Livestream

Livestream
Sunday, November 19, 2017, 03:00 PM EST (UTC-5) / 10:00 PM EET (UTC+2) – Richard Strauss: Don Juan, & Burleske in D minor for piano and orchestra | Johannes Brahms: Symphony No.2 in D major – Bertrand Chamayou, Detroit Symphony Orchestra, Fabien Gabel – Live on Livestream

Wednesday, November 30, 2016

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

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

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



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

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



The King's Singers: Christmas Songbook

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

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

Live from The Greene Space, New York

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

(HD 720p)

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

Live on Livestream


Photo by Andy Staples
















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

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

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

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

Source: Rovi Staff (allmusic.com)
















See also

Live on Livestream: All Past Events

Tuesday, November 29, 2016

The King's Singers: Christmas Concert 2011 (HD 1080p)






















One of the world's most celebrated ensembles, The King's Singers have a packed schedule of concerts, recordings, media and education work that spans the globe. Championing the work of young and established composers, they remain consummate entertainers; a class-act with a delightfully British wit. From Gesualdo and György Ligeti to Michael Bublé, The King's Singers are instantly recognisable for their spot-on intonation, impeccable vocal blend, the flawless articulation of the text and incisive timing.

This video performance recorded at LSO St Luke's in London sets an eclectic assortment of modern Christmas classics with special arrangements of some much loved favourites. Ranging from the beautiful simplicity of Michael Pretorius's Es ist ein Ros' entsprungen to the mad capers of Gordon Langford's arrangement of Deck the hall, this is a delightful programme which reflects a typical live King's Singers Christmas show.



Ο πλούσιος ήχος, ο ακριβής τονισμός, η εξαιρετικά σωστή άρθρωση που αναδεικνύει όμορφα και την παραμικρή λεπτομέρεια, και φυσικά το χαρακτηριστικό τους χιούμορ, είναι αυτά που κάνουν συναρπαστική κάθε εμφάνιση ή ηχογράφηση του διάσημου βρετανικού a cappella φωνητικού συνόλου The King's Singers.

Η συναυλία δόθηκε στην ιστορική αγγλικανική εκκλησία του Αγίου Λουκά στο Λονδίνο το 2011, για τις ανάγκες του DVD "The King's Singers: Christmas", το οποίο κυκλοφόρησε τα Χριστούγεννα της ίδιας χρονιάς από την Signum Records.



The King's Singers: Christmas Concert 2011

1. Veni, veni Emmanuel (Traditional, arr. Philip Lawson)
2. Es ist ein Ros' entsprungen (Michael Praetorius)
3. Rise up, shepherd, and follow (Traditional, arr. Carl Davis)
4. Lullay my liking (Philip Lawson)
5. Gaudete (Traditonal, arr. Brian Kay)
6. There is a flower (John Rutter)
7. Noel nouvelet (Traditional, arr. Philip Lawson)
8. Villançico Catalan (Traditional, arr. Goff Richards)
9. O little one sweet (Tradtional, harmonised J.S.Bach)
10. La Peregrinacion (Traditional, arr. Peter Knight)
11. Stille Nacht (Franz Gruber / Josef Mohr, arr. John Rutter)
12. Joy to the world (Lowell Mason / Isaac Watts, arr. Philip Lawson)
13. El nino querido (Traditional, arr. Goff Richards)
14. Born on a new day (John David, arr. Peter Knight & Philip Lawson)
15. Jingle Bells (James Lord Pierpont, arr. Gordon Langford)
16. Christmas song (Mel Torme / Robert Wells, arr. Peter Knight)
17. God rest you merry, gentlemen (Tradtional, arr. Geoffrey Keating)
18. The little drummer boy (Katharine Davis / Henry Onorati / Harry Simone, arr. John McCarthy)
19. Deck the hall (Tradtional / Thomas Oliphant, arr. Gordon Langford)

The King's Singers:
David Hurley, countertenor
Timothy Wayne-Wright, countertenor
Paul Phoenix, tenor
Philip Lawson, baritone
Christopher Gabbitas, baritone
Jonathan Howard, bass

Director: Simon Broughton

Jerwood Hall, LSO St Luke's, London, 2011

(HD 1080p)






















































































More photos


See also

The King's Singers: Joy to the World (Audio video)

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

10 reasons why people who learn music are more likely to be successful / 10 λόγοι για τους οποίους όσοι μαθαίνουν μουσική πετυχαίνουν στη ζωή τους

Photo by Vladimir Morozov














By Nicholas Garcia

I have always been a proponent for music education, and thus am happy to see that more and more people are learning an instrument these days.

I myself became a drummer at around the age of 11, and have played ever since. I am no savant, but I can play just about anything (except perhaps the closing solo in the movie Whiplash).

As a result, I have always maintained that learning how to play an instrument is beneficial. I did not have any proof, I just had first hand experiences that proved that to be the case. Nowadays however, there is a mountain of evidence suggesting that music education is not only good for you, but nearly essential if you want to be successful in life.

What is it about musicians that gives them an edge over others? Read on.


1. They are more creative

Recent research has shown that many successful politicians, businessmen, and more were trained at a young age to be a musician of some kind. Whether it be of a piano, clarinet, or saxophone, it didn't really matter.

What does matter is that these people credit their music education with making them more creative. Indeed, as Paul Allen (co-founder of Microsoft) once stated, music allows you to "look beyond what currently exists and express yourself in a new way" (New York Times).

As a drummer, I can attest to that. So much of music is about creating something different, and breaking mental barriers. All of which necessarily bleeds into other aspects of your life.


2. Their brains develop differently

As many studies have shown, playing an instrument tends to have a multitude of beneficial effects on the brain, many of which are especially visible in children.

Indeed, those who start from an early age (around 9 to 11) have "significantly more grey matter volume" within their heads (Parenting Science). While this doesn't necessarily mean that musicians are smarter, it does demonstrate that their brains are making unique and interesting connections and associations that those who do not play instruments might lack.


3. They connect with others better

Music is often thought of as a way to connect different cultures, ideas, and perspectives. Even when you are unfamiliar with a location, you can always use your ability to play music to get to know those around you, and establish connections that may have been impossible to create otherwise.

This can be a crucial skill to have in any number of professions, especially those that require you to immerse yourself in a location that you are unfamiliar with.


4. They are better at math

I am not sure this one applies to me, but it has long been known that there is some kind of connection between math and music.

This likely has to do with the fact that both deal with analyzing puzzles and finding patterns in order to find solutions. If you can get a sense of the ebb and flow of music and musical language, mathematical concepts should begin to make more sense. Being better at math is beneficial for a number of reasons, if only because so many new jobs in this day and age rely on that skill.


5. They have a better sense of rhythm

As a drummer, I know how to keep time in a song and play to the beat. In life, I use those same skills to maintain some order in my schedule.

Additionally, when you are a musician, it is easier to get into the groove of things and accomplish repetitive tasks at a consistent rate. (It also helps with stuff like dancing!)

Thus, learning how to maintain a steady pace not only makes for a good musician, but a more productive and effective worker as well.


6. They are obsessive

Any musician, whether they be a novice or an expert, has to be just a little obsessive to cultivate their craft. Roger McNamee, an early investor in Facebook, stated that "musicians and top professionals share ‘the almost desperate need to dive deep’" (New York Times).

