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Richard Wagner Asher Asher Fisch Stefan Vinke Jennifer Zetlan Cecelia Hall Seattle Symphony Seattle Opera 2014
Provided to YouTube by The Orchard Enterprises Götterdämmerung, Act III: "Was leid’ ich doch das karge Lob?" · Richard Wagner · Seattle Symphony · Seattle Opera Chorus · Asher Fisch · Stefan Vinke · Jennifer Zetlan · Cecelia Hall · Renée Tatum Wagner: Der Ring des Nibelungen ℗ 2014 Seattle Opera Released on: 2014-09-09 Auto-generated by YouTube.
Edward Elgar Brunswick Tchaikovsky Joshua Bell Shai Wosner Weill Anna Clyne Aiken Beethoven Somerset Eleonore Schoenfeld Schoenfeld George Enescu Hesse Heifetz Bowdoin International Music Festival Carnegie Hall Wigmore Hall Aspen Music Festival School Seattle Symphony Ann Arbor Symphony Orchestra 1857 1934 2014 2015 2016 2017 2018 2019 2020 2021 2022
A CelloStream event in collaboration with the Bowdoin International Music Festival- streamed live from Crooker Theater in Brunswick, Maine EDWARD ELGAR +••.••(...)) Concerto in E Minor for Cello and Orchestra, Op. 85 I. Adagio – Moderato II. Lento – Allegro molto III. Adagio IV. Allegro – Moderato – Allegro, ma non troppo – Poco più lento – Adagio Zlatomir Fung, cello • Angel Gil-Ordóñez, conductor • Bowdoin Festival Orchestra The first American in four decades and youngest musician ever to win First Prize at the International Tchaikovsky Competition Cello Division, Zlatomir Fung is poised to become one of the preeminent cellists of our time. Astounding audiences with his boundless virtuosity and exquisite sensitivity, the 22-year-old has already proven himself to be a star among the next generation of world-class musicians. A recipient of the Borletti-Buitoni Trust Fellowship 2022 and a 2020 Avery Fisher Career Grant, Fung's impeccable technique demonstrates a mastery of the canon and an exceptional insight into the depths of contemporary repertoire. In the 2021-2022 season, Fung performs with orchestras and gives recitals in all corners of the world. Summer debuts include La Jolla Chamber Music Society in recital with Richard Fu, multiple programs at ChamberFest Cleveland, Bravo! Vail in a chamber music program with Joshua Bell and Shai Wosner, Aspen Music Festival in a performance of Tchaikovsky’s Variations on a Rococo Theme with the Aspen Festival Orchestra, and Rockport Chamber Music Festival in a recital with Dina Vainshtein. In the fall, he opens Ann Arbor Symphony’s season and appears twice with Iris Orchestra. He is presented by Harvard Musical Association, Philadelphia Chamber Music Society, Philharmonic Society of Orange County, and Thomasville Entertainment Foundation before making his Carnegie Hall Weill Recital debut with pianist Mishka Rushdie Momen in a program of Romantic-era classics. He returns to Philadelphia Chamber Music Society in January for two evenings with BalletX and the Calidore Quartet to give the Philadelphia premiere of a new work by Anna Clyne and appears with several orchestras including the Detroit, Kansas City and Greensboro Symphonies. He tours Italy, Russia, China, and Japan with orchestras and in recital. In the 2020-2021 season, Fung made his Seattle Symphony debut in the orchestra’s 13th annual Celebrate Asia concert in addition to livestreams presented by University of Delaware, The Phillips Collection & Music Wooster, and Friends of Chamber Music, and many online masterclasses. In the 2019-2020 season, he returned to the Ann Arbor Symphony Orchestra and debuted with Asheville and Aiken Symphony Orchestras. He performed at Carnegie Hall’s Zankel Hall in a joint recital with fellow Tchaikovsky Competition winners in October, following a recital at Friends of Music in Sleepy Hollow, NY. Other recitals include Cold Spring Harbor Laboratory in New York, Wengler Center for the Arts at Pepperdine University in Malibu, Syrinx Concerts in Toronto, The Embassy Series in Washington DC, Salon de Virtuosi and Bulgarian Concert Evenings in New York City, Chamber on the Mountain in Ojai, and Evergreen Museum & Library in Baltimore. At the Artist Series of Sarasota, Fung performed the complete works for cello and piano by Beethoven. As a chamber musician, Fung performed around the world, opening the season with IMS Prussia Cove on tour to London’s Wigmore Hall, Cornwall, Cambridge, West Sussex, and Somerset. New York City chamber music engagements included the Aspect Foundation. During the summer of 2019, Fung performed at Musique de Chambre à Giverny, a chamber music festival in northern France. A winner