#alexander henz

[lesser-known-composers]

Hans Werner Henze (1926-2012) : String quartet no. 1 (1947)

1. Allegro molto 0:00 2. Andantino 5:16 3. Lento, ma non troppo 13:13 4. Presto 15:17

played by the Arditti String Quartet :

(Irvine Arditti, Alexander Bălănescu, Levine Andrade & Rohan de Saram)

[hellocanticle]

Political Classical: Conflict in the Concert Hall, Hans Werner Henze's "Das Floß der Medusa" (1968), then and since then.

Political Classical: Conflict in the Concert Hall, Hans Werner Henze's "Das Floß der Medusa" (1968), then and since then

Cover of the original vinyl release of “Der Floss der Medusa” The 1913 riotous premiere of Stravinsky’s “Rite of Spring” is pretty well known in classical music history. Sandwiching the premiere of his masterpiece of modernism between well known conservative chestnuts such as “Les Sylphides” (an orchestration by Alexander Glazunov of piano music by Chopin, 1907-9) which opened the concert along…

[placerdiario]

DIRTY MONEY from Sinan Sevinç on Vimeo.

Have you ever thought about what kind of journey a dollar bill makes before landing inside your wallet? In an age of COVID-19 with an intense scrutiny on hygiene, no one seems perturbed about handing another person cash. While the world went into lockdown and screamed at each other to keep their distance inside Walmart, cash still made its rounds from hand to hand, from pocket to pocket, from one insanitary surface to another. DIRTY MONEY tells the story of a freshly printed ten-dollar-bill emerging from an ATM and follow its gradual unhygienic demise through the disgusting scenarios it encounters while changing its owner multiple times. But isn’t there a more hygienic solution to rescue Hamilton’s handsome face from mutilation? There certainly is.

CREDITS

Director: Sinan Sevinç & Dominik Ströhle Cinematography: Christopher Behrmann Film Music: Alexander Wolf David Sounddesign: Marco Dahl, Julian Berg Editing: Bela Adami Animation: Mario Bertsch Visual Artist: Matthias Schaudig Production Design: Marie Becher, Maria Schmid Executive Producer: Elisabeth Yili Baumann Assistant Director: Lennard Fricke, Yelyzaveta Davydenko, Philipp Schaeffer Assistant Cinematographer: Kai Bestek, Kevin Brari, Marco Breidenbach, Sina Diehl, Linus Heinzler, Julian Pfaff, Jakob Sinsel Costume Design: Sarah Heidelberger, Mara Laibacher Gaffer: Philip Henze, Dennis Banemann, Garry Sonneborn Lighting Technician: Nils Ecke, Chris Gruber, Christopher Jess, Hanna Lange, Lina Marzin Colorist: Peter Hacker COVID-19 protocol: Philipp Schaeffer, Britt Abrecht Set Runner / COVID-19 protocol: Andreas Scherlinger Production Driver: René Sebastian Colling Production Company: Filmakademie Baden-Württemberg GmbH

CAST: Alie Kaloloh, Evin Sevinç, Duygu Kelesh, Nils Müller, Marco Nestler, Jessica Stamp, Cathy Fink

[elarafritzenwalden]

Apartment building at Nägelistrasse, 3-5-7 Wettingen - Baden, Aargau, Switzerland; 1965-66

METRON architektengruppe (Marc Frey, Peter Stolz, Alexander Henz, Hans Rusterholz) / (photography by Roger Kaysei)

see map

via "Das Werk" 54 (1967)

[osamu-jinguji]

STRKNG Editors' Selection - #31 (My photo was selected. See p14-15/209) Published on Apr 8, 2019 on Issuu​ https://issuu.com/strkng/docs/strkng_vol_31 STR i K i NG​ #photography #photo #photographers #international #worldwide #contemporary #portfolio #collection #gallery #model #designer #brand #contributor #magazine #image #editor #selection #publication

STRKNG is an international portfolio collection and online gallery for contemporary photography. Up to three images are selected daily for the topic Editors' Selection and are shared widely in social media. Photographers, Models and Designers/Brands are welcome to contribute great portfolios and striking images at https://strkng.com Editors' Selection - #31- 100 striking images · 2018-04-06 - 2018-05-12 Cover: »Herbstspaziergang« | © Dasha Riley

Contributors - humana -· 4spo· acqua&sapone· alexander steger· amiyumi· ando fuchs· andreas jorns· andy gläsel· anna försterling· anna hoppe· benoit cattiaux· bildausschnitte.at· blende-eins-zwei-photography· buddabar michal· ca_me_fait_rever· christian greller - dark fine art photography· christian kolbow· christoph boecken· dasha riley· davidcohen· detlef reich· diefraunamenshorst· dirk ludwig· disillusion· elmar stegen· emily· femaleficent_· fotobysg· goal74· hendrik janssen· holger schimanke· jens schlenker· jochen abitz· jonas berggren· judith kasper· julie de waroquier· katja kemnitz· kerstin niemöller· knipserkrause· kostiantyn baran· leila hichri· lichtweisend· lionel pesqué· lisa nowinski· luca galavotti· lukas kaminski· lu★· mångata· marc von martial· marie meister· martin neuhof· martin röhr· maryvjaer· matthias leberle· maure· małgorzata sajur· merih miran· miss souls· missouri home tours, llc | st. louis real estate marketing photographer· muirgen· narnya imbrin· nicole oestreich· oliver henze· osamu jinguji· panibe· pascal wiedemann· patrik walde· peacocks feather· pierre_bykol· ralf tophoven· rémi· ritsa votsi· rock 'n' lola· roland mühler· sarah-philline· schattenkuenstler· schiwa rose· sebastian freitag· sebastien petit· sergey sivushkin· sermon fortapelsson· sophie simone· stefano majno· supersteech· sven kietzke· thom trauner· tnfoto· tommaso simone· valeria schettino· varvara kandaurova· vincent gauthier· volker zielke· woman of dark desires· _sebastian_berger_

[vivacala]

DIRTY MONEY from Sinan Sevinç on Vimeo.