To become proficient at playing music requires a lot of time and dedication. If you are willing to put effort into that, you will likely tackle other things with that same gusto.


7. They are more likely to have a higher IQ

This is especially true if they started playing music at a young age, like say around 6 years old. Indeed, one study found that kids who took up an instrument around this age showed a greater increase in their IQ compared to those who did not (Science Net Links).

Suffice it to say, having more intelligence to work with than your peers is often crucial in gaining the upper hand.


8. They process speech more efficiently

Becoming successful requires that you be a good listener, and musicians are groomed to acquire that skill early on in their development.

Indeed, research has shown that learning how to play music has a beneficial effect on the areas of your brain that process sounds – an effect that lasts even into old age (Washington Post).

Listening is an important skill to have, as the ability to make sense of speech and complicated strings of words and sentences is crucial to success.


9. They are conditioned to work hard for results

While it isn’t always true that those who work hardest in life are the most successful, such is usually the case in regard to musicians.

Indeed, one expert stated that an amazing thing about learning music is that "if you work hard enough, it does get better" (New York Times).

Music thus conditions you to believe that working harder gets results, and while that may not always be true in everything, it does lead to you pushing yourself harder in order to see measurable improvements in all aspects of your life.


10. They have more self-control

While you might think of musicians as loose cannons (certain rock stars come to mind), those cases aren't typical.

Indeed, learning how to play an instrument and read music is an immensely difficult task when you first start out, and requires a lot of mental focus. And, once you are skilled at playing music, it takes both talent and self-control to keep rhythm, to maintain a beat, and to otherwise stay on the musical rails, so to speak.

Translate that ability to remain dedicated and focused on the task at hand to the real world, and it is easy to see why so many musicians end up being successful in other fields.

Source: lifehack.org


Photo by Nikolaj Lund
Η μουσική ήταν πάντα αναπόσπαστο κομμάτι της ζωής πολλών ανθρώπων, και όσο περνάει ο καιρός, όλο και περισσότεροι είναι εκείνοι που μαθαίνουν να παίζουν κάποιο μουσικό όργανο.

Πολλοί από τους μουσικούς έχουν δηλώσει στο παρελθόν πως το να παίζεις κάποιο όργανο είναι ευεργετικό. Τότε δεν υπήρχαν αποδείξεις για το αν κάτι τέτοιο ισχύει, αλλά σήμερα πια και έπειτα από επιστημονικές έρευνες, ένα βουνό αποδείξεων βρίσκεται στη διάθεση του καθενός, που αποδεικνύουν πως η μουσική δεν κάνει μόνο καλό, αλλά είναι κι ένας ισχυρός σύμμαχος εάν θέλεις να επιτύχεις στη ζωή σου.

Όμως τι είναι αυτό που δίνει στους μουσικούς ένα προβάδισμα έναντι των άλλων; Διαβάστε παρακάτω και θα καταλάβετε.


1. Είναι πιο δημιουργικοί

Πρόσφατες έρευνες έδειξαν πως πολλοί επιτυχημένοι πολιτικοί, επιχειρηματίες και άλλοι, είχαν λάβει μουσικές σπουδές σε μικρότερη ηλικία. Εάν έμαθαν πιάνο, κλαρινέτο ή σαξόφωνο, ελάχιστη σημασία έχει.

Αυτό που έχει σημασία είναι το γεγονός πως οι συγκεκριμένοι άνθρωποι υποστηρίζουν πως η μουσική τους παιδεία, τους έχει κάνει πιο δημιουργικούς. Ο Paul Allen (ιδρυτικό μέλος της Microsoft) κάποτε είχε πει πως «η μουσική σού επιτρέπει να κοιτάξεις μακρύτερα από την παρούσα κατάσταση, και να εκφράσεις τον εαυτό σου με έναν καινούργιο τρόπο» (New York Times).


2. Ο εγκέφαλός τους αναπτύσσεται διαφορετικά

Όπως πολλές έρευνες έχουν δείξει, το να παίζεις ένα μουσικό όργανο λειτουργεί ευεργετικά στις εγκεφαλικές λειτουργίες, κάτι που είναι πιο εμφανές στα παιδιά.

Εκείνα που ξεκινούν από μικρή ηλικία (γύρω στα 9 με 11) έχουν περισσότερη φαιά ουσία στον εγκέφαλο τους (Parenting Science). Ενώ αυτό δεν σημαίνει πως οι μουσικοί είναι αναγκαστικά πιο έξυπνοι, δείχνει πως ο εγκέφαλός τους κάνει ενδιαφέρουσες συνδέσεις και μοναδικούς συσχετισμούς, που μπορεί να μην είναι σε θέση να κάνουν όσοι δεν παίζουν κάποιο μουσικό όργανο.


3. «Συνδέονται» καλύτερα με τους γύρω τους

Πολύ συχνά η μουσική θεωρείται ένας τρόπος να συνδέσεις διαφορετικές κουλτούρες, ιδέες και προοπτικές. Ακόμη και όταν δεν γνωρίζεις μία περιοχή, μπορείς να χρησιμοποιήσεις την ικανότητά σου να παίζεις μουσική για να επικοινωνήσεις με τον κόσμο που βρίσκεται εκεί και να επιτύχεις επικοινωνία και «συνδέσεις» που αλλιώς δεν θα ήταν εφικτό.

Αυτή η δεξιότητα είναι σημαντικότατη σε πάρα πολλά επαγγέλματα, ειδικά σε εκείνα που απαιτούν να βρίσκεσαι συχνά σε τοποθεσίες που σου είναι άγνωστες.


4. Είναι καλύτεροι στα μαθηματικά

Δεν είναι σίγουρο αν ισχύει για όλους τους μουσικούς, αλλά είναι γνωστό πως υπάρχει μια σύνδεση μεταξύ μαθηματικών και μουσικής.

Αυτό έχει να κάνει με το ότι και στις δύο περιπτώσεις πρέπει να έρθεις αντιμέτωπος με γρίφους και προβλήματα και να βρεις τις σωστές διαδρομές που θα σε οδηγήσουν στη λύση. Αν μπορείς να αισθανθείς τη ροή της μουσικής και της γλώσσας της, οι μαθηματικές έννοιες θα αρχίσουν να έχουν μεγαλύτερο νόημα. Το να γίνεις καλύτερος στα μαθηματικά είναι ευεργετικό για πολλούς λόγους, και κυρίως για το γεγονός πως τώρα πια, πάρα πολλά επαγγέλματα βασίζονται πάνω σε μαθηματικές δεξιότητες.


5. Έχουν καλύτερη αίσθηση του ρυθμού

Οι ντράμερ για παράδειγμα, ξέρουν πώς να κρατούν χρόνο σε ένα τραγούδι και να παίζουν πάνω στο ρυθμό. Στην καθημερινότητά τους, χρησιμοποιούν αυτή τη δεξιότητα για να διατηρούν το πρόγραμμά τους σε τάξη.

Ακόμη, όταν είσαι μουσικός, είναι ευκολότερο να μπεις στη ροή των πραγμάτων και να καταφέρεις να ολοκληρώσεις επαναλαμβανόμενες εργασίες με σταθερό ρυθμό. Βοηθάει ακόμη και εκείνους που αγαπούν το χορό!