of the 2017 Young Concert Artists International Auditions and the 2017 Astral National Auditions, Fung has taken the top prizes at the 2018 Alice & Eleonore Schoenfeld International String Competition, 2016 George Enescu International Cello Competition, 2015 Johansen International Competition for Young String Players, 2014 Stulberg International String Competition, and 2014 Irving Klein International Competition. He was selected as a 2016 U.S. Presidential Scholar for the Arts and was awarded the 2016 Landgrave von Hesse Prize at the Kronberg Academy Cello Masterclasses. Of Bulgarian-Chinese heritage, Zlatomir Fung began playing cello at age three and earned fellowships at Ravinia's Steans Music Institute, Heifetz International Music Institute, MusicAlp, and the Aspen Music Festival and School. Fung studied at The Juilliard School under the tutelage of Richard Aaron and Timothy Eddy. Fung has been featured on NPR’s Performance Today and has appeared on From the Top six times. In addition to music, he enjoys cinema, reading, and blitz chess.
Daron Hagen Tchaikovsky Ned Rorem Leonard Bernstein Gary Graffman Nathan Gunn Jaime Laredo Gerard Schwarz Leonard Slatkin Bard Lotte Lehmann Douglas Moore Moore New York Philharmonic Philadelphia Orchestra Seattle Symphony American Composers Orchestra Buffalo Philharmonic Orchestra Orchestra Swan Seattle Opera Royal Albert Hall 1961 1984 2012
(Rec. July 23, 2012) Part I - It is a huge treat to have composer Daron Hagen come from New York to Philadelphia to talk to Russian Opera Workshop artists and audience. We were Curtis classmates and sitting in a restaurant at the Rittenhouse, across the park from our alma mater, and reminiscing, is a double treat. During dinner, Daron even got a call from Ned Rorem. What are the chances of that happening? Enjoy the video! - Ghena Short Bio: Daron Hagen was born in Milwaukee in 1961 and has been a New Yorker since 1984. A full-time composer of opera and concert music, he divides his time between family and composing. One of America's most versatile, prolific, and respected opera composers, all eight of his major operas are currently in production or revival somewhere in the U.S., Europe, or Asia. Mr. Hagen has collaborated with distinguished musicians such as Leonard Bernstein, JoAnn Falletta, Gary Graffman, Nathan Gunn, Jaime Laredo, David Alan Miller, Sharon Robinson, Gerard Schwarz, Leonard Slatkin, and Robert Spano, among others. His work has been widely commissioned and performed by most of North America's major musical institutions, and numerous institutions abroad, including the New York Philharmonic, Philadelphia Orchestra, National Symphony, Seattle Symphony, American Composers Orchestra, Curtis Symphony, Milwaukee Symphony, Buffalo Philharmonic, the Orchestra of the Swan (UK), Seattle Opera, Opera Theater of Ireland, as well as the Metropolitan Museum of Art, the Louvre, the Ullens Center for Contemporary Art (Beijing), and the Royal Albert Hall. His music (he has served frequently as conductor and collaborative pianist for recordings of his works) can be heard on the Albany, Arsis, Bridge, Clarion, Klavier, Naxos, and New World/CRI labels, among others. Among other honors, he has received the Guggenheim Fellowship, Kennedy Center Friedheim Prize, two Rockefeller Foundation Bellagio Fellowships, and the Seattle Opera Chairman's Award. A graduate of the University of Wisconsin-Madison, the Curtis Institute of Music and of the Juilliard School, he has taught at Bard College, the Curtis Institute of Music, and the Princeton Atelier, and fulfilled numerous composer-in-residencies around the U.S. He is a Lifetime Member of the Corporation of Yaddo, former president of the Lotte Lehmann Foundation, and a Trustee of the Douglas Moore Fund for American Opera. A complete list of his over 200 art songs, song cycles, and choral works, eight operas, four symphonies, twelve concerti, and over forty chamber works may be found, along with information about upcoming performances and premieres, at his website: www.daronhagen.com. — April 2012
Gustav Mahler Deryck Cooke Thomas Dausgaard Bruno Walter Ernst Krenek Schalk Berthold Goldschmidt Goldschmidt Alma Mahler Seattle Symphony Orchestra New Philharmonia Orchestra London Symphony Orchestra 1861 1910 1911 1919 1924 1960 1962 1963 1964 1967 1972 1976
