#Concert de clarinet

[garadinervi]

Passengers: Beth Gibbons, ARTE Concert, Bibliothèque nationale de France, Paris, July 8, 2024 [Radio France]

Beth Gibbons

James Ellis Ford: drums, harmonium, tenor recorder, backing vocals, musical director Eoin Rooney: guitar, marching snare, backing vocals Howard Jacobs: contrabass clarinet, vibraphone, timpani, baritone sax, flute, bombo, percussions, metal and gongs, recorder, hammered guitar, backing vocals Emma Smith: violin, clarinet, guitar, backing vocals Jason Hazeley-Smith: keyboard, ondes Tom Herbert: bass guitar, Fender VI, backing vocals Richard Jones: viola, guitar, backing vocals

[jaibaisetamere]

music terms | français - english

verbes

assourdir - to deafen/muffle

chanter - to sing

composer - to compose

entendre - to hear

gratter - to strum

jouer - to play

tambouriner - to drum

écouter - to listen

noms (masc/fem)

un accord - chord

un bec - mouthpiece

les bois - woodwinds

un bourdonnement - drone

un cor - horn/french horn (haha)

un gazou - kazoo

un groupe - band

un hautbois - oboe

un instrument de cuivres - brass instrument

un instrument de musique - musical instrument

un instrument à cordes - string instrument

un mode - mode

un orchestre d'harmonie - concert band

un orchestre de jazz

un pavillon - bell (for brass instruments)

un piano - piano

un rythme - rhythm

un saxophone - saxophone

un synthétiseur - synthesiser

un tambour - drum

un tambourin - tambourine

un tempo - tempo

un ton/tonalité - key

un violon - violin

un violoncelle

une baguette - drumstick

une basse - bass guitar

une batterie - drum kit

une boîte à rythmes - drum machine

une caisse claire - snare drum

une chanson - song

une charleston - hi-hat

une clarinette - clarinet

une contrebasse - double bass

une corde - string

une flûte - flute

une frette - fret

une gamme - scale

une grosse caisse - bass drum

une guitare - guitar

une mesure - time signature

une note - note

une pédale - pedal

les percussions - percussion

une symphonie - symphony

une touche - fretboard, piano key

une triade - triad

une trompette - trumpet

adjectives

alto - alto

basse - bass

majeur - major

mineur - minor

ténor - tenor

cette liste est plus longue que l'autre, j'espère que c'est mieux comme ça :3

[jazzandother-blog]

Bootleg of John Coltrane 4tet + Eric Dolphy in Copenhagen 1961

(English / Español)

Without a doubt, saxophonist John Coltrane's band after he left trumpeter Miles Davis in 1960 is one of the defining groups of jazz, and for the year or so during which multi- instrumentalist Eric Dolphy joined Coltrane on reeds, the band became a phrenic and frenetic powerhouse that shook jazz to its core. Between Dolphy's piercingly distinct sound and Coltrane's newly developed interest in Eastern modalities, as well as the driving force of one of the all-time great rhythm sections—pianist McCoy Tyner, drummer Elvin Jones, and bassists Jimmy Garrison or Reggie Workman—this was a band to reckon with.

Recorded on November 20, 1961, mere weeks after the legendary Village Vanguard sessions that got critics' dander up, this album finds the quintet at the Falkonercenter in Copenhagen, playing the first part of a sold-out two act bill (the second act was trumpeter Dizzy Gillespie's band: what a concert!). Here, Workman is still holding down the bass chair, though Jimmy Garrison had likely won himself the spot for future iterations of the Coltrane band with his performance on "Chasin' The Trane" back in New York. Previously made available on vinyl, but only just released in a complete CD form with announcements by presenter Norman Granz, this is a must-have for Coltrane or Dolphy completists.

The album boasts two curiosities that distinguish it from all the other Coltrane recordings available in the marketplace. The first, a pair of rare false starts on "My Favorite Things," prompting an apology from the ever mild-mannered Coltrane to the audience, will likely only interest the true die-hard fan. But a version of Victor Young's beautiful "Delilah," purported to be the only version of the song that Coltrane or Dolphy ever recorded, is a deluxe addition to any fan's collection.

Without a doubt, this would have been an astonishing performance to witness. While Coltrane, Dolphy and McCoy are fantastic as always, part of the pleasure of hearing this band is in the seemingly telepathic give and take between all players. Hearing Coltrane's fire with only hints of the sparks that Elvin Jones is lighting behind him isn't the complete experience. That being said, it's still a lot better than most of what's out there.

Tracks: Announcement by Norman Granz; Delilah; Every Time We Say Goodbye; Impressions; Naima; My Favorite Things (false starts); Announcement by John Coltrane; My Favorite Things.

Personnel: John Coltrane: tenor and soprano saxophones; Eric Dolphy: alto saxophone, flute, bass clarinet; McCoy Tyner: piano; Reggie Workman: bass; Elvin Jones: drums.