Με τον τρόπο αυτό, το να καταφέρνεις να κρατάς ένα σταθερό ρυθμό δεν σε κάνει μόνο καλό μουσικό αλλά κι έναν πιο αποδοτικό και αποτελεσματικό εργαζόμενο.


6. Έχουν επιμονή

Ο κάθε μουσικός, είτε είναι αρχάριος είτε είναι επαγγελματίας, πρέπει να έχει επιμονή για να μπορέσει να «καλλιεργήσει» την τέχνη του. Ο Roger McNamee, ένας από τους πρώτους επενδυτές του Facebook, είχε πει πως οι μουσικοί και οι κορυφαίοι επαγγελματίες μοιράζονται την ίδια ανάγκη να «βουτάνε βαθιά».

Για να καταφέρουν να γίνουν σπουδαίοι μουσικοί, απαιτείται να αφιερώσουν πολύ χρόνο και να αφοσιωθούν ολοκληρωτικά στην τέχνη τους. Αν αποφασίσει κάποιος να κοπιάσει τόσο για αυτό, θα μπορέσει μελλοντικά να καταφέρει κάτι αντίστοιχο και σε άλλους τομείς.


7. Έχουν περισσότερες πιθανότητες να έχουν υψηλότερο IQ

Όσο περίεργο κι αν ακούγεται, αυτό μπορεί να συμβεί ειδικά αν κάποιος αρχίσει να παίζει μουσική σε νεαρή ηλικία, περίπου γύρω στα έξι. Μια έρευνα έδειξε πως τα παιδιά που ξεκίνησαν να παίζουν κάποιο μουσικό όργανο κοντά σε αυτή την ηλικία, σημείωσαν αύξηση στον δείκτη νοημοσύνης τους, συγκριτικά με εκείνα που δεν έμαθαν να παίζουν.

Αρκεί να αναφέρουμε πως το να είσαι πιο ευφυής από τους συναδέλφους σου, σου δίνει πολύ συχνά το πάνω χέρι στον εργασιακό χώρο.


8. Επεξεργάζονται το λόγο πιο αποτελεσματικά

Το να γίνεις επιτυχημένος προϋποθέτει να είσαι καλός ακροατής, και οι μουσικοί έχουν γαλουχηθεί σε αυτήν τη δεξιότητα από μικρή ηλικία.

Έρευνες έχουν δείξει πως το να μάθει κάποιος να παίζει ένα μουσικό όργανο, έχει ευεργετικά αποτελέσματα στην περιοχή του εγκεφάλου που σχετίζεται με την επεξεργασία του ήχου – κάτι που ισχύει μέχρι τα βαθιά γεράματα (Washington Post).

Το να είσαι καλός ακροατής είναι μια σημαντική δεξιότητα, όπως και το να μπορείς να αντιλαμβάνεσαι στο λόγο τις περίπλοκες χρήσεις λέξεων και προτάσεων. Όλα αυτά μπορούν να αποτελέσουν το κλειδί για την επαγγελματική επιτυχία.


9. Προετοιμάζονται να δουλέψουν σκληρά για να επιτύχουν αποτελέσματα

Ενώ δεν είναι ο κανόνας πως εκείνοι που δουλεύουν πιο σκληρά στη ζωή τους είναι και οι πιο επιτυχημένοι, στους μουσικούς αυτό δε φαίνεται να ισχύει.

Όπως είχε πει κι ένας ειδικός σε θέματα μουσικών γνώσεων, «όσο πιο σκληρά δουλέψεις, τόσο η μουσική σου γίνεται καλύτερη» (New York Times).

Έτσι λοιπόν, η μουσική σε κάνει να πιστέψεις πως το να δουλεύεις σκληρά φέρνει αποτελέσματα, κι ενώ αυτό μπορεί να μην ισχύει σε όλες τις περιπτώσεις, σε οδηγεί στο να πιέζεις περισσότερο τον εαυτό σου, ώστε να έχεις τα επιθυμητά αποτελέσματα σε πολλούς τομείς της ζωής σου.


10. Έχουν μεγαλύτερο αυτοέλεγχο

Ενώ μπορεί να νομίζετε πως οι μουσικοί είναι ταύροι σε υαλοπωλείο (πιθανότατα σας έρχονται στο μυαλό κάποιοι μουσικοί της ροκ), αυτές οι περιπτώσεις δεν είναι οι πιο συνηθισμένες.

Με το να μάθεις να παίζεις ένα μουσικό όργανο και, ως προέκταση αυτού, να διαβάζεις μουσική, βάζεις τον εαυτό σου σε μια χρονοβόρα και δύσκολη διαδικασία που χρειάζεται μεγάλα ποσοστά συγκέντρωσης. Και όταν φτάσεις στο σημείο να παίζεις μουσική σε υψηλό επίπεδο, θα χρειαστεί να επιστρατεύσεις όχι μόνο ταλέντο αλλά και απίστευτο αυτοέλεγχο.

Μεταφράστε σε αποτελεσματικότητα την ικανότητα του να παραμένετε αφοσιωμένοι και συγκεντρωμένοι σε μια καθημερινή δραστηριότητα στον εργασιακό σας χώρο, και θα καταλάβετε απολύτως το λόγο που οι μουσικοί είναι επιτυχημένοι και σε πολλούς άλλους τομείς.

Πηγή: ogdoo.gr / lifehack.org


















See also / Δείτε επίσης

Η κλασική μουσική βελτιώνει τη νοητική ανάπλαση των παιδιών

15-year-old violinist Daniel Lozakovich signs to Deutsche Grammophon

Monday, November 28, 2016

Prokofiev, a Russian Giant – MSU Symphony Orchestra, Kevin Noe – Tuesday, November 29, 2016, 2:30 AM – Live on Livestream

The leading Soviet musician of his time, Sergei Prokofiev was a brilliant melodist and outstanding pianist. Hear his compositions that broke from the Romantic tradition and opened a path to a new kind of music.

Works will include Flute sonata featuring Richard Sherman (flute) and Ralph Votapek (piano), Overture on Hebrew Themes featuring Guy Yehuda (clarinet), Dmitri Berlinsky (violin), I-Fu Wang (violin), Yuri Gandelsman (viola), Suren Bagratuni (cello), and Deborah Moriarty (piano), and Peter and the Wolf with Kevin Noe (conducting), and Mark Embree (providing narration).

Michigan: Monday, November 28, 7:30 PM.



Η Συμφωνική Ορχήστρα του Κρατικού Πανεπιστημίου του Μίσιγκαν, υπό τη διεύθυνση του 47χρονου Αμερικανού μαέστρου και καθηγητή μουσικής, Κέβιν Νόε, και σπουδαίοι σολίστες, παρουσιάζουν ένα αφιέρωμα στον μεγάλο Ρώσο συνθέτη Σεργκέι Προκόφιεφ, ερμηνεύοντας τα έργα: Σονάτα για φλάουτο, έργο 94, Εισαγωγή σε εβραϊκά θέματα, έργο 34, και το μουσικό παραμύθι για αφηγητή και ορχήστρα «Ο Πέτρος και ο Λύκος», έργο 67.

