grotesque." It was premiered on May 12, 1926, to an overwhelmingly enthusiastic reception. The symphony quickly caught on throughout the world, as Bruno Walter, Leopold Stokowski, and other noted conductors championed it. By the age of 21 Shostakovich was something of a celebrity, even mentioned in the company of the two Russian giants living abroad, Prokofiev and Stravinsky.

The symphony already shows characteristics of Shostakovich's mature style, especially in its sense – burgeoning though it was – of irony and satire, as evidenced in the mischievous second movement. Both the first and second subjects of the first movement are rather typical of the mature composer as wel; their character would be out of place in the later symphonies, though not in the ballets and film scores to come.

The work is cast in four movements, with the second lasting about five minutes and the other three having a duration of around eight to ten minutes each. The first movement begins with an introductory theme played by muted trumpet and answered by the bassoon. The main theme is march-like and serious, while the second subject is lyrical and has an air of nonchalance and grace. There is much color in the orchestration when the themes are developed. Overall the melodies in this movement, light though they are, are as memorable as any Shostakovich would write.

As mentioned above, the second movement is satirical and a fine example of the composer's precocity. While it is colorful and imaginative, again featuring brilliant orchestration, it also divulges the influence of Prokofiev. It is no mere imitation, though. The third movement (Lento) begins with an oboe solo and leads to a threatening theme from the brass, after which a Largo brings calm but at the price of gloom. This movement also brings hints of the composer's later tragic style. The finale is connected to the third movement by a drum roll. The finale (Allegro molto) clearly comes across as episodic, switching from fast to slow and from triple forte to triple piano, and moving from melancholy moods to irony and even playfulness. The music also has a tendency to stop and start in places. Overall, though the work is not one of Shostakovich's greatest, it is one of the finest first symphonies ever written and has remained in the standard repertory.

Source: Robert Cummings (allmusic.com)


Identity has always been at the center of Gabriela Lena Frank's music. Born in 1972 in Berkeley, California, to a mother of mixed Peruvian/Chinese ancestry and a father of Lithuanian/Jewish descent, Frank explores her multicultural heritage most ardently through her compositions. Inspired by the works of Béla Bartók and Alberto Ginastera, Frank is something of a musical anthropologist. She has travelled extensively throughout South America and her pieces reflect and refract her studies of Latin-American folklore, incorporating poetry, mythology, and native musical styles into a western classical framework that is uniquely her own. She writes challenging idiomatic parts for solo instrumentalists, vocalists, chamber ensembles, and orchestras.


Sara Davis Buechner is one of the leading concert pianists of our time, praised worldwide as a musician of "intelligence, integrity and all-encompassing technical prowess" (New York Times). Japan's InTune magazine says: "When it comes to clarity, flawless tempo selection, phrasing and precise control of timbre, Buechner has no superior".

In her twenties, Ms. Buechner was the winner of a bouquet of prizes at the world's première piano competitions – Queen Elisabeth of Belgium, Leeds, Salzburg, Sydney and Vienna. She won the Gold Medal at the 1984 Gina Bachauer International Piano Competition, and was a Bronze Medalist of the 1986 Tschaikowsky International Piano Competition in Moscow.

With an active repertoire of more than 100 piano concertos ranging from A (Albeníz) to Z (Zimbalist) – one of the largest of any concert pianist today – she has appeared as soloist with many of the world's première orchestras. Audiences throughout North America have applauded Ms. Buechner's recitals in venues such as Carnegie Hall, Lincoln Center, Kennedy Center and the Hollywood Bowl; and she enjoys wide success throughout Asia where she tours annually.

Sara Davis Buechner's numerous recordings have received prominent critical appraisal. Her extensive discography includes music by Bach, Brahms, Busoni, Dvořák, Mozart, Stravinsky and Turina; Hollywood piano concertos by Bernard Herrmann and Franz Waxman; rare American music of George Gershwin, Dana Suesse, Pauline Alpert and Joseph Lamb; and the complete piano music of Miklós Rózsa. Her piano artistry may also be heard on the recent DVD of Carl Dreiser's 1925 silent film Master of the House, available through the Criterion Collection.

Ms. Buechner can be seen and heard on numerous live video and audio recordings on her website and YouTube Channel; and she has created many essays in written, spoken and film format on her blog Sara Says.

Sara Davis Buechner is a Professor of Piano at Temple University in Philadelphia, and an Honorary Visiting Professor of Music at the University of Shanghai. She has presented lectures and masterclasses worldwide, and is a regular adjudicator of prominent international piano competitions. She is a Yamaha artist and has served as Principal Music Consultant for Dover Publications International.

Source: saradavisbuechner.com


Rapidly rising conductor Michelle Merrill currently serves as the Associate Conductor of the Detroit Symphony Orchestra where she also carries the title of Phillip and Lauren Fisher Community Ambassador.  A passionate and dynamic artist, Ms. Merrill was named as one of Hour Detroit Magazine's 3 Cultural Organization Leaders to Watch, and made her classical subscription debut with the DSO in April 2016  She is also a recipient of a 2016 Solti Foundation U.S. Career Assistance Award.

