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Wednesday, June 29, 2016

Joseph Haydn: Cello Concerto No.1 in C major – Andreas Brantelid, Musica Vitae, Malin Broman (HD 1080p)

Ένας από τους κορυφαίους νέους τσελίστες στον κόσμο, ο Δανοσουηδός Αντρέας Μπράντελιντ ερμηνεύει το Κοντσέρτο για βιολοντσέλο αρ. 1 σε Ντο μείζονα, του Γιόζεφ Χάυντν. Τον συνοδεύει η σουηδική ορχήστρα Musica Vitae υπό την καθοδήγηση της βραβευμένης βιολονίστριας Malin Broman. Η συναυλία δόθηκε στο Μέγαρο Μουσικής του Γκέτεμποργκ στις 9 Μαρτίου 2016.

Γεννημένος το 1987, ο Αντρέας Μπράντελιντ έχει παίξει ως σολίστας με τις σπουδαιότερες ορχήστρες του κόσμου, όπως οι Φιλαρμονικές της Στοκχόλμης και των Βρυξελλών και οι Συμφωνικές του Αμβούργου, της Βιένης και του Μπέρμιγχαμ.



As the Latin name indicates, Musica Vitae presents the Music of Life to its audiences. Its repertoire spans three centuries and the orchestra is known on the international stage in particular for its newly written music and exciting combinations. With their Artistic Leader Malin Broman and cello soloist Andreas Brantelid they here perform Joseph Haydn's Cello Concerto Νο.1 in C major in Gothenburg Concert Hall on March 9, 2016.



Joseph Haydn (1732-1809)

♪ Cello Concerto No.1 in C major, Hob. VIIb/1 (1761-1765)

i. Moderato

ii. Adagio
iii. Allegro molto

Andreas Brantelid, cello

Musica Vitae
Καλλιτεχνική διεύθυνση (Artistic Leader): Malin Broman

Gothenburg Concert Hall, March 9, 2016 (9 Μαρτίου 2016)

Βίντεο υψηλής ευκρίνειας με υψηλή ποιότητα ήχου
High definition video with high quality audio

(HD 1080p)


Andreas Brantelid was born in Copenhagen in 1987 to Swedish/Danish parents. He made his concert debut at the age of 14 with the Royal Danish Orchestra playing the Elgar Cello Concerto. Since then he has appeared as a soloist with all the major orchestras in Scandinavia.

Highlights in season 2015/2016 include his debut with the Frankfurt Radio Symphony as well as re-invitations to the DR National Symphony, Copenhagen Philharmonic, Helsingborg Symphony and Tampere Philharmonic Orchestra. In July 2016 he will be on tour with Veronika Eberle (violin) and Shai Wosner (piano) and perform in Bad Kissingen, Festspiele Mecklenburg-Vorpommern, Frederiksvaerk Festival among others. In addition he will give recitals at the Bergen Festival, at the Uppsala Congress Center as well as at the Philharmonie Cologne. In following seasons he will be on tour with the London Symphony Orchestra in China, return to the Iceland Symphony and give his debut with the Radio Symphony Orchestra Stuttgart SWR.

Last season he made his debut with the London Philharmonic and MDR Leipzig Orchestras as well as returned to the BBC National Orchestra of Wales. He also made his debut in Japan, performing with the Yomiuri Nippon Symphony Orchestra. In earlier seasons Andreas worked with the Seattle and Milwaukee Symphony Orchestras and also performed at the Konzerthaus in Vienna with the Danish National Chamber Orchestra. Other concerto performances have included debuts with the Mahler Chamber Orchestra, with the Tonhalle Zürich, Vienna Symphony, Brussels Philharmonic, BBC Symphony, Netherlands Radio Philharmonic, City of Birmingham Symphony, and Munich and Scottish Chamber Orchestras. He has worked with many distinguished conductors including Vasily Petrenko, Esa-Pekka Salonen, Thomas Dausgaard, Philippe Herreweghe, Andrew Manze, Andris Nelsons, Jonathan Nott, Sakari Oramo, Jukka-Pekka Saraste, and Robin Ticciati.

Andreas' recent recital and chamber appearances included Seoul, Berlin, Paris, Dresden and the Dortmund Konzerthaus, where he has been a "Junge Wilde" artist. He has previously performed in New York (Carnegie Hall and Alice Tully), London (Wigmore Hall), Chicago, Zurich, Vancouver, Barcelona and Salzburg. In the 2008/09 season he was nominated by the European Concert Hall Organization for their "Rising Star" recital series. Andreas very much enjoys collaborating with other musicians and has played at many important festivals including Jerusalem, Schleswig-Holstein, Bergen, Lockenhaus, Kuhmo, Verbier, and the City of London.

His debut concerto disc of the Tchaikovsky, Schumann and Saint-Saëns Cello Concertos with the Danish National Symphony Orchestra was released by EMI in 2008. This was followed by a disc of chamber music by Chopin including his cello sonata (2010) and an Encore disc (2012).  A disc of complete works for cello and piano by Grieg was released by BIS in March 2015. In 2014, Andreas Brantelid was appointed adjunct professor at the Royal Academy of Music in Aarhus.

Andreas won 1st Prize in the Eurovision Young Musicians Competition (2006) and the Paulo International Cello Competition (2007). He was a Borletti-Buitoni Trust Fellowship winner in 2008. He was also recently a member of the Lincoln Centre Chamber Music Society in New York and the BBC's New Generation Artist scheme. He studied with Mats Rondin, Torleif Thedéen and Frans Helmersson.

Andreas plays the "Boni-Hegar" Stradivarius from 1707, kindly lent to him by the Norwegian Art Collector Christen Sveaas.

Source: andreasbrantelid.com













Δείτε επίσης – Watch also

Joseph Haydn: Cello Concerto No.1 in C major – Marie-Elisabeth Hecker, Radio Kamer Filharmonie, Philippe Herreweghe

Sunday, June 26, 2016

Maurice Ravel: Piano Concerto in G major – Jean-Efflam Bavouzet, Gothenburg Symphony Orchestra, Francois Xavier Roth

Ένας από τους πιο συναρπαστικούς σολίστ της γενιάς του, ο πολυβραβευμένος Γάλλος πιανίστας Ζαν Εφλάμ Μπαβουζέ ερμηνεύει το Κοντσέρτο για πιάνο σε Σολ μείζονα του Μωρίς Ραβέλ. Τη Συμφωνική Ορχήστρα του Γκέτεμποργκ διευθύνει ο διακεκριμένος Γάλλος αρχιμουσικός Francois Xavier Roth. Εξάρχων, ο Vlad Stanculeasa. Η συναυλία δόθηκε στο Μέγαρο Μουσικής του Γκέτεμποργκ στις 19 Σεπτεμβρίου 2015.

Τα Κοντσέρτα για πιάνο (1929-1931) του Μωρίς Ραβέλ αποτελούν εξαίσιες εμπνεύσεις και διαμάντια του πιανιστικού ρεπερτορίου. O Guy Lelong αναφέρει ότι αν και είχαν γραφτεί πάνω κάτω την ίδια εποχή, το Κοντσέρτο για το αριστερό χέρι εμφανίζεται πιο μοντέρνο συγκριτικά με το Κοντσέρτο σε Σολ. Όντως, το δεύτερο χαρακτηρίζεται από καθαρή νεοκλασική λογική και δομή συντηρητική. Αρχικά ο συνθέτης στόχευε να συνθέσει μια βασκική εικόνα, μια ραψωδία όπου την κεντρική θέση θα έπαιρνε το φολκλόρ. Η παραδοχή ότι σκεφτόταν να γράψει στο στυλ ενός divertimento του Μότσαρτ δικαιολογεί κάπως τον τρόπο με τον οποίο συνέθεσε το "Adagio" του έργου. Τελικώς έχτισε σταθερά ένα κοντσέρτο σε τρία μέρη, ένα δυναμικό πρώτο, ένα τρυφερό δεύτερο κι ένα μοντέρνο, αστραφτερό τρίτο. Η βαθιά επιθυμία του να είναι ο ίδιος ερμηνευτής της πρώτης εκτέλεσης δεν πραγματοποιήθηκε, εξαιτίας των προβλημάτων υγείας που αντιμετώπιζε τότε. Το Κοντσέρτο σε Σολ μείζονα παρουσιάστηκε για πρώτη φορά από τη Γαλλίδα πιανίστρια Marguerite Long (1874-1966) τον Ιανουάριο του 1932 στη Salle Playel στο Παρίσι με την Ορχήστρα Lamoureux, υπό τη διεύθυνση του συνθέτη. Με τους ίδιους συντελεστές πραγματοποιήθηκε η πρώτη ηχογράφηση τρεις μήνες μετά.

Πηγή: Έφη Αγραφιώτη














One of the most engaging live performers of his generation, the multi award-winning pianist Jean-Efflam Bavouzet plays Maurice Ravel's Piano Concerto in G major with Gothenburg Symphony Orchestra under French conductor Francois Xavier Roth. Concert master is Vlad Stanculeasa. Recorded at Gothenburg Concert Hall on September 19, 2015.

