Krzysztof Penderecki

Krzysztof Penderecki
Krzysztof Penderecki (1933-2020) conducting his oratorio "Seven Gates of Jerusalem" at the Winter Palace, St Petersburg, in 2001. Photo by Dmitry Lovetsky

Monday, January 30, 2017

Johannes Brahms: String Quintet No.2 in G major – Members of the Frankfurt Radio Symphony Orchestra (HD 1080p)

The members of the Frankfurt Radio Symphony Orchestra (hr-Sinfonieorchester), Andrea Kim and Fanny Fröde (violins), Stefanie Pfaffenzeller and Peter Zelienka (violas), and Christiane Steppan (cello), interpret Johannes Brahms' String Quintet No.2 in G major, Op.111. Recorded at Orange Peel, Frankfurt, on November 30, 2016.

Τα μέλη της Συμφωνικής Ορχήστρας της Ραδιοφωνίας της Φρανκφούρτης, Andrea Kim και Fanny Fröde (βιολιά), Stefanie Pfaffenzeller και Peter Zelienka (βιόλες), και Christiane Steppan (βιολοντσέλο), ερμηνεύουν το Κουιντέτο εγχόρδων αρ. 2 σε Σολ μείζονα, έργο 111, του Γιοχάνες Μπραμς. Η συναυλία δόθηκε στο γνωστό κλαμπ Orange Peel, στη Φρανκφούρτη, στις 30 Νοεμβρίου 2016.

Johannes Brahms (1833-1897)

♪ String Quintet No.2 in G major, Op.111 (1890)

i. Allegro non troppo, ma con brio
ii. Adagio
iii. Un poco Allegretto
iv. Vivace ma non troppo presto

The members of the Frankfurt Radio Symphony Orchestra:
Andrea Kim & Fanny Fröde, violins
Stefanie Pfaffenzeller & Peter Zelienka, violas
Christiane Steppan, cello

Orange Peel, Frankfurt, November 30, 2016

(HD 1080p)

The piano was the instrument with which Brahms felt most comfortable, and he hesitated to publish chamber music for strings, with or without piano, for many years. He generally asked violinist Joseph Joachim (1831-1907) for assessments of his works for strings before they were printed. The failure of a string quintet version of the Piano Quintet, Op.34, rekindled his anxieties and he avoided writing for such forces until 1882, when he finished the Quintet, Op.88. His second quintet, the Quintet for two violins, two violas and cello in G major, Op.111, composed in the summer of 1890, was first performed in Vienna on November 11, 1890. Simrock in Berlin published the work in 1891.

Brahms intended the Quintet in G major, Op.111, to be his last work. In December 1890 Brahms sent Simrock an alteration to the finale of the quintet, including this instruction: "With this note you can take leave of my music, because it is high time to stop". The following spring he wrote out his will and decided to concentrate only on unpublished works he deemed worthwhile, dispensing with the others and with composing anew. Brahms, however, did not stick to his resolution. Nevertheless, permeated with an Austrian vivacity, the Op.111 quintet gives no hint of being planned as a valedictory work.

The opening of the first movement, the cello tune included, derives from sketches Brahms had made in Italy for a fifth symphony. Laboring under a tremolo accompaniment from the other four instruments, the cello is entrusted with the arpeggiated, leaping main theme. As the sonata-form movement progresses, the theme dissolves into a transition to the dominant, D major, and the second group of themes, the first of which consists of a three-note figure that evokes the air of a Viennese waltz. The development section, beginning on B flat major, initially stresses the opening arpeggio of the main theme, but quickly moves on to develop segments of the second group and the transition. As is often the case with Brahms, the entrance of the recapitulation is disguised through new instrumentation, beginning with the third measure of the theme. Whereas the cello plumbed the warm depths of its register at the beginning of the movement, here the violin soars high above the tremolo accompaniment. All the material of the second group is resolved to the tonic before the movement closes with a developmental coda.

Brahms' favorite stringed instrument, the viola, introduces the theme of the ensuing Adagio, cast in variation form in D minor. The variation technique is used more freely than in Brahms' earlier such movements. Wistful and transparent, the Adagio is marked by unexpected shifts between major and minor and finally closes on D major. The composer's long-time friend Elisabeth von Herzogenberg found the Adagio and the Minuet much to her liking, recognizing in them "such perfect unity of emotion, vigor and effect". Fragments of first-movement themes appear in the opening melody of the minuet-like third movement, set in G minor, while the coda revisits the G major trio. The fourth movement is peppered with a Hungarian csárdás flavor, especially its animated coda.

Source: John Palmer (

More photos

See also

Felix Mendelssohn: String Quintet No.2 in B flat major – Members of the Frankfurt Radio Symphony Orchestra (HD 1080p)

Johannes Brahms: Sonata for piano and violin No.2 in A major – Yuja Wang, Leonidas Kavakos

Johannes Brahms: Clarinet Trio in A minor – Andreas Ottensamer, Sol Gabetta, Dejan Lazić (HD 1080p)

Saturday, January 28, 2017

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

Experience the magnificence of Wolfgang Amadeus Mozart in our three-week Winter Music Festival dedicated to the imagination, virtuosity, and influence of classical music's most prolific composer!
— Detroit Symphony Orchestra

Mozart Festival | Concert 4 of 6: Symphony 40

Detroit: Sunday, January 29, 2017, 03:00 PM (EST, GMT-5)

Los Angeles: 12 noon
New York: 03:00 PM
Ottawa: 03:00 PM
Paris: 09:00 PM
London: 08:00 PM
Berlin: 09:00 PM
Rome: 09:00 PM
Madrid: 09:00 PM
Kiev: 10:00 PM
Moscow: 11:00 PM
Seoul: Monday, January 30, 2017, 05:00 AM

Prior to the #MozartFest: Symphony 40 webcast, Kathryn Libin will speak about Mozart, Wind Players, and Concertos. (02:00 PM, EST, GMT-5)

Υπό τη διεύθυνση του διάσημου Αμερικανού μαέστρου Λέοναρντ Σλάτκιν, η Συμφωνική Ορχήστρα του Ντιτρόιτ παρουσιάζει την Εισαγωγή από την όπερα «Έτσι κάνουν όλες», K.588, το Κοντσέρτο για φαγκότο σε Σι ύφεση μείζονα, K.191/186e, το Κοντσέρτο για κόρνο αρ. 4 σε Μι ύφεση μείζονα, K.495, και τη Συμφωνία αρ. 40 σε Σολ ελάσσονα, K.550, του Βόλφγκανγκ Αμαντέους Μότσαρτ. Συμπράττουν οι σολίστες Robert Williams (φαγκότο) και David Everson (κόρνο).

Η συναυλία, διάρκειας δύο ωρών, θα πραγματοποιηθεί στο πλαίσιο του Φεστιβάλ Μότσαρτ (#MozartFest), στην αίθουσα συναυλιών Orchestra Hall στο Max M. Fisher Music Center στο Ντιτρόιτ των Ηνωμένων Πολιτειών, την Κυριακή 29 Ιανουαρίου 2017, στις 10:00 μμ (ώρα Ντιτρόιτ: 03:00 μμ), και θα μεταδοθεί ζωντανά από το Livestream.

Μία ώρα πριν τη συναυλία, παρακολουθήστε τη διάλεξη της Kathryn Libin, «Μότσαρτ, μουσικοί πνευστών οργάνων, και κοντσέρτα».

Mozart, Wind Players, and Concertos

Learn more about the life and music of Wolfgang Amadeus Mozart during these preconcert lectures by Mozart Festival Scholar-in-Residence Kathryn Libin.