Recent and upcoming engagements include the Toronto Symphony Orchestra, Jacksonville Symphony, Toledo Symphony Orchestra, Louisiana Philharmonic, Symphoria (Syracuse), Sacramento Philharmonic & Opera, Boise Philharmonic, Orlando Philharmonic, New Music Detroit, and the Northeastern Pennsylvania Philharmonic, where she formerly served as Assistant Conductor before coming to Detroit.  As the Associate Conductor of the Detroit Symphony Orchestra, she helps plan and conduct over 30 concerts per season, including the renowned educational webcasts, which have reached over 100,000 students to date in classrooms throughout the nation. Ms. Merrill also gives pre-concert lectures, leads adult music education seminars, engages with students in and around Metro Detroit, speaks on behalf of the DSO throughout the community, and participates in hosting Live from Orchestra Hall, the DSO's free concert webcast that launched in 2011 and is now watched in more than 100 countries.

In March of 2014, Ms. Merrill stepped in on short notice with the Meadows Symphony Orchestra for their performance of Shostakovich's Symphony No.4, which music critic Scott Cantrell of the Dallas Morning News described as "stunning" and later named to his list of Top Ten Classical Performances of 2014.  She was awarded in 2013 the prestigious Ansbacher Conducting Fellowship by members of the Vienna Philharmonic and the American Austrian Foundation, which enabled her to be in residence at the world-renowned Salzburg Festival. Recent praise came from her classical debut with the DSO conducting Beethoven's Symphony No.6: "from the off this was a heavenly Pastoral... Merrill (conducting from memory) certainly has an ear for focused inner parts, and her meaningful flexibility was welcome... There was something reassuringly old-world about this performance (reminding of but not emulating such views of the music as Böhm, Boult and Klemperer) yet with a New World bloom that trod freshly-mown grass and also looked skywards..."

A strong advocate of new music, Ms. Merrill recently collaborated with New Music Detroit for their annual marathon Strange Beautiful Music 9, which featured David Lang's "are you experienced?" and the world-premiere of Andrew Harrison's "Hum" based on the poetry of Detroit native Jamal May. She worked with composer Gabriela Lena Frank and soprano Jessica Rivera in 2015 on Frank's work La Centinela y la Paloma (The Keeper and the Dove), as a part of numerous community programs related to the Diego Rivera and Frida Kahlo exhibition at the Detroit Institute of Arts. In June 2015, she made her debut at the St Augustine Music Festival conducting the world-premiere performance of Piotr Szewcyzk's "St Augustine Suite" which was written in honor of that city's 450th anniversary. The highly praised performance was later featured nationwide on NPR's "Performance Today". Additionally, her work in the 2011/2012 season with Voices of Change, Dallas's professional contemporary music ensemble, was part of a program later named as one of Dallas Morning News critic Scott Cantrell's Top Ten Classical Performances of 2011.

Born in Dallas, TX, Ms. Merrill studied conducting with Dr. Paul C. Phillips at Southern Methodist University's Meadows School of the Arts, where she holds a Master of Music Degree in conducting and a Bachelor of Music in performance. Apart from music, she loves cooking, running, hiking, and spending time outdoors with her husband, Steve Merrill, who serves as the principal percussionist of the Jacksonville Symphony.

Source: michelle-merrill.com


 Michelle Merrill
















Past Events / Προηγούμενες Εκδηλώσεις

Beware of Pity (Ungeduld des Herzens) by Stefan Zweig – Complicite & Schaubühne Berlin, Simon McBurney – Barbican, London – Sunday, February 12, 2017, 03:00 PM GMT / 05:00 PM EET – Live Stream

Wolfgang Amadeus Mozart: Symphony No.38 in D major "Prague", Concerto for Flute and Harp in C major, Symphony No.41 in C major "Jupiter" – Detroit Symphony Orchestra, Leonard Slatkin – Sunday, February 5, 2017, 03:00 AM EET – Live on Livestream

Wolfgang Amadeus Mozart: Serenade for strings No.13 in G major "Eine kleine Nachtmusik", Symphony No.35 in D major "Haffner", Overture to Die Entführung aus dem Serail, Symphony No.36 in C major "Linz" – Detroit Symphony Orchestra, Leonard Slatkin – Friday, February 3, 2017, 05:45 PM EET – Live on Livestream


Wolfgang Amadeus Mozart: Overture to Così fan tutte, Bassoon Concerto in B flat major, Horn Concerto No.4 in E flat major, Symphony No.40 in G minor – Detroit Symphony Orchestra, Leonard Slatkin – Sunday, January 29, 2017, 10:00 PM EET – Live on Livestream


Wolfgang Amadeus Mozart: Overture to La clemenza di Tito, Concertone in C major, Horn Concerto No.3 in E flat major, Clarinet Concerto in A major – Detroit Symphony Orchestra, Leonard Slatkin – Saturday, January 28, 2017, 03:00 AM EET – Live on Livestream


Wolfgang Amadeus Mozart: Overture to The Magic Flute, Flute Concerto No.1 in G major, Horn Concerto No.2 in E flat major, Overture to Don Giovanni, Symphony No.39 in E flat major – Detroit Symphony Orchestra, Leonard Slatkin – Sunday, January 22, 2017, 10:00 PM – Live on Livestream


Wolfgang Amadeus Mozart: Overture to The Marriage of Figaro, Oboe Concerto in C major, Horn Concerto in D major, Sinfonia concertante in E flat major – Detroit Symphony Orchestra, Leonard Slatkin – Friday, January 20, 2017, 05:45 PM – Live on Livestream


Felix Mendelssohn: Symphony No.5 in D major/D minor "Reformation" | Lalo Schifrin: Tangos Concertantes | Gabriela Lena Frank: Concerto for Orchestra – Cho-Liang Lin, Detroit Symphony Orchestra, Leonard Slatkin – Sunday, January 15, 2017, 3:00 AM – Live on Livestream


