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2024-04-27
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Daron Hagen Tchaikovsky Ned Rorem Leonard Bernstein Gary Graffman Nathan Gunn Jaime Laredo Gerard Schwarz Leonard Slatkin Bard Lotte Lehmann Douglas Moore Moore New York Philharmonic Philadelphia Orchestra Seattle Symphony American Composers Orchestra Buffalo Philharmonic Orchestra Orchestra Swan Seattle Opera Royal Albert Hall 1961 1984 2012
(Rec. July 23, 2012) Part I - It is a huge treat to have composer Daron Hagen come from New York to Philadelphia to talk to Russian Opera Workshop artists and audience. We were Curtis classmates and sitting in a restaurant at the Rittenhouse, across the park from our alma mater, and reminiscing, is a double treat. During dinner, Daron even got a call from Ned Rorem. What are the chances of that happening? Enjoy the video! - Ghena Short Bio: Daron Hagen was born in Milwaukee in 1961 and has been a New Yorker since 1984. A full-time composer of opera and concert music, he divides his time between family and composing. One of America's most versatile, prolific, and respected opera composers, all eight of his major operas are currently in production or revival somewhere in the U.S., Europe, or Asia. Mr. Hagen has collaborated with distinguished musicians such as Leonard Bernstein, JoAnn Falletta, Gary Graffman, Nathan Gunn, Jaime Laredo, David Alan Miller, Sharon Robinson, Gerard Schwarz, Leonard Slatkin, and Robert Spano, among others. His work has been widely commissioned and performed by most of North America's major musical institutions, and numerous institutions abroad, including the New York Philharmonic, Philadelphia Orchestra, National Symphony, Seattle Symphony, American Composers Orchestra, Curtis Symphony, Milwaukee Symphony, Buffalo Philharmonic, the Orchestra of the Swan (UK), Seattle Opera, Opera Theater of Ireland, as well as the Metropolitan Museum of Art, the Louvre, the Ullens Center for Contemporary Art (Beijing), and the Royal Albert Hall. His music (he has served frequently as conductor and collaborative pianist for recordings of his works) can be heard on the Albany, Arsis, Bridge, Clarion, Klavier, Naxos, and New World/CRI labels, among others. Among other honors, he has received the Guggenheim Fellowship, Kennedy Center Friedheim Prize, two Rockefeller Foundation Bellagio Fellowships, and the Seattle Opera Chairman's Award. A graduate of the University of Wisconsin-Madison, the Curtis Institute of Music and of the Juilliard School, he has taught at Bard College, the Curtis Institute of Music, and the Princeton Atelier, and fulfilled numerous composer-in-residencies around the U.S. He is a Lifetime Member of the Corporation of Yaddo, former president of the Lotte Lehmann Foundation, and a Trustee of the Douglas Moore Fund for American Opera. A complete list of his over 200 art songs, song cycles, and choral works, eight operas, four symphonies, twelve concerti, and over forty chamber works may be found, along with information about upcoming performances and premieres, at his website: www.daronhagen.com. — April 2012
American Composers Orchestra Carnegie Hall 2010 2011
Henry Threadgill discusses his piece 'No Gates, No White Trenches, Butterfly Effect', which is being written for American Composers Orchestra as part of the 2010/11 'Playing it UNsafe' series. 'No Gates, No White Trenches, Butterfly Effect' will receive its world premiere performance at Zankel Hall, Carnegie Hall in NYC on March 4, 2011.
Roger Huntington Sessions Huntington Dennis Russell Davies American Composers Orchestra 2008
Provided to YouTube by The Orchard Enterprises Symphony No. 6: I. Allegro · Roger Huntington Sessions · Dennis Russell Davies · American Composers Orchestra Sessions: Symphonies 6, 7, & 9 ℗ 2008 Phoenix USA Released on: 2008-04-01 Auto-generated by YouTube.