Sunday, January 29, 2017, 09:00 PM (EET, UTC+02:00)


Concert 4 of 6

Wolfgang Amadeus Mozart (1756-1791)

♪ Overture to Così fan tutte, K.588 (1789-1790)

♪ Bassoon Concerto in B flat major, K.191/186e (1774)

i. Allegro
ii. Andante ma Adagio
iii. Rondo: tempo di menuetto

Robert Williams, bassoon

♪ Horn Concerto No.4 in E flat major, K.495 (1786)

i. Allegro maestoso
ii. Romance. Andante cantabile
iii. Rondo. Allegro vivace

David Everson, horn

♪ Symphony No.40 in G minor, K.550 (1788)

i. Molto allegro
ii. Andante
iii. Menuetto & Trio. Allegretto
iv. Allegro assai

Detroit Symphony Orchestra
Conductor: Leonard Slatkin

(HD 720p)

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

Sunday, January 29, 2017, 10:00 PM (EET, UTC+02:00)
[Detroit: 03:00 PM (EST, GMT-5)]

Live on Livestream

Leonard Slatkin conducts the DSO (Photo by Cybelle Codish)

Così fan tutte, first performed in Vienna on January 26, 1790, was the third and final opera in which Mozart collaborated with librettist Lorenzo da Ponte. Although connoisseurs are loathe to choose among The Marriage of Figaro, Don Giovanni and Così fan tutte in terms of good, better and best, there is no denying that Così does not claim the overwhelming popularity of the other two. Yet, it is a masterpiece of the first order, one of the half dozen or so greatest comic operas in the repertory. Like all of Mozart's mature operas, it is deeply imbued with insight into human character. Its plot is fast-paced, the lines full of witty dialogue, the melodies ravishing. The story was derived from numerous sources ranging from Ovid and Ariosto to recently-produced opera buffe and contemporary gossip. Two young officers (Guglielmo and Ferrando) make a bet with their cynical old bachelor friend (Don Alfonso) that if they were to leave on an extended trip, their sweethearts (Fiordiligi and Dorabella) would remain faithful to them. The officers depart, then return disguised as Albanians, each making advances on the other's fiancée. The women succumb to temptation and Don Alfonso's prediction is borne out in fact: "Così fan tutte!" (That's the way all women are!), he scoffs. Shortly afterwards, however, all is forgiven and the original couples are happily reunited. The overture consists of a brief Andante followed by a fleet, high-spirited Presto in sonata form. Twice we hear the music that accompanies Don Alfonso's proclamation "Così fan tutte!": as the bridge leading from the Andante into the Presto, and again near the end of the overture. Mozart aficionados will recognize this line of text as occurring also in an earlier opera, where Don Basilio declares these same words near the end of Act I of The Marriage of Figaro. — Robert Markow

The Bassoon Concerto in B flat major, K.191/186e, written in 1774, is the most often performed and studied piece in the entire bassoon repertory. Nearly all professional bassoonists will perform the piece at some stage in their career, and it is probably the most commonly requested piece in orchestral auditions – it is usually requested that the player perform the excerpts from concerto's first two movements in every audition. Although the autograph score is lost, the exact date of its completion is 4 June 1774. Mozart wrote this (his first concerto for a wind instrument) when he was 18. Scholars believe that Mozart wrote perhaps three bassoon concerti, but that only the first has survived. The concerto calls for a solo bassoon and an orchestra consisting of 2 oboes, 2 horns in Bb, violin I/II, viola, and cello and double bass. The second movement contains a theme which was later featured in the Countess's aria "Porgi, Amor" at the beginning of the second act of Mozart's opera Le nozze di Figaro.

Wolfgang Amadeus Mozart's Horn Concerto No.4 in E flat major, K.495 was completed in 1786. The manuscript, written in red, green, blue, and black ink, was formerly considered as a jocular attempt to rattle the intended performer, Mozart's friend Joseph Leutgeb. However, it is now believed that the multicolored score may be also a kind of "color code". It was Mozart's last horn concerto.

Composed in 1778, the Symphony No.40, K.550, is sometimes referred to as the "Great G minor Symphony", to distinguish it from Symphony No.25, the two being the only extant minor key symphonies Wolfgang Amadeus Mozart ever wrote. Scholars have often suggested that Mozart never heard his 40th Symphony performed, some going as far as suggesting that the work was written for posterity. However, a recently discovered letter supplies evidence for at least one performance of the work with Mozart present. Most important is the fact that Mozart revised his symphony to include clarinets, a trouble he would have hardly gone through had he not had a specific performance in view. The Symphony calls (in its revised version) for flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, and strings. Notably missing are trumpets and timpani. The first theme is well known, and it also appears in the first movement of his Piano Concerto No.21. Robert Schumann regarded the work as possessing "Grecian lightness and grace". Almost certainly, the most common perception today is that the Symphony is tragic in tone and intensely emotional.

Robert Williams has been the Principal Bassoonist of the Detroit Symphony Orchestra since September of 1974. Prior to that he was Principal Bassoonist of the Winnipeg Symphony, Winnipeg CBC Orchestra, Colorado Philharmonic and Tucson Symphony. He has also played engagements with the Minnesota Orchestra and Boston Symphony.

In addition to his duties at the Detroit Symphony, Robert plays in the DSO Bassoon Quartet, the DSO Woodwind Quintet and the Bellingham Festival of Music. He teaches at Wayne State University and has been on the music faculties of the Aspen Music School and Festival, the University of Michigan, Michigan State University, the Grand Teton Orchestra Training Institute, Claremont Music Festival and the Utah Music Festival.

Robert has been a featured guest artist throughout the United States. He can be heard on all of the DSO recordings conducted by former Music Director Antal Dorati, including the award-winning Rite of Spring and on the Chandos recordings led by Neeme Järvi. Fox Products released his Neo-Bubonic Bassoon Quartet recording in 2003; and his CD of the works of Julius Weissenborn for bassoon and piano was released in 2006.

A native of Tucson, AZ, Robert graduated with honors from the University of Arizona and did post graduate work at the University of Southern California. His major bassoon teachers included Wendal Jones, Leonard Sharrow, and Norman Herzberg.

David Everson, Assistant Principal Horn, has been a member of the Detroit Symphony Orchestra since 1999. A native of Livonia, Michigan and son of two musicians, Dave studied at the University of Michigan with highly-regarded orchestral player and revered teacher Louis Stout. While in school, Dave was a member of the Flint and Toledo Symphonies. Upon leaving Michigan, Dave accepted the position of Associate Principal in Kansas City, where he eventually was named Principal Horn for 13 years. While in Kansas City, he was a frequent featured soloist as well as a founding member of the Grammy-nominated "Kansas City Brass".

As an educator, Dave has been on the faculties of William Jewell College, Washburn University, and his alma mater, University of Michigan. He has played in various music festivals around the country and has been in demand as a clinician and chamber musician. More recently, Dave has been Acting Principal in the Los Angeles Chamber Orchestra and has also played with the Los Angeles Philharmonic. In addition, he has appeared as guest Principal Horn with the Saint Paul Chamber Orchestra.

The last few years have taken Dave in another direction in his career, as a studio musician in Los Angeles. Beginning with his first movie, "Avatar", he can now be heard on more than 90 soundtracks and has recorded with the esteemed John Williams, James Newton Howard and Alan Sylvestri.

Dave is a sought-after private instructor and believes in the development and mentoring of our future horn players. He regularly teaches at Cranbrook and also mentors the students under the educational programs of the DSO.