Ludwig van Beethoven: Overture to The Creatures of Prometheus, & Piano Concerto No.2 in B flat major | Edward Elgar: Symphony No.1 in A flat major – Emanuel Ax, Detroit Symphony Orchestra, Leonard Slatkin – Sunday, December 11, 2016, 10:00 PM – Live on Livestream


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


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


Tuesday, February 14, 2017

Katia & Marielle Labèque: Love Stories – David Chalmin, Leonard Bernstein (Audio video)

For Valentine's Day / Με αφορμή την Ημέρα του Αγίου Βαλεντίνου






















They are sisters and pianists and form an intensely close duo which has ignited the world's stages. For this new show, charmingly titled "Love Stories", Katia and Marielle Labèque have chosen to revisit the myth of "Romeo and Juliet" creating a fusion between Leonard Bernstein, hip-hop and breakdancing. Created at the Châtelet, in Paris, "Love Stories" is presented in two parts.

In the first part, Katia and Marielle Labèque present a creation entitled "Star-Cross'd Lovers" with a composition by David Chalmin and original choreography by Yaman Okur, who has worked with Madonna and the Cirque du Soleil. He has invented a "Romeo and Juliet" for six breakdancers and a contemporary soloist, which draws on rock as well as hip-hop, ending in a breakdancing "battle".

In the second part, Katia and Marielle play Bernstein's famous score, arranged for two pianos and percussion by Irwin Kostal. This 17 parts suite (the tubes of "West Side Story") brings to life the scenes of the musical and the film that it was based on, without any artifice other than the talent of the two pianists and their percussionist accomplices, Raphaël Séguinier and Gonzalo Grau.

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Στο νέο τους άλμπουμ, με τίτλο "Love Stories", οι διάσημες – βασκικής καταγωγής – Γαλλίδες πιανίστριες, αδελφές Κάτια και Μαριέλ Λαμπέκ, ερμηνεύουν δύο σύγχρονα έργα: το "Star-Cross'd Lovers", για κιθάρες, ηλεκτρονικά και τύμπανα, του Γάλλου συνθέτη και μουσικού David Chalmin, εμπνευσμένο από το έργο «Ρωμαίος και Ιουλιέτα» του Ουίλιαμ Σαίξπηρ, και μέρη από το "West Side Story" του μεγάλου Αμερικανού συνθέτη και μαέστρου Λέοναρντ Μπερνστάιν, σε διασκευή για δύο πιάνα και κρουστά από τον Αμερικανό ενορχηστρωτή μουσικής για τον κινηματογράφο αλλά και μιούζικαλ του Μπροντγουέι, Irwin Kostal. Το άλμπουμ ηχογραφήθηκε στο Studio K στο Παρίσι (2011) και στο Studio KML στη Ρώμη (2016), και κυκλοφόρησε από την Deutsche Grammophon το 2017.

Οι αδελφές Λαμπέκ έλαβαν τα πρώτα μαθήματα πιάνου από τη μητέρα τους και αργότερα φοίτησαν στο Ωδείο του Παρισιού. Ένας από τους λόγους για τους οποίους διακρίθηκαν είναι η μεγάλη έκταση του ρεπερτορίου τους. Οι ίδιες δηλώνουν πάντως πως δεν έχουν συγκεκριμένες προτιμήσεις: «Κάτι τέτοιο θα μας περιόριζε», υποστηρίζουν. Έχοντας εμφανιστεί με μερικές από τις σπουδαιότερες ορχήστρες του κόσμου, υπό τη διεύθυνση μαέστρων όπως ο Ζορζ Πρετρ, ο Κόλιν Ντέιβις, ο Σεΐτζι Οζάουα και ο Μάικλ Τίλσον Τόμας, δεν κρύβουν την ιδιαίτερη αγάπη τους προς τη Φιλαρμονική του Βερολίνου και τον μουσικό διευθυντή της, Βρετανό αρχιμουσικό Σάιμον Ρατλ. Όσο για τα σχέδιά τους για το μέλλον, στο πλαίσιο του ενδιαφέροντός τους να «ισορροπήσουν» ανάμεσα στο κλασικό και στο σύγχρονο ρεπερτόριο, οι αδελφές Λαμπέκ θέτουν μεταξύ των βασικών προτεραιοτήτων τους την ενίσχυση του ιδρύματος που έχουν συστήσει με στόχο την προώθηση νέων καλλιτεχνών και της πρόσφατης μουσικής δημιουργίας.



KATIA & MARIELLE LABÈQUE | LOVE STORIES

David Chalmin (b. 1980)

♪ Star-Cross'd Lovers

1. ACT 1 – PROLOGUE
2. STREET FIGHT
3. STAR-CROSS'D LOVERS
4. THE PARTY
5. TWO FOES
6. ACT 2 – PROLOGUE
7. CAPULET'S ORCHARD
8. MARIAGE
9. ACT 3 – PROLOGUE
10. MERCUTIO VS. TYBALT
11. MERCUTIO'S DEATH
12. ROMEO VS. TYBALT
13. TYBALT’S DEATH
14. A ROOM IN CAPULET'S HOUSE
15. ACT 4 – JULIET'S DESPAIR
16. JULIET'S POISON
17. ACT 5 – ROMEO'S RAGE
18. ROMEO'S POISON
19. JULIET'S AWAKE
20. EPILOGUE


Leonard Bernstein (1918-1990)

♪ West Side Story

(Arrangement for two pianos and percussion by Irwin Kostal*)