Η συναυλία, διάρκειας μίας ώρας, θα λάβει χώρα στο Θέατρο Fairchild, στο Κρατικό Πανεπιστήμιο του Μίσιγκαν, την Τρίτη 29 Νοεμβρίου 2016, στις 2:30 πμ (ώρα Μίσιγκαν: Δευτέρα 28 Νοεμβρίου 2016, 7:30 μμ), και θα μεταδοθεί ζωντανά από το Livestream.



Sergei Prokofiev (1891-1953)

♪ Flute Sonata, Op.94 (1943)

i. Moderato
ii. Scherzo
iii. Andante
iv. Allegro con brio

Richard Sherman, flute
Ralph Votapek, piano


♪ Overture on Hebrew Themes, Op.34 (1919)

Guy Yehuda, clarinet
Dmitri Berlinsky, violin
I-Fu Wang, violin
Yuri Gandelsman, viola
Suren Bagratuni, cello
Deborah Moriarty, piano


♪ Peter and the Wolf, Op.67 (1936)

i. Introduction
ii. The Story Begins
iii. The Bird
iv. The Duck; Dialogue with the Birds; Attack of the Cat
v. Grandfather
vi. The Wolf
vii. The Duck Is Caught
viii. The Wolf Stalks the Bird and Cat
ix. Peter Prepares to Catch the Wolf
x. The Bird Diverts the Wolf
xi. Peter Catches the Wolf
xii. The Hunters Arrive
xiii. The Procession to the Zoo

Mark Embree, narrator

MSU Symphony Orchestra
Conductor: Kevin Noe

Live from Fairchild Theatre, MSU Auditorium
Michigan State University – College of Music

(HD 720p)

Tuesday, November 29, 2:30 AM (EET, UTC+02:00)
(Michigan: Monday, November 28, 7:30 PM)

Live on Livestream


Born in 1891 in Sontsovka, Ukraine, Sergei Prokofiev is known for his symphonies, ballets and film music. He lived through three musical periods during his lifetime: pre-revolutionary, foreign and Soviet. In the "pre-revolutionary period", Prokofiev was studying at the conservatory at St Petersburg where he grew as a musician studying the works of Stravinsky, Dostoyevsky and Mussorgsky. His works were very much inspired by the events of that time: two Russian revolutions, the abdication and execution of Tsar Nicholas II and the death of his father. The young composer, frustrated by the constraints placed on music and art in Russia, left his country and traveled.

Prokofiev's next musical era, the "foreign period", was spent mostly in western civilizations. Prokofiev spent time in San Francisco and New York City where he continued to develop his piano skills and compositions. He became successful and traveled the world giving concerts. Prokofiev eventually settled in Paris in 1923 where he wrote many symphonies and ballets.

Finally during the "Soviet period", considered his most well-known period, he wrote works such as the ballet Romeo and Juliet (1935) and Peter and the Wolf (1936), which are regularly performed today. This was also the time where he began to work in film music. He composed scores for films including War and Peace and Ivan the Terrible.

The Nov. 28th concert at MSU features popular works by Prokofiev including Peter and the Wolf, with a full orchestra on stage conducted by Director of MSU Orchestras Kevin Noe and narrated by voice professor Marc Embree. The piece is well known for the playful storytelling and the melodies played by different instruments. Each melody represents a different character and aids in telling the story by creating musical imagery.

In contrast, the other works include Overture on Hebrew Themes with Guy Yehuda (clarinet), Dmitri Berlinsky (violin), I-Fu Wang (violin), Yuri Gandelsman (viola), Suren Bagratuni (cello), and Deborah Moriarty (piano), and Sonata for Flute and Piano in D major with Richard Sherman (flute) and Ralph Votapek (piano). These pieces feature rich, contemplative melodies that contrast the more spirited Peter and the Wolf. Kevin Noe also acts as concert guide.



Prokofiev's Peter and the Wolf, for narrator and orchestra, was a commission from the Central Children's Theatre in 1936. The composer himself wrote the text, which tells the story of a young boy who manages to capture a vicious wolf. The piece is remarkable for many reasons, but perhaps most notably for its didactic scoring, designed by Prokofiev to introduce children to the sounds of orchestral instruments. The instrumentation is also important for the narration, since each character in the story is represented by a different instrument: the bird by a flute, the duck by an oboe, the grandfather by a bassoon, the cat by a clarinet, the wolf by three horns, and Peter by the strings. The entire work was composed in a single week (in piano score), and the orchestration was completed less than two weeks later.

Prokofiev's writing is intentionally direct and transparent, reflecting his desire to make the work enjoyable for children. His musical characterizations are broad and straightforward, from the delicate birdsong of the flute, to the thunderous kettledrums portraying the hunters' rifle shots.

The work is in three sections, loosely following a kind of sonata form. The opening section introduces the main characters, preparing the audience for the action to come. The middle section – the "development" – contains the most exciting action, beginning with the appearance of the wolf, his eating of the duck, and his eventual capture by young Peter. The final scene acts as a recapitulation, as the principal characters return for a final parade; here, Peter's opening theme returns transformed into a triumphant march.

Like most of Prokofiev's music, Peter and the Wolf features adroit thematic integration and development. Peter's theme, the dominant theme of the work, is stated at the beginning of the piece, and is then combined with other subordinate themes. This thematic blending is also closely tied to the dramatic action, underscoring developments in the story. Harmonically, the piece begins and ends in C major, but contains many sudden harmonic shifts, another important aspect of Prokofiev's style. Formally, though the piece does follow a loose sonata structure, it is by no means a case of textbook form; themes develop freely, harmonic direction is dictated largely by the action, and characterization assumes priority over any kind of academic musical construction.

Peter and the Wolf has long been a classic, loved by children for its vivid storytelling, and by adults for its gentle sense of humor and good-natured tunefulness. It was composed 22 years after a similar piece, The Ugly Duckling of 1914-1915, which also features humorous musical sketches of animals. It also bears comparison with Benjamin Britten's Young Person's Guide to the Orchestra, which also seeks to acquaint children with the sounds of the symphony.

Source: Alexander Carpenter (allmusic.com)


Το 1936 ο Σεργκέι Προκόφιεφ αποδέχεται την πρόταση της διευθύντριας του παιδικού θεάτρου της Μόσχας, να συνθέσει ένα μουσικό παραμύθι. «Το έργο θα πρέπει να βοηθήσει τα παιδιά να καταλάβουν και να αγαπήσουν τη μουσική. Το σημαντικότερο απ' όλα είναι να βρεθεί μια κοινή μουσική γλώσσα με αυτά», σημειώνει ο Προκόφιεφ. Έτσι, λοιπόν, δεν διστάζει να θέσει τη μουσική του εξ ολοκλήρου στην υπηρεσία του κειμένου, ώστε να προκαλέσει τους κατάλληλους συνειρμούς στο παιδικό του ακροατήριο.