Leonard Slatkin and the DSO at Orchestra Hall (Photo by Cybelle Codish)

Thursday, January 26, 2017

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

Experience the magnificence of Wolfgang Amadeus Mozart in our three-week Winter Music Festival dedicated to the imagination, virtuosity, and influence of classical music's most prolific composer!
— Detroit Symphony Orchestra

Wolfgang Amadeus Mozart
(January 27, 1756 – December 5, 1791 • 27 Ιανουαρίου 1756 - 5 Δεκεμβρίου 1791)

261st anniversary of his birth – 261η επέτειος από τη γέννησή του

Mozart Festival | Concert 3 of 6: Clarinet Concerto

Detroit: Friday, January 27, 2017, 08:00 PM (EST, GMT-5)

Los Angeles: 05:00 PM
New York: 08:00 PM

Saturday, January 28, 2017:
Paris: 02:00 AM
London: 01:00 AM
Berlin: 02:00 AM
Rome: 02:00 AM
Moscow: 04:00 AM
Seoul: 10:00 AM

Prior to the #MozartFest: Clarinet Concerto webcast, Kathryn Libin will speak about Mozart in Vienna and Prague. (07:00 PM, EST, GMT-5)

Υπό τη διεύθυνση του διάσημου Αμερικανού μαέστρου Λέοναρντ Σλάτκιν, η Συμφωνική Ορχήστρα του Ντιτρόιτ παρουσιάζει την Εισαγωγή από την όπερα «Η Μεγαλοψυχία του Τίτο», K.621, το Κοντσερτόνε σε Ντο μείζονα, K.190, το Κοντσέρτο για κόρνο αρ. 3 σε Μι ύφεση μείζονα, K.447, και το Κοντσέρτο για κλαρινέτο σε Λα μείζονα, K.622, του Βόλφγκανγκ Αμαντέους Μότσαρτ. Συμπράττουν οι σολίστες Kimberly Kaloyanides Kennedy και Hai-Xin Wu (βιολί), Johanna Yarbrough (κόρνο) και Ralph Skiano (κλαρινέτο).

Η συναυλία, διάρκειας δύο ωρών, θα πραγματοποιηθεί στο πλαίσιο του Φεστιβάλ Μότσαρτ (#MozartFest), στην αίθουσα συναυλιών Orchestra Hall στο Max M. Fisher Music Center στο Ντιτρόιτ των Ηνωμένων Πολιτειών, το Σάββατο 28 Ιανουαρίου 2017, στις 03:00 πμ (ώρα Ντιτρόιτ: Παρασκευή 27 Ιανουαρίου 2017, 08:00 μμ), και θα μεταδοθεί ζωντανά από το Livestream.

Μία ώρα πριν τη συναυλία, παρακολουθήστε τη διάλεξη της Kathryn Libin, «Ο Μότσαρτ στη Βιένη και την Πράγα».

Mozart in Vienna and Prague

Learn more about the life and music of Wolfgang Amadeus Mozart during these preconcert lectures by Mozart Festival Scholar-in-Residence Kathryn Libin.

Saturday, January 28, 2017, 02:00 AM (EET, UTC+02:00)


Concert 3 of 6

Wolfgang Amadeus Mozart (1756-1791)

♪ Overture to La clemenza di Tito, K.621 (1791)

♪ Concertone in C major, K.190 (1774)

i. Allegro spiritoso
ii. Andantino grazioso
iii. Tempo minuetto (Vivace)

Kimberly Kaloyanides Kennedy, violin
Hai-Xin Wu, violin

♪ Horn Concerto No.3 in E flat major, K.447 (1787)

i. Allegro
ii. Romance. Larghetto
iii. Allegro

Johanna Yarbrough, horn

♪ Clarinet Concerto in A major, K.622 (1791)

i. Allegro
ii. Adagio
iii. Rondo: Allegro

Ralph Skiano, clarinet

Detroit Symphony Orchestra
Conductor: Leonard Slatkin

(HD 720p)

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

Saturday, January 28, 2017, 03:00 AM (EET, UTC+02:00)
[Detroit: Friday, January 27, 2017, 08:00 PM (EST, GMT-5)]

Live on Livestream

Leonard Slatkin (Photo by David Duchon-Doris)

Among the works Mozart produced within the 35th and final year of his life were three operas, each from a different category of the genre: Così fan tutte, an opera buffa (comic opera); The Magic Flute, a Singspiel, or German opera; and La clemenza di Tito, an opera seria – a form in which the characters are usually drawn from ancient history. The latter work was composed on commission for the festivities attendant upon the coronation of Leopold II as King of Bohemia on September 6, 1791. Mozart had barely a month in which to complete the opera, but, accustomed as he was to rush jobs, the first performance took place at the appointed time. Clemenza was not a success, either with the Imperial Highnesses or with the public. In fact, the Empress assumed the role of music critic and gave her judgment in an extremely brief review, to wit, "German rubbish". Later performances did indeed win public approval, and Mozart was to enter in his catalog: "La clemenza di Tito, made into a real opera by Signore Mazzola (after a libretto by Metastasio)..." However, in present-day opera houses, where Figaro, Giovanni, Così, and Magic Flute are standard fare, Clemenza is still an infrequent visitor. Even the Overture to Clemenza has not found a conspicuous place in the concert hall but has remained on the fringes of the repertoire – a fate it does not deserve. Its music is fresh and vital, having both sinew and elegance and that flair which seemed as natural to Mozart as breathing.

Mozart wrote the Concertone in C major, K.190, in 1774, and it came as the fourth entry in his concerto catalogue. The word concertone comes from the italian concerto, with a suffix added to denote largeness. In this case the work contrasts an orchestra with a group of soloists (first and second violin, with frequent appeareances of solo cello and oboe). The score calls for a full section of two oboes, two bassoons, two horns and two trumpets in addition to timpani and strings. Displaying an ellegant and ornamented style, this piece is not so often heard in music halls.

The Concerto K.447 is the third of the four horn concertos composed by Mozart between 1783 and 1791 for the French horn player Joseph Leutgeb (1732-1811), a friend whom Mozart knew for most of his life. In 1777 Leutgeb moved from Salzburg (where he was member of the court orchestra) to Vienna, where he opened a cheese shop (with the help of a loan from Mozart's father Leopold) in addition to continuing his musical career. The jocular, at times insulting comments that litter the autograph parts of the horn concertos bear witness to the close nature of the friendship between Mozart and Leutgeb. More important, they are also a testament to the artistry of the latter; the solo parts contain many passages that present a considerable challenge to players on the natural (valveless) horn. Among these was the use of so-called "stopped notes", a technique that involved the player's inserting his right hand into the bell to enable him to play notes otherwise unavailable on the horns of the day. Mozart's horn concertos all include such stopped notes, in addition to bass notes obtained by the technique known as "overblowing", another skill developed by Leutgeb. The Concerto was originally given a dating of 1783 by Köchel, but more recent research has established that K.447 probably belongs to 1787 – although that leaves open the question as to why Mozart did not enter the work into the thematic catalog he started in 1784. As with all the concertos with the exception of "No.1", K.412 (the last in order of composition), K.447 is in the usual three-movement concerto form, with an Allegro followed by a slow movement marked Romance and a concluding Allegro in rondo form with plenty of hunting-horn atmosphere. The Concerto is scored for two clarinets, two bassoons, and the usual complement of strings. — Brian Robins (

Wolfgang Amadeus Mozart composed his Clarinet Concerto in A major, K.622, in 1791. It was written for clarinetist Anton Stadler, and it was among the latest works Mozart completed, and his final purely instrumental work (he died in the December following its completion). The Concerto is notable for its delicate interplay between soloist and orchestra, and for the lack of overly extroverted display on the part of the soloist. As no autograph survives and as it was published posthumously, it is difficult to understand all of Mozart's intentions: the only relic of this concerto written in Mozart's hand is an excerpt of an earlier rendition written for basset horn in G. Most likely Mozart originally intended the piece to be written for basset horn, but eventually was convinced the piece would be more effective for clarinet. However, since several notes throughout the piece go beyond the conventional range of the A clarinet, we can presume it was intended to be played on the basset clarinet, a special clarinet championed by Stadler that had a range down to low written C. Even in Mozart's day, the basset clarinet was a rare, custom made instrument, so when the piece was published, a new version was arranged with the low notes transposed to regular range. This has proven a problematic decision, as the autograph is lost, having been pawned by Stadler, and until the mid 20th century musicologists did not know that the only version of the concerto written by Mozart's hand had not been heard since Stadler's lifetime. The Concerto was premiered in Prague in 1791 to a positive reception. The work calls for a solo clarinet in A, flute I/II, bassoon I/II, horn I/II (in A and D, often transcribed for horn in F), violin I/II, viola, cello, and double bass.