1. PROLOGUE
2. JET SONG
3. SOMETHING'S COMING
4. ROCK BLUES
5. MAMBO
6. CHA CHA
7. MARIA
8. AMERICA
9. COOL
10. I FEEL PRETTY
11. ONE HAND, ONE HEART
12. TONIGHT
13. SOMEWHERE
14. A BOY LIKE THAT
15. I HAVE A LOVE
16. THE RUMBLE
17. FINALE

*Irwin Kostal (1911-1994)


Katia & Marielle Labèque, pianos Steinway model D

Star-Cross'd Lovers:
David Chalmin, guitars & electronics
Raphaël Séguinier, drums

West Side Story:
Gonzalo Grau, percussions
Raphaël Séguinier, drums & percussions
Pablo Bencid, additional timbales percussions on "Mambo"

Recorded, mixed and mastered by David Chalmin
West Side Story in Studio K Paris, 2011
Star-Cross'd Lovers in Studio K Paris & Studio KML Rome, 2016
Produced by Katia Labèque & David Chalmin

Deutsche Grammophon 2017

(HD 1080p – Audio video)


Katia & Marielle Labèque (Photo by Umberto Nicoletti)
















The two Labèque sisters are Basque in origin, having been born on the southwest coast of France near the Spanish border. Katia and Marielle are a sharply contrasted, yet highly communicative piano team. While their joint reputation was won initially through the performance of unusual repertoire, they have not neglected traditional works for two pianos.

The sisters received initial instruction from their Italian mother, an accomplished piano teacher, who began lessons when her daughters were three and five years of age. Madame Labèque had been born in Tuscany, in Torre del Lago, where Puccini's estate was located. The girls' father was a doctor from Landes. Following the preparation provided by their mother, the sisters entered the Paris Conservatoire where both of them took First Prizes. Upon graduation in their mid-teens, the two undertook performance of contemporary music, works by Berio, Boulez, Ligeti, and Messiaen, much to the surprise (if not the consternation) of those who had previously guided their careers. Indeed, during their first decade or so of public performance, this was the music for which they became best known. Each has commented that older audiences came to their concerts hoping to hear Mozart or Schubert and instead were treated to music that struck them with shocking effect. While a certain notoriety came with this performance repertoire, true celebrity arrived when their two-piano recording of Gershwin's Rhapsody in Blue sold over a half million copies in 1981. Previously, Gershwin's famous piece had been regarded in Europe as too lightweight to be taken seriously as concert fare.

As their reputation as a duo-piano team grew, the sisters enjoyed collaborations with many of the world's leading conductors, among them Riccardo Chailly, James Conlon, Sir Colin Davis, Charles Dutoit, Jesús López-Cobos, Seiji Ozawa, Sir Simon Rattle, Esa-Pekka Salonen, the late Giuseppe Sinopoli, Leonard Slatkin, and Michael Tilson Thomas. They have performed with most of the world's most prestigious orchestras in Amsterdam, Berlin, Boston, Chicago, Cleveland, Dresden, Leipzig, London, Los Angeles, Milan, New York, Philadelphia, and Vienna.

As recitalists, the Labèques have appeared at most of the world's most important music festivals. These encompass, among many others, the Berlin Festival, Ohio's Blossom Festival, the City of London Festival, the Edinburgh Festival, the Hollywood Bowl, the Maggio Musicale Fiorentino, New York's Mostly Mozart Festival, the Proms at London's Royal Albert Hall, Chicago's Ravinia Festival, and Tanglewood. In addition to covering Europe and the United States, the sisters have toured extensively in Asia.

The Labèques' personal attractiveness hastened their involvement with television production and they can boast of numerous appearances on broadcasts originating from Great Britain, Germany, Austria, Holland, Japan, and the United States. Their participation in the Washington D.C., gala, Piano Grand! in 2000 was viewed throughout America and in many other parts of the world. The Labèques have recorded extensively for EMI, Philips, and Sony, both duo recitals and concertos, the latter with several of the world's great orchestras. Their jazz-flavored recording, Love of Colours, has also been well-received. Katia has recorded several straight jazz albums, three of them with guitarist John McLaughlin.

The sisters moved from their London residence in 1993 and now live in a Tuscan palazzo (formerly owned by the Medici family) in which several pianos are housed. For a Bach Celebration with Musica Antiqua Köln in 2000 and subsequent appearances with Il Giardino Armonico, the Labèques commissioned two Silbermann instruments of mid-18th century design on which to perform music of that period.

Source: Erik Eriksson (allmusic.com)

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David Chalmin: Star-Cross'd Lovers