Extract text from: allaboutjazz.com / By Warren Allen

-----------------------------------------------------------------------------

Sin lugar a dudas, la banda del saxofonista John Coltrane tras su marcha del trompetista Miles Davis en 1960 es uno de los grupos que definen el jazz, y durante el año en que el multiinstrumentista Eric Dolphy se unió a Coltrane en las cañas, la banda se convirtió en una potencia frenética que sacudió el jazz hasta sus cimientos. Entre el sonido penetrantemente distintivo de Dolphy y el nuevo interés de Coltrane por las modalidades orientales, así como la fuerza motriz de una de las mejores secciones rítmicas de todos los tiempos -el pianista McCoy Tyner, el batería Elvin Jones y los bajistas Jimmy Garrison o Reggie Workman-, ésta era una banda a tener en cuenta.

Grabado el 20 de noviembre de 1961, pocas semanas después de las legendarias sesiones del Village Vanguard que levantaron la polvareda de la crítica, este álbum presenta al quinteto en el Falkonercenter de Copenhague, tocando la primera parte de un programa de dos actos con las entradas agotadas (el segundo acto fue la banda del trompetista Dizzy Gillespie: ¡menudo concierto!). Aquí, Workman sigue ocupando la silla del bajo, aunque Jimmy Garrison probablemente se había ganado el puesto para futuras iteraciones de la banda de Coltrane con su actuación en "Chasin' The Trane" en Nueva York. Anteriormente disponible en vinilo, pero recién editado en CD completo con anuncios del presentador Norman Granz, es un disco imprescindible para los completistas de Coltrane o Dolphy.

El álbum cuenta con dos curiosidades que lo distinguen de todas las demás grabaciones de Coltrane disponibles en el mercado. La primera, un par de raras salidas en falso en "My Favorite Things", que provocaron una disculpa del siempre apacible Coltrane al público, probablemente sólo interesará a los verdaderos fans acérrimos. Pero una versión de la hermosa "Delilah" de Victor Young, que se supone que es la única versión de la canción que Coltrane o Dolphy grabaron jamás, es una adición de lujo a la colección de cualquier fan.

Sin duda, habría sido una actuación asombrosa. Aunque Coltrane, Dolphy y McCoy están fantásticos como siempre, parte del placer de escuchar a esta banda está en el toma y daca aparentemente telepático entre todos los músicos. Escuchar el fuego de Coltrane con sólo indicios de las chispas que Elvin Jones enciende tras él no es la experiencia completa. Dicho esto, sigue siendo mucho mejor que la mayoría de lo que hay en el mercado.

[twentyfivemiceinatrenchcoat]

ANON WHO WAS TALKING ABT WHAT MUSIC SUGURU LISTENS 2 ,,,,,, i pose 2 thee ,,,,,,,, r&b n rap ,,,,,,,,,,,

2 me hes a big kendrick lamar, de la soul, 2pac, aaliyah, alicia keys, erykah badu fan ,,,, just cuz thats who he is 2 me !!! he reminds me of those deep greens, warm browns, n the taste of earth on ur tongue ,,,

but he can appreciate The Classics DEF !!!!!!! he has a big appreciation 4 ALL music me thinks ,,, [and its a personal little hc of mine that he can play bass guitar, drum kit, AND cello ,,, as an orchestra kid ,,,, my opinions r CORRECT] [also hed probably play some rlly low instrument like ,,, tuba or bass clarinet] [satoru would play the trumpet . hed empty his spit valve on sugurus head .] [hed also play violin and be ANNOYINGGG abt it . all violins r annoying asf . [i play violin]]

honestly i think hes just attracted 2 slower, warmer music ,,, like stuff ud listen 2 in the kitchen at 11 pm and the lights a nice warm color and the leftover smell of takeout lingers in the air while you and your lover sit right next 2 each other

OH and satoru would like tyler the creator he was at camp flog gnaw i was there i saw him TRUST [ignore. ignore the racist allegations i free him from those shackles by the power vested in me as a melanated individual] i feel like hed rlly like outkast but only their SUPERR popular stuff, like so fresh, so clean or ms. jackson

also sugurus def a numetal fan . and goth ,,,,,, SUGURU IN TRAD GOTH MAKEUPPP OH MY GOHDDDDDDDDDD and w the piercings ,,,,,,,

going back on him having appreciation 4 all music i mean ALLLLL music . if u go thru his playlists half of them r in languages he doesnt even know but he LOVES them ,,,,, im thinking some songs in yoruba, sanskrit, somali, telugu, spanish, māori, hawaiian ,,,,,,,,,,,

OKI FINAL THING . big Big BIGGGG punk music fan ,,, his whole thing is abt doing whats right for the world and the people around him, and thru that he gets in2 the punk scene !!! yay !!! :3 prob likes bikini kill, xray spex, or the muslims ,,,,

AHHHHHH YOUR BRAIN …….. i’m surrounded by geniuses left and right 😵‍💫😵‍💫😵‍💫 THIS IS CANON TO ME NOW BTW!!!!