Ralph Skiano (Principal Clarinet, Robert B. Semple Chair, DSO member since 2014)

Known for his beautiful sound and expressive playing, Ralph Skiano was appointed principal clarinetist of the Detroit Symphony Orchestra in 2014 after having served in the same position in the Richmond Symphony and the Des Moines Metro Opera.  He has also appeared as guest principal clarinetist of the Seattle Symphony, the Cincinnati Symphony, and the Cleveland Orchestra.

Ralph has been involved in numerous music festivals, including the the Mainly Mozart Festival, The Peninsula Music Festival, the Britt Music Festival, Festival Lyrique-en-Mer, and the Tanglewood Music Center.  As a soloist, he has been featured with ensembles in the United States, France, Germany, and Switzerland. In 2010, Ralph was a guest artist at the Oklahoma Clarinet Symposium and he was a featured soloist with the Baton Rouge Symphony at the 2014 International Clarinet Association Convention. Skiano appeared as a soloist several times with the Richmond Symphony, most notably performing Concerti by Mozart, Weber, and Copland and made his Detroit solo debut with the DSO in March of 2014 performing Mozart's Concerto for Clarinet.

Ralph has served on the faculty of the schools of music at James Madison University and the College of William and Mary, and has presented masterclasses at UVA, Towson University, Louisiana State University, California State University Northridge, Michigan State University, Northwestern University, The University of Maryland, and The University of Michigan. As a Buffet Group Artist, Ralph Skiano performs exclusively on Buffet Crampon clarinets.

Orchestra Hall, Max M. Fisher Music Center, Detroit

See also

Live on Livestream: All Past Events

Detroit Symphony Orchestra Introduces Mozart Festival Mascot, "Wolfie"

Wolfie shows up three days too early for Mozart Festival and makes the most of his time by shredding the piano in Orchestra Hall and taking requests from some old festival friends.

Join Wolfie, Leonard Slatkin, and the Detroit Symphony Orchestra, January 19 - February 5, for a three-week immersion into the music of the famously light-hearted composer who challenged the status quo of European music.

Η Συμφωνική Ορχήστρα του Ντιτρόιτ και ο μαέστρος Λέοναρντ Σλάτκιν, μας συστήνουν τον Wolfie, τη μασκότ του Φεστιβάλ Μότσαρτ.

Wolfie doll created by Kevin Sayers

(HD 1080p)

See also

Live on Livestream: All Past Events

Tuesday, January 24, 2017

Hidden Music of the Russian Church: Sacred Chants after the Revolution 1917 – Moscow Patriarch Choir of Christ the Saviour Cathedral, Ilya Tolkachev (Audio video)

Russian Orthodox church music did not disappear after the 1917 revolution but continued to exist in a semi-underground state, partly because Stalin kind of liked the stuff and was in any event more worried about persecuting Shostakovich and other more potentially critical composers. Nevertheless, the composers represented on this collection all faced substantial danger at one time or another as a result of having remained in the Soviet Union. The music resembles that of earlier Russian religious music in the Romantic tradition, perhaps denatured a bit in the works of some of the composers by the mainstream of secular Romanticism. Sample the Cherubic Hymn of Pavel Chesnokov, which is not so much cherubic as stentorian, but which is a truly stirring work. The Moscow Patriarch Choir of Christ the Saviour Cathedral under Ilya Tolkachev is exceptionally strong, but the real standouts here are the Christophorus engineers, who obtain a deeply resonant, but perfectly clear sound in that structure. Highly recommended for lovers of the Russian choral sound.

Source: James Manheim (

Υπό τη διεύθυνση του συνθέτη και διευθυντή χορωδίας, Ilya Tolkachev, η Χορωδία του Καθεδρικού Ναού του Σωτήρος Χριστού ερμηνεύει θρησκευτικά έργα τα οποία γράφτηκαν από Ρώσους συνθέτες μετά την Οκτωβριανή Επανάσταση και είχαν απαγορευτεί από το σοβιετικό καθεστώς. Η εξαιρετική ηχογράφηση πραγματοποιήθηκε στον Καθεδρικό Ναό του Σωτήρος Χριστού, στη Μόσχα, τον Φεβρουάριο του 2015.

Hidden Music of the Russian Church
Sacred Chants after the Revolution 1917

Богослужебная музыка Русской Православной Церкви
После революции 1917 года

Alexander Alexandrov (1883-1946)

1. Bless the Lord, O My Soul
(First Antiphon from the Divine Liturgy)
2. In Thy Kingdom Remember Us, O Lord
(Third Antiphon from the Divine Liturgy – Soloist: Sergey Godin, tenor)
3. We Hymn Thee
(Fragment of the Eucharistic Canon from the Divine Liturgy – Soloist: Evgeniya Tschishikova, soprano)
4. The Lord's Prayer "Our Father"
(Hymn from the Divine Liturgy – Soloist: Irina Taraburina, soprano)
5. Praise the Name of the Lord (A major)
(Hymn from the All-Night Vigil)
6. Praise the Name of the Lord (D minor)
(Hymn from the All-Night Vigil)
7. From My Youth
(Gradual Antiphon from the All-Night Vigil)

Nikolai Golovanov (1891-1953)

8. He Who Closed the Abyss
(Kontakion of the Great Saturday from the Midnight Office, Passion Week)
9. Cherubic Hymn (Arranged for mixed choir by M. Kotogarov)
(Monastery Chant from the Divine Liturgy)

Alexander Nikolsky (1874-1943)

10. O Gladsome Light Vesperal
(Hymn from the All-Night Vigil)
11. We Hymn Thee
(Fragment of the Eucharistic Canon from the Divine Liturgy)

Pavel Chesnokov (1877-1944)

12. Cherubic Hymn
(From the Divine Liturgy)
13. It Is Meet and Right to Bless You, O Theotokos
(Hymn to the Theotokos from the Divine Liturgy)

Alexander Kastalsky (1856-1926)

14. St Simeon's Prayer "Lord, Now Lettest Thou Thy Servant Depart in Peace"
(Hymn from the All-Night Vigil – Soloist: Sergey Godin, tenor)
15. Let God Arise
(Paschal Hymn, Eastern Orthodox Resurrection Service)

Moscow Patriarch Choir of Christ the Saviour Cathedral

Choral director: Ilya Tolkachev

Патриарший хор Храма Христа Спасителя

Хоровое директор: Илья Толкачёв

Recording: February 2015, Christ the Saviour Cathedral Moscow (Russia)

Cover photo: Cathedral of Christ the Saviour and Big Stone Bridge in Moscow on a post card of 1905

Christophorus Records 2016

(HD 1080p – Audio video)

In remembrance of Katharina Vasilyevna Manzurova (1931-2016), the first female Cantor of Saint Petersburg, a contemporary witness of the horrendous hunger blockade of Leningrad. Through her dedicated, meticulous work, she re-created handwritten copies of liturgical choral scores which had for the most part been destroyed, thereby compiling the musical archive of the Russian Orthodox Church.

Посвящается памяти Екатерины Васильевны Манцуровой (1931-2016), регента Санкт-Петербурга. Екатерина Васильевна пережила гонения на Православную Церковь, страшную блокаду Ленинграда, но не на день не оставила свое служение Богу на клиросе.Она кропотливо и с любовью восстанавливала (переписывала вручную) для нужд клиросного пения в приходах Ленинграда разрушенный в советское время нотный архив богослужебной музыки Русской Православной Церкви. Подвиг этой скромной труженицы сопоставим с масштабом деятельности церковных композиторов, сочинения которых звучат на этом диске.