Shakespeare's play Romeo and Juliet inspired many composers from Benda to Prokofiev through Berlioz, Gounod or Tchaikowsky and it is always a challenge for a musician to approach such a subject so full of history. With Star-Cross'd Lovers, French composer David Chalmin gives a new look at Shakespeare's drama: a contemporary ballet choreographed by Yaman Okur, written for two pianos, electric guitar, electronics and drums. The musical dramaturgy is based on tension and resolution, violence and harmony, brutality and poetry, which correspond to the two antagonist themes of hatred and love. These contrasts enable a vast range of choreographic possibilities boosted by the energy exchanges between the seven breakdancers and the four musicians. The piece is tinged with minimalism, rock and electronics but also includes references to art music or ethnic music. It finds its unity in a cleverly combination of tradition and experimentalism. The clashes between the two rival gangs take place in a dark, oppressive and threatening musical world where tension and danger are constant. It could describe a sordid urban environment, perhaps that of a soulless suburb of a big city. The tragic end of the work is prefigured in the first prologue by an evolving melodic theme played by the pianos in the lower register that could be a modern version of a Wagnerian leitmotiv of curse or fate. Electronic roars and buzzes, howlings of electric guitar, aggressive hammerings of pianos, cold polyrhythmic combining motoric style, obssesive rave music but also African and Latino influences, contribute to this dystopian vision of the drama. The musical universe of the two famous lovers, which often tintinnabulates in the high register of the pianos, is instead full of delicacy and sweetness. David Chalmin gives his music a special charm drawing his inspiration from Ravelian limpidness, Schubertian lyricism and Chopinian poetry but also from styles close to jazz and pop music. David Chalmin's 30-minute score was composed for Katia and Marielle Labèque. It was premiered at the Philharmonie de Paris in May 2015. Since then, it has been performed in Luzern, Dortmund, Montpellier Festival, Bordeaux, Paris (Théâtre du Châtelet), Napoli Festival, etc.

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Leonard Bernstein: West Side Story

West Side Stor y is probably Bernstein's masterpiece and unquestionably the best-known American work all over the world. Ever since the highly favorable critical and audience reception at New York's Winter Garner Theatre on Broadway, September 26, 1957, and the phenomenal success of Robert Wise's film adaptation in 1961, this contemporary urban version of Romeo and Juliet has never ceased to move spectators and fill them with enthusiasm.

Although West Side Story bears Bernstein's inimitable mark, it's sprung from collective work bringing together, amongst others, the choreographer and director Jerome Robbins, librettist Arthur Laurents, lyricist Stephen Sondheim and arrangers Sid Ramin and Irwin Kostal.

It was Bernstein himself who asked Irwin Kostal to produce an arrangement for the duo-pianists Katia and Marielle Labèque. This suite of 17 pieces includes an assortment of dances and songs, which appear in a new light. Thanks to his perfect knowledge of the score, Kostal succeeds in giving his small ensemble an orchestral fullness. The seeming monochromy of the two pianos, far from making the music dull, allows us to appreciate a harmonic language that is simple yet quite subtle, in the service of the composer's enormous talent as a melodist. Deprived of the lyrical dimension provided by the voices, the songs unfold their phrases with unsuspected naturalness and authenticity.

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David Chalmin (May 22, 1980). David Chalmin is a composer, producer, sound engineer and musician. He's a member of Triple Sun together with Massimo Pupillo and Raphaël Séguinier. Their first album "The City Lies in Ruins" was released by Consouling Sounds in May 2016. They created in 2016 a project around Moondog that was premiered in Nuits de Fourvière (Lyon) with Katia Labèque, Marie-Agnès Gillot, Yaman Okur and Stephane Deheselle. In September 2016 they joined Bryce & Aaron Dessner (The National), Justin Vernon (Bon Iver) for the concert Invisible Bridge at the Philarmonie de Paris. He is also a member of the Minimalist Dream House project, which has been performed at the Cité de la Musique in Paris, the Disney Hall in Los Angeles, the Toronto Summer Festival, the Auditorium of the Opéra national de Bordeaux, the Odyssud in Blagnac, the King's Place in London, the Auditorium de l'Orchestre national de Lyon etc.

In 2013, he teamed up with Raphaël Séguinier to create the rock duet UBUNOIR. Their self-produced EP was released in May 2014. In 2014 he was commissioned by the WDR Symphony Cologne to compose an orchestral suite of arrangements of Bernard Herrmann's film scores interpreted by the orchestra, Katia Labèque and her rock band in which he performs as a guitarist. David created his own recording studio, Studio K in Paris and also manages Studio KML in Rome founded by Katia & Marielle Labèque. He produced and recorded there all of their most recent releases (Sisters, Minimalist Dream House, Shape of my Heart, Satie, Bernstein/Gershwin). Other of his engineer/producer credits include Shannon Wright, Matt Elliott, Gaspar Claus, Pedro Soler, Angélique Ionatos, Sting, François Morel, etc.

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Leonard Bernstein (August 25, 1918 - October 14, 1990). Bernstein told Rolling Stone : "Everyone told us that [West Side Story] was an impossible project... And we were told no one was going to be able to sing augmented fourths, as with « Ma-ri-a »... Also, they said the score was too rangy for pop music... Besides, who wanted to see a show in which the first-act curtain comes down on two dead bodies lying on the stage?... And then we had the really tough problem of casting it, because the characters had to be able not only to sing but dance and act and be taken for teenagers. Ultimately, some of the cast were teenagers, some were 21, some were 30 but looked 16. Some were wonderful singers but couldn't dance very well, or vice versa... and if they could do both, they couldn't act".

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Irwin Kostal (October 1, 1911 - November 23, 1994). Irwin Kostal was an American music arranger of films and an orchestrator of Broadway musicals. He wrote the original orchestration of West Side Story. His work won both an Oscar and a Grammy Award. He conducted the 1982 digital re-recording of the music to Walt Disney's 1940 animated feature Fantasia. At the request of Leonard Berstein, he did the arrangement of West Side Story for Katia and Marielle Labèque. In 2004 he was named a Disney Legend in recognition of his contributions to films released by the studio.

















