#edo de waart

[agoodsongeveryday]

Day One Thousand and Forty Six

KISSINGER Some men you cannot satisfy. NIXON That’s what I tell them. KISSINGER They can’t say you didn’t tell them. NIXON It’s no good. All that I say is misconstrued.

[nonesuchrecords]

It was 35 years ago today: the first recording of John Adams’s groundbreaking opera Nixon in China, with a libretto by Alice Goodman, was released on Nonesuch. You can hear it again here.

The Grammy-winning recording of the piece—“a milestone in American operatic history” (Boston Globe)— performed by Orchestra of St. Luke’s led by Edo de Waart and starring James Maddalena as Richard Nixon, "has an eloquence not since matched," says Los Angeles Times’ Mark Swed. 

The premiere performances of Nixon in China, directed by Peter Sellars with choreography by Mark Morris, took place at Houston Grand Opera and Brooklyn Academy of Music in 1987, and the Kennedy Center and Netherlands Opera in 1988.

[ninaport]

「私はうまく話せない」

「それは奇妙に見える」

「私は誰でもない」

「北京は星を見上げる」

「あなたは���ーカーに勝った」

「歳をとり、眠ることができない」

[onenakedfarmer]

Currently Playing

John Adams NIXON IN CHINA Libretto by Alice Goodman

Edo De Waart

Orchestra of St. Luke's

[contemporaryclassicalfan]

Willem Jeths schrijft Eerste Symfonie

Amsterdam, 2 april 2013 – In opdracht van de omroepserie ZaterdagMatinee componeerde Willem Jeths zijn Eerste Symfonie. Deze wordt op 13 april a.s. in première gebracht door het Radio Filharmonisch Orkest onder leiding van Edo de Waart. Jeths baseerde zijn symfonie op twee eerdere orkestwerken, Scale, Le tombeau de Mahler en Metanoia, die als tweeluik het middendeel vormen van de vierdelige…

[lesser-known-composers]

Kurt Weill (1900-1950) - Symphony N° 2

Mov. 1) Sostenuto - Allegro molto Mov. 2) Largo Mov. 3) Allegro vivace

Gewandhausorchester Leipzig - Dir. Edo De Waart

[pastdaily]

Heinz Holliger With Edo De Waart and The San Francisco Symphony - 1982 - Past Daily Mid-Week Concert

The legendary Heinz Holliger joins then-music Director Edo De Waart and he San Francisco Symphony in music of Bach, Maderna and Bruckner from the 1`982 broadcast season. Click on the link to Past Daily and hear the complete concert. And chip in what you can if you want to keep us going.

[pierreism]

‘Strauss: Eine Alpensinfonie, op. 64' performed by Radio Filharmonisch Orkest & Edo de Waart

Het Zondagochtend Concert van zondag 23 april 2023 in Het Concertgebouw te Amsterdam.

56 minutes. via AVROTROS Klassiek

[werewolvesandaccordions]

Glazunov – The Seasons (1900) This work is an “allegorical ballet”, that is it isn’t plot driven but rather symbolic. It is written for a large orchestra and is full of lush, gorgeous music. I’ve listened to it a handful of times, and it has really grown on me because of the gorgeous orchestral writing, and the ways that the simple melodies change color throughout. It’s also interesting to see this order of the seasons. Usually we start with Spring and end with Winter, but this ballet starts with Winter and ends with Autumn, making the trajectory start with coldness, drama, and the sense of “death”, then coming back to life, and then ending with a winding down of nature, falling asleep almost, instead of a defeat. It opens with a shimmering introduction, the invocation of winter. Winter opens with a flute fluttering up and down scales, trills, trying to recreate snowfall. This theme gets a short set of variations, each depicting a different winter storm; frost, ice, hail, and snow. We get fun passages with the winds and with plucked strings over chromatic harmonies. At the end of the section, a solo harp plays glissando passages to guide us into the next season. Spring opens with bird song, and pretty flower music, and it’s easy to think of Tchaikovsky here. We shift into Summer, with a gorgeous figuration played on a celesta and harp, the strings sing out the main melody. The brass soon enters, filling the soundscape with a rich texture. Here we get variations for different figures of mythology; naiads, satyrs/fauns, and despite the pastoral subject, the music carries a ballroom atmosphere with it. There is also a lovely barcarolle variation of the main theme that makes the melody soar. After an energetic and dramatic coda, depicting the satyrs trying (and failing) to kidnap the Spirit of Corn, we get a rowdy bacchanal for the introduction of Autumn. Mixed in is music meant to recreate falling leaves. Here the music shifts from quiet and restful to rowdy and mischievous. At the very end, we get a soft reiteration of the theme, high winds and strings, as the scene fills with stars overhead. The brass joins, and we get a large grand coda. Movements: 1. Winter 2. Spring 3. Summer 4. Autumn Orchestra: Minnesota OrchestraConductor: Edo de Waart