Have you ever thought about what kind of journey a dollar bill makes before landing inside your wallet? In an age of COVID-19 with an intense scrutiny on hygiene, no one seems perturbed about handing another person cash. While the world went into lockdown and screamed at each other to keep their distance inside Walmart, cash still made its rounds from hand to hand, from pocket to pocket, from one insanitary surface to another. DIRTY MONEY tells the story of a freshly printed ten-dollar-bill emerging from an ATM and follow its gradual unhygienic demise through the disgusting scenarios it encounters while changing its owner multiple times. But isn’t there a more hygienic solution to rescue Hamilton’s handsome face from mutilation? There certainly is.

CREDITS

Director: Sinan Sevinç & Dominik Ströhle Cinematography: Christopher Behrmann Film Music: Alexander Wolf David Sounddesign: Marco Dahl, Julian Berg Editing: Bela Adami Animation: Mario Bertsch Visual Artist: Matthias Schaudig Production Design: Marie Becher, Maria Schmid Executive Producer: Elisabeth Yili Baumann Assistant Director: Lennard Fricke, Yelyzaveta Davydenko, Philipp Schaeffer Assistant Cinematographer: Kai Bestek, Kevin Brari, Marco Breidenbach, Sina Diehl, Linus Heinzler, Julian Pfaff, Jakob Sinsel Costume Design: Sarah Heidelberger, Mara Laibacher Gaffer: Philip Henze, Dennis Banemann, Garry Sonneborn Lighting Technician: Nils Ecke, Chris Gruber, Christopher Jess, Hanna Lange, Lina Marzin Colorist: Peter Hacker COVID-19 protocol: Philipp Schaeffer, Britt Abrecht Set Runner / COVID-19 protocol: Andreas Scherlinger Production Driver: René Sebastian Colling Production Company: Filmakademie Baden-Württemberg GmbH

CAST: Alie Kaloloh, Evin Sevinç, Duygu Kelesh, Nils Müller, Marco Nestler, Jessica Stamp, Cathy Fink

[dliilb]

DIRTY MONEY from Sinan Sevinç on Vimeo.

Have you ever thought about what kind of journey a dollar bill makes before landing inside your wallet? In an age of COVID-19 with an intense scrutiny on hygiene, no one seems perturbed about handing another person cash. While the world went into lockdown and screamed at each other to keep their distance inside Walmart, cash still made its rounds from hand to hand, from pocket to pocket, from one insanitary surface to another. DIRTY MONEY tells the story of a freshly printed ten-dollar-bill emerging from an ATM and follow its gradual unhygienic demise through the disgusting scenarios it encounters while changing its owner multiple times. But isn’t there a more hygienic solution to rescue Hamilton’s handsome face from mutilation? There certainly is.

CREDITS

Director: Sinan Sevinç & Dominik Ströhle Cinematography: Christopher Behrmann Film Music: Alexander Wolf David Sounddesign: Marco Dahl, Julian Berg Editing: Bela Adami Animation: Mario Bertsch Visual Artist: Matthias Schaudig Production Design: Marie Becher, Maria Schmid Executive Producer: Elisabeth Yili Baumann Assistant Director: Lennard Fricke, Yelyzaveta Davydenko, Philipp Schaeffer Assistant Cinematographer: Kai Bestek, Kevin Brari, Marco Breidenbach, Sina Diehl, Linus Heinzler, Julian Pfaff, Jakob Sinsel Costume Design: Sarah Heidelberger, Mara Laibacher Gaffer: Philip Henze, Dennis Banemann, Garry Sonneborn Lighting Technician: Nils Ecke, Chris Gruber, Christopher Jess, Hanna Lange, Lina Marzin Colorist: Peter Hacker COVID-19 protocol: Philipp Schaeffer, Britt Abrecht Set Runner / COVID-19 protocol: Andreas Scherlinger Production Driver: René Sebastian Colling Production Company: Filmakademie Baden-Württemberg GmbH

CAST: Alie Kaloloh, Evin Sevinç, Duygu Kelesh, Nils Müller, Marco Nestler, Jessica Stamp, Cathy Fink

[aboutanimation]

DIRTY MONEY from Sinan Sevinç on Vimeo.

Have you ever thought about what kind of journey a dollar bill makes before landing inside your wallet? In an age of COVID-19 with an intense scrutiny on hygiene, no one seems perturbed about handing another person cash. While the world went into lockdown and screamed at each other to keep their distance inside Walmart, cash still made its rounds from hand to hand, from pocket to pocket, from one insanitary surface to another. DIRTY MONEY tells the story of a freshly printed ten-dollar-bill emerging from an ATM and follow its gradual unhygienic demise through the disgusting scenarios it encounters while changing its owner multiple times. But isn’t there a more hygienic solution to rescue Hamilton’s handsome face from mutilation? There certainly is.

