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Tag: Berlioz

Pierre-Laurent Aimard Programs Birds, Ideas, and Modernist Brilliance

As Pierre Boulez’s “house pianist” at Ensemble Intercontemporain for many years, Pierre-Laurent Aimard could have been expected to be very brainy, in command of the most complex and challenging modern scores, with an artistic temperament on the cool side, eschewing virtuosic display and temperament. His deep insight into contemporary music has been amply demonstrated in his many past Tanglewood appearances, but may give the impression that he is a specialist in this area. This would be mistaken. As demonstrated in recordings and in these concerts, his virtues as a musician benefit a wide-ranging repertory, including (in his solo recital) the baroque Louis-Claude Daquin, the romantic Robert Schumann, and the earlier 20th century Maurice Ravel.

About Laurence Wallach

Larry Wallach is a pianist, musicologist, and composer who lives in Great Barrington, Massachusetts and heads the Music Program at Simon’s Rock College of Bard. He has also taught composition at Bard College. He studied piano privately with Henry Danielowitz and Kenneth Cooper, and was trained at Columbia University where he studied music history with Paul Henry Lang, performance practices with Denis Stevens, and composition with Otto Luening, Jack Beeson, and Charles Wuorinen. He earned a doctorate in musicology in 1973 with a dissertation about Charles Ives. In 1977, he was awarded a grant to become part of a year-long National Endowment for the Humanities seminar at the University of North Carolina directed by William S. Newman, focussing on performance practices in earlier piano music. He went on to participate in the Aston Magna Summer Academy in 1980, where he studied fortepiano with Malcolm Bilson, both privately and in master classes.

Larry Wallach has been an active performer of chamber music with harpsichord and piano, and of twentieth century music. He has collaborated with harpsichordist Kenneth Cooper, with recorder virtuoso Bernard Krainis, with violinist Nancy Bracken of the Boston Symphony, with violinist/violist Ronald Gorevic, with gambist Lucy Bardo, and with his wife, cellist Anne Legêne, performing on both modern and baroque instruments. He has appeared with the Avanti Quintet, the New York Consort of Viols, and is a regular performer on the “Octoberzest” series in Great Barrington. He has been on the staffs of summer early music workshops at World Fellowship and Pinewoods Camp.
In 1996, he presented a program at the Bard Music Festival devoted to Charles Ives designed around a performance the composer’s Second Violin Sonata along with all the source tunes that are quoted in it. Part of this program was repeated at Lincoln Center in NY. He has also appeared on programs in Washington DC, and at St. Croix VI. As a composer, his works have been heard in New York, Boston, Amherst, the Berkshires, and at Bard College.

A Singer’s Notes 93: Denève, the TMC Orchestra, and Berlioz; McGegan and Handel; Bernstein’s Candide at Tanglewood

The excellent Stephane Denève chose two works of Hector Berlioz for his TMCO concert. Wholly remarkable was a performance of Les Nuits d’Été. The maestro gave these songs a sound I’ve never heard before. It was ravishingly quiet to begin with, not unlike the nearly silent playing Simon Rattle can achieve in his Mahler performances. It was like something in the air. Even more unforgettable was the coaching he had done with the young singers, each a Fellow of the Tanglewood Music Center. So diaphanous was the orchestral environment for each of the songs, the young voices could merely whisper and be heard. “Au Cimitière” in particular benefitted from this. Sara Lemesh said the words as much as she spoke them.

Keith Kibler

About Keith Kibler

Twice a Fellow of the Tanglewood Music Center, Keith Kibler’s doctorate was earned at Yale University and the Eastman School of Music. He is one of the region’s most sought after teachers with students accepted at the New England Conservatory, the Juilliard School, Peabody and Hartt Conservatories, the Tanglewood Institute, and the Aspen Music School. Keith Kibler is an adjunct teacher of singing at Williams College.

The Damnation of Faust and the Ascension of Berlioz

The paradox of Berlioz is that he is both quintessentially of the nineteenth-century and in many ways far ahead of his time. Grandiose, self-absorbed, at home in both Heaven and Hell (well, perhaps a bit more in Hell), operating on the largest temporal and spatial canvases, bringing together mammoth forces to speak in one voice; but also episodic and arbitrary in construction, harmonically idiosyncratic and technically suspect, bombastic, addicted to overwhelming sound spectaculars, in short, in questionable taste; in these ways he epitomizes Romanticism. All of these characteristics of his music have been noticed and pondered in attempts to come up with an evaluation of this unavoidable maverick, a figure whose closest counterpart in his own time might be Mussorgsky, or in ours, Charles Ives. Today, with post-modernism, mash-ups, the valuing of discontinuity and fragmentary statements, Berlioz rides high. He is seen as a predecessor to the liberation of tone color as an independent element of construction, as in the music of Debussy. In the past, when polished craftsmanship and solid structure were primary virtues, critics often looked askance at Berlioz’s bulky, generically ambiguous compositions. Today, we recognize the uniqueness of his vision.

