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2024-03-19
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All the conducting master class
2024-03-16 04:22:17
In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its operations. Home to the famous Boston Symphony Orchestra, and the site of one of the world’s best-known music festivals, Tanglewood hosts the Festival of Contemporary Music, along with many other events including concerts of various genres from jazz to pop. Today, Tanglewood […]
The Boston Musical Intelligencer
2024-03-10 03:42:59
The Boston Symphony Orchestra, conducted by Dima Slobodeniouk, presented Edvard Grieg’s complete incidental music to Henrik Ibsen’s Peer Gynt in a theatrical adaptation conceived, written, and directed by Bill Barclay. Soprano Georgia Jarman, eight actors (playing 18 roles), and the Tanglewood Festival Chorus shared the stage. [] The post appeared first on The Boston Musical Intelligencer.
2024-03-04 15:36:37
Luigi Dallapiccola, Part II, 2024
[…] Prologue and the first Intermezzo (Choral) of the opera, about eight minutes of music. It was recorded live in Bologna on April 16th of 2011; Valentina Corradetti is the soprano singing the role of Mother, the orchestra and chorus of the Teatro Comunale di Bologna are conducted by Michele Mariotti. In 1951, Serge Koussevitzky, the music director of the Boston Symphony and himself a champion of modern music, invited Dallapiccola to give lectures at the Tanglewood Festival. After that first trip, Dallapiccola often traveled to the US, sometimes staying for a long time. Dallapiccola, who spoke English, German and French, also traveled in Europe. Interestingly, he never visited the Darmstadt Summer School, the gathering place for young composers such as Karlheinz Stockhausen, Pierre Boulez, Luigi Nono and Bruno Maderna, who were experimenting with serial music and developing new idioms. It’s especially surprising considering that he was very close to Luigi […]
The Boston Musical Intelligencer
2024-02-17 13:50:36
[…] for 90-cent rush seats (second balcony center). In 1957 I heard the Boston premiere of Stravinsky’s Agon, which used up so much rehearsal time that Bruckner’s Seventh, which rounded out the program, suffered in accuracy. I wonder if Munch really loved Bruckner, in any case. In the summer of 1959 I was a junior student at the Berkshire Music Center studying composition with Lukas Foss [more HERE]. Leonard Bernstein normally administered the conducting program at Tanglewood, but he was somewhere else that summer, and Eleazar de Carvalho had taken charge. A handful of “active conductors” got extensive directing time with the BMC orchestra; Charles Dutoit was one of these, as were Harold Farberman of the BSO’s percussion section (30 years later I had very good lessons from him at the Conductors Institute in South Carolina), and a very able Norwegian, Sverre Bruland; the younger conducting students, not “actives,” included John […]
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