The piano was Ravel's favorite instrument, and of his two extraordinary concertos, the Piano Concerto in G major was, in his opinion, "more Ravelian". Indeed, the two works are profoundly different, but without being, as Vladimir Jankélévitch observed in his book about the composer, more (or less) Ravelian than the other. Nevertheless, Ravel's opinion should not be dismissed, for it reflects his personal predilection, and, as any listener can tell, the work literally overflows with exuberance, delight, and verve. The Concerto may have been conceived in 1928, the year Ravel received his honorary doctorate from the University of Oxford. While some commentators have found the source of this Concerto in Ravel's Rhapsody on Basque themes Zazpiak bat, a project which remained unfinished, Robert de Fragny remembered that the composer had remarked that the dazzling opening theme came to him during a train ride from Oxford to London in 1928. In 1929, despite failing health, Ravel talked about a world tour on which he would perform his Concerto. While the world tour never materialized, the composer's life was sufficiently hectic, as he received a commission to compose another piano concerto, the Piano Concerto in D major (for the left hand).

Completed in November 1931, the concerto was premiered in January 1932, in a legendary performance by Marguerite Long. The sensations that this work conjures up, right from the beginning, are brightness and boundless energy. Opening with a whiplash sound, the first movement, Allegramente, proceeds rapidly, from an initial burst of light, composed of a lively piccolo tune threading through crystalline, harp-like piano figuration, to the incisive ending, traversing the many truly magical, even mysterious, moments of repose, when the piano indulges in dreamy, languid soliloquies. Delighting in the piano's expressive potential, Ravel fully employs the instrument's sonority, weaving, for example, a trill into a melody. The piano's rich and subtle discourse is magnificently matched by the orchestra, which, appearing in many guises, mimics and complements the piano, reinforcing the sensation of relentless energy by sharp, metallic, insistent statements by the trumpet. Ravel's splendid orchestration, which tempts the listener to experience this work as a brilliant, and almost self-sufficient, demonstration of sheer musical color, reflects the composer's interest in jazz, evidenced by trombone glissandi and similar effects. However, the jazz elements are profoundly Ravelian, which means that they hardly strike the listener as out of context. The remarkable second movement introduces an introspective, soulful atmosphere, seemingly quite remote from the bustle of the previous movement. A simply stated solo piano theme, of a disarming yet profoundly soulful simplicity, suggesting, perhaps, the image of a solitary promenade in the moonlight, yields to a timeless flute theme which expresses feelings of longing, sorrow, and subdued, yet clearly stated, passion. The final movement, as the piano wends its way through a series of shrieks and wails, executed by woodwind and brass instruments, affects the listener as a mounting wave of sound. A sudden, abrupt exclamation concludes the seductive cacophony of this climactic movement, and the listener experiences a desire to revisit the enchanted landscape of a musical work whose limpid formal structure contains a seemingly boundless world – without a trace of creative fatigue or ambivalence – of elegantly turned musical ideas.

Source: Zoran Minderovic (allmusic.com)

[At present, this video is unavailable / Προς το παρόν, αυτό το βίντεο δεν διατίθεται]

Maurice Ravel (1875-1937)

♪ Piano Concerto in G major (1931)


i. Allegramente

ii. Adagio assai
iii. Presto

Jean-Efflam Bavouzet, piano

Gothenburg Symphony Orchestra
Μουσική διεύθυνση (Conductor): Francois Xavier Roth

Gothenburg Concert Hall, September 19, 2015 (19 Σεπτεμβρίου 2015)

(HD 720p)


Photo by Henry Fair
Jean-Efflam Bavouzet has achieved acclaim for a variety of disparate repertory, but particularly for his complete cycles of music by Haydn, Debussy, Ravel, Bartók, and Prokofiev. He has recorded the complete solo piano outputs of Ravel and Debussy, the three concertos of Bartók, and from 2010 he launched a cycle of the complete Haydn sonatas. He has also played the five Prokofiev piano concertos in live concerts over a two-day period. Bavouzet's repertory extends to individual works by Liszt, Tchaikovsky, Pierné, and contemporary composer Bruno Mantovani. Bavouzet has concertized throughout Europe, the U.K., U.S., and Asia, and has appeared with many of the leading conductors, including Gergiev, Ashkenazy, Boulez, and Gianandrea Noseda. Bavouzet has recorded for Chandos, Naïve, and MD&G.

Jean-Efflam Bavouzet was born in Lannion, France, in 1962. He studied music at the Paris Conservatory where his most important teacher was Pierre Sancan. In 1986 Bavouzet won the Beethoven International Competition in Cologne. Three years later he was given the Steven de Groote Memorial Award for best chamber music performance at the Van Cliburn Competition.

While Bavouzet enjoyed reasonable success in the wake of these triumphs, including his appearance on a 1993 Accord CD of works by Stockhausen, his major breakthrough came in 1995 when he debuted with the Orchestre de Paris at the invitation of Georg Solti. In a 1998 concert with the Orchestre de Paris, Bavouzet collaborated with Pierre Boulez, a conductor with whom he would make many subsequent appearances, both in France and abroad.

In the new century Bavouzet's career has continued on the ascent, not least because of his considerable activity in the recording studio. He recorded the complete piano works of Ravel to acclaim for MD&G in 2003. Bavouzet began recording for Chandos in 2006, and his initial project for the label, the complete piano works of Debussy, was issued on five discs from 2007-2009, the critics broadly approving each release. Bavouzet distinguished himself further when in March 2009 he played the challenging five Prokofiev concertos over two concerts with the Warsaw Philharmonic Orchestra and conductor Antoni Wit.

In September 2009 Bavouzet premiered a work dedicated to him, the Bruno Mantovani piano concerto, The Book of Jeb, at the Piano aux Jacobins International Festival in Toulouse. Bavouzet's 2011 schedule included a tour of the U.S. with the National Orchestra of France and Daniele Gatti. Vol. 2 of Bavouzet's acclaimed Haydn piano sonata cycle was issued by Chandos in 2011.

Source: Robert Cummings (allmusic.com)



François-Xavier Roth born in Paris in November 1971, is one of the most charismatic and enterprising conductors of his generation. He is General Music Director of the City of Cologne, leading both the Gürzenich Orchestra and the Opera, and Principal Conductor of the SWR Sinfonieorchester Baden-Baden und Freiburg.

His repertoire ranges from music of the seventeenth century to contemporary work and encompasses all genres: symphonic, operatic and chamber. In 2003, he founded the innovative orchestra, Les Siècles, which performs contrasting and colourful programmes on modern and period instruments, often within the same concert. With Les Siècles, he has given concerts in France, Italy, Germany, England and Japan. To mark the centenary of The Rite of Spring, they toured the work on period instruments including performances at the BBC Proms and the Alte Oper, Frankfurt, captured in a widely acclaimed and award-winning recording. They will partner with the Pina Bausch Company for danced performances of the work in Summer 2016.


In its 70th anniversary year, he leads the SWR Sinfonieorchester Freiburg & Baden-Baden in guest visits to London (BBC Proms), Hamburg and the Lucerne and Berlin Festivals. They will complete their cycle of performances and recordings of the symphonic poems of Richard Strauss. With this orchestra he has premiered works by Philippe Manoury, Yann Robin and Georg-Friedrich Haas and collaborated with composers Wolfgang Rihm, Jörg Widmann and Helmut Lachenmann.


With a reputation for enterprising programming, his incisive approach and communication skills are valued around the world. He is working with leading orchestras including the Berlin Philharmonic, Royal Concertgebouw and Boston Symphony. Over the next two seasons he curates a series, with the London Symphony, exploring the musical legacy of the post-Romantic period.


His work in the opera house has included productions of Thomas' Mignon, Offenbach's Les Brigands and Delibes' Lakmé at the Opéra Comique in Paris, Morton Feldman's Neither at the Berlin Staatsoper and Wagner's The Flying Dutchman with Les Siècles. His first Cologne opera season includes Berlioz' Benvenuto Cellini, in a new production by La Fura dels Baus and Mozart's Don Giovanni.


Outreach projects are an important aspect of François-Xavier Roth's work. He is conductor of the ground-breaking LSO Panufnik Young Composers Scheme and, with the Festival Berlioz and Les Siècles, founded the Jeune Orchestre Européen Hector Berlioz, an orchestra-academy with its own collection of period instruments. Roth and Les Siècles devised Presto!, their own television series for France 2, attracting weekly audiences of over three million. In Cologne, he has announced initiatives to take music to new, unconventional venues and initiate collaborations with the City's cultural institutions.