you’re SO right i really think sugu is such a music guy……. loves EVERY kind of music for sure i hadn’t considered rap & rnb until now BUT THAT MAKES SOOOO MUCH SENSE …… “deep greens, warm browns, n the taste of earth on ur tongue” <- THIS IS SO SUGUCODED I CRIED…….

and !!! the classics too !!!! I AGREE SO HARD ON THE INSTRUMENTS i’ve always seen him playing either the bass or the drums but CELLO?????? is so unbelievably bigbrained. plays it for sure. and our pretentious little satoru….. for SURE a violin player and i think piano too. AND TRUMPET PLEASEEE WHY DOES THAT MAKE SM SENSE 😭😭….. he strikes me as the kinda guy who used to listen to nightcore religiously and i think sugu would find that personally offensive to the industry

honestly i think hes just attracted 2 slower, warmer music ,,, like stuff ud listen 2 in the kitchen at 11 pm and the lights a nice warm color and the leftover smell of takeout lingers in the air while you and your lover sit right next 2 each other

YEPPPP YEP ….. you can’t see me but i’m agreeing so hard my hands r shaking THIS IS HIM!!!! slow n warm music …… kitchen music …….. just . dreamy and tender …………. 😔😔😔 he’s so …..

ANDDD i agree on literally everything else too. i only know like half of these artists bc i’m embarrassingly unknowledgeable abt music but i trust your opinion w my life …. oh great orchestra master ………… (that’s so cool btw imho anyone who plays any kind of instrument is the Coolest person in the universe i’m so in awe) HE WOULD SOOO BE IN THE PUNK SCENE …… and he absolutely listens to all kinds of music no matter the language . i can see him picking up bits n pieces from the languages too bc that is our multilingual king 🤞 no matter where he is or who he’s talking to he fits in perfectly w any kind of music-loving crowd…. everyone loves him sb he goes to concerts and makes so many friends without even trying. that’s our guy.

tysm for sharing this w me i’ve decided that you’re objectively correct <333 akutami once said that suguru was “a liberal arts guy for sure” and i think abt it every single day . our artistic king . i love him.

[study-sycamore]

late night study sesh

april 13, 2024 - day 3 of 30 days of APES

today i:

had an online volunteer meeting

mer with my english tutor

started pollution unit for apes

tried to find the clarinet edition of solo de concert op 77 but failed

finished s4 of breaking bad (screaming, crying, throwing up)

[2022-mmac]

Sundays at 2pm at MMAC Center

Three Sunday concerts of original music composed and performed by local musicians

Events made possible by funding from the New Mexico Music Commission https://www.newmexicomusic.org/

November 5: James Yeager

James Albert Yeager moved to New Mexico in 2009. He has performed regularly as conductor, organist, harpsichordist, and choral accompanist. He retired as Professor of Sacred Music at the Josephinum College in Columbus, Ohio (1984-2009). James has done numerous compositions and arrangements, including music for two short films. His orchestral works have been performed in Albuquerque and Santa Fe. At present, his primary musical interest remains as a composer

Program: The program will center on James’ three recent compositions: Passacaglia for Organ & Orchestra (2022), Fugue for Piano and Chamber Orchestra ”Mystical Desert”(2023), and Sonata for Piano Quintet (2023). Since the Passacaglia and the Fugue require large ensembles, they will be performed using recordings from Ravel Virtual Studios (NYC) . The Sonata will be played by New Mexico musicians - Flutist Ms. Hyorim Kim, a string quartet of Eric Sewell, Grant Hanner and Lisa Donald, and pianist Natalia Tikhovidova. - as a premiere performance. James will also play short pieces from his film scores. The program will last one hour and is free to the public.

November 12: Michael Hays

Mike Hays is a retired English teacher who has been playing music, especially on bass, since he was a young teen. In the last ten years, he has taken his interest in songwriting more seriously and has been creating jazz-based both vocal and instrumental compositions for the group he is working with. The current group (to whom Mike is deeply grateful) is more classically based, and the audience of the November Concert Series will notice his current compositions reflect this.

Program: Basement Dancing is a group that performs music written by Michael Hays. The group comprises Luis Delgado on clarinet and flute, Juli Palidino on viola and violin, Katie Harlow on cello, mandolin and accordion, Joseph Sabella on drums, and Michael Hays on bass and vocals. . Vocal songs at this concert will include musical portraits of the lonely soul waiting for his lost love in the Plaza de los Arboles Muertos, of the longing that hapless Señor Sapo feels as he watches a lovely circus acrobat, and of the nocturnal activities of Groany Bones, a skeleton who leads a danse macabre.

November 17: Kathleen Ryan + Exhibit Opening of "Masks & Metal"

Composer/pianist Kathleen Ryan is a Whisperings Solo Piano artist. She was the Professional Music Teachers of New Mexico commissioned composer in 2008, for which she composed a set of 24 piano left-hand-alone preludes titled Verbs. Several of her piano solo pieces were featured in the Emmy Award-winning Iowa Public TV special, The Seasons. Ryan lives near Mountainair with her husband and two quirky but inspiring cats.