CREDITS

Director: Sinan Sevinç & Dominik Ströhle Cinematography: Christopher Behrmann Film Music: Alexander Wolf David Sounddesign: Marco Dahl, Julian Berg Editing: Bela Adami Animation: Mario Bertsch Visual Artist: Matthias Schaudig Production Design: Marie Becher, Maria Schmid Executive Producer: Elisabeth Yili Baumann Assistant Director: Lennard Fricke, Yelyzaveta Davydenko, Philipp Schaeffer Assistant Cinematographer: Kai Bestek, Kevin Brari, Marco Breidenbach, Sina Diehl, Linus Heinzler, Julian Pfaff, Jakob Sinsel Costume Design: Sarah Heidelberger, Mara Laibacher Gaffer: Philip Henze, Dennis Banemann, Garry Sonneborn Lighting Technician: Nils Ecke, Chris Gruber, Christopher Jess, Hanna Lange, Lina Marzin Colorist: Peter Hacker COVID-19 protocol: Philipp Schaeffer, Britt Abrecht Set Runner / COVID-19 protocol: Andreas Scherlinger Production Driver: René Sebastian Colling Production Company: Filmakademie Baden-Württemberg GmbH

CAST: Alie Kaloloh, Evin Sevinç, Duygu Kelesh, Nils Müller, Marco Nestler, Jessica Stamp, Cathy Fink

[lubashivaya]

DIRTY MONEY from Sinan Sevinç on Vimeo.

Have you ever thought about what kind of journey a dollar bill makes before landing inside your wallet? In an age of COVID-19 with an intense scrutiny on hygiene, no one seems perturbed about handing another person cash. While the world went into lockdown and screamed at each other to keep their distance inside Walmart, cash still made its rounds from hand to hand, from pocket to pocket, from one insanitary surface to another. DIRTY MONEY tells the story of a freshly printed ten-dollar-bill emerging from an ATM and follow its gradual unhygienic demise through the disgusting scenarios it encounters while changing its owner multiple times. But isn’t there a more hygienic solution to rescue Hamilton’s handsome face from mutilation? There certainly is.

CREDITS

Director: Sinan Sevinç & Dominik Ströhle Cinematography: Christopher Behrmann Film Music: Alexander Wolf David Sounddesign: Marco Dahl, Julian Berg Editing: Bela Adami Animation: Mario Bertsch Visual Artist: Matthias Schaudig Production Design: Marie Becher, Maria Schmid Executive Producer: Elisabeth Yili Baumann Assistant Director: Lennard Fricke, Yelyzaveta Davydenko, Philipp Schaeffer Assistant Cinematographer: Kai Bestek, Kevin Brari, Marco Breidenbach, Sina Diehl, Linus Heinzler, Julian Pfaff, Jakob Sinsel Costume Design: Sarah Heidelberger, Mara Laibacher Gaffer: Philip Henze, Dennis Banemann, Garry Sonneborn Lighting Technician: Nils Ecke, Chris Gruber, Christopher Jess, Hanna Lange, Lina Marzin Colorist: Peter Hacker COVID-19 protocol: Philipp Schaeffer, Britt Abrecht Set Runner / COVID-19 protocol: Andreas Scherlinger Production Driver: René Sebastian Colling Production Company: Filmakademie Baden-Württemberg GmbH

CAST: Alie Kaloloh, Evin Sevinç, Duygu Kelesh, Nils Müller, Marco Nestler, Jessica Stamp, Cathy Fink

[raduchits]

DIRTY MONEY from Sinan Sevinç on Vimeo.

Have you ever thought about what kind of journey a dollar bill makes before landing inside your wallet? In an age of COVID-19 with an intense scrutiny on hygiene, no one seems perturbed about handing another person cash. While the world went into lockdown and screamed at each other to keep their distance inside Walmart, cash still made its rounds from hand to hand, from pocket to pocket, from one insanitary surface to another. DIRTY MONEY tells the story of a freshly printed ten-dollar-bill emerging from an ATM and follow its gradual unhygienic demise through the disgusting scenarios it encounters while changing its owner multiple times. But isn’t there a more hygienic solution to rescue Hamilton’s handsome face from mutilation? There certainly is.

CREDITS

Director: Sinan Sevinç & Dominik Ströhle Cinematography: Christopher Behrmann Film Music: Alexander Wolf David Sounddesign: Marco Dahl, Julian Berg Editing: Bela Adami Animation: Mario Bertsch Visual Artist: Matthias Schaudig Production Design: Marie Becher, Maria Schmid Executive Producer: Elisabeth Yili Baumann Assistant Director: Lennard Fricke, Yelyzaveta Davydenko, Philipp Schaeffer Assistant Cinematographer: Kai Bestek, Kevin Brari, Marco Breidenbach, Sina Diehl, Linus Heinzler, Julian Pfaff, Jakob Sinsel Costume Design: Sarah Heidelberger, Mara Laibacher Gaffer: Philip Henze, Dennis Banemann, Garry Sonneborn Lighting Technician: Nils Ecke, Chris Gruber, Christopher Jess, Hanna Lange, Lina Marzin Colorist: Peter Hacker COVID-19 protocol: Philipp Schaeffer, Britt Abrecht Set Runner / COVID-19 protocol: Andreas Scherlinger Production Driver: René Sebastian Colling Production Company: Filmakademie Baden-Württemberg GmbH

CAST: Alie Kaloloh, Evin Sevinç, Duygu Kelesh, Nils Müller, Marco Nestler, Jessica Stamp, Cathy Fink

[emzeciorrr]

DIRTY MONEY from Sinan Sevinç on Vimeo.

Have you ever thought about what kind of journey a dollar bill makes before landing inside your wallet? In an age of COVID-19 with an intense scrutiny on hygiene, no one seems perturbed about handing another person cash. While the world went into lockdown and screamed at each other to keep their distance inside Walmart, cash still made its rounds from hand to hand, from pocket to pocket, from one insanitary surface to another. DIRTY MONEY tells the story of a freshly printed ten-dollar-bill emerging from an ATM and follow its gradual unhygienic demise through the disgusting scenarios it encounters while changing its owner multiple times. But isn’t there a more hygienic solution to rescue Hamilton’s handsome face from mutilation? There certainly is.