Κάθε όργανο της ορχήστρας αντιστοιχεί σε ένα χαρακτήρα του παραμυθιού. Τα έγχορδα συμβολίζουν τον Πέτρο, το φλάουτο το πουλί, το όμποε την πάπια, το κλαρινέτο τη γάτα, το φαγκότο τον παππού, τα κόρνα τον λύκο, τα κρουστά τους κυνηγούς. Επιδίωξη του συνθέτη είναι να δημιουργήσει μια απλή και κατανοητή μουσική, που οπωσδήποτε δεν απευθύνεται μόνο σε παιδιά, διατηρώντας ταυτόχρονα όλα τα χαρακτηριστικά του μουσικού του ύφους. Η τεράστια δημοτικότητα του έργου, σε συνδυασμό με τις μεταφράσεις του παραμυθιού σε πολλές γλώσσες (το κείμενο του οποίου γράφτηκε από τον ίδιο τον συνθέτη), σύντομα το καθιέρωσαν στην παγκόσμια μουσική φιλολογία.



«Ο Πέτρος και ο Λύκος», σε κείμενο του ίδιου του Προκόφιεφ,  πρωτοπαρουσιάστηκε στη Μόσχα το 1936, όταν ο διάσημος Ρώσος συνθέτης και πιανίστας, έπειτα από μία μεγάλη περιπλάνηση σε χώρες της Δύσης, επέστρεψε στη Σοβιετική Ένωση και επανασυνδέθηκε με τη μουσική της παράδοση.

Έργο του αυτής της περιόδου είναι το συγκεκριμένο παραμύθι, που σκοπό είχε να εξοικειώσει τα παιδιά με τα μουσικά όργανα της συμφωνικής ορχήστρας.

Πρόκειται για μια ιστορία με μουσικές εικόνες, όπου τα χαρακτηριστικά των ηρώων αποδίδονται από ένα όργανο ή από ομάδα οργάνων.

«Ο Πέτρος και ο Λύκος» έχει παρουσιαστεί από τις σπουδαιότερες ορχήστρες ανά τον κόσμο, με σπουδαίους αφηγητές-τραγουδοποιούς, όπως ο Ζακ Μπρελ και ο Ντέιβιντ Μπάουι, αλλά και σπουδαίους ηθοποιούς, όπως ο Πήτερ Ουστίνωφ και ο Ζεράρ Φιλίπ. Στην Ελλάδα αγαπήθηκε ιδιαίτερα με αφηγητή τον αλησμόνητο  Δημήτρη Χορν το 1993.


Υπόθεση

Ένα μικρό αγόρι, ο Πέτρος, μια μέρα ανοίγει την πόρτα του κήπου και βγαίνει στο λιβάδι, παρά την απαγόρευση του παππού του. Εκεί είναι ο φίλος του, το πουλί, που τιτιβίζει χαρούμενα. Η πάπια, βρίσκοντας ανοιχτή τη πόρτα του κήπου, βγαίνει κι εκείνη στο λιβάδι και πηγαίνει στη λιμνούλα. Στη συνέχεια έρχεται η γάτα. Τότε βγαίνει θυμωμένος ο παππούς, παίρνει τον Πέτρο μέσα στον κήπο και κλειδώνει την πόρτα. Ξαφνικά, παρουσιάζεται ο κακός λύκος από το δάσος. Το πουλάκι και η γάτα πάνω στα δέντρα διασώζονται, η πάπια όμως καταλήγει στο στομάχι του. Αλλά ο Πέτρος σκαρφαλώνει στον τοίχο, ανεβαίνει σε ένα κλαδί και, βοηθούμενος από το πουλάκι, πιάνει τον λύκο από την ουρά με μια θηλιά. Την ίδια στιγμή εμφανίζονται οι κυνηγοί, οι οποίοι είχαν ακολουθήσει τον λύκο, να βγαίνουν πυροβολώντας από το δάσος. Ο Πέτρος, τους φωνάζει να σταματήσουν και τους προτείνει να πάνε τον λύκο στον ζωολογικό κήπο. Στο τέλος όλοι μαζί σε πομπή οδηγούν τον λύκο στον ζωολογικό κήπο.

Kevin Noe conducts MSU Symphony Orchestra














See also

Live on Livestream: All Past Events

Saturday, November 26, 2016

Marc-André Hamelin plays Ludwig van Beethoven, Robert Schumann, Samuil Feinberg and Maria Szymanowska (HD 1080p)

Photo by Fran Kaufman

















Phenomenal pianist Marc-André Hamelin is a virtuoso in the true meaning of the word, displaying minute details as well as thundering fireworks.

He'll show this in two sonatas by secretive Russian Samuil Feinberg, Beethoven's finger-breaking Appassionata, an intimate nocturne by Maria Szymanowska, and in Schumann's monumental Fantasie.

Recorded at the Gothenburg Concert Hall on September 25, 2016.



Σε ένα μοναδικό ρεσιτάλ στο Μέγαρο Μουσικής του Γκέτεμποργκ στις 25 Σεπτεμβρίου 2016, ο διάσημος Καναδός πιανίστας Marc-André Hamelin ερμηνεύει το Νυχτερινό σε Σι ύφεση μείζονα της Πολωνής συνθέτριας Maria Szymanowska, τη Σονάτα αρ. 2 σε Λα ελάσσονα, έργο 2, και τη Σονάτα αρ. 1 σε Λα μείζονα, έργο 1, του Ρώσου συνθέτη και πιανίστα Samuil Feinberg, τη Σονάτα αρ. 23 σε Φα ελάσσονα, έργο 57, γνωστή και ως «Απασιονάτα», του Λούντβιχ βαν Μπετόβεν, και τη «Φαντασία» σε Ντο μείζονα, έργο 17, του Ρόμπερτ Σούμαν.



Marc-André Hamelin | Recital from Gothenburg

Maria Szymanowska (1789-1831)

♪ Nocturne in B flat major (1827-1831, published in 1852 after the composer's death)


Samuil Feinberg (1890-1962)

♪ Piano Sonata No.2 in A minor, Op.2 (1916)
♪ Piano Sonata No.1 in A major, Op.1 (1915)


Ludwig van Beethoven (1770-1827)

♪ Piano Sonata No.23 in F minor, Op.57 "Appassionata" (1804-1806)

i. Allegro assai
ii. Andante con moto
iii. Allegro ma non troppo – Presto


Robert Schumann (1810-1856)

♪ Fantasie in C major, Op.17 (1839)

i. Durchaus phantastisch und leidenschaftlich vorzutragen
ii. Mässig: Durchaus energisch
iii. Langsam getragen: Durchaus leise zu halten


Marc-André Hamelin, piano

Gothenburg Concert Hall, September 25, 2016

(HD 1080p)


Photo by Richard Perry
















Pianist Marc-André Hamelin is ranked among the elect of world pianists for his unrivalled blend of musicianship and virtuosity in the great works of the established repertoire, as well as for his intrepid exploration of the rarities of the 19th, 20th, and 21st centuries – in concert and on disc.

He begins the 2016/2017 season with summer festival appearances at the Schubertiade, Verbier, Lofoton, Salzburg, and recitals at Tanglewood, Domaine Forget, Aspen, and La Jolla, where the La Jolla Music Society commissioned Hamelin to write a piano/cello sonata for himself and cellist Hai-Ye Ni.