Source: francoisxavierroth.com











































































More photos / Περισσότερες φωτογραφίες



See also / Δείτε επίσης

Gothenburg Symphony Orchestra – All the posts

Maurice Ravel: Piano Concerto in G major – Hélène Grimaud, Chamber Orchestra of Europe, Vladimir Jurowski (HD 1080p)

Maurice Ravel: Piano Concerto for the Left Hand in D major – Alexandre Tharaud, BBC Philharmonic, Juanjo Mena

Friday, June 24, 2016

Yannick Nézet-Séguin is the next music director of the Metropolitan Opera

Yannick Nézet-Séguin ( Photo by Jonathan Tichler)
















Ο Γιανίκ Νεζέτ Σεγκέν είναι ο επόμενος μουσικός διευθυντής της Μετροπόλιταν Όπερα της Νέας Υόρκης

Η αλλαγή μουσικού διευθυντή στη Μετροπόλιταν Οπερα της Νέας Υόρκης ύστερα από περισσότερα από 40 χρόνια, στρέφει την προσοχή στη νεότερη γενιά διευθυντών ορχήστρας, που καταλαμβάνουν τις πλέον επίζηλες μουσικές καρέκλες. Λαμπερές προσωπικότητες ή ηγέτες που επανακαθορίζουν το προφίλ των μεγάλων οργανισμών με το βλέμμα στραμμένο στο μέλλον;

Η προ ημερών ανακοίνωση του ονόματος του 41χρονου Γαλλοκαναδού Γιανίκ Νεζέτ Σεγκέν ως διαδόχου του βετεράνου Τζέιμς Λιβάιν στην επίζηλη θέση του μουσικού διευθυντή της Μετροπόλιταν Όπερα της Νέας Υόρκης μάλλον δεν προκάλεσε ιδιαίτερη έκπληξη στους παροικούντες την Ιερουσαλήμ. Αμέσως μετά την ανακοίνωση της αποδέσμευσης του 72χρονου Λιβάιν από την εν λόγω θέση, για να του αποδοθεί τελικά ο τίτλος του επίτιμου μουσικού διευθυντή παρότι ο ίδιος φέρεται να μην ήθελε μια τέτοιου είδους μεταβολή και πάλεψε να την αποτρέψει, ο Γιανίκ Νεζέτ Σεγκέν ήταν αυτός ο οποίος συγκέντρωνε τις περισσότερες πιθανότητες για να τον διαδεχθεί. Θα αναλάβει επισήμως τα καθήκοντά του το 2020, ωστόσο θα αρχίσει να συμμετέχει στην κατάρτιση του προγράμματος από τη σεζόν 2017-2018. Νυν μουσικός διευθυντής της Ορχήστρας της Φιλαδέλφειας, όπου θα παραμείνει ως το 2026, είναι γνωστός και αγαπητός στο κοινό της Μετροπόλιταν Όπερα. Έχει διευθύνει επανειλημμένως εκεί τα τελευταία χρόνια – πιο πρόσφατη εμφάνισή του η φετινή εναρκτήρια παραγωγή του «Οθέλλου» του Τζουζέπε Βέρντι – και οι πληροφορίες τον θέλουν να είναι δημοφιλής μεταξύ των μουσικών, των τραγουδιστών αλλά και των μέσων μαζικής ενημέρωσης.

Ωστόσο η επιλογή δεν παύει να γεννά ερωτήματα: Ποιες είναι οι προτιμήσεις του στο ρεπερτόριο; Θα έχει συνολική άποψη και συμμετοχή στις παραγωγές και δη αναφορικά με το σκηνικό τους μέρος; Έχει, άραγε, κάποιο συγκεκριμένο σχέδιο διεύρυνσης του κοινού; Πόσο αφοσιωμένος μπορεί να είναι, τέλος, στη Μετροπόλιταν, με δεδομένο ότι θα μοιράζει τον χρόνο του ανάμεσα στη Νέα Υόρκη και στη Φιλαδέλφεια;

Έχουν περάσει 41 ολόκληρα χρόνια από την τελευταία αλλαγή μουσικού διευθυντή στο νεοϋορκέζικο θέατρο. Ο Λιβάιν ανέλαβε τη θέση τον Μάιο του 1975, σε ηλικία 31 ετών, και ενώ μετρούσε ήδη τρία χρόνια ως βασικός αρχιμουσικός της Ορχήστρας της Μετροπόλιταν. Επρόκειτο για  μια εξαιρετικά δύσκολη εποχή και ουδείς μπορούσε να προβλέψει πόσο καιρό θα παραμείνει στο πόστο του καθώς ο Τύπος διατύπωνε αμφιβολίες σχετικά με το αν ο νεαρός αρχιμουσικός θα μπορούσε να αντέξει τις διοικητικές και οικονομικές δυσχέρειες που αντιμετώπιζε τότε το θέατρο. Υπήρχε μια ζωηρή συζήτηση εκείνη την εποχή ως προς το ενδεχόμενο να περιστείλει δραματικά το θέατρο τις δραστηριότητές του ή ακόμη και να κλείσει. «Πραγματικά δεν φαίνεται ιδιαίτερο φως στο τέλος του μεγάλου και σκοτεινού τούνελ όπου βρισκόμαστε» δήλωνε χαρακτηριστικά ο τότε γενικός διευθυντής της Μετροπόλιταν, Άντονι Μπλις.

Τέσσερεις δεκαετίες αργότερα και παρά τις δυσκολίες των τελευταίων ετών, η κατάσταση είναι διαφορετική, με τον Λιβάιν να μετρά συνολικά 2.557 παραστάσεις. Τα προβλήματα υγείας που αντιμετωπίζει ο θρυλικός αρχιμουσικός εδώ και πολύ καιρό έδωσαν τη δυνατότητα στον γενικό διευθυντή του θεάτρου, Πίτερ Γκελμπ, να απευθύνει προσκλήσεις προκειμένου να διευθύνουν πολυαναμενόμενες παραγωγές  διάσημοι συνάδελφοί του οι οποίοι μέχρι τούδε είχαν εμφανιστεί ελάχιστα ή και καθόλου στη Μετροπόλιταν. Ανάμεσά τους ο Ρικάρντο Μούτι, ο Σάιμον Ρατλ και ο Έσα Πέκα Σάλονεν. Ωστόσο και παρά το γεγονός ότι οποιοσδήποτε διαδεχόταν τον Λιβάιν θα είχε εκ προοιμίου περιορισμένη εξουσία με δεδομένη την ισχυρή παρουσία του Γκελμπ – γεγονός που επισημάνθηκε επανειλημμένως στον Τύπο το τελευταίο διάστημα –, η θέση του μουσικού διευθυντή δεν παύει να είναι μία από τις πλέον επίζηλες στον κόσμο της όπερας. Θα καταφέρει ο νέος κάτοχός της να αντεπεξέλθει στις προκλήσεις;

Πηγή: Τουλάτου Ισμα Μ., 12 Ιουνίου 2016 (tovima.gr)

Yannick Nézet-Séguin (Photo by Hiroyuki Ito)
















The MET chooses Yannick Nézet-Séguin

The Metropolitan Opera last named a new music director in May of 1975. Gerald Ford had been President for less than a year; Saigon had fallen a few weeks earlier; Barack Obama was thirteen. "His name is James Levine", Donal Henahan wrote in the Times. "There were no gasps of surprise when the Met made the announcement the other day". Levine, then thirty-one years old, had been serving as the company's principal conductor for three years, and had already made himself indispensable. But no one knew what he could achieve or how long he would stay. Henahan wondered whether the young maestro would soon become fed up with the administrative and financial disarray that beset the Met at the time. There was talk in those years that the house might drastically curtail operations or even shut down. Anthony Bliss, the Met's executive director, was saying, "There doesn't seem to be much light at the end of a long, dark tunnel".

Four decades on, the Met still stands, eternally precarious. After a staggering total of two thousand five hundred and fifty-seven performances, Levine has finally stepped aside, and a new music director has been named: the forty-one-year-old Québécois conductor Yannick Nézet-Séguin. Peter Gelb, the Met's general manager, made the announcement this morning, saying that Nézet-Séguin will immediately take part in artistic planning but will not take up his full duties until 2020. (He will maintain his commitment to the Philadelphia Orchestra, where he has been the music director since 2012.) Again, no gasps were audible. For months, insiders have considered Nézet-Séguin the shoo-in candidate; Russell Platt reviewed his qualifications last fall. Nézet-Séguin has led fifty performances at the Met, of such standard fare as "Carmen", "Faust", "La Traviata", and "Otello". Extroverted and media-savvy, he is well liked by musicians and singers, and has established a warm relationship with the Met audience. In personal terms, he hardly resembles his secretive predecessor – it will be a novelty to have a music director who has been known to post shirtless selfies on his Facebook page – but his artistic profile is not unlike that of the young Levine: energetic, capable, a man for all musical seasons.

Early encounters with Nézet-Séguin’s conducting gave me the sense of a gifted musician who tended to glide over the surface of scores instead of digging deep. A "Carmen" I heard in 2010 had a stylish profile but left little emotional residue. Likewise, a "Rite of Spring", in Philadelphia, was a shade too glossy, lacking inner tension. But his "Don Carlo" showed a knack for stealthily accumulating drama, for epiphanic orchestral gestures that fixed emotional arcs without calling attention to themselves. And last fall, in Act IV of "Otello", he summoned an intangible atmosphere of beauty and dread as Sonya Yoncheva gave a devastating rendition of the Willow Song and Ave Maria. He has yet to lead German opera at the Met, although his idiomatic recordings of Bruckner and Strauss suggest that he will easily find his footing in Wagner. (He conducts "The Flying Dutchman" next season.)