CREDITS

Director: Sinan Sevinç & Dominik Ströhle Cinematography: Christopher Behrmann Film Music: Alexander Wolf David Sounddesign: Marco Dahl, Julian Berg Editing: Bela Adami Animation: Mario Bertsch Visual Artist: Matthias Schaudig Production Design: Marie Becher, Maria Schmid Executive Producer: Elisabeth Yili Baumann Assistant Director: Lennard Fricke, Yelyzaveta Davydenko, Philipp Schaeffer Assistant Cinematographer: Kai Bestek, Kevin Brari, Marco Breidenbach, Sina Diehl, Linus Heinzler, Julian Pfaff, Jakob Sinsel Costume Design: Sarah Heidelberger, Mara Laibacher Gaffer: Philip Henze, Dennis Banemann, Garry Sonneborn Lighting Technician: Nils Ecke, Chris Gruber, Christopher Jess, Hanna Lange, Lina Marzin Colorist: Peter Hacker COVID-19 protocol: Philipp Schaeffer, Britt Abrecht Set Runner / COVID-19 protocol: Andreas Scherlinger Production Driver: René Sebastian Colling Production Company: Filmakademie Baden-Württemberg GmbH

CAST: Alie Kaloloh, Evin Sevinç, Duygu Kelesh, Nils Müller, Marco Nestler, Jessica Stamp, Cathy Fink

[artwalktv]

Have you ever thought about what kind of journey a dollar bill makes before landing inside your wallet? In an age of COVID-19 with an intense scrutiny on hygiene, no one seems perturbed about handing another person cash. While the world went into lockdown and screamed at each other to keep their distance inside Walmart, cash still made its rounds from hand to hand, from pocket to pocket, from one insanitary surface to another. DIRTY MONEY tells the story of a freshly printed ten-dollar-bill emerging from an ATM and follow its gradual unhygienic demise through the disgusting scenarios it encounters while changing its owner multiple times. But isn’t there a more hygienic solution to rescue Hamilton’s handsome face from mutilation? There certainly is. CREDITS Director: Sinan Sevinç & Dominik Ströhle Cinematography: Christopher Behrmann Film Music: Alexander Wolf David Sounddesign: Marco Dahl, Julian Berg Editing: Bela Adami Animation: Mario Bertsch Visual Artist: Matthias Schaudig Production Design: Marie Becher, Maria Schmid Executive Producer: Elisabeth Yili Baumann Assistant Director: Lennard Fricke, Yelyzaveta Davydenko, Philipp Schaeffer Assistant Cinematographer: Kai Bestek, Kevin Brari, Marco Breidenbach, Sina Diehl, Linus Heinzler, Julian Pfaff, Jakob Sinsel Costume Design: Sarah Heidelberger, Mara Laibacher Gaffer: Philip Henze, Dennis Banemann, Garry Sonneborn Lighting Technician: Nils Ecke, Chris Gruber, Christopher Jess, Hanna Lange, Lina Marzin Colorist: Peter Hacker COVID-19 protocol: Philipp Schaeffer, Britt Abrecht Set Runner / COVID-19 protocol: Andreas Scherlinger Production Driver: René Sebastian Colling Production Company: Filmakademie Baden-Württemberg GmbH CAST: Alie Kaloloh, Evin Sevinç, Duygu Kelesh, Nils Müller, Marco Nestler, Jessica Stamp, Cathy Fink

[atthemoviesuk]

Royal Ballet, The (1960) Original British Quad 30 x 40 Inches Folded as-issued in this picture. We offer linen-backing with folds flatten on our website for this poster. —————— Fabulous Original British 30 inch x 40 inch Quad Poster for the 1960 Paul Czinner Musical THE ROYAL BALLET, with music by Hans Werner Henze (from the ballet Ondine), Igor Stravinsky (from the ballet Firebird) and Pyotr Ilyich Tchaikovsky (from the ballet Swan Lake) and starring Margot Fonteyn, Michael Somes, Brian Ashbridge, Rosemary Lindsay, Julia Farron, Leslie Edwards, Alexander Grant, Pirmin Trecu and Franklin White. The exceptional poster art is by Nicola Simbari. #RoyalBallet #Ballet . #atthemovies #original #movieposter #filmposter #frame #hollywood #cinema #musthave #mood #vintage #poster #movies #posters #film (at At The Movies Posters) https://www.instagram.com/p/B773sdZAxxn/?igshid=l6ijdg61jf4j

[todayclassical]

September 29 in Music History

1634 FP of Lawes masque Comus, with text by Milton, at Ludlow Castle in Shropshire. 1641 Franz Tunder becomes organist at Marienkirche in Lubeck. Establishes evening music, Abendmusiken. 1652 Gala concert for Jakob Froberger by his French peers at Convent of the Jacobins in Paris. 1654 Birth of German organist and composer Vincenz Lubeck. 1674 Birth of composer Jacques Hotteterre.  1727 Birth of English composer Dr. Henry Harrington in Somerset. 1739 Handel finishes his Concerto Grosso in G, Op. 6, no. 1 in London. 1746 Birth of German organist and composer Ernst Ludwig Gerber. 1753 Birth of composer Johann Gottfried Schicht.

1789 Mozart completes Clarinet Quintet, K. 581, written for clarinetist Anton Stadler, who gave the first public performance in December 1789. 1794 Birth of composer William Michael Rooke.

1841 Birth of Italian conductor and composer Enrico Bevignani in Naples.  1847 FP of Franz Doppler's "Benjowsky" Budapest. 1849 Birth of composer Ladislao Joseph Philip Paul Zavrtal.

1854 Birth of composer Martin Plüddemann.

1855 Birth of Italian composer, pianist, and conductor Michele Esposito. 1858 Birth of composer Leopoldo Mugnone.

1869 Birth of English soprano Hedwig Helbig, in Plauen, Saxony. 

1879 Birth of Dutch cellist Willem Willeke in The Hague.  1879 Birth of Cuban-Spanish composer Joaquin Nin Castellano in Havana.  1881 Birth of American bandmaster and march composer William C. White in Centerville UT.

