MEMETERIA by Thomas May

Music & the Arts

In Search of Identity at Lucerne Festival

160812_16300_EO_LFO_Chailly_Solisten_Choere_P_Fischli_Lucerne_FeThe 2017 Summer Festival — which is all about the theme of “identity” — begins today in Lucerne as Riccardo Chailly leads the Lucerne Festival Orchestra in an all-Strauss program.

From accentus:

“Accentus Music is delivering the live video stream of the Lucerne Festival’s opening concert on Friday, August 11th, at 6:30 p.m. [CET]. The ceremonial act which is going to take place in the KKL Lucerne will be streamed simultaneously open-air at Lucerne’s Inseli Park as well as on Facebook Live. The Lucerne Festival Orchestra and its music director Riccardo Chailly will be performing three symphonic poems by Richard Strauss: Thus Spoke ZarathustraDeath and Transfiguration as well as Till Eulenspiegel’s Merry Pranks. 

Filed under: Lucerne Festival, music news

R.I.P. Barbara Cook

Filed under: American music, Bernstein, music news

Vancouver Bach Festival 2017

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Last summer, Early Music Vancouver inaugurated an annual Bach Festival, and this year’s edition focuses on the 500th anniversary of Martin Luther’s Protestant Reformation.

A number of prominent Seattle-based artists are heading north to perform: Stephen Stubbs, Byron Schenkman, and Tekla Cunningham. The festival’s 14 concerts run  August 1-11, 2017 (most of them at Christ Church Cathedral downtown).

Along with music by J.S. Bach, the program spans the historical spectrum from Renaissance polyphony, Latin American Baroque, 18th century opera to Romantic composers, along with contemporaries like Philip Glass featured on  cellist Matt Haimovitz’s “Overtures to Bach” concert.

The complete lineup:

Overtures to Bach
August 1 at 6pm and 9pm
Renowned as a musical pioneer, Canadian cellist Matt Haimovitz performs four of Bach’s beloved Cello Suites preceded by new commissions written by composers including Philip Glass and David Sanford that anticipate, reflect, and transform the originals.

Schumann Dichterliebe and Brahms Four Serious Songs
August 2 at 1pm
Internationally acclaimed Canadian baritone Tyler Duncan and pianist Erika Switzer,  playing an original 19th century fortepiano.

Songs of Religious Upheaval: Byrd, Tallis, Tye – Music from Reformation England
August 2 at 7:30pm (Pre-concert talk 6:45pm)
Cinquecento sings  music of William Byrd, Thomas Tallis, and Christoper Tye
Lutheran Vespers: Songs for Troubled Times
August 3 at 1pm
Eleven Vancouver-based performers offer a complete Lutheran vespers written to provide comfort and consolation following the Thirty Years’ War and its aftermath
Bach’s Italian Concerto
August 3 at 7:30pm (Pre-concert talk 6:45pm)
The French Overture and the Italian Concerto performed by harpsichordist Alexander Weimann.  Swiss baritone and founding musical director of Gli Angeli Genève Stephan MacLeod joins Weimann for cantatas  by Handel and  Bach
Conversions: Mendelssohn, Moscheles, and Bach
August 4 at 1pm
Fortepianist Byron Schenkman & cellist Michael Unterman perform works by Mendelssohn and Moscheles, two Jewish artists who converted to Christianity to conform to social norms.
Handel in Italy: Virtuosic Cantatas
August 4 at 7:30pm (Pre-concert talk 6:45pm)
Terry Wey and Jenny Högström perform cantatas and love duets by Handel from his early Italian period, along with a duet by Agostino Steffani (one of Handel’s mentors)
Playing with B-a-c-H: Sonatas for Violin by Telemann, Pisendel and J.S. Bach
August 8 at 1pm
Baroque violinist Tekla Cunningham performs a solo Bach partita, a Pisendel
solo sonata, and two solo Telemann fantasias
Before Bach: “The Fountains of Israel” by Johann Schein (1623)
August 8 at 7:30 pm (Pre-concert talk 6:45pm)
European vocal ensemble Gli Angeli Genève sing Johann Schein’s Israelis Brünnlein
Bach for Two Flutes
August 9 at 1pm
Janet See and Soile Stratkauskas play Baroque flutes, with Christopher Bagan on harpsichord
Heavenly Love: Sacred Arias for Counter-Tenor
August 9, at 7:30pm (Pre-concert talk 6:45pm)
Alex Potter sings music by Buxtehude, Schütz, Purcell, and Strozzi
Bach Transcriptions – Victoria Baroque Players
August 10 at 1pm
Bach’s trio sonatas for organ transcribed for chamber ensemble