Will Nézet-Séguin expand the repertory and become a forceful advocate for contemporary work? Here, the signs are more uncertain. He has led a fair amount of new music in Philadelphia, Montreal, Rotterdam, and other cities, but it's difficult to tie him to any particular group of composers, in the way that Levine became associated with the Second Viennese School and latter-day American modernists. Zachary Woolfe interviewed Nézet-Séguin a few weeks ago for the Times, and reported that the conductor "seemed slightly at a loss" when asked what fresh avenues he might explore at the Met. "If someone was someday to say, ‘Yannick has helped bring back this composer’, I'm not sure who it would be", he said. As Woolfe observed, it was a discouraging answer; it suggested an artist who believes the repertory to be more or less fine as it is.

In fact, the Met's repertory is archaic, overlooking vast swaths of operatic history. The list of major works that have yet to be done at the house runs from opulent early-twentieth-century scores like Schreker's "Die Gezeichneten" and Szymanowski's "King Roger" to postwar masterpieces on the order of Messiaen's "Saint François d'Assise" and Birtwistle's "Gawain". As I commented when Levine retired, the company's record of world premières in the past forty years is embarrassing: only five of them, together with the American première of Nico Muhly's "Two Boys". Opera at the Met remains, in essence, nineteenth-century grand opera, and as long as the repertory remains so tilted toward the past, Gelb will never achieve his avowed goal of making the company more contemporary in outlook.

Then again, it's hard to imagine who would have been the wiser choice. Vladimir Jurowski and Antonio Pappano have both shown a more expansive vision, but the one seems rooted in Europe and the other has little experience at the Met. Susanna Mälkki, a brilliant champion of modern opera, won’t make her début until next season, in Kaija Saariaho's "L'Amour de Loin". The Met is, above all, a vast machine – there will be two hundred twenty-five performances in the 2016-17 season – and no conductor can put a stamp on every aspect of the operation. Levine always tried to do too much, crowding out other voices, particularly those of fellow-conductors. One positive result of Levine's partial invisibility in recent seasons is that Gelb has been able to bring in illustrious international maestros to fill the gaps: Esa-Pekka Salonen and Simon Rattle, in particular, have made spellbinding contributions with "Elektra" and "Pelléas", respectively. Let's hope that such visits continue; there is no need for the music director to reserve the juiciest works to himself, and there is no reason to think that the collegial Nézet-Séguin will do so.

What is needed at the Met – as at many other big organizations, notably the New York Philharmonic – is not some magical charismatic personality who will pacify all parties but a fundamental rethinking of the institution. In April, the Times ran a story about the relationship between moma and the Met Museum, noting that the latter was struggling to match the allure of moma’s modernist and contemporary holdings. Imagine a parallel story about the Met trying to catch up with the Philharmonic's blockbuster offerings of avant-garde music theatre. That universe seems far away, yet, in 2010, Alan Gilbert succeeded in upstaging the Met – and selling out Avery Fisher Hall – with gleefully abrasive renditions of Ligeti's absurdist opera "Le Grand Macabre". Opening tonight at the NY Phil Biennial is Gerald Barry's helter-skelter adaptation of "The Importance of Being Earnest", with the visionary young conductor Ilan Volkov on the podium. If you want a glimpse of the future, go there – if you can still find a ticket.

Source: Alex Ross, June 2, 2016 (newyorker.com)
















Δείτε επίσης – See also

Pyotr Ilyich Tchaikovsky: Romeo and Juliet, Fantasy-Overture – Rotterdam Philharmonic Orchestra, Yannick Nézet-Séguin

Richard Wagner: Wesendonck Lieder – Anna Caterina Antonacci, Rotterdam Philharmonic Orchestra, Yannick Nézet-Séguin

Sergei Prokofiev: Symphony No.5 in B flat major – Rotterdam Philharmonic Orchestra, Yannick Nézet-Séguin

Jan Lisiecki at Carnegie Hall with Philadelphia Orchestra under Yannick Nézet-Séguin

Britain is again an independent state














From today Britain is again an independent state.

First the British people showed the way to all the peoples of Europe.



Από σήμερα η Βρετανία είναι και πάλι ένα ανεξάρτητο κράτος.

Πρώτοι οι Βρετανοί έδειξαν το δρόμο σε όλους τους λαούς της Ευρώπης.

Wednesday, June 22, 2016

Mike Oldfield: Tubular Bells, 1973/2012 (Download 48kHz/24bit)






















Με το "Tubular Bells" ο Μάικ Όλντφιλντ κάνει το σόλο ντεμπούτο του το 1973. Στο άλμπουμ διακρίνει κανείς έντονα στοιχεία της ροκ, με προσμείξεις φολκλορικής μουσικής και τον δημιουργό να είναι κυριολεκτικά «άνθρωπος-ορχήστρα», αφού παίζει μόνος του περί τα τριάντα όργανα. Το αποτέλεσμα είναι προϊόν κοπιώδους ηχογράφησης, με τη μέθοδο του overdubbing.

Πολλές ήταν οι εταιρείες που αρνήθηκαν να βγάλουν τον εν λόγω δίσκο, ωστόσο το ρίσκο πήρε ο Ρίτσαρντ Μπράνσον, που τότε ξεκινούσε τη δισκογραφική εταιρεία Virgin. Ο σερ Μπράνσον τον έπεισε ότι η επιτυχία θα ερχόταν, αρκεί να γινόντουσαν κάποια βήματα. Κατάφερε να τον πείσει να κάνει μία εμφάνιση στο Κουίν Ελίζαμπεθ Χολ του Λονδίνου όχι μόνος του, αλλά με τη συνοδεία πολλών διάσημων μουσικών, ώστε να υπάρξει ενδιαφέρον από τα μέσα μαζικής ενημέρωσης.

Η συναυλία δόθηκε τον Ιούνιο του 1973 με τη συμμετοχή, μεταξύ άλλων, των Μικ Τέιλορ, από τους Ρόλινγκ Στόουνς, Ντέιβιντ Μπέντφορντ, Κέβιν Αγιερς, Στιβ Χιλέιτζ και Πιερ Μερλέν των Γκονγκ. Το αποτέλεσμα ήταν το κοινό να σηκωθεί όρθιο ζητώντας κι άλλο, όταν η συναυλία ολοκληρώθηκε. Επίσης, ο Όλντφιλντ έκανε μια εμφάνιση στην τηλεοπτική εκπομπή "Arena" του BBC.

Η τεράστια όμως επιτυχία ήρθε μετά τη χρήση αποσπασμάτων στο soundtrack της ταινίας «Ο Εξορκιστής». Μετά από αυτό, «έκαναν φτερά» δεκαέξι εκατομμύρια αντίτυπα του άλμπουμ. Η κορυφή και ένα βραβείο Γκράμι για την καλύτερη ορχηστρική σύνθεση ήταν επόμενο να κατακτηθούν. Ο Βρετανός καλλιτέχνης θα κερδίσει αμέσως μια θέση στα top 10 τόσο των ΗΠΑ όσο και της Αγγλίας, καταλαμβάνοντας την τρίτη και δεύτερη θέση, αντίστοιχα, όπου θα μείνει συνολικά 264 εβδομάδες και τελικά, ύστερα από σχεδόν ενάμιση χρόνο κυκλοφορίας, θα καταφέρει να φτάσει στο νούμερο ένα της Αγγλίας με τον επόμενο δίσκο του, το "Hergest Ridge". Κάτι τέτοιο έχουν καταφέρει μόνον οι Μπιτλς και ο Μπομπ Ντίλαν. Μετά από λίγο, κυκλοφορεί ξανά το "Tubular Bells", με ενορχήστρωση και διεύθυνση της Βασιλικής Φιλαρμονικής Ορχήστρας από τον Ντέιβιντ Μπέντφορντ, ενώ στην ηχογράφηση παίρνει μέρος και ο ίδιος ο Όλντφιλντ παίζοντας μόνο κλασική κιθάρα. Μια πιο άμεση και ροκ εκδοχή του "Tubular Bells" κυκλοφόρησε το 1979, από ζωντανή ηχογράφηση, στο δίσκο "Exposed".

Πηγή: espressonews.gr, 2008



Mike Oldfield's groundbreaking album "Tubular Bells" is arguably the finest conglomeration of off-centered instruments concerted together to form a single, unique piece. A variety of instruments are combined to create an excitable multitude of rhythms, tones, pitches, and harmonies that all fuse neatly into each other, resulting in an astounding plethora of music. Oldfield plays all the instruments himself, including such oddities as the Farfisa organ, the Lowrey organ, and the flageolet. The familiar eerie opening, made famous by its use in "The Exorcist", starts the album off slowly, as each instrument acoustically wriggles its way into the current noise that is heard, until there is a grand unison of eccentric sounds that wildly excites the ears. Throughout the album, the tempos range from soft to intense to utterly surprising, making for some excellent musical culminations. Mandolins and Spanish guitars are joined by grinding organs and keyboards, while oddball bells and cranking noises resound in the distance. In the middle of the album, guest Vivian Stanshall announces each instrument seconds before it is heard, ending with the ominous-sounding tubular bells, a truly powerful and dominating instrument. The most interesting and overwhelming aspect of this album is the fact that so many sounds are conjured up, yet none go unnoticed, allowing the listener a gradual submergence into each unique portion of the music. Tubular Bells is a divine excursion into the realm of new age music.