1893 Birth of Russian-American conductor Fabien Sevitzky.

1894 Birth of Italian conductor Franco Capuana in Fano.

1901 Death of Italian mezzo-soprano Adelaide Borghi-Mamo.  1903 Birth of cellist Karl August Andersen.

1903 Death of German soprano Marie Geistinger in Klagenfurt. 1915 Death of German composer Rudi Stephan fighting WW I in Tarnopol.  1915 Death of Finnish composer Aarre Merikanto in Helsinki. 1916 Birth of German tenor Josef Traxel in Mainz. 

1916 Birth of composer Minao Shibata

1918 Birth of American composer and conductor Harold Lawrence Walters. 1918 FP of Gustav Holst's The Planets in Queen's Hall, London 1920 Birth of Czech conductor Václav Neuman.  1921 FP of Sigmund Romberg's operetta Blossom Time in NYC. 1927 Birth of Iranian composer Hussein Dehlawi in Teheran. 1930 Birth of Australian conductor Richard Alan Bonynge in Sydney.  1942 Birth of French violinist Jean-Luc Ponty in Arranches

1943 Birth Welsh conductor and composer Alun Francis.

1945 Birth of Greek composer Kyriakos Sfetsas in Amphilochia. 1945 Birth of American soprano Lella Alice Cuberli, in Austin, TX.  1949 Birth of American composer Eric Funk in Deer Lodge, MT. 1949 FP of Arthur Bliss' opera The Olympians in London. 1949 Birth of mezzo-soprano Tuula Nieminen. 1953 Birth of Italian soprano Adelina Scarabelli, in Milan. 1955 Birth of American composer Steve Perillo in The Bronx, NYC. 1968 FP of Henze's Piano Concerto No. 2, in Bielefeld, Germany. 

1968 FP of DALLAPICCOLA's "Ulisse" in Berlin. 1969 FP of Dimiti Shostakovich' Symphony No. 14 on poems of Lorca, Apollinaire, Küchelbecker, and Rilke. Moscow Chamber Orchestra, Rudolf Barshai conducting, with soloists Galina Vishnevskaya and Yevgeny Vladimirov in Leningrad. 1977 Death of Russian composer and conductor Alexander Tcherepnin. 1983 FP of Witold Lutoslawski's Symphony No. 3, in Chicago. 1997 FP of Michael Torke's Overnight Mail for chamber ensemble. Orkest de Volharding, Jurjen Hempel conducting in Carre, Amsterdam.

[sonyclasica]

PETER SERKIN

THE COMPLETE RCA ALBUM COLLECTION

Sony Classical rinde homenaje al gran pianista estadounidense Peter Serkin con el lanzamiento de una caja con 35 CD en los que se reúnen las grabaciones realizadas por el intérprete para el sello RCA entre 1965 y1996. En esta nueva edición se incluyen las piezas grabadas por Serkin de sus compositores favoritos entre los que se encuentran Bach, Mozart, Chopin, Bartok, Schoenberg o Messiaen. A la venta el viernes 29 de mayo.

Hijo del pianista Rudolf Serkin y nieto del violinista Adolf Busch, su madre Irene Busch, también fue violinista en el Busch Quartet. En 1958, a los 11 años de edad, ingresó en el Curtis Institute of Music, donde recibió clases de música del pianista polaco Mieczysław Horszowski, del virtuoso estadounidense Lee Luvisi y de su propio padre. Se graduó en 1965. También estudió con Ernst Oster, el flautista Marcel Moyse y el pianista Karl Ulrich Schnabel.

Dio su primer concierto en 1959, en el Festival de Marlboro, fundado en 1951 por Rudolf Serkin, Hermann y Adolf Busch con Marcel, Blanche y Louis Moyse. Después de este concierto, Peter Serkin fue invitado a tocar con las principales orquestas, incluyendo la de Cleveland, bajo la dirección de George Szell, y la de Filadelfia, con Eugene Ormandy.

En 1966, Serkin recibe un premio Grammy al Mejor Nuevo Artista de Clásica. Posteriormente recibiría otras tres nominaciones a estos premios. En 1968, poco después de casarse y convertirse en padre, Peter Serkin decide detener por completo la interpretación de música. Cuatro años después, tras una breve estancia en México, decide volver a Estados Unidos y comienza una nueva carrera músical.

Desde entonces, Serkin toca en todo el mundo con grandes orquestas y directores como Claudio Abbado, Daniel Barenboim, Herbert Blomstedt, Pierre Boulez, Simon Rattle, James Levine y Christoph Eschenbach. Además, es un artista comprometido con la música contemporánea y ha estrenado obras de compositores como Tōru Takemitsu, Lieberson, Oliver Knussen, Charles Wuorinen y Elliott Carter.

Serkin ha colaborado con Yo-Yo Ma, Lorraine Hunt Lieberson, András Schiff, Alexander Schneider, Pamela Frank, Harold Wright, el Guarneri Quartet, el Cuarteto de Budapest y otros importantes músicos y conjuntos. Además, es miembro fundador del Cuarteto Tashi. Enseñó por primera vez en la Juilliard School y después en el Curtis Institute y en el Conservatorio de Música del Bard College y otras instituciones. Entre sus alumnos se encuentran Orit Wolf, Simone Dinnerstein y Cecile Licad.

Entre las grabaciones para RCA que podemos encontrar en esta nueva colección se encuentran las de grandes compositores clásicos como Bach, Schubert o Brahms pero también las de muchos autores modernos como Messiaen, Takemitsu, Schoenberg, Lieberson o Knussen.

