Browsing: Orchestral

“FEAST OF VOICES” Beethoven-Bruckner: Piano Sonata No. 8 in C minor Op. 13 “Pathétique” (lst movement) Vaughan Williams: Flos Campi Mahler-Britten: Symphony No. 3 (2nd movement) Bruckner: Te Deum Bruce Williams, viola Julia Taylor, soprano Claudia Chapa, mezzo-soprano Brian Yeakley, tenor Charles Evans, baritone Chorus Austin (Ryan Heller, director) Austin Symphony/Peter Bay Long Center for the Performing Arts Austin, TX October 7, 2017 In his opening remarks, conductor Peter Bay informed the audience that they were about to hear only the second performance ever of Anton Bruckner’s orchestration of the first movement of Beethoven’s “Pathétique” Sonata, making this a U.S.…

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Mozart in Paris Poulenc: Suite from “Les Biches” FP36 Mozart: Piano Concerto No. 15 in B flat major K. 450 Poulenc: Concert Champêtre for Harpsichord and Orchestra FP49 Mozart: Symphony No. 31 in D major K. 297 “Paris”   Anton Nel, piano & harpsichord Austin Symphony Orchestra/Peter Bay   Long Center for the Performing Arts Austin, TX September 9, 2017   Maestro Peter Bay, who hails from Washington, D.C., has made his home in Austin, Texas for the past 20 years. It has been a Golden Age for Austin and for the Austin Symphony (ASO). As the city has grown…

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“Weil and his [Tafelmusik] players convince us that Beethoven can sound as radical in the 21st century as he must have done in the 19th” — Gramophone Magazine Toronto, September 7, 2017 – Tafelmusik is thrilled to present its recordings of the complete Beethoven symphonies, six CDs packaged in a striking box set. Recorded under the direction of guest conductor Bruno Weil over a twelve-year period, Tafelmusik’s cycle marks the first time a North American orchestra has recorded all nine Beethoven symphonies on period instruments. Tafelmusik’s complete Beethoven symphonies will be released on CD on the Tafelmusik Media label starting September…

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Orchestre symphonique de Montréal The Orchestre symphonique de Montréal (OSM) will start its season with Mahler’s Symphony no. 8, “Symphony of the Thousand,” a large-scale work gathering more than 350 instrumentalists and singers on stage (September 19 & 21). In addition, Russian music will hold a special place during the fall. Russian-born conductor Vasily Petrenko will present an all-Russian music concert in October (October 11, 14, and 15), and pianist Charles Richard-Hamelin will complete the evenings with a concerto by Prokofiev. On November 11, the St. Petersburg Mariinksy Orchestra will present a concert in Montreal under the baton of renowned…

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The first half of the 2017-18 season offers an ample selection for Early and Baroque Music lovers. Here are our must-see concerts. Arte Musica The distinguished ensemble, Les Arts Florissants, in collaboration with the Club musical de Québec, will present Mantova, the second chapter of a trilogy devoted to the madrigals of Monteverdi. Conducted by Paul Agnew, the group will perform excerpts from Books IV, V, and VI, which embody the composer’s mature period. The ensemble will take the stage at Palais Montcalm on October 3, and at Bourgie Hall on October 4. www.mbam.qc.ca Under its new musical director, Jonathan…

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Highlights for September/October include tributes to Glenn Gould and Maureen Forrester; Adizokan—celebrating the evocative culture of Canadian Indigenous peoples; and a not-to-be-missed performance by the Israel Philharmonic Orchestra. August 30, 2017: The Toronto Symphony Orchestra (TSO), led by Music Director Peter Oundjian, opens its 96th season on Tuesday, September 19 at Roy Thomson Hall. The performance, part of Canada Mosaic (a Canada 150 Signature Project) is anchored by the World Première of Life of Pi—a new orchestral suite by Canadian composer Mychael Danna. Commissioned by the TSO, the new suite is based on the soundtrack of the award-winning movie (please note that this performance does not include any…

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This fall, Grammy and ECHO Klassik Award-winning conductor Fabio Luisi launches his second season as the new Principal Conductor of the Danish National Symphony Orchestra (DNSO), and his sixth as General Director of Zurich Opera, which was named Best Opera Company at the 2014 International Opera Awards. In Copenhagen he opens the season with Mahler’s Eighth Symphony, and subsequent concerts throughout the season include Nielsen’s Fifth Symphony paired with Hans Werner Henze’s Second Violin Concerto; Franz Schmidt’s oratorio Das Buch mit sieben Siegeln; and concerts featuring Beethoven’s Fifth and Seventh Symphonies. He also acts as Jury Chairman for the DNSO’s Malko Competition for Young Conductors. At Zurich…

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The first thing you need to know about Daniel Barenboim’s live performance with the Staatskapelle Berlin is that it is the best-sounding Gerontius on record. No British string section has ever played the work with such sweet serenity. No British winds ever breathed with such deep assurance. Strange as it may seem, the Berlin musicians and chorus singers feel this most English of works in their fingers and bones. There is something akin to love in their playing. This is not to disparage past recordings, all by English forces, notably the Halle’s with John Barbirolli and two-thirds of a dream…

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MONTRÉAL, July 31, 2017 /CNW Telbec/ – The date had already been set for a while by the official programming of the 375th anniversary of the city of Montréal and GSI Musique. On August 19th at 9pm at the foot of the Mount Royal, music lovers will be able to witness, for the first time ever, three of the city’s major orchestras putting their talent together: The McGill Symphony Orchestra, the Orchestre Métropolitain and the Orchestre symphonique de Montréal being the featured guests of the evening. This popular gathering is under the direction of Monique Giroux and the musical arrangements have been made by Simon Leclerc who will also conduct the more than 400 musicians, artists and choir…

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If you go out and buy the Minnesota Orchestra’s Bis recording of Mahler’s fifth symphony, rest assured that you need never buy another. It’s resoundingly well played in every department, devoid of the bravado that impairs some American performances, and discreetly shaped by the music director Osmo Vänskä, who finds organic solutions for some of the more abrupt shifts in the score. Vänskä’s approach is coolly objective. He plays what is in the score and allows the listener to find his or her own level of emotional engagement. The Adagietto, at twelve and a half minutes, is slower than is…

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