Mr. Hamelin's orchestral engagements this season include weeks with the Montreal (Ravel and Shostakovich with Nagano) and Minnesota (Vanska) orchestras; the Indianapolis Symphony in a reprise of the Haydn Cto. In D Major with Bernard Labadie, per their recent recording; the Bayerische Staatsorchester with Kirill Petrenko; the NDR Hanover, and the symphony orchestras in Gothenburg, Oregon, Bologna, Montpellier, and the Warsaw Philharmonic in repertoire including Brahms 1 and 2, Medtner 2, and Mozart K.453. Recitals include those at the Vienna Konzerthaus, Berlin Philharmonic, The Gilmore Festival, the 92nd St Y in New York, and in Cleveland, Chicago, Toronto, et al. He also ventures to China for a set of recitals at the Shanghai Concert Hall.

Special events of 2016/2017 include duo recitals with Leif Ove Andsnes at Wigmore Hall in London, in Rotterdam, Dublin, Italy, and in Seattle, San Francisco, Washington, Beverly Hills, and at Symphony Center in Chicago and Carnegie Hall in New York. He tours with the Pacifica Quartet, playing the world premiere of his own string quintet, commissioned by the Segerstrom Center in Orange County, CA, and concludes the season as a juror at the Cliburn Piano Competition, for which he has been commissioned to write the obligatory solo work for the contestants.

Last season, Mr. Hamelin was a featured artist in solo recital on the Keyboard Virtuoso Series at Carnegie Hall's Stern Auditorium in January, and returned to Carnegie Hall for a performance of Franz Liszt's Piano Concerto No.1 with the Budapest Festival Orchestra and conductor Iván Fischer in February, part of a North American tour that also brought Mr. Hamelin and the BFO to the Kennedy Center in Washington, DC, and Maison Symphonique in Montréal. Mr. Hamelin collaborated with the London Philharmonic and Principal Conductor Vladimir Jurowski at Frankfurt's Alte Oper (Liszt's Totentanz and Rachmaninov's Paganini Rhapsody) and joined them again in London for performances and recordings of Rachmaninov's Piano Concerto No.3 and Nikolai Medtner's Piano Concerto No.2. Further orchestral highlights included Mr. Hamelin's debut with the Filharmonica della Scala in Milan, and the British premiere performances of Mark-Anthony Turnage's Piano Concerto (which was written for Mr. Hamelin) with the Hallé Orchestra in Manchester. Mr. Hamelin also appeared with the Los Angeles Chamber Orchestra, the National Arts Centre Orchestra, the Quebec, San Diego, and Toronto Symphony orchestras, as well as the Berlin Radio Symphony, the Lucerne Symphony and the Orchestra della Svizzera Italiana in repertoire ranging from Mozart to Brahms, Ravel and Messiaen.

Marc-André Hamelin is a frequent recitalist for Chicago Symphony Presents, the Cliburn, Spivey Hall, Montreal Pro Musica, Music Toronto, WPA in Washington, the Boston Celebrity Series and the Philadelphia Chamber Music Society, Princeton University, San Francisco Performances, and in all the major concert halls in New York. Recitals in Europe include regular appearances at the Wigmore Hall in London, Munich, DeSingel in Antwerp, the Concertgebuow in Amsterdam, Moscow State Philharmonic Society, Perugia, the Heidelberg Festival and the Salzburg Mozarteum, as well as a recent three-concert residency at the Muziekgebouw in Amsterdam.

He has appeared repeatedly with the symphony orchestras of Chicago, New York, Boston, Cleveland, and Philadelphia. At the last of these, he played the American premiere of Mark-Anthony Turnage's Piano Concerto (written for him) with the Philadelphia Orchestra and Yannick Nezet-Seguin. In his 2014 debut with the Cleveland Orchestra in Haydn's D Major Piano Concerto his playing was praised as "the very paragon of Classical purity, a fount of crisp, sparkling passages" (Cleveland Plain-Dealer, May 1, 2015).

In recognition of his remarkable discography, Mr. Hamelin was inducted into the Gramophone Hall of Fame in June 2015. Also awarded the 2006 lifetime achievement prize by the German Record Critic's Award (Preis der deutschen Schallplattenkritik), Mr. Hamelin has recorded some 70 CDs for the Hyperion label, most recently a double disc of Mozart Sonatas and two recordings with the Takács Quartet featuring the piano quintets by Shostakovich and Leo Ornstein. Further highlights of Mr. Hamelin's recent discography include a CD devoted to Schumann's Kinderszenen and Waldszenen and Janáček's On the Overgrown Path, which was listed as CD of the Month in both Gramophone and BBC Music magazines. His recording of Busoni's Late Piano Works received the 2014 Echo Award of "Instrumentalist of the Year (Piano)" and "Disc of the Year" by two leading French journals, Diapason and Classica. Mr. Hamelin's discography ranges from the neglected masterpieces of Alkan, Ives, Medtner and Roslavets to brilliantly received performances of Schumann, Brahms, Chopin, and Debussy. A series of recordings of Haydn sonatas and concertos was particularly well-received, putting Mr. Hamelin on "the shortlist of most revelatory Haydn interpreters on record" (BBC Music Magazine, June 2015).

In 2010 Mr. Hamelin joined the ranks on CD of noted composer-pianists by releasing his own highly inventive "12 Etudes in all the minor keys" on the Hyperion label and with publication by Edition Peters. Mr. Hamelin has since performed his own compositions around the world, to great critical acclaim. His Pavane variée was commissioned for the ARD Music Competition in Munich, where it was the obligatory piece for the 2014 piano competition.

Winner of the 1985 Carnegie Hall Competition, Marc-André Hamelin was born in 1961 in Montreal. He began to play the piano at the age of five, and by the age of nine had already won top prize in the Canadian Music Competition. Mr. Hamelin's father, a pharmacist by trade who was also a gifted amateur pianist, had introduced him to the works of Alkan, Medtner and Sorabji when he was still very young. Mr. Hamelin's principal teachers included Gilles Hamelin, Yvonne Hubert, Harvey Wedeen and Russell Sherman; he studied at the École Vincent d'Indy in Montreal and then at Temple University in Philadelphia. An Officer of the Order of Canada since 2003 and a Chevalier de l'Ordre du Québec since 2004, Mr. Hamelin is also a member of the Royal Society of Canada and features prominently in the book The Composer-Pianists: Hamelin and the Eight by Robert Rimm, published by Amadeus Press. Mr. Hamelin makes his home in the Boston area.

Source: marcandrehamelin.com


Photo by Fran Kaufman











Gothenburg Concert Hall












See also

Johannes Brahms: Piano Concerto No.2 in B flat major – Marc-André Hamelin, Warsaw Philharmonic Orchestra, Jacek Kaspszyk (HD 1080p)

Johannes Brahms: Piano Concerto No.1 in D minor – Marc-André Hamelin, Gothenburg Symphony Orchestra, Santtu-Matias Rouvali (HD 1080p)

Friday, November 25, 2016

Santtu-Matias Rouvali – All the posts

















Santtu-Matias Rouvali (b. 1985) is a Finnish conductor and percussionist. From a family of musicians, Rouvali's parents played in the Lahti Symphony Orchestra. He is the youngest of the three sons in his family. One of his older brothers died in a car accident at age 23.