El primer disco que encontramos en la caja es su grabación de las Variaciones Goldberg de Bach, con la que ganó el Grammy en 1966. El último CD contiene otra de las piezas maestras del gran compositor alemán. los Conciertos de Brandemburgo. Otros hitos de esta gran colección son la Sonata en Sol Mayor de Schubert (1965), los Conciertos para Piano 14 al 19 de Mozart (1973), el Cuarteto para el Fin del Tiempo de Messiaen (1975) o los álbumes con música del compositor japonés Takemitsu, con quien Serkin mantuvo una fructífera asociación artística.

CONTENIDO

DISC 1:

Bach, J.S.: Goldberg Variations, BWV 988 (GRAMMY® AWARD WINNER)  

DISC 2:

Schubert: Piano Sonata in G Major, D. 894 (Op. 78), "Fantasia"  

DISC 3:

Bach, J.S.: Concerto for 3 Harpsichords in D Minor, BWV 1063  

Bach, J.S.: Concerto for 3 Harpsichords, Strings and Continuo in C Major, BWV 1064  

Mozart: Concerto No. 10 in E-Flat Major for Two Pianos and Orchestra, K. 365  

DISC 4:

Busoni: Fantasia contrappuntistica, BV 256  

Reger: Cello Sonata No. 4 in A Minor, Op. 116  

DISC 5:

Bartók: Piano Concerto No.1, Sz. 83  

Bartók: Piano Concerto No.3, Sz. 119  

DISC 6:

Schubert: Piano Sonata in E-flat Major, D. 568  

Schumann: Waldszenen, Op.82  

DISC 7:

Schoenberg: Concerto for Piano and Orchestra, Op.42  

Schoenberg: Fünf Klavierstücke, Op. 23 (1920/23)  

Schoenberg: Phantasy for Violin with Piano Accompaniment, Op. 47  

DISC 8:

Mozart: Fantasia in C Minor, K.475  

Mozart: Piano Sonata No. 14 in C Minor, K. 457  

Mozart: Praludium and Fugue in C Major, K. 394  

DISC 9:

Mozart: Piano Sonata No. 15 in F Major, K.533/494  

Mozart: Fantasia in D Minor, K.397  

Mozart: Rondo in D Major, K. 485  

Mozart: Rondo in A Minor, K. 511  

DISC 10:

Beethoven: Piano Concerto in D, Op.61a  

DISC 11:

Messiaen: Visions de l'Amen

Messiaen: Catalogie d'oiseaux

Messiaen: La rousserolle effarvatte (VII)

DISC 12:

Mozart: Piano Concerto No. 14 in E-Flat Major, K. 449  

Mozart: Piano Concerto No. 15 in B-Flat Major, K. 450  

DISC 13/14:

Messiaen: Vingt Regards sur l'Enfant-Jésus  

DISC 15:

Messiaen: Quatuor pour la fin du Temps  

DISC 16:

Mozart: Piano Concerto No. 16 in D Major, K. 451  

Mozart: Piano Concerto No. 17 in G Major, K. 453  

DISC 17:

Schubert: Quintet in A, Op. 114 ("Trout")  

DISC 18:

Mozart: Piano Concerto No. 18 in B-Flat Major, K. 456  

Mozart: Piano Concerto No. 19 in F Major, K. 459  

DISC 19:

Stravinsky: The Soldier's Tale - Version for Clarinet, Violin and Piano (1919)  

Stravinsky: Septet for Clarinet, Bassoon, Horn, Piano, Violin, Viola & Cello  

Stravinsky: Pastorale - Song without Words Version for Violin and Piano (1933)  

Stravinsky: Three Pieces for Clarinet  

Stravinsky: Suite italienne - Arrangement for Cello and Piano from "Pulcinella"  

DISC 20:

Beethoven: Quintet for Piano and Winds in E-Flat Major, Op. 16  

Beethoven: Trio in B-Flat Major, Op. 11  

DISC 21:

Mozart: Quintet for Clarinet and String Quartet in A Major, K. 581  

Mozart: Quintet for Piano and Woodwinds in E-Flat Major, K. 452  

DISC 22:

Chopin: Variations brillantes on a Rondo (From Hárold's Ludovic, Op. 12)  

Chopin: Nocturne in F, Op. 15, No. 1  

Chopin: Mazurka in C, Op. 56, No. 2  

Chopin: Mazurka in A-Flat, Op.Posth  

Chopin: Mazurka in B, Op. 41, No. 3  

Chopin: Mazurka in D, Op. 33, No. 2  

Chopin: Mazurka in F Minor, Op. 68, No. 4  

Chopin: Mazurka in B-Flat, Op. 7, No. 1  

Chopin: Nocturne in E, Op. 62, No. 2  

Chopin: Waltz in A-Flat, Op. 64, No. 3  

Chopin: Nouvelle Étude in A-Flat  

Chopin: Prelude in A-Flat, Op.Posth  

Chopin: Berceuse in D-Flat, Op. 57  

Chopin: Barcarolle in F-Sharp, Op. 60  

DISC 23:

Takemitsu: Quatrain II  

Takemitsu: Water Ways  

Takemitsu: Waves  

DISC 24:

Chopin: Polonaise-Fantaisie in A-Flat, Op. 61  

Chopin: Waltz in F, Op. 34, No. 3  

Chopin: Waltz in D-Flat, Op. 64, No. 1 (Minute)  

Chopin: Waltz in G-Flat, Op. 70, No. 1 (Posthumous)  

Chopin: Nocturne in F-Sharp, Op. 15, No. 2  

Chopin: Nocturne in F-Sharp Minor, Op. 48, No. 2  

Chopin: Nocturne No. 2 in D-Flat Major, Op. 27  

Chopin: Impromptu No. 3 in G-Flat, Op. 51  

DISC 25:

Beethoven: Variations on a Waltz by Anton Diabelli, in C, Op.120  

DISC 26:

Chopin: Mazurka in A Minor, Op. 59, No. 1  

Chopin: Mazurka in A-Flat, Op. 59, No. 2  

Chopin: Mazurka in F-Sharp Minor, Op. 59, No. 3  

Chopin: Impromptu No. 1 in A-Flat, Op. 29  

Chopin: Ballade No. 3 in A-Flat, Op. 47  

Chopin: Nocturne in E-Flat, Op. 55, No. 2  

Chopin: Andante spianato and Grand Polonaise in E-Flat, Op. 22  

DISC 27:

Webern: Quartet for Violin, Clarinet, Tenor Saxophone and Piano, Op. 22  

Webern: Four Pieces for Violin and Piano, Op. 7  

Webern: Variations for Piano, Op. 27  

Webern: Three Little Pieces for Cello and Piano, Op. 11  

Takemitsu: Uninterrupted Rest  

Takemitsu: Piano Distance  

Takemitsu: For Away  

Takemitsu: Les Yeux clos  

DISC 28:

Berg: Chamber Concerto for Piano, Violin with 13 Wind Instruments (1923-1925)  

Berg: Violin Concerto "To the Memory of an Angel"  

DISC 29:

Lieberson: Bagatelles  

Lieberson: The Dance  

Knussen: Variations, Op. 24  

Henze: Piece for Peter  

Goehr: ...in real time I  

Lieberson: Fantasy Pieces  

Berio: Feuerklavier  

Kirchner: Interlude  

Takemitsu: Les Yeux Clos II  

Lieberson: Garland  

DISC 30:

Bach, J.S.: Italian Concerto, BWV 971  

Bach, J.S.: Goldberg Variations, BWV 988  

DISC 31:

Takemitsu: Litany  

Takemitsu: Uninterrupted Rest  

Takemitsu: Piano Distance  

Takemitsu: For Away  

Takemitsu: Les Yeux clos  

Takemitsu: Rain Tree Sketch  

Takemitsu: Les Yeux Clos II  

Takemitsu: Rain Tree Sketch II  

DISC 32:

Lieberson: King Gesar  

DISC 33:

Bach, J.S.: Inventions and Sinfonias BWV 772–802

Bach, J.S.: Duet No. 1, BWV 802, in E Minor  

Bach, J.S.: Duet No. 2, BWV 803, in F  

Bach, J.S.: Duet No. 3, BWV 804, in G  

Bach, J.S.: Duet No. 4, BWV 805, in A Minor  

DISC 34:

Beethoven: Sonata quasi una fantasia, Op. 27 No. 1 in e-flat  

Beethoven: Sonata quasi una fantasia, Op. 27 No. 2 in C-Charp Minor  

Beethoven: Sonata Op. 57 "Appassionata" in F Minor  

DISC 35:

Bach, J.S.: Brandenburg Concertos Nos. 1-4 & 6, BVW 1046- 1049 &1051

[mastcomm]

Peter Serkin, 72, Dies; Pianist With Pedigree Who Forged a New Path

Peter Serkin, a pianist admired for his insightful interpretations, technically pristine performances and tenacious commitment to contemporary music, died on Saturday morning at his home in Red Hook, N.Y., in Dutchess County, near the campus of Bard College, where he was on the faculty. He was 72.

His death, from pancreatic cancer, was announced by his family.

Mr. Serkin was descended from storied musical lineages on both sides of his family. His father was the eminent pianist Rudolf Serkin; his maternal grandfather was the influential conductor and violinist Adolf Busch, whose musical forebears went back generations.

By 12, Peter Serkin was performing prominently in public, and he soon seemed poised to continue the legacy of his father, who was known for authoritative accounts of the central European repertory.

His first two recordings, made for the RCA label when he was 18, confirmed this impression. One was a buoyant, lucid and probing account of Bach’s “Goldberg” Variations that many critics compared favorably to Glenn Gould’s influential version; the other was a glowing, preternaturally mature account of Schubert’s spacious late Sonata in G, Op. 78.

Yet, though he was proud of his heritage, Mr. Serkin found it a burden. Like many who came of age in the 1960s, he questioned the establishment, both in society at large and within classical music. He resisted a traditional career trajectory and at 21 stopped performing, going for months without even playing the piano.

He traveled to India, touching down in Nepal and Thailand, and lived for a while in Mexico with his wife at the time, Wendy Spinner, and their baby daughter.

Recalling those years in a 1987 interview with The Boston Globe, Mr. Serkin said that back then performing was often “a painful ordeal” for him, and that he could not bear all “that harping by musicians and critics on how you play, as if that’s the central issue.”

This pressure was compounded, he added, by the fact that his family “took music so seriously, in the Old World sense of being a kind of religion,” and maintained “such identification with our being musicians” that it was necessary “for me to just drop that.”

By challenging his legacy, he sought to claim it on his own terms, and contemporary music became central to his artistic identity. Yet Mr. Serkin disliked being called a “champion” of contemporary music, as if the music of his own time occupied some different realm and required expert advocates.

Throughout his career, he presented recital programs that juxtaposed the old and the new: 12-tone scores and Mozart sonatas; thorny pieces by the mid-20th-century German composer Stefan Wolpe and polyphonic works from the Renaissance. Admirers of his playing appreciated how he drew out allusions to music’s past in contemporary scores, while conveying the radical elements of old music.

He played almost all the piano works of Schoenberg, Stravinsky and Wolpe. He also introduced dozens of pieces, including major works and concertos, written for him by composers like Toru Takemitsu, Charles Wuorinen and, especially, his childhood friend Peter Lieberson.