The Moscow Patriarch Choir of Christ the Saviour Cathedral

The consecration of the Cathedral of Christ the Saviour in 1883 took place with the participation of the legendary choristers of the Chudovsky Monastery (Choral director: P. Skvorzov), and the no less illustrious Imperial Court Capella under the direction of M.A. Balakirev and N.A. Rimsky-Korsakov. The year 1901 saw the actual founding of the Choir of Christ the Saviour Cathedral. The directorship was entrusted to M.V. Karpov, a graduate of the Imperial Court Capella in St Petersburg. One of his successors was A.V. Alexandrov, the composer of the national hymn of the USSR and of present-day Russia.

After the reconstruction of the Christ the Saviour Cathedral in 1998, the Choir was newly founded as well, allowing the traditions of the art of church singing of the Cathedral under the direction of the Moscow choral directors N.S. Georgievsky and S.V. Krivobokov to come to life again. Since 2007 the Patriarch Choir of Christ the Saviour Cathedral has been directed by Dr. Ilya Borisovich Tolkachev.

Ilya Borisovich Tolkachev, born into a family of Orthodox priests, gained early experience in the founding and conducting of a choir group when he gathered together the children in the church community of his father, Boris Tolkachev, Archpriest of Trinity Cathedral of Uspensky Monastery in the city of Alexandrov. Later on he worked in Moscow Cathedral in honour of the Icon of the Mother of God "Joy of All that Mourn" under the famous twentiethcentury choirmaster N.V. Matveyev. It was through the personal recommendation of Matveyev that Tolkachev became the director of the
Cathedral choir.

Ilya Borisovich Tolkachev is not only a conductor but also a well-known composer of liturgical choir works, which explains his continuing interest in contemporary music. Based on its classical background, the choir invites leading Orthodox liturgical composers of Russia to collaborate with them - which is important on a missionary level. Works by contemporary composers are presented during the liturgical celebration, which adds freshness to the sound of ancient prayers. The choir creates a soft tonal aura which supports clergy and visitors in their concentration on prayer. Thus the excellent professional performances of spiritual choral works continue to preserve the spirit of prayer in Orthodox liturgies.

Today the Patriarch Choir of Christ the Saviour Cathedral represents the full range of contemporary Orthodox music as it reaches an audience of millions through the Patriarch's liturgical celebrations via television and due to frequent concert activities within and outside of Russia. The choir acquired significant success through their performances in Milan (Milan Cathedral) and in Rome (St Peter's Basilica).

Source: CD Booklet

The Composers

Heroes of two epochs

This CD featuring the Patriarch Choir of Christ the Saviour Cathedral in Moscow presents a programme of sacred works by Alexander Kastalsky (1856-1926), Alexander Nikolsky (1874-1943), Pavel Chesnokov (1877-1944), Alexander Alexandrov (1883-1946), and Nikolai Golovanov (1891-1953).

Almost a century lies between the birth of the earliest and the death of the youngest composer, but this century of artistic triumphs by the greatest Russian Orthodox composers is not a merely random period of time, but represents a period of Russian history with such gigantic upheavals that it puts all other peaceful eras firmly in the shade.

All composers on this CD experienced the collapse of Russian culture in 1917 and were witness to the murder of clergymen, the destruction of churches and the mockery of works of previous generations. Each of these composers accomplished acts of heroism, risking their life and work in their resistance to the rupture of ancient traditions. It is thanks to these individuals that the Russian choral tradition has survived up to the present day. Most of these individuals actively participated in the Great Patriotic War (war between Germany and the Soviets duringWorld War II).

These musicians were active during a time in which both the subsequent social upheavals and the destruction of choral singing on the part of "proletarian internationalism" could not have been conceived. "During the years 1910-1917, the Synodal Choir directed by N. Danilin achieved the level of perfection as in the days of V. Orlov. The choir's concert appearances in Italy, Austria, Germany and Warsaw were a great success. At the beginning of the twentieth century, there was a significant rise in the number of church choirs established which became famous through their excellent performing practice. The Chudovsky Choir, the Christ the Saviour Cathedral Choir and the choir directed by the gifted conductor I. Juchov were among the best in Moscow..." (P. Alexandrov).

It is no coincidence that all music historians place the Choir of the Synodal Academy of Sacred Music at the top of their list of the best vocal ensembles. This legendary choir still remains the model for all subsequent choral societies and almost all the composers featured on this CD were members of the Synodal Academy.

The musicologist Marina Rachmanova, a leading specialist for this period, writes: "The Synodal Academy of Sacred Music in Moscow, the central teaching institute for sacred music in Russia, was founded back in the 1860s. Boys joining the choir at the age of between seven and eight received schooling in all subjects taught in high schools alongside a variety of music disciplines. A core subject was the study of sacred vocal music and choral conducting. The students were permanently housed in the Synodal Academy and sang in the choir until their voice broke: after completing their studies, they pursued professional music careers. The best students were retained as teachers and conductors of the academy choir. During this time, the position of academy director was occupied by a series of prominent musicians including S. Smolensky, a researcher of Russian liturgical music, the music critic S. Kruglikov, the choral director V. Orlov and the composer A. Kastalsky. Figures such as N. Danilin and N. Golovanov, leading musicologists focusing on Russian liturgical music, the archpriests W. Metallov und A. Preobrazhensky and the composers and choral conductors P. Chesnokov, D. Allemanov and V. Kalinnikov were among the diploma students and teaching staff at the Synodal Academy. Members of the supervisory council included the composers P. Tchaikovsky, A. Arensky, S. Taneyev and V. Safonov, to mention only a few. In 1918, the Synodal Academy was transformed into the State Folk Choir Academy and in 1923 became the choral department of the Moscow Conservatory".

What other conclusions can be drawn, other than that the Synodal Academy was apparently held in great esteem? Despite the Revolution, the grand masters of Russian choral music and the general Russian musical world, at their head the brilliant Alexander Kastalsky, did not flee Russia, but remained in their native country, in permanent risk of their lives, and – in defiance of Trotsky – filled the "old wine" of musical tradition into the "new bottles" of the unfamiliar order of life. Had these heroes displayed timidity during this time, they would have retired from the fight to uphold their life ambitions and we would never have experienced the choirs of Sveshnikov and Jurlov who continued the work of the "Synodians", nor the compositional success of G. Sviridov, nor the contemporary "Pleiades" of choral composers and conductors. Ultimately, the Patriarch Choir of Christ the Saviour Cathedral would also no longer have existed. This would otherwise have been an entirely forgotten world which would have left no surviving traces of its ancient traditions.

Source: Ivan Vishnevskiy, composer, musicologist and journalist (CD Booklet)

Fyodor Klages (1812-1890):
"Interior of the Cathedral of Christ Saviour in Moscow" (1883).
The cathedral before its destruction.
The idea for the Cathedral of Christ the Savior in Moscow dates from the early 19th century. When the last of Napoleon's soldiers left Moscow, Tsar Alexander I signed a manifesto dated December 25, 1812, declaring his intention to build a cathedral in honor of Christ the Savior. The cathedral would "signify Our gratitude to Divine Providence for saving Russia from the doom that overshadowed Her" and acts as a memorial to the sacrifices of the Russian people.

Plans were drawn and a site was chosen but before construction began, Alexander I was succeeded by his brother Nicholas. Profoundly Orthodox and patriotic, the new Tsar disliked the Neoclassical design that had been endorsed by his brother.

Alexander commissioned his favourite architect Konstantin Thon to create a new design, modeled after the Hagia Sophia in Constantinople. The present site was chosen by the Tsar in 1837; a convent and church already standing on the site had to be relocated.

Construction began in 1839 and the cathedral didn't emerge from its scaffolding until 1860; elaborate frescos by some of the best Russian painters continued in the interior for another 20 years. The cathedral was consecrated on the day Alexander III was crowned, May 26, 1883. A year earlier, Tchaikovsky's "1812 Overture" debuted there.

After the Revolution, the prominent site of the cathedral called out for redevelopment by the Soviets, who planned to replace the church with a monument to socialism, known as the Palace of Soviets. It would rise in modernistic buttressed tiers to support a gigantic sculpture of Lenin, arm raised in blessing, perched atop a dome. On December 5, 1931, the Cathedral of Christ the Saviour was dynamited and reduced to rubble.