Music of Missions and Mystery: Latin American Baroque
August 10, at 7:30pm (Pre-concert talk 6:45pm)
Pacific MusicWorks and director Stephen Stubbs
J.S. Bach St. John Passion at the Chan Centre
August 11, at 7:30 pm (Pre-concert talk 6:45pm)
The Pacific Baroque Orchestra, the Vancouver Cantata Singers, and a cast of seven soloists led by Alexander Weimann

To complement the artist lineup, EMV will offer an array of thought-provoking film screenings and expert talks

Filed under: Bach, festivals, music news

Ludovic Morlot To Make Berlin Philharmonic Debut

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Opera star Joyce DiDonato is shown with Ludovic Morlot and the Seattle Symphony last September. Morlot and DiDonato will appear together in Berlin later this week. (Carlin Ma)

The Seattle Symphony’s music director has been asked to replace an ailing colleague as guest conductor of this week’s concerts with Berlin Philharmonic — one of the world’s most prestigious orchestras.

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Filed under: Ludovic Morlot, music news, Seattle Symphony, Seattle Times

A Bold Joint Venture by Gidon Kremer and András Keller

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Gidon Kremer and András Keller (c) Sandor Benko

In an era that seems ever more intent on throwing up walls, musicians are once again proving the benefits of cooperation and bridge-building. Take Maestros Gidon Kremer and András Keller. Starting 25 May 2017, they embark on a bold new adventure with the two ensembles they respectively lead, Kremerata Baltica and Concerto Budapest, as they undertake a ten-day joint tour of Asia.

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Filed under: András Keller, Gidon Kremer, interview, music news

A Missing Mahler Score Identified

The autograph piano score of the first of Mahler’s Kindertotenlieder, “Nun will die Sonn’ so hell aufgeh’n,” has been discovered and identified, reports Deutsche Welle. Identified by musicologist Berthold Over, the rediscovered score — in the possession of an anonymos private owner — is the missing part of the puzzle in the  chronology of Kindertotenlieder‘s creation.

Mahler wrote three of the five songs comprising Kindertotenlieder in the summer of 1901 and then resumed the cycle in 1904, when he wrote the other two directly into the orchestral score, skipping the process of writing out a preliminary piano score. The orchestral scores from 1904 and two of the handwritten piano scores from the 1901 songs were preserved, but up to now there had been no trace of the one missing score.

According to DW: “The discovery of that fifth song — No. 1 in the official sequence — means ‘that it’s now possible to say which three were composed in 1901 and which two in 1904,’ Over explained to DW. ‘Establishing the chronological order of Mahler’s works is sometimes difficult because he didn’t date his manuscripts.'”

Alexander Odefey has a fuller report (in German) here.

 

 

Filed under: Mahler, music news

Morlot To Step Down in 2019

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Photo credit: Brandon Patoc

Seattle Symphony’s press office released a statement on Friday afternoon announcing Music Director Ludovic Morlot’s decision to leave that position at the end of the 2018-19 season, after eight seasons with the orchestra.

Maestro Morlot gave the following statement:

I will be forever grateful and proud to have been given the opportunity to help write a chapter in the history of the Seattle Symphony. And what a beautiful chapter it is; thrilling performances played to full houses, the appointment of so many outstanding musicians, three Grammys, a strong list of commissions and premieres, a memorable concert at Carnegie Hall, an upcoming residency at Berkeley, and so much more. I am also extremely appreciative of the commitment that the community as a whole has offered to me at the artistic helm of this extraordinary organization. The decision to step down as Music Director when my contract comes to an end in 2019 is not one I have taken lightly. We are in the midst of a wonderful, stimulating and exciting artistic journey and I look forward to continuing this in the next two seasons. However, I feel that by 2019 the time will be right for me to explore new musical opportunities and for the Symphony to have the inspiration of new artistic leadership.