mikrokosmos: Glazunov – The Seasons (1900) This work is an “allegorical ballet”, that is it isn’t plot driven but rather symbolic. It is written for a large orchestra and is full of lush, gorgeous music. I’ve listened to it a handful of times, and it has really grown on me because of the gorgeous orchestral writing,…

[dariaandjanelanefanboy]

Glazunov – The Seasons (1900) This work is an “allegorical ballet”, that is it isn’t plot driven but rather symbolic. It is written for a large orchestra and is full of lush, gorgeous music. I’ve listened to it a handful of times, and it has really grown on me because of the gorgeous orchestral writing, and the ways that the simple melodies change color throughout. It’s also interesting to see this order of the seasons. Usually we start with Spring and end with Winter, but this ballet starts with Winter and ends with Autumn, making the trajectory start with coldness, drama, and the sense of “death”, then coming back to life, and then ending with a winding down of nature, falling asleep almost, instead of a defeat. It opens with a shimmering introduction, the invocation of winter. Winter opens with a flute fluttering up and down scales, trills, trying to recreate snowfall. This theme gets a short set of variations, each depicting a different winter storm; frost, ice, hail, and snow. We get fun passages with the winds and with plucked strings over chromatic harmonies. At the end of the section, a solo harp plays glissando passages to guide us into the next season. Spring opens with bird song, and pretty flower music, and it’s easy to think of Tchaikovsky here. We shift into Summer, with a gorgeous figuration played on a celesta and harp, the strings sing out the main melody. The brass soon enters, filling the soundscape with a rich texture. Here we get variations for different figures of mythology; naiads, satyrs/fauns, and despite the pastoral subject, the music carries a ballroom atmosphere with it. There is also a lovely barcarolle variation of the main theme that makes the melody soar. After an energetic and dramatic coda, depicting the satyrs trying (and failing) to kidnap the Spirit of Corn, we get a rowdy bacchanal for the introduction of Autumn. Mixed in is music meant to recreate falling leaves. Here the music shifts from quiet and restful to rowdy and mischievous. At the very end, we get a soft reiteration of the theme, high winds and strings, as the scene fills with stars overhead. The brass joins, and we get a large grand coda. Movements: 1. Winter 2. Spring 3. Summer 4. Autumn Orchestra: Minnesota OrchestraConductor: Edo de Waart

mikrokosmos: Glazunov – The Seasons (1900) This work is an “allegorical ballet”, that is it isn’t plot driven but rather symbolic. It is written for a large orchestra and is full of lush, gorgeous music. I’ve listened to it a handful of times, and it has really grown on me because of the gorgeous orchestral writing,…

[nonesuchrecords]

The first recordings of Thomas Adès' Dante, performed by Los Angeles Philharmonic led by Gustavo Dudamel—which debuted at No. 1 on the UK Specialist Classical chart this week—and John Adams' Nixon in China, performed by Orchestra of St. Luke’s led by Edo de Waart, are among the 100 Best Pieces of Classical Music, per the Times, and its favorite recordings thereof. Times subscribers can read the complete list here.

[tinas-art]