Baldini Witold Lutosławski György Ligeti Edgard Varèse Miranda Cuckson Bingen Bowles Elizabeth Watts Watts Wolfgang Amadeus Mozart Diego Masson Loebel Ingo Metzmacher Sibelius Munich Radio Orchestra Scottish Chamber Orchestra Orchestre National Lorraine American Composers Orchestra Memphis Symphony Orchestra Salzburg Festival Arsenal Metz 1752 1883 1913 1918 1923 1927 1965 1978 1985 1989 1993 1994 2006 2008 2009 2012 2021
To download/purchase/stream: (http•••) Release Date on Centaur Records (on CD & all digital platforms): August 6, 2021 Christian Baldini (1978-) 1 Elapsing Twilight Shades (2008, rev. 2012) 7:26 Witold Lutosławski +••.••(...)) Chain 2 (1985) Dialogue for Violin and Orchestra (17:52) 2 I Ad libitum 3:47 3 II A battuta 4:57 4 III Ad libitum 4:37 5 IV A battuta 4:31 György Ligeti +••.••(...)) Concerto for Violin and Orchestra (1989, rev.1993) (28:57) 6 I Praeludium 4:11 7 II Aria, Hoquetus, Choral 8:00 8 III Intermezzo 2:31 9 IV Passacaglia 6:39 10 V Appassionato 7:36 Edgard Varèse +••.••(...)) 11 Amériques +••.••(...), rev. 1927) 23:26 TOTAL PLAYING TIME 77:41 Munich Radio Orchestra, Christian Baldini, conductor (1) UC Davis Symphony Orchestra, Christian Baldini, conductor (2-11) Maximilian Haft, violin (2-5) Miranda Cuckson, violin (6-10) Unedited Live Recordings 1 „Award Concert Weekend of the Nestlé and Salzburg Festival Young Conductors Award“ - Felsenreitschule, Salzburg Festival, April 29, 2012. (Salzburg, Austria) ORF Recording Team: Hannes Eichmann (Recording Producer), Hannes Gstrein (Recording Engineer) 2-11 Mondavi Center for the Performing Arts at UC Davis. Recording Engineer: Stephen Bingen 1-11 Mastering Engineer: David Bowles Photos: (c) wildbild (Munich Radio Orchestra & Christian Baldini), (c) Sam Zeng (UC Davis Symphony Orchestra & Christian Baldini), (c) J Henry Fair (Miranda Cuckson), Christian Henking (Maximilian Haft) Cover design by Erin Low Notes About the Program ~ by Christian Baldini This CD production was conceived during the COVID-19 global pandemic and it is natural that it might project a certain melancholy for some memorable live performances that are close to my heart. Live music has stopped around the globe. Orchestras and opera houses are currently dark and empty, and it is thanks to recordings from years past that so many music lovers around the world manage to keep this powerful flame alive. My previous CD recording was a studio production (not a live recording), featuring the Scottish Chamber Orchestra and soprano Elizabeth Watts in opera overtures and arias by my first love: Wolfgang Amadeus Mozart. It feels absolutely natural to me to complement that recording with this very contrasting one, featuring unedited live recordings of a few works by composers that have been very influential to me as an artist, both as a performer and as a composer. Elapsing Twilight Shades was composed for the Orchestre National de Lorraine (nowadays the Orchestre National de Metz) in France in 2008 and it premiered that summer by that orchestra conducted by Diego Masson at the Arsenal in Metz. The work was later selected for the American Composers Orchestra young composers scheme (Earshot) and performed (with some revisions) by the Memphis Symphony Orchestra conducted by David Loebel in 2009. I made some further revisions, and eventually the work was conducted by me with the Munich Radio Orchestra in Salzburg in 2012, when the jury of the Nestlé/Salzburg Festival Young Conductors Award -chaired by Ingo Metzmacher- asked me to complete my program (which included works by Sibelius, Ligeti and Mozart) with one of my own compositions. There are two verses from the poem "Excelsior" by Henry Wadsworth Longfellow, which I wrote on the score, and which were an inspiration to me at that time: The shades of night were falling fast, As through an Alpine village passed A youth, who bore, 'mid snow and ice, A banner with the strange device, Excelsior! [...] There in the twilight cold and gray, Lifeless, but beautiful, he lay, And from the sky, serene and far, A voice fell like a falling star, Excelsior! An important consideration that sparked the genesis of this piece is how remarkably different one same object might look like depending on the moment of the day or night in which we look at it. Similarly, different situations can be seen or understood from completely opposite points of view, depending on their context. Velocity, light, weight and texture can all vary in appearance at a glance. Elapsing Twilight Shades reflects my particular interest in creating sonic structures that behave in this manner. One idea is presented from several different perspectives. The "space" around the idea is manipulated, folded and viewed as if through a kaleidoscope, distorted by different lenses. This is the starting point for a work that eventually becomes affected by a few humorous moments and a delight in symphonic tradition. There are two main critical arrivals in the piece, where the dialogue is seemingly broken, but where in fact the previous music is expanded into a more rhapsodic and quite different dimension. For me these moments represent a very special ideal of collective beauty, achieved only through hope and freedom.
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