Funds for the largest building in the world remained unavailable, however. A foundation hole gaped on the site until under Nikita Khrushchev it was transformed into a huge public swimming pool.

With the end of the Soviet rule, the Russian Orthodox Church received permission to rebuild the Cathedral of Christ the Saviour (February 1990). A temporary cornerstone was laid by the end of the year.

A construction fund was opened in 1992 and foundations began to be poured in the fall of 1994. The lower church (Church of the Transfiguration) was consecrated in 1996, and the completed Cathedral of Christ the Saviour was consecrated August 19, 2000.


Ο Καθεδρικός Ναός του Σωτήρος Χριστού, βρίσκεται στις όχθες του ποταμού Μόσχοβα, λίγα τετράγωνα δυτικά της Κόκκινης Πλατείας στη Μόσχα. Είναι ο ψηλότερος ορθόδοξος ναός του κόσμου, ο μεγαλύτερος ναός στη Ρωσία και ένας από τους μεγαλοπρεπέστερους στον πλανήτη. Στο εσωτερικό του μπορούν να χωρέσουν δέκα χιλιάδες άνθρωποι.

Η ιδέα της ανέγερσής του ανήκει στον τσάρο Αλέξανδρο Α' ο οποίος θέλησε να οικοδομήσει έναν μεγαλοπρεπή καθεδρικό προς τιμή του Σωτήρος Χριστού για να δηλώσει την ευγνωμοσύνη του ρωσικού λαού προς τη θεία πρόνοια η οποία οδήγησε στην αποχώρηση των στρατευμάτων του Ναπολέοντα από τη Μόσχα στις 25 Δεκεμβρίου 1812.

Το πρώτο αρχιτεκτονικό σχέδιο ανέγερσης του Ναού ανήκει στον Aleksandr Lavrentyevich Vitberg και χαρακτηρίζεται από το φανταχτερό νεοκλασικό του στυλ. Το σχέδιο αυτό δεν υλοποιήθηκε ποτέ, καθώς ο αδερφός του τσάρου Αλέξανδρου και διάδοχος του θρόνου τσάρος Νικόλαος ανέθεσε στον αρχιτέκτονα Konstantin Thon τη δημιουργία ενός νέο-βυζαντινού μνημείου στο πρότυπο της Αγίας Σοφίας.

Η οικοδόμηση του Ναού διήρκεσε 44 ολόκληρα χρόνια. Το ύψος του ξεπέρασε τα 415 μέτρα και γενικότερα το αποτέλεσμα των μακροχρόνιων εργασιών ήταν εκθαμβωτικό. Τα εγκαίνια του Ναού πραγματοποιήθηκαν στις 26 Μαΐου 1883.

Ο Καθεδρικός Ναός του Σωτήρος Χριστού υπήρξε το σκηνικό στην πρώτη παρουσίαση, το 1880, του έργου «Εισαγωγή 1812» του Πιότρ Ιλίτς Τσαϊκόφσκι, το οποίο ο συνθέτης έγραψε στη μνήμη της υπεράσπισης της Μόσχας από τους Ρώσους εναντίον της προελαύνουσας Μεγάλης Στρατιάς του Ναπολέοντα, στη μάχη του Μποροντίνο, το 1812.

Μετά τη σοβιετική επανάσταση ο χώρος του Ναού επελέγη ως το ιδανικό σημείο ανέγερσης του παλατιού των σοβιέτ. Έτσι μετά από απόφαση του υπουργού του Στάλιν, Καγκάνοβιτς, στις 5 Δεκεμβρίου 1931 ο Καθεδρικός Ναός του Σωτήρος μετετράπη σε ερείπια με μια σειρά ελεγχόμενων εκρήξεων δυναμίτιδας.

Η ανέγερση του παλατιού των σοβιέτ δεν πραγματοποιήθηκε ποτέ και πολύ αργότερα ο Νικίτα Χρουτσόφ διέταξε τη δημιουργία  στην περιοχή  της μεγαλύτερης εξωτερικής πισίνας του κόσμου, της πισίνας του Μόσχοβα. Τον Φεβρουάριο του 1990 η ρωσική ορθόδοξη εκκλησία έλαβε άδεια από τη σοβιετική κυβέρνηση για την ανοικοδόμηση του Ναού και ανέθεσε στον Aleksey Denisov το σχεδιασμό ενός αντιγράφου υψηλής ακρίβειας. Η κατασκευή του ξεκίνησε το 1992 και παρά την αντικατάσταση του αρχιτέκτονα στα μέσα των εργασιών, ολοκληρώθηκε τον Αύγουστο του 2000.

Photograph taken of the demolition of the cathedral on Stalin's orders, December 5, 1931.

See also

Ukraine - Journey to Freedom: A Century of Classical Music for Violin and Piano – Solomiya Ivakhiv, Angelina Gadeliya (Audio video)

Sergei Rachmaninov: All-Night Vigil – Beate Koepp, Kwon-Shik Lee – WDR Rundfunkchor, Nicolas Fink (HD 1080p)

Mihkel Kerem: Symphony No.3 "For the Victims of Communism" – Estonian National Symphony Orchestra, Mikk Murdvee (Audio video)

Sunday, January 22, 2017

Georges Prêtre conducts Richard Wagner: Prelude & Venusberg Bacchanal (Tannhäuser), Siegfried's Rhine journey & Funeral March (Götterdämmerung), Wesendonck Lieder – Marjana Lipovšek, Wiener Symphoniker (Audio video)

Georges Prêtre
(August 14, 1924 - January 4, 2017 • 14 Αυγούστου 1924 - 4 Ιανουαρίου 2017)

In Memoriam

Georges Prêtre conducts Richard Wagner at Wiener Konzerthaus on June 18, 1989. The Wiener Symphoniker performs the works: Prelude & Venusberg Bacchanal (from Tannhäuser), Siegfried's Rhine journey & Funeral March (from Götterdämmerung), and Wesendonck Lieder. Joins the Slovenian mezzo-soprano Marjana Lipovšek.

Ο Ζορζ Πρετρ διευθύνει τη Συμφωνική Ορχήστρα της Βιένης σε έργα του Ρίχαρντ Βάγκνερ. Τον κύκλο τραγουδιών "Wesendonck Lieder" ερμηνεύει η Σλοβένα μεσόφωνος Μαριάνα Λίποβσεκ. Η ζωντανή ηχογράφηση πραγματοποιήθηκε στο Κοντσέρτχαους της Βιένης, στις 18 Ιουνίου 1989.

Richard Wagner (1813-1883)

1. Tannhäuser, WWV 70 (1848-1874)

Prelude & Venusberg Bacchanal 

2. Wesendonck Lieder, WWV 91 (1857-1858)

i. Der Engelb
ii. Stehe Still
iii. Im Treibhaus
iv. Schmerzen
v. Traume

Marjana Lipovšek, mezzo-soprano

3. Götterdämmerung, WWV 86D (1845)

i. Siegfried's Rhine journey
ii. Funeral March

Wiener Symphoniker
Conductor: Georges Prêtre

Recorded live at Wiener Konzerthaus on June 18, 1989

Bartók Rádió

(HD 1080p – Audio video)

Georges Prêtre was born in 1924 in Douai in Northern France and completed his musical studies at the Conservatoire National Supérieur in Paris. In 1946 he made his debut at Marseilles Opera aged 22. From there, his engagements brought him via the Opéra Comique in Paris to the Paris Opera, the Metropolitan Opera in New York and to La Scala in Milan.

In 1970, Georges Prêtre became Music Director of the Paris Opera. He led the foremost European Orchestras: Vienna and Berlin Philharmonic, the big American and the London Orchestras, etc. In 1986 he was appointed Principal Guest Conductor of the Vienna Symphony Orchestra for a period of five years. During this period, he led several tours through Europe, Japan and the USA; today, he re-mains its Honorary Conductor on lifetime.