Program: Composer/pianist Kathleen Ryan's piano solo performance will illustrate aspects of her composer’s life: being inspired, becoming ambitious, recovering from writer’s block, making money, and recycling teenage angst songs into piano solos. She will finish with some premieres, including music that’s not quite composed just yet! The full range of her 21st century impressionist style will be heard, from silly to soothing, from complex to simply serene.

[n4682]

loved your raut recs especially the violin concerto tysm :)))

general romantic / impressionist / modernist recs?

hey so sorry for responding late but i saw this and just kinda went a bit feral, so im sorry.

Alberto Ginastera

Piano Sonata No. 1 (Terence Judd [pfte.])

Piano Sonata No. 2 (Fernando Viani [pfte.])

Piano Concerto No. 1 (Sergio Tiempo [pfte.], Gustavo Dudamel [cond.] w/ Los Angeles Philharmonic)

Guitar Sonata (Aniello Desiderio [gtr.])

Harp Concerto (Nancy Allen [hrp.], Enrique Bátiz [cond.] w/ Orquesta Filarmónica de la Ciudad de México)

Alfred Schnittke

Concerto Grosso No. 1 (Gidon Kremer [vln.], Tatiana Grindenko [vln.], Heinrich Schiff [cond.] w/ Chamber Orchestra of Europe)

Concerto Grosso No. 2 (Oleg Kagan [vln.], Natalia Gutman [vcl.], Gennady Rozhdestvensky [cond.] w/ USSR Ministry of Culture Symphony Orchestra)

Cello Concerto No. 1 (Natalia Gutman [vcl.], Gennady Rozhdestvensky [cond.] w/ USSR Ministry of Culture Symphony Orchestra)

String Quartet No. 3 (Kronos Quartet)

Dmitri Shostakovich

Symphony No. 1 (there was a great recording but when i went to check the recording on yt it wasnt there and it sucks cause it was great)

Symphony No. 5 (Evgeny Mravinsky [cond.] w/ Leningrad Philharmonic Orchestra)

Symphony No. 7 (Yevgeny Svetlanov [cond.] w/ USSR State Symphony Orchestra)

Symphony No. 9 (Rudolf Barshai [cond.] w/ WDR Symphony Orchestra Cologne)

Symphony No. 15 (this one too dissapeared)

String Quartet No. 9 (Fitzwilliam Quartet)

Violin Concerto No. 1 (David Oistrakh [vln.], Dmitri Mitropoulos [cond.] w/New York Philharmonic)

Maurice Ravel

Violin Sonata No. 2 (Viktoria Mullova [vln.], Bruno Canino [pfte.])

Sonata for Violin and Cello (Jean-Jacques Kantorow [vln.], Philippe Muller [vcl.]

Introduction and Allegro, for Harp, Flute, Clarinet, and String Quartet (Skaila Kanga [hrp.], Academy of St. Martin in the fields)

Alborada del Gracioso (Fritz Reiner [cond.] w/Chicago Symphony Orchestra)

Piano Concerto for the Left Hand (Samson François [pfte.], André Cluytens [cond.] w/Orchestre de la Société des Concerts du Conservatoire)

Piano Concerto in G (Arturo Benedetti Michelangeli [pfte.], Ettore Gracis [cond.] w/Philharmonia Orchestra)

La Valse (solo piano version) (Seong Jin-Cho [pfte.])

Valses Nobles et Sentimentales (Louis Lortie [pfte.])

Franz Liszt

honestly too many to list here (hehe, liszt here) but heres just some of the ones (marked with Searle numbers)

S.126i, S.139, S.145, S.173, S.174i, S.177, S.178, S.206, S.216, S.217, S.242 (especially no. 20), S.244/12 + 15 + 19, S.252, S253, S.254, S.388, S.390i, S.392, S.393, S.394, S.400, S.409a, S.412iii, S.413, S.418, S.420 (hehe funny number), S.464 (yes i prefer the arrangements, fight me), S.513a, S.558/4 + 12, S.695c, S.697i (not the Busoni version), S.700

Other Composers

Bela Bartók - Piano Concerto No. 2 (György Cziffra [pfte.], Marco Rossi [cond.] w/Budapest Symphony Orchestra)

Olivier Messaien - Le Banquet Céléste (Gillian Weir [org.])

Samuel Barber - Piano Concerto (John Browning [pfte.], George Szell [cond.] w/Cleveland Orchestra]

Kaikhosru Sorabji - Sequentia Cyclica on Dies Irae (Johnathan Powell [pfte.])

Ferrucio Busoni - Piano Concerto (Marc-André Hamelin [pfte.], YL Male Voice Choir [chor.], Osmo Vänskä [cond.] w/Lahti Symphony Orchestra)

Sergei Rachmaninoff - Sonata No. 2 (Nikolai Lugansky [pfte.])