About Laurence Wallach

Larry Wallach is a pianist, musicologist, and composer who lives in Great Barrington, Massachusetts and heads the Music Program at Simon’s Rock College of Bard. He has also taught composition at Bard College. He studied piano privately with Henry Danielowitz and Kenneth Cooper, and was trained at Columbia University where he studied music history with Paul Henry Lang, performance practices with Denis Stevens, and composition with Otto Luening, Jack Beeson, and Charles Wuorinen. He earned a doctorate in musicology in 1973 with a dissertation about Charles Ives. In 1977, he was awarded a grant to become part of a year-long National Endowment for the Humanities seminar at the University of North Carolina directed by William S. Newman, focussing on performance practices in earlier piano music. He went on to participate in the Aston Magna Summer Academy in 1980, where he studied fortepiano with Malcolm Bilson, both privately and in master classes.

Larry Wallach has been an active performer of chamber music with harpsichord and piano, and of twentieth century music. He has collaborated with harpsichordist Kenneth Cooper, with recorder virtuoso Bernard Krainis, with violinist Nancy Bracken of the Boston Symphony, with violinist/violist Ronald Gorevic, with gambist Lucy Bardo, and with his wife, cellist Anne Legêne, performing on both modern and baroque instruments. He has appeared with the Avanti Quintet, the New York Consort of Viols, and is a regular performer on the “Octoberzest” series in Great Barrington. He has been on the staffs of summer early music workshops at World Fellowship and Pinewoods Camp.
In 1996, he presented a program at the Bard Music Festival devoted to Charles Ives designed around a performance the composer’s Second Violin Sonata along with all the source tunes that are quoted in it. Part of this program was repeated at Lincoln Center in NY. He has also appeared on programs in Washington DC, and at St. Croix VI. As a composer, his works have been heard in New York, Boston, Amherst, the Berkshires, and at Bard College.

The Bard Summer Music Festival 2012: Saint-Saëns and his World

Camille Saint-Saëns (1835-1921) is, like his friend Franz Liszt, an exemplary subject for the Bard Summer Music Festival: his world was large, and he was vitally connected with it. He was recognized as an important composer—the most important French composer—through most of his maturity. He studied with important teachers. He had many friends, many enemies, and many students. His musical output was encyclopaedic. Uncharacteristically for a French composer, he wrote in virtually every form there was to write in. His compositions are in many cases linked to prominent contemporary issues in politics, the arts, and science. He prepared an historical edition of the works of Rameau and revived works by Lully and Charpentier.

See also: “Orientalism in France: Leon Botstein and the ASO play Saint-Saëns, Franck, Ravel, Delage, and Bizet’s one-act opera, Djamileh at Carnegie Hall”

About Michael Miller

Michael Miller, Editor and Publisher of New York Arts and The Berkshire Review, an International Journal for the Arts, was trained as a classicist and art historian at Harvard and Oxford, worked in the art world for many years as a curator and dealer, and contributed reviews and articles to Bostonia, Master Drawings, Drawing, Threshold, and North American Opera Journal, as well as numerous articles for scholarly and popular periodicals. He has taught courses in classics, the English language, and art history at Oberlin, Rutgers, New York University, the New School, and Williams. Currently, when he is not at work on The Berkshire Review and New York Arts, he writes fiction, pursues photography, and publishes scholarly work. In 2011 he contributed an introductory essay to Leonard Freed: The Italians / exh. cat. Io Amo L’Italia, exhibition at Le Stelline, Milan, and wrote the revised the section on American opera houses in The Grove Dictionary of American Music. He is currently at work on a libretto for a new opera by Lewis Spratlan, Midi, an adaptation of Euripides’ Medea set in the French West Indies, ca. 1930.