See also / Δείτε επίσης

Antoine Busnoys: For the love of Jaqueline (Medieval love songs) – Sylvia Rhyne, Eric Redlinger (Audio video)

Under The Shadow – Carlos Mena, Ghalmia Senouci, Disfonik Orchestra, Jacques Beaud (Audio video)

Hélène Grimaud: Water – Nitin Sawhney, Luciano Berio, Toru Takemitsu, Gabriel Fauré, Maurice Ravel, Isaac Albeniz, Franz Liszt, Leoš Janáček, Claude Debussy (Audio video)

Vanessa Benelli Mosell: [R]evolution – Karlheinz Stockhausen, Karol Beffa, Igor Stravinsky (Audio video & Download 96kHz/24bit)

The King's Singers: America – Paul Simon, Peter Cetera, Randy Newman, Jimmy Webb, Don McLean – English Chamber Orchestra, Carl Davis (Audio video)

Conrad Tao: Voyages – Meredith Monk, Sergei Rachmaninov, Maurice Ravel, Conrad Tao (Download)

Saturday, February 11, 2017

Beware of Pity (Ungeduld des Herzens) by Stefan Zweig – Complicite & Schaubühne Berlin, Simon McBurney – Barbican, London – Sunday, February 12, 2017, 03:00 PM GMT / 05:00 PM EET – Live Stream (Online until Sunday, February 26, 2017)









Simon McBurney directs the outstanding Schaubühne ensemble in a vivid account of a young man's slide into a terrible situation, his struggle to extricate himself from it raising questions of consciousness and compassion.

Young officer Hofmiller commits a faux pas at a soirée held by a Baron, unwittingly asking his paralysed daughter to dance. The mistake pulls him into a relentless chain of events in this devastating depiction of honour, love and betrayal, realised against the disintegration of the Austro-Hungarian Empire – a catalyst for the outbreak of the First World War.

Two of Europe's most boundary-pushing, imaginative theatre companies work together at the Barbican for the first time. Their co-production is based on Stefan Zweig's 1939 novel, written just before the Second World War but looking back to the verge of the previous disaster. Reverberating in the past and present, the story is relayed in German by seven actors, swapping narration and dialogue to vocally build the tension of McBurney's orally rich, visually eloquent production. Beware of Pity follows the five-star triumphs of The Encounter and The Forbidden Zone, the last shows presented here by Complicite and the Schaubühne respectively.

"Magnificent" – Der Tagesspiegel
"Marvellous and focused" – Der Spiegel
"As exciting as a movie" – Berliner Morgenpost
"A thrilling vortex of fear, hope and doubt" – Zitty

Barbican, London – Sunday, February 12, 2017, 03:00 PM GMT / 05:00 PM EET – Live Stream

The live stream will be available until Sunday, February 26, 2017.


Η συμπαραγωγή των Complicite και Schaubühne Berlin – δύο ομάδων που ορίζουν την ευρωπαϊκή πρωτοπορία και που συνεργάζονται για πρώτη φορά στην ιστορία τους – στο Μπάρμπικαν του Λονδίνου, είναι βασισμένη στο μυθιστόρημα "Beware of Pity" («Επικίνδυνος Οίκτος») του Αυστριακού συγγραφέα Στέφαν Τσβάιχ (1881-1942), το οποίο γράφτηκε το 1939, τις παραμονές του Β' Παγκοσμίου Πολέμου, αλλά με το βλέμμα στραμμένο στο χείλος της προηγούμενης παγκόσμιας καταστροφής.

Ο νεαρός αξιωματικός Χοφμίλερ διαπράττει ένα σφάλμα στη χοροεσπερίδα που οργανώνει ένας Βαρόνος, όταν εν αγνοία του ζητάει σε χορό την παράλυτη κόρη του. Αυτή η λανθασμένη κίνηση τον οδηγεί σε ένα αμείλικτο γαϊτανάκι γεγονότων, σε αυτή την καταστροφική απεικόνιση τιμής, αγάπης και προδοσίας, που πραγματοποιείται εν μέσω της διάλυσης της Αυστρο-Ουγγρικής Αυτοκρατορίας – ένα καταλυτικό γεγονός για το ξέσπασμα του Α' Παγκοσμίου Πολέμου.

Ο Σάιμον Μακ Μπέρνι διευθύνει το εξαιρετικό ανσάμπλ της Schaubühne, σε μια ζωντανή εξιστόρηση της ολίσθησης ενός νεαρού σε μια τρομακτική κατάσταση, ενώ ο αγώνας του για να απαλλαγεί από αυτήν γεννά ερωτήματα περί συνείδησης και συμπόνιας. Αντανακλώντας το παρελθόν και το παρόν, η ιστορία αναπαράγεται στα γερμανικά από επτά ηθοποιούς, οι οποίοι εναλλάσσονται μεταξύ αφήγησης και διαλόγων για να οικοδομήσουν φωνητικά την ένταση της προφορικά πλούσιας και οπτικά εύγλωττης παραγωγής του Μακ Μπέρνι.

Το έργο "Beware of Pity" έρχεται μετά τα θριαμβευτικά "The Encounter" και "The Forbidden Zone", δηλαδή τις τελευταίες παραγωγές των ομάδων Complicite και Schaubühne, αντίστοιχα. Τα εισιτήρια όλων των παραστάσεων του "Beware of Pity" στο Barbican έχουν εξαντληθεί και δεν προβλέπονται νέες παραστάσεις.