Source: Mike DeGagne (allmusic.com)



The opening sequence of "Tubular Bells" is most widely known as The Exorcist's foreboding theme, but many of this album's freakiest moments come much later. Recorded by 19-year-old English prodigy Mike Oldfield, two 20-minute-plus sections play out variations on almost every theme that could form in the head of a young LSD voyager. "We wouldn't have all those beautiful tracks like Lucy in the Sky With Diamonds, and we probably wouldn't have Tubular Bells – a lot of things, really – without drugs", Oldfield later told The Guardian. The first half employs ambient soundscapes, guitar riffage and a section where "master of ceremonies" Vivian Stanshall mock-pretentiously introduces an array of instruments – "glockenspiel!" and "two slightly... distorted guitars" – à la the Bonzo Dog Band. In part two, Oldfield totally loses his shit, as phlegmy, drunken grunts and howls over otherwise upbeat symphonic rock leads into "The Sailor's Hornpipe", better known as the seafaring song popularly used in Popeye cartoons.

Source: Reed Fischer, 2015 (rollingstone.com)



Mike Oldfield (b. 1953)

♪ Tubular Bells (1973/2012)

i. Tubular Bells – Part One (26:01)
ii. Tubular Bells – Part Two (23:20)
iii. Mike Oldfield's Single – Theme From Tubular Bells (3:54)
iv. Sailor's Hornpipe – Viv Stanshall Version (2:49)


Tubular Bells – Part One

Mike Oldfield plays Grand Piano, Glokenspeil, Farfisa Organ, Bass Guitar, Electric Guitar, Speed Guitar, Taped motor drive amplifier organ chord, Mandolin-like guitar, Fuzz Guitars, Assorted Percussion, Acoustic Guitar, Flageolet, Honky Tonk, Lowrey Organ, Tubular Bells

Master of Ceremonies: Viv Stanshall
Flutes: John Field
String Basses: Lindsay Cooper
Nasal Chorus: Nasal Choir
Girlie Chorus: Mundy Ellis, Sally Oldfield


Tubular Bells – Part Two

Mike Oldfield plays Electric Guitars, Farfisa Organ, Bass Guitar, Acoustic Guitars, Piano, Speed Electric Guitars, Lowrey Organ, Concert Timpani, Guitars sounding like Bagpipes, Piltdown Man, Hammond Organ, Spanish Guitar, "Moribund Chorus"

Girlie Chorus: Sally Oldfield, Mundy Ellis
Bootleg Chorus: Manor Choir
Drums: Steve Broughton

2012 Mike Oldfield, under exclusive licence to Mercury Records

Πρώτη δημοσίευση: 22 Ιουνίου 2016 – First publication: June 22, 2016
Τελευταία ενημέρωση: 1η Αυγούστου 2016 – Last update: August 1, 2016



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Mike Oldfield, 1973
Το ταλέντο του Μάικ Όλντφιλντ φάνηκε από την παιδική του κιόλας ηλικία. Γεννημένος στο Ρίντινγκ της Αγγλίας στις 15 Μαΐου του 1953, ο Μάικ Όλντφιλντ δημιούργησε το πρώτο του συγκρότημα σε ηλικία μόλις δεκαπέντε ετών μαζί με την αδελφή του, Σάλι, κι άρχισε να πειραματίζεται στη φολκλορική μουσική. Ακολούθησαν διάφορα συγκροτήματα, μέχρι που το 1973 κάνει το σόλο ντεμπούτο του με το "Tubular Bells". Στο άλμπουμ διακρίνει κανείς έντονα στοιχεία της ροκ, με προσμείξεις φολκλορικής μουσικής και τον δημιουργό να είναι κυριολεκτικά «άνθρωπος-ορχήστρα», αφού παίζει μόνος του περί τα τριάντα όργανα. Το αποτέλεσμα είναι προϊόν κοπιώδους ηχογράφησης, με τη μέθοδο του overdubbing.

Πολλές ήταν οι εταιρείες που αρνήθηκαν να βγάλουν τον εν λόγω δίσκο, ωστόσο το ρίσκο πήρε ο Ρίτσαρντ Μπράνσον, που τότε ξεκινούσε τη δισκογραφική εταιρεία Virgin. Ο σερ Μπράνσον τον έπεισε ότι η επιτυχία θα ερχόταν, αρκεί να γινόντουσαν κάποια βήματα. Κατάφερε να τον πείσει να κάνει μία εμφάνιση στο Κουίν Ελίζαμπεθ Χολ του Λονδίνου όχι μόνος του, αλλά με τη συνοδεία πολλών διάσημων μουσικών, ώστε να υπάρξει ενδιαφέρον από τα μέσα μαζικής ενημέρωσης.

Η συναυλία δόθηκε τον Ιούνιο του 1973 με τη συμμετοχή, μεταξύ άλλων, των Μικ Τέιλορ, από τους Ρόλινγκ Στόουνς, Ντέιβιντ Μπέντφορντ, Κέβιν Αγιερς, Στιβ Χιλέιτζ και Πιερ Μερλέν των Γκονγκ. Το αποτέλεσμα ήταν το κοινό να σηκωθεί όρθιο ζητώντας κι άλλο, όταν η συναυλία ολοκληρώθηκε. Επίσης, ο Όλντφιλντ έκανε μια εμφάνιση στην τηλεοπτική εκπομπή "Arena" του BBC.

Η τεράστια όμως επιτυχία ήρθε μετά τη χρήση αποσπασμάτων στο soundtrack της ταινίας «Ο Εξορκιστής». Μετά από αυτό, «έκαναν φτερά» δεκαέξι εκατομμύρια αντίτυπα του άλμπουμ. Η κορυφή και ένα βραβείο Γκράμι για την καλύτερη ορχηστρική σύνθεση ήταν επόμενο να κατακτηθούν. Ο Βρετανός καλλιτέχνης θα κερδίσει αμέσως μια θέση στα top 10 τόσο των ΗΠΑ όσο και της Αγγλίας, καταλαμβάνοντας την τρίτη και δεύτερη θέση, αντίστοιχα, όπου θα μείνει συνολικά 264 εβδομάδες και τελικά, ύστερα από σχεδόν ενάμιση χρόνο κυκλοφορίας, θα καταφέρει να φτάσει στο νούμερο ένα της Αγγλίας με τον επόμενο δίσκο του, το "Hergest Ridge". Κάτι τέτοιο έχουν καταφέρει μόνον οι Μπιτλς και ο Μπομπ Ντίλαν. Μετά από λίγο, κυκλοφορεί ξανά το "Tubular Bells", με ενορχήστρωση και διεύθυνση της Βασιλικής Φιλαρμονικής Ορχήστρας από τον Ντέιβιντ Μπέντφορντ, ενώ στην ηχογράφηση παίρνει μέρος και ο ίδιος ο Όλντφιλντ παίζοντας μόνο κλασική κιθάρα. Μια πιο άμεση και ροκ εκδοχή του "Tubular Bells" κυκλοφόρησε το 1979, από ζωντανή ηχογράφηση, στο δίσκο "Exposed".

Είχε προηγηθεί το "Ommadawn", ενώ το 1980 ο δίσκος "QE 2" ήταν το έναυσμα του περάσματος στην επόμενη περίοδο δημιουργίας του καλλιτέχνη. Ο Όλντφιλντ άρχισε σιγά σιγά να μειώνει το μέγεθος των συνθέσεών του και «ανακάλυψε» την ποπ μουσική. Σημαντική στιγμή στη νέα του περίοδο είναι η διασκευή του "Arrival" των ABBA. Ακολούθησε το "Crisis" (1983) και από τότε ο ήχος του γίνεται ολοένα και πιο εμπορικός, διατηρώντας τον καλλιτέχνη στην επικαιρότητα.

Όσο για το νεανικότερο κοινό, τον γνώρισε με τις επαναλαμβανόμενες εκδόσεις του "Tubular Bells". Τεράστια επιτυχία είχαν επίσης πολλά πασίγνωστα πλέον τραγούδια του, όπως το "Guilty", το "Moonlight Shadow", το "Family Man", το "Shadow on the Wall" και το "France".

Το 1999 ο Όλντφιλντ κυκλοφορεί δύο δουλειές, το "Guitars" και το "The Millennium Bell", ενώ τρία χρόνια αργότερα κυκλοφορεί το "Tres Lunas". Ακολουθούν το "Tubular Bells 2003", το "Light & Shade", δύο χρόνια αργότερα, ενώ τελευταία του δουλειά είναι το "Music of the Spheres", που κυκλοφόρησε το 2008.