Seattle Symphony Orchestra conducted by Thomas Dausgaard I - Adagio: 0:00 II - Scherzo I. Schnelle Vierteln: 23:15 III - Purgatorio. Allegretto moderato: 34:21 IV - Scherzo II. Allegro pesante - Nicht zu schnell: 38:26 V - Finale. Langsam, schwer: 49:29 Mahler's tenth symphony was started in the summer of 1910 but was never finished, as h Mahler died may 18 of 1911. The only movement fully orchestrated was the first, the adagio. The third was quite complete and the rest of the movements were in a schematic phase, but with their design finished. Bruno Walter claimed that Mahler had asked him to destroy the score if it was not finished on the day of his death. He had never left a score unfinished, before he destroyed them, in the same way he did with his youthful works. If today we can have the pleasure of listening to part of Mahler's posthumous work, we owe it to his wife Alma, who in 1924 authorized the Viennese publisher Paul Zsolnay to publish the copy of the manuscript, with the surprise of finding a totally planned symphony, comprising five movements. Composer Ernst Krenek completed the instrumentation of the first and third movements, those that were more advanced, and premiered them at the Vienna Opera, performed by the Philharmonic under the direction of Franck Schalk. Finally in 1964, the Mahler Gesellschaft Foundation definitively corrected the Adagio's score. Deryck Cooke, an English musicologist born in Leicester in 1919 and specialized in Mahler, was working on the BBC staff when he was commissioned to do a job to celebrate the centenary of Mahler's birth in 1960. On December 19, 1960, the BBC in London made a broadcast of the symphony with the two incomplete scherzos, performed by the Philharmonia Orchestra conducted by Berthold Goldschmidt. But Cooke was not satisfied with this version and continued to work with the manuscripts left by Mahler, discovering that they said more. He made a new version of the complete work, but without correcting any of Mahler's musical ideas. Its only function was to complete what was missing, to make it an executable work. But then Alma Mahler emerged again, wanting her husband's wishes to be respected. He strictly prohibited the work to be performed again. It seems that he was influenced by Bruno Walter, who also supported this idea. In 1962, conductor Harold Bryns convinced Alma to listen to a tape recording of Cooke's first version of 1960's performance. Neither she nor Bruno Walter had ever listened to it. Walter had died when Mrs. Mahler listened to the aforementioned recording with emotion. The work moved her in such a way that she bursted into tears. Now she understood what her dead husband had meant and could not help leaving the world without being able to hear that music. The result was that on May 8, 1963, the ban was lifted. It could be freely interpreted anywhere on the planet. The completed and corrected version was performed by the London Symphony Orchestra, also conducted by Goldschmidt, on August 13, 1964 and published in 1967. But it would still undergo a new correction. The premiere of the definitive version was held on October 15, 1972 with the New Philharmonia Orchestra conducted by Wyn Morris and would be published in 1976. The first movement is built in the classical sonata form, but interpreted in a new way, which gives more importance to thematic variation than to the strength of contrast between the themes, as understood in its classical sense. It begins with a slow introduction by violas, presenting an austere theme. The first theme of the movement is followed by the first violins, accompanied by the rest of the high strings and the trombone. A melody of great intensity. The theme increases its expression, until the appearance again of the theme of the introduction. The themes are modified during their development, using clearly expressionist techniques. The themes fragment and undergo, what the German musicologist Tyll Rohland quite rightly calls, a morphological variation. In the classical variation, the morphology of the theme remains, something that now, as will be seen later in modern music, the themes are built and disintegrated, to be joined again later, but made of different wood, as for example it would be doing it inverted. This creates a movement with an almost unreal music, with the use of instruments in their extreme registers. The music culminates in a great climax, with sharp metal chords, dissonant chords from the string, and a shrill call from the trumpet, leading to the last section. [Description continued in the comments section] Picture: "Dante and Virgil in the Ninth Circle of Hell" (1861) by the French painter Gustave Doré. Source: (http•••)
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