«Μεγαλοπρεπές» – Der Tagesspiegel
«Θαυμάσιο» – Der Spiegel
«Μια συγκλονιστική δίνη φόβου, ελπίδας και αμφιβολίας» – Zitty
«Παγκόσμιοι πόλεμοι και προσφυγικές κρίσεις συγκρούονται σε έναν αιματοβαμμένο τρόμο» – Guardian

Ελληνική μετάφραση: sgt.gr


Μπάρμπικαν, Λονδίνο – Κυριακή 12 Φεβρουαρίου 2017, 05:00 ΜΜ EET – Ζωντανή αναμετάδοση

Μετά τη ζωντανή αναμετάδοση, το βίντεο της παράστασης θα είναι διαθέσιμο στο YouTube μέχρι τα μεσάνυχτα της Κυριακής 26 Φεβρουαρίου 2017.



Beware of Pity (Ungeduld des Herzens)
by Stefan Zweig

A Complicite & Schaubühne Berlin co-production

Adapted by Simon McBurney, James Yeatman, Maja Zade and the Ensemble

Direction: Simon McBurney 
Co-Direction: James Yeatman 
Stage Design: Anna Fleischle 
Costume Design: Holly Waddington 
Lighting Design: Paul Anderson 
Sound Design: Pete Malkin 
Sound Associate: Benjamin Grant 
Video Design: Will Duke 
Dramaturgy: Maja Zade

Complicite & Schaubühne Berlin

With: Robert Beyer, Marie Burchard, Johannes Flaschberger, Christoph Gawenda, Moritz Gottwald, Laurenz Laufenberg, Eva Meckbach

Duration: ca. 120 minutes (no interval)
Age guidance 12+
Performed in German with English surtitles

English translation by Anthea Bell, courtesy of Pushkin Press, London

Caution: Strobe lights will be used during this performance.

















Beware of Pity (Επικίνδυνος Οίκτος)
του Στέφαν Τσβάιχ

Μια παραγωγή των Complicite και Schaubühne Berlin

Διασκευή: Simon McBurney, James Yeatman, Maja Zade και ο θίασος
Σκηνοθεσία: Simon McBurney
Συν-σκηνοθεσία: James Yeatman
Σκηνικά: Anna Fleischle
Κοστούμια: Holly Waddington
Φωτισμοί: Paul Anderson
Σχεδιασμός Ήχου: Pete Malkin
Βοηθός στον ήχο: Benjamin Grant
Βίντεο: Will Duke
Παίζουν οι ηθοποιοί: Robert Beyer, Marie Burchard, Johannes Flaschberger, Christoph Gawenda, Moritz Gottwald, Laurenz Laufenberg, Eva Meckbach

Η Complicite είναι μια διεθνής θεατρική ομάδα, που ιδρύθηκε το 1983, εδρεύει στο Λονδίνο και επικεφαλής της είναι ο καλλιτεχνικός διευθυντής Simon McBurney (OBE) και η παραγωγός Judith Dimant (MBE). Ο θίασος έχει λάβει περισσότερα από πενήντα σημαντικά θεατρικά βραβεία ανά τον κόσμο. Ανάμεσα στα πιο πρόσφατα έργα της Complicite είναι τα: The Encounter, Lionboy, The Master and Margarita, Shun-kin και A Disappearing Number. Παράλληλα με τις παραγωγές της, η Complicite υλοποιεί ένα εκτεταμένο πρόγραμμα Δημιουργικής Μάθησης, με πιο πρόσφατα πρότζεκτ τα Like Mother, Like Daughter και Tea. Η παράσταση The Encounter, αναμεταδόθηκε επίσης με live stream από το Μπάρμπικαν τον Μάρτιο του 2016.

Η Schaubühne Berlin (Σαουμπύνε του Βερολίνου) αποτελεί μια σύγχρονη, πειραματική και διεθνή θεατρική ομάδα. Από την ίδρυσή της, το 1962, διάσημοι σκηνοθέτες έχουν δημιουργήσει θεατρικές παραστάσεις γι’ αυτήν, παρουσιάζει τουλάχιστον δέκα νέες παραστάσεις κάθε σεζόν ενώ ταυτόχρονα το ρεπερτόριό της περιλαμβάνει περισσότερες από 30 άλλες παραγωγές. Αναρίθμητες περιοδείες σε όλο τον κόσμο, βραβεία και τιμητικές διακρίσεις για τους σκηνοθέτες, τις παραγωγές και το ίδιο το σύνολο μιλούν εύγλωττα για την επιτυχία της καλλιτεχνικής ομάδας και για το άστρο της Schaubühne υπό την καλλιτεχνική διεύθυνση του Thomas Ostermeier. Η Schaubühne συνεχίζει στην παράδοση των σύγχρονων και κριτικών νέων ερμηνειών σε κλασικά έργα, συνεργάζεται με Βερολινέζους σκηνοθέτες, όπως τον Thomas Ostermeier, τον Falk Richter, τον Michael Thalheimer, τον Marius von Mayenburg και τον Patrick Wengenroth, αλλά συγχρόνως δίνει συχνά βήμα και σε σημαντικούς σκηνοθέτες από άλλες χώρες. Αυτή τη στιγμή το θέατρο φιλοξενεί παραστάσεις των Romeo Castellucci, Alvis Hermanis, Katie Mitchell, Rodrigo García, Yael Ronen και της χορογράφου Constanza Macras.