Πηγή: espressonews.gr, 2008

Mike Oldfield, 2016
















Michael Gordon Oldfield was born in Reading, England, one of three children of Dr. Raymond Oldfield and Maureen Oldfield, a nurse who suffered from mental illness before she died in 1974. Oldfield attended Presentation College in his hometown before the family moved to Hornchurch in 1966. Given a guitar at the age of ten, Oldfield retreated from family turmoil, practicing incessantly and obsessively. As a teenager, Oldfield performed folk music with his sister Sally in the Sallyangie. Later, Oldfield joined the Whole World band. In 1973 he recorded Tubular Bells, the best-selling album that launched Virgin Records, bringing the label's owner, Richard Branson, great success. Uncomfortable with the fame and fortune, Oldfield secluded himself to work on his studio compositions. In 1978 Oldfield underwent therapy, which gave him a more outgoing personality and allowed him to perform in public. He was married briefly to Diana Fuller in the late 1970's, and he had three children in the early 1980's by Sally Cooper. He had two children in the late 1980's by singer Anita Hegerland, and in the early 2000's he married Fanny Vanderkerckhove, with whom he has two sons. Oldfield, who lived at various times in Mallorca, Los Angeles, Ibiza, Spain, and in Switzerland, settled in Monaco.

The Music With his successful album Tubular Bells, Oldfield created a genre of music often described as New Age. In general, New Age, or ambient, music strives to balance relaxation and inspiration in the listener appropriate for a variety of activities, such as work, study, and meditation. Oldfield's music reflects many elements typically identified with New Age: long, repetitive compositions that create a mesmerizing effect; incorporation of both standard orchestral instruments and exotic instruments from other parts of theworld (including sitar, tabla, tamboura, bagpipes); mixing of acoustics, electronics, and sounds from nature; and frequent reliance on traditions from various cultures, such as American Indian ceremonies, Tibetan chants, and Celtic myth. Oldfield has continued to add to his repertoire – composing the sound tracks to the Academy Award-winning film The Killing Fields (1984) and to the television series Sutton Hoo, writing music for computer games, and producing short, danceoriented tracks – that make him increasingly difficult to classify.

Tubular Bells. Released in 1973 as Virgin Records' first album, Tubular Bells is the composition most identified with Oldfield. He has periodically borrowed themes from this seminal album for later work, and he has regularly expanded upon the original composition to create a series of albums: Tubular Bells II, Tubular Bells III, The Millennium Bell, and Tubular Bells 2003, which is a digital rerecording of and improvement upon the initial work. For the original album, Oldfield, rather than hire session musicians, played most of the instruments- everything from acoustic guitar and mandolin to flageolet and glockenspiel-layering tracks to create a dense, rich, and hypnotic sound. Aided by the use of the haunting opening theme in the movie The Exorcist (1973), the album became a best seller, dominating the number-one spot on the British charts for more than a year and remaining a hit for five years.

Tubular Bells became a certified gold record in the United States, and it won a Grammy Awardin 1975 for best instrumental composition. It has sold more than fifteen million copies worldwide. Hergest Ridge. The 1974 follow-up to Tubular Bells, Hergest Ridge, repeated many of the techniques that made the first release so successful. Once again, Oldfield contributed most of the instrumental work, and he added voices that sounded like another instrument to create a multilayered, plushly textured composition that establishes themes and builds upon them. Hergest Ridge immediately rose to the top of the British charts,where it remained for several weeks, until being replaced at number one by Tubular Bells, making Oldfield only the third group or musician (after the Beatles and Bob Dylan) to achieve such a feat. Incantations. A 1978 double album, Incantations reflects the effects of Oldfield's therapeutic assertiveness training.

This is one of his longer compositions, consisting of four movements (unlike his previous albums, which contained two movements). While Oldfield again played many instruments throughout, the album featured other musicians on flutes, African drums, vibraphones, and strings. There were choirs and vocals by MaddyPrior as well. Melodies are simpler than in prior works, and the layering of themes is less dense, producing a clean, well-structured sound. Musical Legacy Formore than thirty-five years, Oldfield has created a unique body of work that bridges the gap between popular and symphonic music. An innovative and experimental composer, Oldfield has attempted to blend many musical styles with varying degrees of success. His magnum opus, the Grammy Award-winning Tubular Bells, set the stage for his career, and his later efforts have introduced world music (Ommadawn), choral music (Incantations), shorter pop themes (Earth Moving), and modern mood music (Light and Shade), which gives listeners control by permitting them to manipulate tracks and produce a personal ambience. Always recognized for his superb instrumentation, and particularly his virtuoso guitar work, Oldfield creates music that simultaneously satisfies the mind, the body, and the soul.

Source: artcreationforever.com












Monday, June 20, 2016

John Field: Complete Nocturnes – Elizabeth Joy Roe (Audio video)






















Η κορεατικής καταγωγής, Αμερικανίδα πιανίστρια Elizabeth Joy Roe ερμηνεύει τα 18 Νυχτερινά του Ιρλανδού συνθέτη του 19ου αιώνα, John Field.

Τα Νυχτερινά του John Field καθόρισαν το ύφος αυτού του είδους μουσικής και επηρέασαν – στα έργα τους για πιάνο – τους Φέλιξ Μέντελσον, Ρόμπερτ Σούμαν, Φραντς Λιστ, Γιοχάνες Μπραμς και, περισσότερο από όλους, τον Φρεντερίκ Σοπέν.

Η ηχογράφηση έγινε στο Potton Hall Recording Studio, στο Suffolk της Αγγλίας, τον Σεπτέμβριο του 2015 και κυκλοφόρησε σε ψηφιακό δίσκο από τη βρετανική εταιρεία Decca το 2016.



Irish composer John Field was an influential pianist and composer in early 19th century Romanticism, particularly because of his set of 18 Nocturnes, which affected the keyboard music of Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms, and most importantly, Frédéric Chopin, who came to compose the most famous nocturnes. Field was credited with inventing the form, though its antecedents can be found in some slow sonata movements of Wolfgang Amadeus Mozart and Ludwig van Beethoven, as well as in the flowing, freely ornamented lines of bel canto arias. Field gave the nocturne its calm and dreamy character, almost always employing freely contoured melodies in the right hand over arpeggiated chords in the left. Elizabeth Joy Roe has recorded Field's complete nocturnes for Decca, and her performances capture the rapt expressions and flowing grace of Field's style, with a judicious use of rubato and gentle gradations of dynamics. Because these pieces are all of a type and strongly resemble each other in their gestures and moods, listeners may feel that playing the whole CD through in one sitting is too much of a good thing, though the music is ideal for creating a peaceful atmosphere for quiet activities.

Source: Blair Sanderson (allmusic.com)



John Field (1782-1837)

♪ Complete Nocturnes (1812-1836)

No.1 in E flat major, H.24
No.2 in C minor, H.25
No.3 in A flat major, H.26
No.4 in A major, H.36
No.5 in B flat major, H.37
No.6 in F major, Cradle Song, H.40
No.7 in A major, H.14
No.8 in E flat major, H.30
No.9 in E minor, H.46
No.10 in E major, Nocturne Pastorale, H.54
No.11 in E flat major, H.56
No.12 in E major, Nocturne Caractéristique: Noontide, H.13
No.13 in C major, Rêverie-Nocturne, H.45
No.14 in G major, H.58
No.15 in D minor, Song without Words, H.59
No.16 in C major, H.60
No.17 in C major, H.61
No.18 in F major, H.62

Elizabeth Joy Roe, piano

Potton Hall Recording Studio, Suffolk, England, September 2015

Decca 2016

(HD 1080p – Audio video)

Elizabeth Joy Roe is a concert pianist, educator, and arts advocate. She was born in Illinois to parents of Korean descent.

Hailed "brilliant" (The New York Times) and "an artist to be taken seriously" (The Chicago Tribune), pianist Elizabeth Joy Roe was named one of Symphony Magazine's "Six on the Rise: Young Artists to Watch". The recipient of the prestigious William Petschek Piano Debut Recital Award, she has appeared as recitalist, orchestral soloist, and collaborative musician at major venues worldwide, including Carnegie Hall, Lincoln Center, the Kennedy Center, the Seoul Arts Center, Shanghai Oriental Art Center, Beijing's National Centre for the Performing Arts, Singapore's Esplanade, Salle Cortot, Teatro Argentino, the Ravinia Festival, the Grand Teton Music Festival, the Banff Centre, and the Festspiele Mecklenburg-Vorpommern.


Earlier this year, Elizabeth made her debut as a recording artist for Decca Classics with a critically acclaimed release of the Britten & Barber Piano Concertos with the London Symphony Orchestra. Additional career highlights include broadcasts on NPR, PBS, the BBC, and KBS; a solo recording, Images Poetiques (Universal Classics/DG); a Visiting Artist faculty appointment at Smith College; a residency with Trio Ariadne at Sonoma State University's Green Music Center; a new role as artistic curator for the Joye in Aiken Festival in South Carolina; the PBS broadcast of "Jazz & the Philharmonic" (in which she performed alongside jazz legends Bobby McFerrin, Chick Corea, and more); the Carnegie Hall premiere of Olivier Messiaen's Visions de l'Amen for the composer's centennial celebration, hosted by Pierre Boulez; performance presentations for the United Nations and at various international leadership symposia, including the EG Conference, Chicago Ideas Week, and La Ciudad de las Ideas; an artistic residency sponsored by the U.S. Embassy in Argentina; and the McGraw-Hill Companies' Robert Sherman Award for Music Education and Community Outreach.