Marc-André Hamelin - 12 Études in All the Minor Keys (Marc-André Hamelin [pfte.])

Eugène Ysaÿe - Sonata No. 5 for Solo Violin (Hilary Hahn [vln.])

Oren Boneh - Sprout (Lung-Yi Huang [gzhn.] w/ C-Camerata Taipei)

Karol Szymanowski - Violin Concerto No. 1 (Lydia Mordkovitch [vln.], Vassily Sinaisky [cond.] w/ BBC Philharmonic Orchestra)

aaaand i think im going to end the list there because this took WAY too long

[cpmgomis]

Aula de clarinet del Conservatori J.M. Gomis d'Ontinyent

Aquest dimarts 17 de desembre, l'aula de clarinet del conservatori mitjançant el seu professor Jose Antonio Casanova Insa, ha organitzat un concert didàctic en l'institut Jaume I d'Ontinyent en el que han interpretat música de diverses èpoques i estils i han explicat les característiques principals de cada peça. L'alumnat de l'institut ha pogut gaudir d'un concert de qualitat on han après i ho han passat genial.

https://www.instagram.com/share/p/_qujHBo7v

[cavegirl66]

:::: Enzo Favata Cuncordu di Castelsardo Simone Zanchini ::::

::: Kyrie ::::

In 1999 Enzo Favata, a Great Jazz Sardinian musician, decides to work on a new musical project dedicated to the sacred music of Sardinia. A repertoire sung by four male voices from choirs called "a cuncordu".

Starting from that inspiration Favata decides to develop a new sound path starting from the materials of the sacred polyphonic music of Sardinia,

The project will be called "Boghes and Voices" uniting instruments that produced the sound through a flow of air the voices, the saxophone and the bandoneon.

accordion and again bandoneon.

Enzo calls Simone Zanchini an extraordinary jazz musician a country church in Sardinia San Giorgio a Perfugas after a series of successful concerts Favata decides to return to the original instrument the Bandoneon and the choice goes to Daniele Di Bonaventura, (their collaboration had started with the albums Voyage en Sardaigne and Atlantico) many concerts followed.

The digital recording project aims to document these three periods divided over a decade, starting from the official album Boghes and Voices

original text of the booklet follows

Boghes and Voices (2001)

The material collected in this recording session has the aim of bringing together the ancient sacred music of my island and the cosmopolitan music that I encounter every day through my work as a jazz musician. For this project I called and involved musicians such as Simone Zanchini, an all-round musician in which virtuosity and expressive intelligence coexist with the extraordinary four voices of the singers of Castelsardo.

Boghes and Voices is a tribute to the tradition of religious polyphony of Sardinia, a music that I have listened to since I was a child and from which I have often drawn inspiration.

The idea of ​​being able to make the language of improvised music coexist with the religious chant a cuncordu was born from my passion and study of the penitential repertoire of the Cantori di Castelsardo and developed around those chants for four voices (basciu, contra, bogi, falsittu), performed with rigorous respect for tradition in a practice handed down orally for centuries through the brotherhoods and the tradition of Holy Week.

In the recorded musical material coexist the human voice of the Cuncordu di Castelsardo, my reed instruments soprano sax, tenor and bass clarinet, the duduk (Armenian reed instrument); the accordion, played by Simone Zanchini in a style not far from its liturgical relationship with the organ.

The repertoire reinterprets the models of tradition while still respecting their contents, it develops with compositions written by me and Zanchini, improvisations inspired by the models of the polyphonic tradition: songs such as the Gosos (hymns to the saints and to the Madonna) take on a joyful atmosphere with the inclusion and improvisations of the accordion and the soprano sax, the complex song of the Miserere di Castelsarado is incorporated into a suggestive piece where they intertwine in a particular arrangement together with the duduk and the accordion.

Pieces for solo choir dating back to 1600 are also performed such as: Kyrie, Magnificat or more recent Sett'ispadas de dolore.

[sefaradweb]

“Tawassol". Diálogo entre música árabe, barroca y sefardí 

🇪🇸 El 21 de septiembre de 2024, en el Círculo de Bellas Artes de Madrid (calle Alcalá, 42), se presentará el concierto "Tawassol", organizado por Casa Árabe como parte del Festival de las Ideas. A las 20:00 horas, los músicos Driss El Maloumi (laúd árabe) y Andreas Prittwitz (saxofón, clarinete, flautas de pico) ofrecerán un diálogo musical entre las tradiciones árabe, barroca y sefardí. Este concierto gratuito contará también con Said El Maloumi en percusiones y Ramiro Morales en el archilaúd y guitarra barroca. "Tawassol", que significa "cercanía" en árabe, busca tejer puentes entre estas diversas tradiciones musicales mediante improvisación y texturas únicas.