Το live stream θα ξεκινήσει στις 05:00 το απόγευμα της Κυριακής 12 Φεβρουαρίου, και στη συνέχεια θα είναι διαθέσιμο μέχρι τα μεσάνυχτα (ώρα Γκρήνουιτς) της Κυριακής 26 Φεβρουαρίου. Για να το παρακολουθήσετε, θα χρειαστεί:

1. Να πατήσετε play και το live stream θα ξεκινήσει.
2. Σας συνιστούμε να παίξετε το stream στην υψηλότερη ποιότητα. Για να το επιτύχετε αυτό, κάντε κλικ στο εικονίδιο στο κάτω μέρος της οθόνης, επιλέξτε Quality και στη συνέχεια επιλέξτε 720p ή 1080p. Αν, ωστόσο, διαπιστώσετε κάποια δυσλειτουργία ή επιβράδυνση στο βίντεο, επιστρέψετε στις ρυθμίσεις και επιλέξτε την αυτόματη λειτουργία (Auto).
3. Επίσης, σας συνιστούμε να παρακολουθήσετε την παράσταση μέσα από browser Chrome ή Mozilla Firefox. Μπορείτε να χρησιμοποιήσετε όποιον άλλον browser θέλετε, αλλά ειδικά ο Internet Explorer ενδεχομένως να παρουσιάσει προβλήματα στους χρήστες.
4. Συνιστάται σύνδεση Wifi ή ενσύρματου Ίντερνετ, αλλά υπάρχει επίσης υποστήριξη του live streaming για φορητές συσκευές.

Διάρκεια: περίπου 2 ώρες, χωρίς διάλειμμα
Κατάλληλο για θεατές άνω των 12 χρόνων
Το έργο παρουσιάζεται στα γερμανικά με αγγλικούς υπέρτιτλους

Προσοχή: Κατά τη διάρκεια της παράστασης γίνεται χρήση strobe lights.

Ελληνική μετάφραση: sgt.gr

Σημείωση: Το Blog Faces of Classical Music δεν μεταδίδει «σε αποκλειστικότητα για την Ελλάδα» αυτό το live stream, όπως κάποιο άλλο ελληνικό «σάιτ» ισχυρίζεται ότι κάνει. Για τη ζωντανή αναμετάδοση της παράστασης Beware of Pity από το Μπάρμπικαν του Λονδίνου, την Κυριακή 12 Φεβρουαρίου 2017, δεν απαιτείται και κανείς δεν δικαιούται να ισχυρίζεται ότι έχει οποιουδήποτε είδους αποκλειστικότητα.




































































































Photos by Gianmarco Bresadola


More photos / Περισσότερες φωτογραφίες


Past Events / Προηγούμενες Εκδηλώσεις

Gabriela Lena Frank: Walkabout, Concerto for Orchestra | Leonard Bernstein: "I Got Rhythm" Variations, & Second Rhapsody | Charles Tomlinson Griffes: The White Peacock | Dmitri Shostakovich: Symphony No.1 in F minor – Sara Davis Buechner, Detroit Symphony Orchestra, Michelle Merrill – Saturday, February 18, 2017, 08:00 PM EST (GMT-5) / Sunday, February 19, 2017, 03:00 AM EET (UTC+2) – Live on Livestream

Wolfgang Amadeus Mozart: Symphony No.38 in D major "Prague", Concerto for Flute and Harp in C major, Symphony No.41 in C major "Jupiter" – Detroit Symphony Orchestra, Leonard Slatkin – Sunday, February 5, 2017, 03:00 AM EET – Live on Livestream

Wolfgang Amadeus Mozart: Serenade for strings No.13 in G major "Eine kleine Nachtmusik", Symphony No.35 in D major "Haffner", Overture to Die Entführung aus dem Serail, Symphony No.36 in C major "Linz" – Detroit Symphony Orchestra, Leonard Slatkin – Friday, February 3, 2017, 05:45 PM EET – Live on Livestream


Wolfgang Amadeus Mozart: Overture to Così fan tutte, Bassoon Concerto in B flat major, Horn Concerto No.4 in E flat major, Symphony No.40 in G minor – Detroit Symphony Orchestra, Leonard Slatkin – Sunday, January 29, 2017, 10:00 PM EET – Live on Livestream


Wolfgang Amadeus Mozart: Overture to La clemenza di Tito, Concertone in C major, Horn Concerto No.3 in E flat major, Clarinet Concerto in A major – Detroit Symphony Orchestra, Leonard Slatkin – Saturday, January 28, 2017, 03:00 AM EET – Live on Livestream


Wolfgang Amadeus Mozart: Overture to The Magic Flute, Flute Concerto No.1 in G major, Horn Concerto No.2 in E flat major, Overture to Don Giovanni, Symphony No.39 in E flat major – Detroit Symphony Orchestra, Leonard Slatkin – Sunday, January 22, 2017, 10:00 PM – Live on Livestream


Wolfgang Amadeus Mozart: Overture to The Marriage of Figaro, Oboe Concerto in C major, Horn Concerto in D major, Sinfonia concertante in E flat major – Detroit Symphony Orchestra, Leonard Slatkin – Friday, January 20, 2017, 05:45 PM – Live on Livestream


Felix Mendelssohn: Symphony No.5 in D major/D minor "Reformation" | Lalo Schifrin: Tangos Concertantes | Gabriela Lena Frank: Concerto for Orchestra – Cho-Liang Lin, Detroit Symphony Orchestra, Leonard Slatkin – Sunday, January 15, 2017, 3:00 AM – Live on Livestream


Ludwig van Beethoven: Overture to The Creatures of Prometheus, & Piano Concerto No.2 in B flat major | Edward Elgar: Symphony No.1 in A flat major – Emanuel Ax, Detroit Symphony Orchestra, Leonard Slatkin – Sunday, December 11, 2016, 10:00 PM – Live on Livestream


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


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