An avid chamber musician, Elizabeth has performed with an array of prominent artists, including violinist Daniel Hope, violist Richard O'Neill, jazz pianist Shelly Berg, and the Parker Quartet; she is also a member of Decoda, Carnegie Hall's first ever Affiliate Ensemble, as well the groundbreaking Anderson & Roe Piano Duo, whose concerts, Billboard chart-topping albums, Emmy-nominated music videos (viewed by millions), compositions, and social media presence have captivated audiences around the globe.


A Chicago native, Elizabeth was 13 years old when she won the grand prize at the IBLA International Piano Competition in Italy. Throughout her career she has received honors from the National Foundation for Advancement in the Arts, the Music for Youth Foundation, the National Association for Professional Asian Women, and the Samsung Foundation of Culture. She earned her bachelor's and master's degrees from The Juilliard School as a full scholarship student of Yoheved Kaplinsky, graduating with Scholastic Distinction for her thesis on representations of music in the fiction of Thomas Mann, Marcel Proust, and E.M. Forster. She was subsequently an inaugural fellow of Carnegie Hall's postgraduate professional program, The Academy. A Soros Fellow, Steinway Artist, and National YoungArts Foundation alumna, Elizabeth's mission is to connect with others through the inspiration, joy and essential humanity of music.


Source: elizabethjoyroe.com
















Δείτε επίσης – See also

Benjamin Britten & Samuel Barber: Piano Concertos – Elizabeth Joy Roe, London Symphony Orchestra, Emil Tabakov (Audio video & Download 96kHz/24bit)

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

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

Sunday, June 19, 2016

Jan Lisiecki at Carnegie Hall with Philadelphia Orchestra under Yannick Nézet-Séguin

Jan Lisiecki at Carnegie Hall, January 14, 2016.
Photo by Karsten Moran for The New York Times

















Jan Lisiecki at Carnegie Hall with Philadelphia Orchestra under Yannick Nézet-Séguin

In crucial ways, the charismatic conductor Yannick Nézet-Séguin, now in his fourth season as music director of the Philadelphia Orchestra, is excelling in the job. The players seem energized by his leadership. The orchestra sounded terrific on Thursday at Carnegie Hall, in a concert highlighted by an uncommonly sensitive performance of Beethoven’s Fourth Piano Concerto, with the pianist Jan Lisiecki.


Just 20 and making his Carnegie debut, Mr. Lisiecki has won acclaim for combining refined technique, keen musical instincts and a poetic sensibility. He brought out the searching, mystical elements of this work. The first movement begins with the piano alone, playing the subdued theme. Mr. Lisiecki posed it like a wistful question for the orchestra to consider.


When the movement became an active dialogue between soloist and ensemble, Mr. Lisiecki’s playing mixed youthful impetuousness with mature pensiveness. Whole spans of passagework emerged with a hazy cast, yet with each note clear. When the music turned agitated, rather than going for big sound, he would bring out some jarring rhythmic detail or clashing tone with a crackling accent.


In the solemn second movement, the strings played the unison thematic statement with emphatic sound and clipped articulation, almost like a Baroque oratorio. In Mr. Lisiecki’s hands, the piano’s bereft reply sounded like the voice of a Romantic poet trying to break in. The dancing final rondo had beguiling playfulness. But Mr. Lisiecki could swiftly shift stances and bring out strangely quizzical stretches and crazed bursts of intensity.


Source: Anthony Tommasini, 2016 (nytimes.com)


Yannick Nézet-Séguin leading the Philadelphia Orchestra at Carnegie Hall.
Photo by Karsten Moran for The New York Times
















Ο Γιαν Λισιέτσκι μιλάει για το Κοντσέρτο για πιάνο αρ. 4 του Μπετόβεν, την Ορχήστρα της Φιλαδέλφειας και τον Γιανίκ Νεζέτ Σεγκέν

Κάνοντας το ντεμπούτο του στο Κάρνεγκι Χολ της Νέας Υόρκης στις 14 Ιανουαρίου 2016, συνοδευόμενος από την Ορχήστρα της Φιλαδέλφειας υπό τη διεύθυνση του Καναδού μαέστρου Γιανίκ Νεζέτ Σεγκέν, ο εικοσάχρονος Πολωνοκαναδός πιανίστας-φαινόμενο Γιαν Λισιέτσκι ερμήνευσε το 4ο Κονσέρτο για πιάνο του Λούντβιχ βαν Μπετόβεν.


«Ο τρόπος που αρχίζει το Κοντσέρτο είναι τόσο περίεργος αλλά και ζεστός. Η ορχήστρα παίζει ό,τι παίζω και εγώ στο πιάνο, αλλά με έναν ακόμη πιο ζεστό τρόπο. Νομίζω ότι έτσι το Κοντσέρτο γίνεται πολύ φιλόξενο, σε καλωσορίζει στο περιβάλλον του. Είναι ένα έργο που σε ταξιδεύει. Ξεκινά από ένα όμορφο μέρος και πηγαίνει σε ορισμένα πολύ σκοτεινά σημεία, αλλά ολοκληρώνεται επίσης χαρούμενα», λέει ο Λισιέτσκι αναφερόμενος στο Κοντσέρτο για πιάνο αρ. 4 σε Σολ μείζονα, έργο 58 του Λούντβιχ βαν Μπετόβεν.


«Βομβαρδιζόμαστε με τόσες πληροφορίες, με ειδήσεις, με πράγματα που πρέπει να κάνουμε, που το να πας σε έναν συναυλιακό χώρο θα πρέπει να είναι σαν να πηγαίνεις σε ένα ιερό, ένα ιερό όπου βρίσκεσαι για να καθαρθείς από όλα αυτά τα πράγματα. Είσαι εκεί για να έχεις μια στιγμή περισυλλογής και, τελικά, να φύγεις από την αίθουσα και να αισθάνεσαι διαφορετικά, να αισθάνεσαι κάτι νέο», επισημαίνει ο νεαρός πιανίστας.


«Αγαπώ την περιπέτεια και μου αρέσει να απολαμβάνω ό,τι συμβαίνει, με τον δικό μου τρόπο. Όταν βρίσκομαι για πρώτη φορά σε μια πόλη, το αγαπημένο μου πράγμα είναι απλώς να περπατώ χωρίς συγκεκριμένο σκοπό, χωρίς να θέλω να πάω κάπου συγκεκριμένα.»


«Στη σκηνή πρέπει να υπάρχει αυθορμητισμός αλλά και λογική σκέψη. Ωστόσο οι καλύτερες επιδόσεις είναι εκείνες που δεν έχεις να εξισορροπήσεις ανάμεσα στα δύο, αλλά που αυτό συμβαίνει φυσικά. Έχεις μιαν ιδέα, την επικοινωνείς με τον μαέστρο και την ορχήστρα και απλώς βλέπεις ότι πετυχαίνει. Για μένα αυτές είναι οι καλύτερες στιγμές και νομίζω ότι αυτές είναι επίσης και για το κοινό.»


Μιλώντας για τον Γιαν Λισιέτσκι, ο μαέστρος Γιανίκ Νεζέτ Σεγκέν τονίζει: «Καθαρότητα, σαφήνεια, ειλικρίνεια. Αυτά τον χαρακτήριζαν πάντα, ακόμη και όταν ήταν δεκατεσσάρων. Επίσης, από τεχνικής άποψης, απλώς αγγίζει το πλήκτρο και ακούς μιαν απόλυτα αληθινή μουσική. Ό,τι κάνει είναι ήδη υπέροχο, αλλά γνωρίζουμε ότι σε δέκα ή είκοσι χρόνια θα είναι ακόμη πιο υπέροχο!».


Ο Γιάν Λισιέτσκι καταλήγει: «Νομίζω ότι ο Γιανίκ και εγώ, μοιραζόμαστε τη χαρά της ζωής και τη χαρά της μουσικής. Και οι δύο την προσεγγίζουμε με ευχαρίστηση, δεν το κάνουμε από αγγαρεία, δεν είναι κάτι που αισθανόμαστε ότι πρέπει να κάνουμε από υποχρέωση. Τουλάχιστον, αυτό συμβαίνει όταν είμαι στη σκηνή με τον Γιανίκ. Νομίζω ότι πάντα ανεβαίνουμε αλλά και φεύγουμε από τη σκηνή με ένα χαμόγελο».


Τον Ιανουάριο του 2016 κυκλοφόρησε το τρίτο άλμπουμ του Γιαν Λισιέτσκι από την Deutsche Grammophon, με όλα τα έργα για πιάνο και ορχήστρα του Ρόμπερτ Σούμαν, με την Ορχήστρα της Ακαδημίας της Αγίας Καικιλίας της Ρώμης υπό την διεύθυνση του Αντόνιο Παπάνο.