In July 1989 Georges Prêtre inaugurated the new Bastille Opera in Paris. He has been Honorary Conductor of the Stuttgart Radio Symphony Orchestra since 1995. During 1999, for the commemoration of Francis Poulenc's 100th birthday, he conducted several programmes with works of this composer. In 2001, upon the 100th year of Giuseppe Verdi's death he conducted various performances of the Verdi "Requiem". In the same year he returned with an enormous success to conduct "Turandot" at the Scala in Milano.

In 2004, the year of his 80th birthday, Georges Prêtre returned to conduct his preferred European Orchestras: Santa Cecilia di Roma, Maggio Musicale Fiorentino, Orchestra filarmonica della Scala, Teatro La Fenice di Venezia, Wiener Symphoniker, Wiener Philharmoniker, SWR-Sinfonieorchester Stuttgart, NDR-Sinfonieorchester Hamburg, Staatskapelle Dresden as well as – in France – Orchestre National de France, Orchestre de l'Opéra National de Paris, and Orchestre National du Capitole de Toulouse.

In January 2008, Georges Prêtre gave his highly acclaimed debut as conductor of the Vienna Philharmonic's new year's concert at Vienna's Musikverein. The concert was followed by a quick re-invitation by the Vienna Philharmonic for the new year's concert 2010.

Projects of the season 2008/2009 included the new year's concert at the Teatro La Fenice in Venice and I Pagliacci / Cavalleria Rusticana at Orange, as well as the return of Georges Prêtre to Vienna Philharmonic, Deutsches Symphonieorchester Berlin, Wiener Symphoniker, Orchestra Filarmonica della Scala, and Accademia Nazionale di Santa Cecilia.

After a tour with the Vienna Philharmonic in autumn 2009 he conducted the new year's concert 2010. Further concerts 2010 will take place in Vienna with the Wiener Symphoniker, as well as in Rome with the Accademia Nazionale di Santa Cecilia.

Georges Prêtre is one of the few French artists to have received the highest decorations in France and abroad. He is Commander of the French Légion d'honneur and Chevalier des Palmes Académiques. In Austria, he has received the Austrian Cross for Services Rendered to Science and the Arts, 1st Class, as well as the Cross of Honour of the City of Salzburg. He also became Honorary Member of the Gesellschaft der Musikfreunde in Vienna.

Recently, he was designated to receive the highest decoration within the French "Légion d'Honneur" by the French president: the "Grand Officier de la Légion d'Honneur". Further, he became Honory Member of the Vienna Philharmonic and the Orchestra Filarmonica della Scala awarded him the title "Socio onorario".

Georges Prêtre died on 4 January 2017 in Navès in France.


Ο Γάλλος μαέστρος, Ζορζ Πρετρ, ένας από τους στενότερους συνεργάτες της Συμφωνικής Ορχήστρας της Βιένης τα τελευταία 50 χρόνια, απεβίωσε στις 4 Ιανουαρίου 2017, σε ηλικία 92 ετών. Ο Πρετρ ήταν ο αγαπημένος μαέστρος του σπουδαίου Γάλλου συνθέτη Φρανσίς Πουλένκ και της Μαρίας Κάλας, έχοντας διευθύνει τις τελευταίες παραστάσεις που έδωσε η ντίβα.

Στην πολύχρονη καριέρα του, συνεργάστηκε με φημισμένα μουσικά σύνολα και θέατρα, όπως με την Όπερα του Λονδίνου και του Παρισιού, της Νέας Υόρκης, καθώς και με τη Σκάλα του Μιλάνου και τη Βασιλική Φιλαρμονική Ορχήστρα του Λονδίνου.

Οι μουσικοί της Φιλαρμονικής Ορχήστρας της Βιένης τον επέλεξαν ως μαέστρο τους για τις πρωτοχρονιάτικες συναυλίες του 2008 και του 2010. Στα ενδιάμεσα, το 2009, διηύθυνε την πρωτοχρονιάτικη συναυλία στη Λα Φενίτσε της Βενετίας.

Ο Πρετρ, ο οποίος συχνά δήλωνε «Βιενέζος», πέθανε στο Ναβές, στη νοτιοδυτική Γαλλία, όπου ζούσε, στον πύργο Βοντρικούρ.

See also

Giacomo Puccini: Tosca – Maria Callas, Carlo Bergonzi, Tito Gobbi – L'Orchestre la Société des Concerts du Conservatoire, Georges Prêtre (1965, Digital Remastering 2014, Audio video)

Giacomo Puccini: Tosca, Act II – Maria Callas, Renato Cioni, Tito Gobbi, Georges Prêtre, Franco Zeffirelli

Saturday, January 21, 2017

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

Experience the magnificence of Wolfgang Amadeus Mozart in our three-week Winter Music Festival dedicated to the imagination, virtuosity, and influence of classical music's most prolific composer!
— Detroit Symphony Orchestra

Mozart Festival | Concert 2 of 6: Symphony 39

Detroit: Sunday, January 22, 2017, 03:00 PM (EST, GMT-5)

Los Angeles: 12:00 noon
New York: 03:00 PM
Paris: 09:00 PM

Prior to the #MozartFest: Symphony 39 webcast, Kathryn Libin will speak about Mozart's Overtures, or How to Launch an Opera. (02:00 PM, EST, GMT-5)

Υπό τη διεύθυνση του διάσημου Αμερικανού μαέστρου Λέοναρντ Σλάτκιν, η Συμφωνική Ορχήστρα του Ντιτρόιτ παρουσιάζει την Εισαγωγή από την όπερα «Ο Μαγικός Αυλός», K.620, το Κοντσέρτο για φλάουτο αρ. 1 σε Σολ μείζονα, K.313, το Κοντσέρτο για κόρνο αρ. 2 σε Μι ύφεση μείζονα, K.417, την Εισαγωγή από την όπερα «Ντον Τζοβάννι», K.527, και τη Συμφωνία αρ. 39 σε Μι ύφεση μείζονα, K.543, του Βόλφγκανγκ Αμαντέους Μότσαρτ. Συμπράττουν οι σολίστες David Buck (φλάουτο) και Karl Pituch (κόρνο).

Η συναυλία, διάρκειας δύο ωρών, θα πραγματοποιηθεί στο πλαίσιο του Φεστιβάλ Μότσαρτ (#MozartFest), στην αίθουσα συναυλιών Orchestra Hall στο Max M. Fisher Music Center στο Ντιτρόιτ των Ηνωμένων Πολιτειών, την Κυριακή 22 Ιανουαρίου 2017, στις 10:00 μμ (ώρα Ντιτρόιτ: 03:00 μμ), και θα μεταδοθεί ζωντανά από το Livestream.

Μία ώρα πριν τη συναυλία, παρακολουθήστε τη διάλεξη της Kathryn Libin, «Εισαγωγές του Μότσαρτ, ή Πώς να ξεκινήσει μία όπερα».

Mozart's Overtures, or How to Launch an Opera

Learn more about the life and music of Wolfgang Amadeus Mozart during these preconcert lectures by Mozart Festival Scholar-in-Residence Kathryn Libin.