Rouvali learned percussion as a youngster, and continued his studies at the Sibelius Academy. Rouvali completed in the Eurovision Young Soloists Finnish qualifier in 2004 as a percussionist. As a percussionist, he performed with such orchestras as the Mikkeli City Orchestra, the Lahti Symphony Orchestra, and the Finnish Radio Symphony Orchestra. At age 22, he focused more on studies in conducting at the Sibelius Academy, where his teachers included Jorma Panula, Leif Segerstam and Hannu Lintu.

In September 2009, Rouvali guest-conducted the Finnish Radio Symphony Orchestra as an emergency substitute conductor. He first guest-conducted the Tapiola Sinfonietta in November 2010. Later in the same month, the Tapiola Sinfonietta named Rouvali an artist-in-association with the orchestra, effective September 2011, with an agreement of 3 years.

Rouvali first guest-conducted the Tampere Philharmonic Orchestra in January 2010. He subsequently returned as a guest conductor in December 2011. In September 2012, the orchestra announced the appointment of Rouvali as its chief conductor, effective with the 2013-2014 season, with an initial contract of 3 years. His current Tampere contract is through 2019.

Outside of Finland, Rouvali first guest-conducted the Copenhagen Philharmonic in November 2011. He subsequently became principal guest conductor of the Copenhagen Philharmonic with the 2013-2014 season. In August 2014, Rouvali made his first guest-conducting appearance with the Gothenburg Symphony Orchestra (GSO). In May 2016, the GSO announced the appointment of Rouvali as its next chief conductor, effective with the 2017-2018 season, with an initial contract of 4 years.

Rouvali has made commercial recordings with the Oulu Philharmonic Orchestra for Ondine, and with the Tampere Philharmonic for Orfeo.

Source: en.wikipedia.org



The 2017/2018 season sees Santtu-Matias Rouvali begin two new tenures; Chief Conductor of the Gothenburg Symphony and Principal Guest Conductor of the Philharmonia Orchestra, alongside these positions he continues his longstanding Chief Conductor-ship with the Tampere Philharmonic close to his home in Finland. Hailed by The Guardian as "the latest sit-up-and-listen talent to emerge from the great Finnish conducting tradition", until last season Santtu-Matias Rouvali was also Principal Guest Conductor of the Copenhagen Philharmonic.

Rouvali has upcoming debuts with the Leipzig Gewandhausorchester, Münchner Philharmoniker and Orquesta Nacionale de España in Madrid, as well as regular relationships with other orchestras across Europe, including the Orchestre Philharmonique de Radio France in Paris, Oslo Philharmonic Orchestra and the Deutsches Symphonie-Orchester Berlin; and has ambitious touring plans with his own orchestras over the next few seasons in Europe, Japan and North America. His first season as Chief Conductor in Gothenburg includes a substantial Nordic tour with pianist Hélène Grimaud.

Previously a Dudamel Fellow at the conducting programme with the Los Angeles Philharmonic, last season he made a triumphant return as a highlight of their subscription season, alongside other American debuts with the Minnesota and Cincinnati symphony orchestras.

In June 2017, as Chief Conductor-designate, he joined Gustavo Dudamel and the Gothenburg Symphony in their El Sistema Side by Side project with the Gothenburg Symphony, which has been a hugely successful summer camp for children and young people.

As another cornerstone to his tenure in Gothenburg, he looks forward to adding his mark to the Orchestra's impressive recording legacy. Rouvali's latest disc – of Nielsen and Sibelius' violin concertos is with the Tampere Philharmonic Orchestra and Baiba Skride – was released in summer 2015 on ORFEO. Rouvali has been Artistic Director and Chief Conductor of the Tampere Philharmonic since 2013, and in addition to his other recordings, highlights of the tenure so far include a Sibelius symphony cycle in autumn 2015, and the Orchestra's first tour to Japan in spring 2017 where they were accompanied by an exhibition of original Moomin drawings by Tove Jansson to mark the opening of the new museum at the Tampere Hall.

Alongside an extremely busy symphonic conducting career, as Chief Conductor in Tampere he has conducted Verdi's La forza del destino with Tampere Opera and his next project with them, in spring 2018, is a world premiere of Olli Kortekangas's My Brother's Keeper (Veljeni vartija) with Tampere Opera.

Source: harrisonparrott.com



Σε όσους παρακολουθούν στενότερα την καλλιτεχνική και ιδιαίτερα τη μουσική ζωή όχι μόνο των σκανδιναβικών χωρών αλλά γενικότερα της Ευρώπης, το όνομα του νεαρού αρχιμουσικού είναι αρκετά γνωστό, καθώς ο Santtu-Matias Rouvali θεωρείται αυτή τη στιγμή το μεγαλύτερο ίσως ταλέντο στον κόσμο, στον τομέα της μουσικής διεύθυνσης.

Ο Santtu-Matias Rouvali είναι σήμερα μουσικός διευθυντής της Φιλαρμονικής Ορχήστρας του Τάμπερε, μιας πόλης της νότιας Φινλανδίας, καθώς επίσης και επισκέπτης αρχιμουσικός της ιστορικής Φιλαρμονικής της Κοπεγχάγης, ενώ συχνά καλείται να διευθύνει πολύ γνωστά και σπουδαία μουσικά σύνολα όπως την Ορχήστρα Φιλαρμόνια του Λονδίνου, τη Φιλαρμονική Ορχήστρα της Γαλλικής Ραδιοφωνίας και τη Συμφωνική Ορχήστρα της Φινλανδικής Ραδιοφωνίας. Τα προσεχή του σχέδια περιλαμβάνουν συναυλίες με τη Φιλαρμονική του Λος Άντζελες, την Deutsches Symphonie-Orchester Berlin και την Ορχήστρα της Μινεσότα.

Σχολιάζοντας την ανακοίνωση του διορισμού του στη θέση του μουσικού διευθυντή της Εθνικής Ορχήστρας της Σουηδίας, η οποία είναι περισσότερο γνωστή ως Συμφωνική Ορχήστρα του Γκέτεμποργκ, ο Santtu-Matias Rouvali δήλωσε: «Είμαι περήφανος που ακολουθώ τα χνάρια των προηγούμενων μεγάλων μουσικών διευθυντών της Συμφωνικής Ορχήστρας του Γκέτεμποργκ, όπως των Neeme Järvi, Mario Venzago και Gustavo Dudamel. Έχω απολαύσει μερικές εκπληκτικές συναυλίες με την ορχήστρα αυτή και ανυπομονώ να συνεργαστώ με όλους αυτούς τους υπέροχους μουσικούς. Η Φινλανδία και η Σουηδία έχουν η κάθε χώρα πολύ πλούσιο μουσικό πολιτισμό, κι αυτός είναι ένας ακόμη λόγος για τον οποίον ανυπομονώ να φέρω το καλύτερο και των δύο αυτών μουσικών πολιτισμών στο Γκέτεμποργκ αλλά και στις διεθνείς περιοδείες μας».