Glazunov – The Seasons (1900) This work is an “allegorical ballet”, that is it isn’t plot driven but rather symbolic. It is written for a large orchestra and is full of lush, gorgeous music. I’ve listened to it a handful of times, and it has really grown on me because of the gorgeous orchestral writing, and the ways that the simple melodies change color throughout. It’s also interesting to see this order of the seasons. Usually we start with Spring and end with Winter, but this ballet starts with Winter and ends with Autumn, making the trajectory start with coldness, drama, and the sense of “death”, then coming back to life, and then ending with a winding down of nature, falling asleep almost, instead of a defeat. It opens with a shimmering introduction, the invocation of winter. Winter opens with a flute fluttering up and down scales, trills, trying to recreate snowfall. This theme gets a short set of variations, each depicting a different winter storm; frost, ice, hail, and snow. We get fun passages with the winds and with plucked strings over chromatic harmonies. At the end of the section, a solo harp plays glissando passages to guide us into the next season. Spring opens with bird song, and pretty flower music, and it’s easy to think of Tchaikovsky here. We shift into Summer, with a gorgeous figuration played on a celesta and harp, the strings sing out the main melody. The brass soon enters, filling the soundscape with a rich texture. Here we get variations for different figures of mythology; naiads, satyrs/fauns, and despite the pastoral subject, the music carries a ballroom atmosphere with it. There is also a lovely barcarolle variation of the main theme that makes the melody soar. After an energetic and dramatic coda, depicting the satyrs trying (and failing) to kidnap the Spirit of Corn, we get a rowdy bacchanal for the introduction of Autumn. Mixed in is music meant to recreate falling leaves. Here the music shifts from quiet and restful to rowdy and mischievous. At the very end, we get a soft reiteration of the theme, high winds and strings, as the scene fills with stars overhead. The brass joins, and we get a large grand coda. Movements: 1. Winter 2. Spring 3. Summer 4. Autumn Orchestra: Minnesota OrchestraConductor: Edo de Waart

mikrokosmos: Glazunov – The Seasons (1900) This work is an “allegorical ballet”, that is it isn’t plot driven but rather symbolic. It is written for a large orchestra and is full of lush, gorgeous music. I’ve listened to it a handful of times, and it has really grown on me because of the gorgeous orchestral writing,…

[onenakedfarmer]

Currently Playing

Radu Lupu BRAHMS

Piano Concerto No. 1 in D minor, Op. 15

Piano Sonata No. 3 in F minor, Op. 5

Rhapsodies, Op. 79

Piano Pieces, Opp. 117-119

Edo de Waart London Philharmonic Orchestra

Original Releases: 1971, 1975, 1978

Compilation Release: 2005

[hushilda]

Glazunov – The Seasons (1900) This work is an “allegorical ballet”, that is it isn’t plot driven but rather symbolic. It is written for a large orchestra and is full of lush, gorgeous music. I’ve listened to it a handful of times, and it has really grown on me because of the gorgeous orchestral writing, and the ways that the simple melodies change color throughout. It’s also interesting to see this order of the seasons. Usually we start with Spring and end with Winter, but this ballet starts with Winter and ends with Autumn, making the trajectory start with coldness, drama, and the sense of “death”, then coming back to life, and then ending with a winding down of nature, falling asleep almost, instead of a defeat. It opens with a shimmering introduction, the invocation of winter. Winter opens with a flute fluttering up and down scales, trills, trying to recreate snowfall. This theme gets a short set of variations, each depicting a different winter storm; frost, ice, hail, and snow. We get fun passages with the winds and with plucked strings over chromatic harmonies. At the end of the section, a solo harp plays glissando passages to guide us into the next season. Spring opens with bird song, and pretty flower music, and it’s easy to think of Tchaikovsky here. We shift into Summer, with a gorgeous figuration played on a celesta and harp, the strings sing out the main melody. The brass soon enters, filling the soundscape with a rich texture. Here we get variations for different figures of mythology; naiads, satyrs/fauns, and despite the pastoral subject, the music carries a ballroom atmosphere with it. There is also a lovely barcarolle variation of the main theme that makes the melody soar. After an energetic and dramatic coda, depicting the satyrs trying (and failing) to kidnap the Spirit of Corn, we get a rowdy bacchanal for the introduction of Autumn. Mixed in is music meant to recreate falling leaves. Here the music shifts from quiet and restful to rowdy and mischievous. At the very end, we get a soft reiteration of the theme, high winds and strings, as the scene fills with stars overhead. The brass joins, and we get a large grand coda. Movements: 1. Winter 2. Spring 3. Summer 4. Autumn Orchestra: Minnesota OrchestraConductor: Edo de Waart

mikrokosmos: Glazunov – The Seasons (1900) This work is an “allegorical ballet”, that is it isn’t plot driven but rather symbolic. It is written for a large orchestra and is full of lush, gorgeous music. I’ve listened to it a handful of times, and it has really grown on me because of the gorgeous orchestral writing,…

[aschenblumen]

De la versión de Der Rosenkavalier que vi hoy. Qué es preciosa la interpretación de Renée Fleming como la Mariscala.