Reviewing Mr. Serkin’s 1985 recording of Mr. Lieberson’s Piano Concerto No. 1, with the Boston Symphony Orchestra conducted by Seiji Ozawa, the critic Tim Page wrote in The New York Times that Mr. Serkin seemed to him “America’s pre-eminent young pianist — his intelligence and perceptivity invariably take the listener to the heart of the music.”

Peter Adolf Serkin (his middle name was in honor of his grandfather) was born in Manhattan on July 24, 1947, the fifth of seven children of Rudolf Serkin and Irene Busch Serkin. (A daughter died in infancy.) During his childhood he mostly lived on his parents’ farm in Guilford, Vt., not far from Marlboro College, the site of the summer Marlboro Music Festival, founded by a group of artists including Rudolf Serkin and his grandfather Adolf Busch.

Irene Serkin, like her father, played the violin, which was young Peter’s first instrument. But he was drawn more to the piano.

Nevertheless, Rudolf Serkin acknowledged that he had not given his son much encouragement early on. “I doubted he was talented,” he said in a 1980 New York Times Magazine profile of his son. “He was so full of tension when he played; I didn’t realize that was his real gift.” He said that having been compelled by his own father to be a musician, he “was reluctant to push Peter.”

At 11, Peter Serkin enrolled at the Curtis Institute in Philadelphia, where his father was teaching. (Rudolf Serkin later became the institute’s director.) There he studied with the master Polish-born pianist Mieczyslaw Horszowski, who became a major influence, as well as the American virtuoso Lee Luvisi and his father.

After graduating at 18, Mr. Serkin took an apartment in New York, avidly listened to recordings by Frank Zappa and the Grateful Dead, and explored Buddhist and Hindu spiritual teachings. He found the pressure of playing in public, and simply of being a Serkin, almost crippling.

“Up until then I was playing concerts largely out of compulsion, and not much new music,” he said in a 1973 New York Times interview. “I had just fallen into it without ever deciding for myself that it was what I wanted to do.”

After his time off and restorative travels, he resumed performing with renewed satisfaction. That he had found the right balance was suggested by the success of two three-LP albums, both recorded in 1973, when he turned 26, both of which earned Grammy Award nominations.

The first offered Mozart’s Piano Concerto Nos. 14-19, with Alexander Schneider conducting the English Chamber Orchestra. The performance splendidly balanced Schneider’s Old World approach to Mozart with Mr. Serkin’s youthful, rethought playing.

The second was a complete account of Messiaen’s “Vingt Regards sur l’Enfant-Jésus,” a set of 20 solo piano “contemplations” on the infant Jesus composed in 1944. It is music of extraordinary difficulty lasting two and a half hours, alive with cluster chords and evocations of bird calls, moments of mystical bliss and stretches of driving intensity.

In conjunction with the recording Mr. Serkin played the piece, from memory, more than two dozen times in concert halls and colleges, sometimes backed by a light show. Messiaen heard him play it at Dartmouth and was “really too kind,” the pianist recalled in the Boston Globe interview: “He told me that I respected the score, but that when I didn’t, it was even better.”

That same year he formed the chamber ensemble Tashi along with three like-minded colleagues: the clarinetist Richard Stoltzman, the violinist Ida Kavafian and the cellist Fred Sherry. The group’s signature piece was Olivier Messiaen’s “Quartet for the End of Time,” an alternately meditative and ecstatic work in eight movements lasting nearly 50 minutes. Tashi performed it more than 100 times, often with its young players dressed in dashikis or tunics, and recorded it to acclaim in 1975. The group essentially disbanded in the late 1970s after several internal upheavals.

Though Mr. Serkin never completely shook off the early perception of him as “the counterculture’s reluctant envoy to the straight concert world,” as the Times critic Donal Henahan called him in an admiring 1973 profile, over time he reconciled to the ways, even the dress protocols, of that classical world and developed productive associations with artists like the Guarneri String Quartet, the mezzo-soprano Lorraine Hunt Lieberson (who had married Peter Lieberson) and the conductors Seiji Ozawa, Herbert Blomstedt, Robert Shaw and Pierre Boulez.

Having children also gave him an emotional mooring that he cherished, even during periods of marital strain. Karina Serkin Spitzley, the only child of his marriage to Ms. Spinner, which ended in divorce in 1979, survives him, along with four children from his second marriage, to Regina Touhey Serkin (from whom he was divorced in 2018): Maya, Elena, Stefan (named after Stefan Wolpe) and William Serkin; and two grandchildren. His brother, John, and his sisters Elizabeth, Judith and Marguerite also survive him. Another sister, Ursula, died last year.

Mr. Serkin relished teaching, and held posts at institutions including the Mannes School of Music and the Juilliard School in New York, and, in recent years, Bard. He so enjoyed spending summers teaching at the Tanglewood Music Institute that he bought a home in the Berkshires and lived there for years.

During the 1989-90 season, realizing a long-held ambition, he took a program of 11 works he had commissioned on an extended tour. The composers included the elder masters Takemitsu, Leon Kirchner, Hans Werner Henze, Alexander Goehr and Luciano Berio, as well as Mr. Serkin’s contemporaries Oliver Knussen, Bright Sheng, Christine Berl, Tobias Picker, Tison Street and Mr. Lieberson. To prepare, Mr. Serkin had played no solo recitals the previous season.

“Not many people would make that kind of sacrifice,” Walter Pierce, a concert presenter in Boston who arranged for Mr. Serkin to play the program at Jordan Hall, said at the time, since it represented a “year out of the circuit” and would cost an artist “a lot of money.”

To that Mr. Serkin answered: “Maybe I’ll pay some kind of price in my career, but I don’t even think about it. I’d rather deal with something I believe in.”

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