Ο Sten Cranner, γενικός και καλλιτεχνικός διευθυντής της Συμφωνικής Ορχήστρας του Γκέτεμποργκ, δήλωσε ότι ο Santtu-Matias Rouvali εκπροσωπεί σήμερα ό,τι πιο φρέσκο και μοναδικό ως μαέστρος, καθώς φέρνει τα πολυτιμότερα δύο κόσμων: τη μουσική σκανδιναβική παράδοση, με την οποία είναι συνδεδεμένη η Συμφωνική Ορχήστρα του Γκέτεμποργκ, και τον δυναμισμό της νεότητάς του. «Πιστεύω ακράδαντα ότι ο Rouvali αντιπροσωπεύει αυτό το οποίο είναι το μέλλον στον κόσμο της κλασικής μουσικής. Είμαι βέβαιος ότι θα διαμορφώσει και θα εξελίξει την Ορχήστρα με τη διορατικότητά του και την καλλιτεχνική λάμψη του».

Τα πρώτα και πολύ ενδιαφέροντα σχέδια του Santtu-Matias Rouvali, περιλαμβάνουν μία περιοδεία στις πρωτεύουσες των σκανδιναβικών χωρών, με την κορυφαία Γαλλίδα πιανίστρια Ελέν Γκριμό.


















Reviews

Rouvali's imaginative, often spectacular musicality is exceptional even in an era with a number of remarkable young conductors. — Los Angeles Times, November 2016

No wonder the applause was tremendous and that many afterward danced on light feet into the evening. — Göteborgs-Posten, April 2016

He is the real thing: music unmistakably flows from him. — Sunday Times, January 2016

Rouvali conducts full of energy, and is a craftsman in the truest sense of the word. — Erlanger Nachrichten, December 2015

The Tampere orchestra sounds clean, supple and boisterous under its young chief conductor Santtu-Matias Rouvali. He, meanwhile, is the latest sit-up-and-listen talent to emerge from the great Finnish conducting tradition. — The Guardian, September 2015

Rouvali, 29, a product of the renowned Finnish conducting school in Helsinki, left a long-lasting impression on his Bern debut... Rouvali led the orchestra in a striking and gripping interpretation of Sibelius 1, which expressed the brusqueness and ruggedness of the work. — Berner Zeitung, January 2015

An unforgettable evening which will remain etched in the memory as a peak of musicality... The superb continuity of sound, made possible through the cohesion of the orchestra, was maintained throughout each work by Santtu-Matias Rouvali, without any effort and with, on the contrary, an impassioned and spontaneous enthusiasm. — bachtrack.com, July 2014

Rouvali asks a lot from the Deutsches-Symphony Orchestra, and he does indeed get a great sound from them. The beginning of Sibelius' Finlandia was menacing, the victory march, however, shines with a brilliant broad sound. Rouvali was also at ease in Béla Bartók's Dance Suite: he made the multifaceted, idealised peasant music colourful and exciting, fiery without being shy to bring out bright colours. — Der Tagesspiegel, March 2014

Only one word; sensational. — Aamulehti, March 2014

Guest conductor Santtu-Matias Rouvali led the orchestra through beautifully crafted interpretations of music by Carl Nielsen and Jean Sibelius. This was an evening of energetic, fearless music making that mixed decisive interpretations with discipline, a clear understanding of the structure and form of the pieces on the program, and delightfully fresh musical perspectives. Rouvali led Nielsen's "Helios Overture" and Sibelius' Symphony No.1 with a completely winning mix of soaring phrases, exquisitely wrought small details and a clear understanding of the pieces' architecture. — Elaine Schmidt, Milwaukee Journal Sentinel, February 2014

Rouvali seems to touch the souls of listeners in an exceptional way. This program yet again proved that Rouvali is a magician speaking through sound. — Aamulehti, January 2014

The Oulu Symphony Orchestra are on fine form throughout and Santtu-Matias Rouvali directs with assurance. — Guy Rickards, Gramophone, September 2013

Santtu-Matias Rouvali showed that he is a percussionist at heart, as he handled complex rhythmical structure and its synchronisations with great aplomb. — Hufvudstadsbladet, October 2013

Under the elegant, flexible conducting of Santtu-Matias Rouvali – just 27 years old – [Saariaho's] Laterna Magica revealed an abundant sound world: alternately silky and spiky, vibrant and sensual. The audience was plunged into an immersive listening... The orchestra was transformed by the dazzling energy of the young Finnish conductor... in recognition of this wonderful evening, they enthusiastically applauded Rouvali. Already famous in Finland, his incredible talent was greeted most warmly by the Parisian public. — Michele Tosi, resmusica.com, April 2013

Total physical response, fluid conducting movements, technical skill with very clear signalling and analytical penetration of the score, are the best that even experienced conductors hope for in order to create an exceptional musical experience.  Rouvali has all of this, and the resultant sound is as brilliant as it is explosive... It was amazing how Rouvali created the most sophisticated sounds with fine dynamic gradation, by virtue of historically-informed performance practice.  It recreated a little of the striking novelty that the audience must have felt at the work's premiere... Rouvali's interpretation of Sibelius' Symphony No.1 was marked by the utmost vigour, vitality and sound-saturated urgency.  He understands the musical structure with absolute clarity, which leads the music to the very limits of tonal possibilities, and thereby produces elastic phrases of enormous potency... an electrifying performance... rightly cheered at the end. — Frankfurter Allgemeine Zeitung, January 2013

This is a conductor who not only carries the score in his head, but also carries the music of his homeland in his heart... it is no wonder that the instrumentalists of the orchestra were inspired. — Fuldaer Zeitung, January 2013

Rouvali, who is creating a stir at an international level, showed a great flair for Beethoven with the Egmont Overture. He created beautiful contrasts between the grandeur of the piece and the lyrics with perfectly measured dynamics. He has a fluttering, strongly upward gesture, which enhances the orchestral tone with air and transparency. Dvorak's Eighth was a passionate performance – atmospheric, elegant, compelling, imposing and exuberant. — NRC Handelsblad, July 2012

Source: harrisonparrott.com


















Photos by Kaapo Kamu


Santtu-Matias Rouvali – All the posts

Jean Sibelius: The Wood Nymph, En Saga, & Symphony No.5 in E flat major – Gothenburg Symphony Orchestra, Santtu-Matias Rouvali – Saturday, August 19, 2017 – Livestream

Klaus Florian Vogt sings Richard Strauss – Gothenburg Symphony Orchestra, Santtu-Matias Rouvali (HD 1080p)

Modest Mussorgsky: Pictures at an Exhibition – Gothenburg Symphony Orchestra, Santtu-Matias Rouvali (HD 1080p)

Igor Stravinsky: Petrushka – Gothenburg Symphony Orchestra, Santtu-Matias Rouvali (HD 1080p)

Carl Nielsen: Helios Overture – Gothenburg Symphony Orchestra, Santtu-Matias Rouvali (HD 1080p)

Katarina Leyman: Solar Flares – Gothenburg Symphony Orchestra, Santtu-Matias Rouvali (HD 1080p)


Johannes Brahms: Piano Concerto No.1 in D minor – Marc-André Hamelin, Gothenburg Symphony Orchestra, Santtu-Matias Rouvali (HD 1080p)


Béla Bartók: Concerto for Orchestra – Gothenburg Symphony Orchestra, Santtu-Matias Rouvali (HD 1810p)


Santtu-Matias Rouvali is the new Chief Conductor of the Gothenburg Symphony Orchestra



See also

Gothenburg Symphony Orchestra – All the posts