🇺🇸 On September 21, 2024, at the Círculo de Bellas Artes in Madrid (Alcalá Street, 42), the concert "Tawassol" will take place, organized by Casa Árabe as part of the Festival of Ideas. At 8:00 p.m., musicians Driss El Maloumi (Arabic oud) and Andreas Prittwitz (saxophone, clarinet, recorder) will perform a musical dialogue blending Arab, Baroque, and Sephardic traditions. The free concert will also feature Said El Maloumi on percussion and Ramiro Morales on the archlute and Baroque guitar. "Tawassol," meaning "closeness" in Arabic, aims to bridge these musical heritages through improvisation and unique textures.

[burpenterprisejournal]

REANIMATION ORCHESTRA IN AUSLAND

2024/09/20 REANIMATION ORCHESTRA Ausland Berlin - DE

Friday , September 20 Ausland Lychener str. 60, 10437 Berlin Reanimation Orchestra is starting its new season at Ausland

Reanimation Orchestra is an international open-structured multidisciplinary group of musicians united by their desire to blur the boundaries between the roles of composer, interpreter and improviser. It presents its work through a diverse range of sonic resources, encompassing string, woodwind and brass instruments, as well as live and pre-recorded electronics.

Caroline Cecilia Tallone – prepared hurdy gurdy Elo Masing – violin Guilherme Rodrigues – cello Ingolfur Vilhjalmsson – contrabass clarinet Marie Takahashi – viola JD Zazie – playback devices

Doors 20:30, Concert start 21:00, Tickets at the door 10 € https://ausland.berlin/event/reanimation-orchestra

The concert takes place as part of the Month of Contemporary Music Berlin (Monat der zeitgenössischen Musik), initiated by Neue Musik e.V. / field notes berlin. Supported by Applaus 2023 category best live music programs. https://reanimationorchestra.wixsite.com/reanimation https://reanimationorchestra.bandcamp.com

fb event

[pastdaily]

Music From Bremen Musikfest 2012 - Past Daily Mid-Week Concert

Join, Subscribe, tell your friends:Become a Patron! https://pastdaily.com/wp-content/uploads/2024/05/Kulturradio-vom-rbb-ep70.mp3 Something a little unusual this week – Music from the 2012 Bremen Music Festival – this concert featuring The Minguet Quartett and Jörg Widmann, Clarinet (as well as composer) and Harpist Xavier de Maistre with soprano Mojca Erdmann – all recorded live on September…

[yessadirichards]

Vienna Philharmonic, once an all-male ensemble, now has 24 female musicians

NEW YORK

Andrea Götsch was surprised when she won her audition in 2019 that led to membership in the Vienna Philharmonic.

“When I went home, I was just laughing because I couldn’t realize that they had really taken me,” the 29-year-old clarinetist told The Associated Press. “It was always kind of a dream. As a young child already, I watched the New Year’s concert, but it was never a goal. I thought that was too far away.”

A male bastion from its founding in 1842 until 1997, the Vienna Philharmonic now has 24 female players among 145 members with three vacancies as it tours the United States this week.

“It’s very positive to me. It’s a completely normal way of us living with each other. And we all have one main goal, to give the best possible concert — and that unifies us,” said Daniel Froschauer, chairman of the self-governing ensemble. “Look at music schools: There are many more women than men. And we want the best members, so it was the right decision.”

Based since 1870 at Vienna’s Musikverein, the Vienna Philharmonic elects leadership, engages conductors, chooses programs and schedules tours and recording sessions. It selects members from the Vienna State Opera Orchestra and has had a summer residency at the Salzburg Festival since 1922.

Harpist Anna Lelkes played with the Philharmonic for 26 years as a nonmember before she became the first woman admitted. Albena Danailova became an acting concertmaster in 2008 and was granted membership in 2010. The 48-year-old had the high-profile position leading the strings in Sunday’s performance of Mahler’s Ninth Symphony with conductor Franz Welser-Möst at Carnegie Hall.

VPO women include 14 violins, two violas, two cellos, one double bass, two harps, one flute, one clarinet and one bassoon.

The Berlin Philharmonic, widely considered Europe’s other great orchestra, admitted Swiss violinist Madeleine Carruzzo as its first female in 1982 and currently has 26 women, 99 men and five vacancies.

The New York Philharmonic’s first female musician was harpist Stephanie “Steffy” Goldner in 1922 and it now has 49 men and 45 women with 12 vacancies. The Chicago Symphony Orchestra made principal horn Helen Kotas its first rostered female in 1941 and started this season with 59 men, 34 women and 15 openings.

Froschauer, a first violinist who has been a VPO member since 1998, was elected chairman in 2017. He said about 100 people apply for each open position in the State Opera Orchestra and a quarter are given auditions behind screens for a jury of roughly two dozen. They play pieces chosen by the jury head and are graded, with 20 points the most. Those with 11 points or more advance, and after the second round the field is cut to five, then culled further for the final round.

“A jury member has to say, ‘I’d like to ask to remove the screen,’" Froschauer said. "All the points are cumulative and usually there is one person who has a certain amount. There’s no more screen and sometimes there’s three ladies and sometimes there’s three guys. Sometimes it’s a mix. But the most important thing is what are the points?”