Sunday, January 22, 2017, 09:00 PM (EET, UTC+02:00)


Concert 2 of 6

Wolfgang Amadeus Mozart (1756-1791)

♪ Overture to The Magic Flute, K.620 (1791)

♪ Flute Concerto No.1 in G major, K.313 (1778)

i. Allegro maestoso
ii. Adagio ma non troppo
iii. Rondeau. Tempo di Menuetto

David Buck, flute

♪ Horn Concerto No.2 in E flat major, K.417 (1783)

i. Allegro maestoso
ii. Andante
iii. Rondo

Karl Pituch, horn

♪ Overture to Don Giovanni, K.527 (1787)

♪ Symphony No.39 in E flat major, K.543 (1788)

i. Adagio – Allegro
ii. Andante con moto
iii. Menuetto & Trio: Allegretto
iv. Allegro

Detroit Symphony Orchestra
Conductor: Leonard Slatkin

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

Sunday, January 22, 2017, 10:00 PM (EET, UTC+02:00)
[Detroit: Sunday, January 22, 2017, 03:00 PM (EST, GMT-5)]

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Leonard Slatkin conducts the Detroit Symphony Orchestra

The Magic Flute (Die Zauberflöte, K.620) is an opera in two acts by Mozart to a German libretto by Emanuel Schikaneder. The work is a Singspiel, a popular form that included both singing and spoken dialogue. The work premiered in 1791, and it marked  the culmination of a period of involvement by Mozart with Schikaneder's theatrical troupe. He had previously contributed to their work in the collaboratively-written Der Stein der Weisen (The Philosopher's Stone). Mozart wrote The Magic Flute keeping in mind the skills of the singers intended for the premiere, which included both virtuosi and ordinary comic actors. The work is noted for its prominent Masonic elements: as Schikaneder, Mozart, and Alberti (the engraver) were lodge brothers. The story portrays the education of mankind, progressing from chaos through religious superstition to rationalistic enlightenment, by means of trial and error, ultimately to make "the Earth a heavenly kingdom, and mortals like the gods".

The Flute Concerto No.1 in G major, K.313, was written in 1778 by Wolfgang Amadeus Mozart. Commissioned by the Dutch flautist Ferdinand De Jean, Mozart was supposed to provide four flute quartets and three flute concerti, yet he only completed two of the three concerti: K.313 being the first. The Andante for Flute and Orchestra, K.315 may have been written as an alternative slow movement for this concerto. The piece is scored for a standard set of orchestral strings, two oboes (which are replaced with two flutes in the Adagio movement), and two horns. The opening of the second movement is often known as resembling the famous theme from the Blue Danube Waltz by Johann Strauss, Jr., which was composed many years later.

Wolfgang Amadeus Mozart's Horn Concerto No.2 in E flat major, K.417, was completed in 1783. This is one of two horn concerti of Mozart to omit bassoons. It is also one of Mozart's two horn concerti to have ripieno horns (horns included in the orchestra besides the soloist), though in contrast to K.495, the solo horn in this one does not duplicate the first ripieno horn's part in the tutti passages. Mozart's good-natured ribbing of his friend is evident in the manuscript inscription "W. A. Mozart took pity on Leitgeb, ass, ox and fool in Vienna on 27 May 1783". The work is in three movements and does not last more than 20 minutes. Given its duration, the Concerto is typically grouped with Mozart's other 3 for the instrument.

Mozart completed Don Giovanni in 1787, and the opera was premiered in Prague on October 29, 1787. Don Giovanni is one of the three operas that resulted from Mozart's collaboration with the great librettist Lorenzo Da Ponte (the other two operas being Le nozze di Figaro and Cosi fan tutte). Mozart himself called his opera dramma giocosso (literally "merry drama") and here in the overture we can see how drama and comedy shift as quickly and as unpredictably as only one man – Mozart – could do. The overture begins with the Commendatore theme. The tragic chords of the very beginning, the following ostinato rhythm, as well as the ascending and descending lines in the first violins and flutes create the impression of something fateful to follow. Contrasting with the general dark mode of the introduction of the overture is the sonata allegro with its typical Mozartean wit and energy. The second theme of the sonata allegro deserves special attention: its forte-piano contrast clearly represents the Don Giovanni-Leporello tandem. Originally Mozart designed the overture to lead directly to the music of the first act, showing that the overture is an inseparable part of the entire drama. It is a well known fact that it took only one day for Mozart to complete the overture to the opera (and that day happened to be the day before the opera's premiere).

The Symphony No.39 in E flat major, K.543, is the first work of the famous symphonic triptych (K.543, K.550 and K.551) Mozart composed in the summer of 1788. Although we do not know exactly why he wrote these three masterpieces at that time, it is assumed that they were intended for a series of concerts in Vienna. Despite his waning popularity in Vienna and his desperate financial situation, Mozart succeeded in forgetting his daily concerns and created a masterpiece of good spirits and self-confidence. The stately introduction leads into a graceful, urbane theme that seems to flow without effort. But a highlight of this work is the Trio of the Minuet, a pastoral Ländler for woodwinds that contrasts strikingly with the pounding energy of the Minuet.

David Buck (Principal Flute, DSO member since 2012)

Praised by The Oregonian for his "supple tone, rhythmic dynamism, and technical agility", David Buck joined the Detroit Symphony Orchestra as Principal Flute in 2012. He previously held principal positions with the Los Angeles Philharmonic and the Oregon Symphony, and has made guest principal appearances with the Pittsburgh, Baltimore and Chicago Symphony Orchestras.

David has performed as a soloist with the Detroit Symphony Orchestra, Detroit Chamber Winds & Strings and the Oregon Symphony, collaborating with conductors including Leonard Slatkin, John Storgårds, Paul Watkins and Teddy Abrams. In 2014, he recorded John Williams' rarely heard Concerto for Flute and Orchestra with Maestro Slatkin and the DSO for Naxos.

During the summer months, David has appeared at the Great Lakes Chamber Music Festival, Oregon Bach Festival, Colorado Music Festival, Tanglewood, Kent/Blossom, Spoleto Festival del Due Monde in Spoleto, Italy and the Pacific Music Festival in Sapporo, Japan. He is a member of the Detroit Chamber Winds & Strings and a former member of the LA Phil New Music Group.

David is a graduate of The Juilliard School, where he earned his Bachelor of Music degree and Graduate Diploma. His primary teachers have been Robert Langevin, Jeffrey Khaner, Jeanne Baxtresser and David Cramer. A native of Philadelphia, David lives in Royal Oak, Michigan with his wife, flutist Jung-Wan Kang.

Karl Pituch (Principal Horn, DSO member since 2000)

Karl Pituch was named Principal Horn of the Detroit Symphony Orchestra in May, 2000. Before joining the DSO, Karl was Associate Principal Horn with the Dallas Symphony Orchestra, Principal Horn with the Honolulu Symphony Orchestra, the Jacksonville Symphony and the Colorado Music Festival Orchestra. He served as a guest Principal Horn for the Boston Symphony Orchestra, the Los Angeles Philharmonic, the Cincinnati Symphony Orchestra, the St. Louis Symphony Orchestra, the St Paul Chamber Orchestra, the Chautauqua Festival Orchestra and the Grand Teton Festival Orchestra.

Karl can be heard on many recordings with the Detroit, Dallas, San Francisco and Honolulu Symphony Orchestras, on the DSO's Live from Orchestra Hall webcasts and as soloist with the Detroit Symphony in the John Williams horn concerto and Kerry Turner horn concerto.

Karl was the grand prize winner at the 1989 American Solo Horn Competition and has been a finalist at many other solo competitions. As a soloist, Karl has performed with orchestras in Japan, Hawaii, Colorado, Oklahoma, Arkansas, Ohio, Indiana, Florida and Michigan. He has been a frequent guest artist at numerous horn conferences and serves as a board member and judge at the International Horn Competition of America. An active chamber musician, Karl has recorded with The DSO Wind Quintet and the Spring Wind Quintet, toured many times with the American Horn Quartet, and participated in chamber music festivals in Marlboro, Vermont; Crested Butte, Colorado; Kapalua, Maui; Kazusa, Japan and Freden, Germany (with the American Horn Quartet).

Karl is currently the horn instructor at Wayne State University. He has taught at the University of Hawaii and has given master classes across the U.S. He is a co-founder, along with Denise Tryon, of Audition Mode, an annual horn seminar specializing in audition preparation. Karl earned his degree from the University of Toledo where he studied with Mary Kihslinger. He also studied with Froydis Wekre and Dale Clevenger.

Detroit Symphony Orchestra

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