Jan Lisiecki poses for a selfie with conductor Yannick Nézet-Séguin
on the stage of Carnegie Hall in New York City. Photo by Jan Lisiecki



















See also

Pyotr Ilyich Tchaikovsky: Romeo and Juliet, Fantasy-Overture – Rotterdam Philharmonic Orchestra, Yannick Nézet-Séguin

Richard Wagner: Wesendonck Lieder – Anna Caterina Antonacci, Rotterdam Philharmonic Orchestra, Yannick Nézet-Séguin

Sergei Prokofiev: Symphony No.5 in B flat major – Rotterdam Philharmonic Orchestra, Yannick Nézet-Séguin

Yannick Nézet-Séguin is the next music director of the Metropolitan Opera

Ludwig van Beethoven: Choral Fantasy – Jan Lisiecki, Sinfonia Varsovia, Podlasie Opera and Philharmonic Choir, Grzegorz Nowak (HD 1080p)

Wolfgang Amadeus Mozart: Piano Concerto No.20 in D minor – Jan Lisiecki, Gothenburg Symphony Orchestra, Stanisław Skrowaczewski

Robert Schumann: Piano Concerto in A minor – Jan Lisiecki, Orchestra dell'Accademia Nazionale di Santa Cecilia, Antonio Pappano

Frédéric Chopin: Études – Jan Lisiecki (Audio video)

Jan Lisiecki plays Ignacy Paderewski, Johann Sebastian Bach & Frédéric Chopin

Saturday, June 18, 2016

Dmitri Shostakovich: Cello Concerto No.2 – Truls Mørk, Gothenburg Symphony Orchestra, Francois Xavier Roth














The famous Norwegian cellist Truls Mørk plays Dmitri Shostakovich's Cello Concerto No.2 with Gothenburg Symphony Orchestra under French conductor Francois Xavier Roth. Concert master is Justyna Jara. Recorded in Gothenburg Concert Hall on May 30, 2015.

The Cello Concerto No.2, Opus 126, was written by Dmitri Shostakovich in the spring of 1966 in the Crimea. Like the first concerto, it was written for Mstislav Rostropovich, who gave the premiere in Moscow under Yevgeny Svetlanov on 25 September 1966 at the composer's 60th birthday concert. Sometimes the concerto is listed as being in the key of G, but the score gives no such indication. Along with the Eleventh String Quartet, the Preface to the Complete Works, and the Seven Romances on Texts by Alexander Blok, the Second Cello Concerto signaled the beginning of Shostakovich's late period style.




Ο διάσημος Νορβηγός βιολοντσελίστας Truls Mørk ερμηνεύει το Δεύτερο Κοντσέρτο για βιολοντσέλο του Ντμίτρι Σοστακόβιτς. Τη Συμφωνική Ορχήστρα του Γκέτεμποργκ διευθύνει ο Γάλλος αρχιμουσικός Francois Xavier Roth. Η συναυλία δόθηκε στο Μέγαρο Μουσικής του Γκέτεμποργκ στις 30 Μαΐου 2015.

Το Κοντσέρτο για βιολοντσέλο αρ. 2, έργο 126, γράφτηκε από τον Ντμίτρι Σοστακόβιτς την άνοιξη του 1966 στην Κριμαία. Όπως και το Πρώτο Κοντσέρτο για βιολοντσέλο, γράφτηκε για τον Μστισλάβ Ροστροπόβιτς ο οποίος το ερμήνευσε για πρώτη φορά στη Μόσχα στις 25 Σεπτεμβρίου του 1966, ημέρα εορτασμού των εξηκοστών γενεθλίων του συνθέτη. Μαζί με το Ενδέκατο Κουαρτέτο Εγχόρδων (έργο 122), το Preface to the Complete Works (έργο 123) και τα Επτά Ειδύλλια σε ποιήματα του Alexander Blok (έργο 127), το Δεύτερο Κοντσέρτο για βιολοντσέλο σηματοδότησε την αρχή της ώριμης περιόδου του Σοστακόβιτς.



Dmitri Shostakovich (1906-1975)

♪ Concerto for Cello and Orchestra No.2, Op.126 (1966)

i. Largo
ii. Allegretto
iii. Allegretto

Truls Mørk, cello

Gothenburg Symphony Orchestra
Μουσική διεύθυνση (Conductor): Francois Xavier Roth

Gothenburg Concert Hall, May 30, 2015 (30 Μαΐου 2015)

(HD 720p)


Truls Mørk (Photo by Stéphane de Bourgies)
Norwegian cellist Truls Mørk is particularly noted for his romantic, emotional approach. His parents were professional musicians; his father was a cellist, and his mother a pianist. His parents taught him first, trying him on the piano and violin before John Mørk decided to teach Truls his own instrument, the cello. Truls liked the instrument because of its larger size, and insisted on starting his studies with the Bach Cello Suite No. 1 and the Brahms E minor Cello Sonata. "This turned out to be much more difficult than I thought it would be", he says, but he kept working at it. He says his father did not push him for fear that he would practice too much and become a musician.

At the age of 17, Mørk began studying with Frans Helmerson. Later he studied with Austrian cellist Heinrich Schiff, then in Moscow with Natalia Shakhovskaya, a pupil of Mstislav Rostropovich, whom Mørk had admired for his broad range of color and his flexible, melodic use of vibrato. Mørk dislikes the German style of even vibrato, which, he says, drains the music of its vitality.

In 1982 at the age of 21, Mørk became the first Scandinavian to win the International Moscow Tchaikovsky Competition. He also won the Naumberg Competition in New York in 1986, the Cassado Cello Competition in Florence in 1983, and the UNESCO Prize at the European Radio-Union Competition in Bratislava.

His international touring career commenced in 1989 when he was selected to travel with the Oslo Philharmonic Orchestra under Mariss Jansons on their 1994 North American tour. Since then he has appeared with many of the world's best-known orchestras and conductors, in both evergreen concertos and in new works by composers such as Pavel Haas, Krzysztof Penderecki, Hafliði Hallgrímsson, and Einojuhani Rautavaara.

Mørk is also an active chamber musician and appears frequently in festivals throughout the world. He was the founder of the International Chamber Music Festival in Stavanger, which he directed for its first 13 years.

Mørk plays a rare 1723 Domenico Montagnana cello purchased for him by the SR Bank.

Source: Joseph Stevenson (allmusic.com)


François-Xavier Roth (Photo by Marco Borggreve)
François-Xavier Roth born in Paris in November 1971, is one of the most charismatic and enterprising conductors of his generation. He is General Music Director of the City of Cologne, leading both the Gürzenich Orchestra and the Opera, and Principal Conductor of the SWR Sinfonieorchester Baden-Baden und Freiburg.

His repertoire ranges from music of the seventeenth century to contemporary work and encompasses all genres: symphonic, operatic and chamber. In 2003, he founded the innovative orchestra, Les Siècles, which performs contrasting and colourful programmes on modern and period instruments, often within the same concert. With Les Siècles, he has given concerts in France, Italy, Germany, England and Japan. To mark the centenary of The Rite of Spring, they toured the work on period instruments including performances at the BBC Proms and the Alte Oper, Frankfurt, captured in a widely acclaimed and award-winning recording. They will partner with the Pina Bausch Company for danced performances of the work in Summer 2016.

In its 70th anniversary year, he leads the SWR Sinfonieorchester Freiburg & Baden-Baden in guest visits to London (BBC Proms), Hamburg and the Lucerne and Berlin Festivals. They will complete their cycle of performances and recordings of the symphonic poems of Richard Strauss. With this orchestra he has premiered works by Philippe Manoury, Yann Robin and Georg-Friedrich Haas and collaborated with composers Wolfgang Rihm, Jörg Widmann and Helmut Lachenmann.

With a reputation for enterprising programming, his incisive approach and communication skills are valued around the world. He is working with leading orchestras including the Berlin Philharmonic, Royal Concertgebouw and Boston Symphony. Over the next two seasons he curates a series, with the London Symphony, exploring the musical legacy of the post-Romantic period.

His work in the opera house has included productions of Thomas' Mignon, Offenbach's Les Brigands and Delibes' Lakmé at the Opéra Comique in Paris, Morton Feldman's Neither at the Berlin Staatsoper and Wagner's The Flying Dutchman with Les Siècles. His first Cologne opera season includes Berlioz' Benvenuto Cellini, in a new production by La Fura dels Baus and Mozart's Don Giovanni.

Outreach projects are an important aspect of François-Xavier Roth's work. He is conductor of the ground-breaking LSO Panufnik Young Composers Scheme and, with the Festival Berlioz and Les Siècles, founded the Jeune Orchestre Européen Hector Berlioz, an orchestra-academy with its own collection of period instruments. Roth and Les Siècles devised Presto!, their own television series for France 2, attracting weekly audiences of over three million. In Cologne, he has announced initiatives to take music to new, unconventional venues and initiate collaborations with the City's cultural institutions.

Source: francoisxavierroth.com