Winners get a one-to-two year trial with the State Opera Orchestra, and then a person will be considered for admission. After two more years, they can apply for membership to the Philharmonic.

Harpist Anneleen Lenaerts, 36, applied for an opening at the suggestion of a friend, Xavier de Maistre, who left the Philharmonic for a solo cello career. She took a flight from Brussels just before Christmas for a pre-audition and then the main audition the next day in the Mahler Hall of the State Opera. She was among two finalists who waited in an adjacent room while the jury deliberated, and they were both called in for the announcement by Michael Bladerer, the double bass who chaired the jury and is now the orchestra’s general manager, its No. 2 official.

She debuted at State Opera in Strauss’ “Arabella” with Welser-Möst in 2011 and was admitted to the Philharmonic in 2014, just its eighth woman.

“I was a freelancer, playing solo and chamber music, which I loved. And I never expected to end up in an orchestra like this,” Lenaerts said. “It is a different country with a different history, different mentality, different language. All of that was new for me. (...) You just have to prepare as best as you can and then hope that in the pit it will go well. And on top of that, you have the schedule of the Vienna Philharmonic.”

Götsch, the clarinetist from Bolzano, Italy, was called into the orchestra as a substitute at the suggestion of VPO member Johann Hindler. She began at the opera with Verdi’s “La Traviata” in 2016 and played with VPO for the first time a year later in Mahler’s Sixth Symphony with Daniel Harding. She won her audition in 2019.

A year later, she was confirmed for the Opera Orchestra and in 2022 she became a VPO member. Götsch sits on the orchestra’s management committee with the title Ordnungswahrerin (Order Keeper), where she keeps track of attendance at rehearsals and performances and deals with quick personnel changes.

“Sometimes they get sick an hour before the concert and so they call me and say ‘I cannot play. Can you help?'" she said. “I have to make sure that there are enough people.”

[elmartillosinmetre]

Valses de Año Nuevo

[La directora polaca Marzena Diakun al frente de los conjuntos de la ORCAM / MARCO BORGGREVE]

Una muestra de las recientes producciones de solistas, conjuntos y discográficas españoles dedicados al sector clásico

Ha cumplido ya 82 años, pero Jordi Savall sigue viviendo en una vorágine de conciertos y grabaciones. Su discográfica Alia Vox no descansa. En 2023, además de alguna reedición sonada (como un par de vinilos con míticos registros para su viola de los años 70), ha publicado uno de esos crossovers entre lo antiguo y las músicas tradicionales y del mundo (Oriente Lux) a los que es tan aficionado, pero además se ha adentrado en el terreno del siglo XIX con fuerza: después de su ciclo sinfónico Beethoven y de su acercamiento a Schubert, ha llevado al disco la Italiana de Mendelssohn, que presenta dos veces, en su versión inicial (1833) y en la definitiva (1834), para, ya terminando el año, elevar el tiro con la edición (siempre lujosa e impecable) de nada menos que la Missa solemnis como culminación de su revolucionario acercamiento al genio de Bonn. Escuchando el despliegue de energía de sus conjuntos, la rebautizada ahora como Capella Nacional de Catalunya y Le Concert des Nations (con Lina Tur Bonet, como en Mendelssohn, de concertino), pensaba en que esta demostración de vigor, creatividad y pasión de alguien que lo ha sido ya todo en su oficio es un buen estímulo para afrontar los desencantos de la edad y del entorno que imponen los tiempos.

Otro de los grandes veteranos de la música antigua española dejó a finales de 2023 un disco extraordinario: Procesional de Sixena. Con cuatro cantantes femeninas (Èlia Casanova, Beatriz Lafont, Laia Blasco y Maria Morellà), absolutamente transfiguradas, y el apoyo de un arpa (Robert Cases) y una fídula (la del director del proyecto), Carles Magraner ha conseguido con su Capella de Ministrers uno de esos hitos musicales que se quedan en la memoria por la belleza serena, intemporal que la música transmite. Se trata de un acercamiento al repertorio de las monjas del Real Monasterio de Sijena (Huesca) según la única fuente musical conservada, el excepcional Procesional de Sijena, elaborado en los siglos XIV y XV, que recoge cantos para diferentes momentos del año litúrgico. Aquí se resumen tres: el día de San Juan Bautista, el Mandatum del Jueves Santo y la Pascua, en los que el gregoriano se mezcla con algunas polifonías e interludios instrumentales a partir de los Códices de las Huelgas y Madrid.

Otro grande de la música antigua, Albert Recasens, termin�� 2023 presentando un álbum singular con La Grande Chapelle: música sacra latina de Antonio Rodríguez de Hita (1722-1787), un compositor principalmente conocido por sus comedias junto al dramaturgo Ramón de la Cruz. El repertorio fue compuesto para el monasterio madrileño de la Encarnación y está formado por salmos, motetes, himnos, lamentaciones y, sobre todo, responsorios de Epifanía. Como siempre me pasa con Recasens, la mezcla entre rigor y detalle me deja con ganas de oír más.