The news comes as something of a shock and is especially disconcerting to Seattle music lovers, since Morlot’s presence has done nothing less than transform the city’s music scene. His work with the SSO is a model for how to make the institution of an orchestra relevant in contemporary life while maintaining the highest musical standards.

Everyone has kept tight-lipped about whatever new project Morlot has on the horizon. In the meantime, local audiences will be savoring his every moment at the podium more than ever.

What are your favorite moments to date from Morlot’s tenure with the SSO?

The complete SSO press release is here.

Filed under: Ludovic Morlot, music news, Seattle Symphony

Happy Birthday, György Kurtág

Today the remarkable Hungarian composer György Kurtág celebrates his 91st birthday.

He and his wife Márta Kurtág were just announced as the winners of a 2017 Borletti-Buitoni Trust prize (usually a distinction conferred on young artists — they received the Franco Buitoni Award). The press release for the award, which was awarded today, reads:

Franco Buitoni Award presented to György and Márta Kurtág

19 February 2017

Today, Hungarian composer György Kurtág is 91 years old and also celebrates his 70th wedding anniversary. He and his pianist wife, Márta, have been presented with a Borletti-Buitoni Trust award (£30,000) in recognition of their distinguished contribution to  the world of music, as well as their long and devoted musical partnership. This special tribute is in memory of Franco Buitoni (1934-2016) who co-founded the Borletti-Buitoni Trust (BBT) in 2002 with his wife, Ilaria.

Ilaria Borletti Buitoni, who travelled to Budapest with BBT trustee Mitsuko Uchida to present the award, said: “My husband, Franco, passed away last August. He and I founded BBT in 2002 to help talented young musicians develop their careers.  From the very beginning we were pleased to have the artistic guidance and ideas of our founding trustee, Mitsuko Uchida, who was also a dear friend to Franco. I wanted to honour my husband’s own lifetime of loving and supporting music with this special award and there seemed no better person to nominate a worthy recipient than Mitsuko.”

Mitsuko Uchida commented: “Intense, mysterious, dark, otherworldly and innig; these are the words that come to my mind when I think of György Kurtág’s music. He is inspirational and fiercely honest but there is also a deep love that glows through his music. This may be an expression of his extraordinary relationship with his wife, Márta. Anybody who has heard the Kurtágs play, four hands, would know what that means. We know György Kurtág the great composer but with him always is Márta the wonderful pianist. They live music together. Therefore, the special Franco Buitoni Award goes to György and Márta Kurtág. We are honoured that they have accepted this award on his 91st birthday and their 70th wedding anniversary. We have all been so lucky to have known them and their music, me especially.”

BBT presented its first awards in 2003 and, since then, has proudly supported more than 100 musicians and ensembles all over the world.

Filed under: Kurtág, music news

Opening of the Elbphilharmonie

Arte has made the opening event available for streaming here:

http://concert.arte.tv/de/eroeffnungskonzert-elbphilharmonie

And here’s a report (in German) on the new hall’s acoustics.

Filed under: music news

Congratulations to Philip Kennicott

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Philip Kennicott

As a respite from the election nightmare, some good news: the 2016 ASCAP Virgil Thomson Award for Music Criticism (Concert Music category) has gone to the brilliant Philip Kennicott for his reflections on the Met’s Cavalleria Rusticana/I Pagliacci double bill for Opera News, titled “Suffering the Truth.”

It’s so satisfying to see a genuinely first-rate writer getting the honor he deserves. In 2013 he was awarded the Pulitzer Prize in Criticism. Kennicott’s eloquent writing is consistently original, stimulating, and richly insightful. Enjoy this prize-winning piece from one of our very finest critics:

It was in the fifth or sixth grade, in the class of a teacher I remember for only two things: he was portly, and his pants were too bright. Everything else is a blur, except for one afternoon when he decided his pupils needed to know something about musical theater, so he brought a stack of records to class and proceeded to play his favorite bits. Among them were snatches of Hello, Dolly!, The Music Man and Mame, and — for reasons I can’t quite figure out — Cavalleria Rusticana and Pagliacci.

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Filed under: cultural criticism, music news

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