Savall, Magraner y Recasens manejan sellos propios (Alia Vox, CDM y Lauda), pero puede que el más influyente sello clásico español sea ahora el granadino IBS, que ha seguido con su extraordinaria cadencia productiva, de la que quisiera destacar ahora tres trabajos. El primero es el que el navarro Eloy Orzaiz ha hecho con un piano de Conrad Graf de 1826-27 en el que recoge los tres Klavierstücke D.946 de Schubert y la Gran Sonata brillante en re mayor Op.106 y una bagatela de Hummel (esta última da título a su disco, La Contemplazione) para mostrar la mala suerte que tuvo Hummel al competir en los libros de historia con Beethoven y Schubert: el brillante virtuosismo de su música, combinado con el lirismo belcantista de ese Larghetto de la Sonata, merece más atención de la que hoy conoce.

Para el segundo, cambiamos de universo radicalmente: el Trío Musicalis (Eduardo Raimundo, clarinete; Mario Pérez, violín y viola; Francisco Escoda, piano) titularon Mosaicos a un álbum que recoge obras de compositores españoles vivos: Héctor Parra, Jesús Torres, José Luis Greco, Ramón Paús y José María Sánchez-Verdú, todas ellas escritas entre 2018 y 2021 para el propio grupo, fundado en el seno de la ONE hace ya 15 años. Cinco nombres para cinco estéticas diferentes y un empeño común, seguir ampliando las posibilidades expresivas de los instrumentos y sus desempeños dentro del marco siempre sugestivo y exquisito de la música de cámara. El resultado: un CD original, sorprendente, inquisitivo.

El tercero nos lleva a la música sinfónica. La polaca Marzena Diakun se pone al frente de los conjuntos de los que es actual titular, el Coro y la Orquesta de la Comunidad de Madrid, para un intenso y poco común recital brahmsiano. Sólo la Rapsodia para alto, coro masculino y orquesta, que canta como solista Agnieszka Rehlis, ha alcanzado cierta difusión entre los aficionados.  Pero aquí se reúnen también la Canción del destino Op.54 (sobre Hölderlin), las Cuatro canciones para coro femenino con dos trompas y arpa Op.17, una selección de seis Liebeslieder-Walzer Op.52, Nänie Op.82 (sobre Schiller) y el Canto de las Parcas Op.86 (sobre Goethe). Del Brahms más aparentemente ligero de los valses al dramático que escribe sobre Goethe o Hölderlin todo está dicho aquí con una propiedad técnica y expresiva y una medida del tiempo que no muchos relacionarían con un conjunto español. Me parece uno de los mejores discos grabados por una orquesta española en los últimos años.

El saxofonista toledano Pedro Pablo Cámara también ha creado su propio sello (Calle 440: tiene que pulir el diseño interior y documental de sus productos), donde acaba de publicar un estupendo álbum mozartiano con un conjunto de saxofonistas que responde al singular nombre de Prochain Arrêt y que proceden del Centro Superior de Enseñanza Musical Katarina Gurska de Madrid, donde Cámara ejerce como profesor. El grupo ha cogido dos de las Serenatas de Mozart escritas para Harmoniemusik (octetos de viento, muy populares en la Viena de finales del XVIII) y las ha pasado a sus instrumentos. Las obras se cuentan entre las mejores del género: nada menos que la Nachtmusique KV 388 de 1782 y la Gran Partita KV 361, de la misma época (quizás un año anterior, aunque no es seguro). En su plena madurez, Mozart logra una combinación de lirismo, divertimento y hondura expresiva como en pocos otros géneros de su catálogo. Los arreglos son tan buenos que uno se olvida del instrumento que escucha porque el mensaje musical del compositor llega en toda su extensión y su verdad.

Debutaron para la fonografía con canciones de García Leoz en un disco titulado Luna Clara, y la soprano pacense Mar Morán y el pianista Aurelio Viribay vuelven al CD con Luna muerta (editado en Cezanne esta vez), repaso por las canciones de Manuel Palau (1893-1967). A la ampliación del repertorio español, el CD añade la posibilidad de escuchar una voz radiante, que se explaya operísticamente de forma brillantísima cuando la ocasión lo requiere, pero sabe recogerse en la intimidad con delicadeza, siempre con insinuante intención expresiva en matices y acentos. Soberbio.

Y para terminar, más valses, que estamos en Año Nuevo. Los doce que el pianista cordobés Pablo Amorós ha dejado con la marca Marfer de un personaje enigmático, Clifton Worsley, seudónimo de Pedro Astort Ribas (1872-1925), un barcelonés, pionero del jazz en España, creador del llamado Vals de Boston (con el primero, luego retitulado Beloved!, se hizo famoso internacionalmente), más lento que el vals vienés o francés y con el que se labró un nombre en la música popular de principios del siglo XX. Worsley fue luego olvidado. Este atrevido CD lo reivindica.

[Diario de Sevilla. 7-01-2024]