Vladimir Ashkenazy and the Sydney Symphony Play Prokofiev with Behzod Abduraimov, Berlioz and Elliott Gyger

This fascinating and varied program, each piece using equally colorful but very different orchestras and very different forms and structures, shows us some of the breadth of the Sydney Symphony. Their style is nimble enough to express itself in multifarious ways and Ashkenazy’s style and approach to symphonic music is well suited to the three pieces. To mark the occasion of the orchestra’s 80th anniversary, they have done something special in commissioning themselves a new piece by way of an open competition. Elliott Gyger’s entry was chosen, and though only alloted a short amount of time to fit into this larger program of more familiar pieces, it does rather expand under the intensity of its short broken up motifs and its varied colors, sounds and textures, qualities Ashkenazy, at least as a conductor, seems to relish. The piece’s title refers to the SSO’s origin as a radio orchestra formed along with the Australian Broadcast Corporation in 1932. Gyger says he used an ensemble of 17 instruments, the same in the original 1932 radio orchestra, which for his “dialogue” are spread through the larger orchestra: three violins, viola, cello, bass, two each of  trombones, trumpets and clarinets, a horn, sousaphone, piccolo, piano and percussion.

About Andrew Miller

Andrew Miller writes mostly about music and theatre, especially ballet and opera.

He holds a Bachelor of Science degree from the University of Sydney, and once studied the piano and trombone.

Berlioz, Béatrice et Bénédict, at Opera Boston

Shakespeare’s Much Ado About Nothing centers on Hero and Claudio, two young lovers who are thrown into disarray by a villain who leads Claudio to believe that Hero has betrayed him. There is a lot of marvelous business with the local constable, Dogberry, and his friends, who disrupt the villain and save the day. And then there is a parallel lovers’ story involving Beatrice and Benedict, two highly clever people who like to spar with each other, seeming to hate each other, and yet are eventually brought to realize that they like each other tremendously and wish to be together. The brilliant dialogue of this pair and the course of their development crucially influenced Jane Austen in her depiction of Elizabeth and Darcy in Pride and Prejudice, and her depiction of other prickly remarkable couples who are really meant for each other, and such depictions in later fiction and drama, including classic Hollywood films such as The Philadelphia Story, His Girl Friday, and The Awful Truth (Cary Grant in every case, plus Katharine Hepburn, Rosalind Russell, and Irene Dunne, respectively).

Charles Warren

About Charles Warren

Charles Warren studied literature and music formally and now teaches film
history and analysis at Boston University and in the Harvard Extension School.
He is the author of “T.S. Eliot on Shakespeare,” and edited and contributed to
the volumes “Beyond Document: Essays on Nonfiction Film” and “Jean-Luc Godard’s ‘Hail Mary:’ Women and the Sacred in Film.”

The Transformation of Ritual Space: Berlioz’s “La Grande Messe des Morts” at Tanglewood

For medieval and modern readers, Dante’s Inferno imparts to the after-life a spatial grandeur, a vision of echoing vaults, vast beyond the reaches of terrestrial architecture, filled with souls in various stages of damnation or beatitude. Our imaginations seem capable of constituting visual and three-dimensional experiences from such partial cues as words on the page or moving images on a screen. Natural locales such as the top of Pike’s Peak or the rim of the Grand Canyon inspire awe, if not vertigo, but provide a different order of experience. Closer to Hell-Purgatory-Heaven, or to the view from the space-ship Enterprise, perhaps, are the interior architectures designed by humans to enclose us in ideological spaces. Chief among these, in the Western historical experience, is the Gothic and post-Gothic cathedral, in which spatial experience is given a precise theological definition.

About Laurence Wallach

Larry Wallach is a pianist, musicologist, and composer who lives in Great Barrington, Massachusetts and heads the Music Program at Simon’s Rock College of Bard. He has also taught composition at Bard College. He studied piano privately with Henry Danielowitz and Kenneth Cooper, and was trained at Columbia University where he studied music history with Paul Henry Lang, performance practices with Denis Stevens, and composition with Otto Luening, Jack Beeson, and Charles Wuorinen. He earned a doctorate in musicology in 1973 with a dissertation about Charles Ives. In 1977, he was awarded a grant to become part of a year-long National Endowment for the Humanities seminar at the University of North Carolina directed by William S. Newman, focussing on performance practices in earlier piano music. He went on to participate in the Aston Magna Summer Academy in 1980, where he studied fortepiano with Malcolm Bilson, both privately and in master classes.

Larry Wallach has been an active performer of chamber music with harpsichord and piano, and of twentieth century music. He has collaborated with harpsichordist Kenneth Cooper, with recorder virtuoso Bernard Krainis, with violinist Nancy Bracken of the Boston Symphony, with violinist/violist Ronald Gorevic, with gambist Lucy Bardo, and with his wife, cellist Anne Legêne, performing on both modern and baroque instruments. He has appeared with the Avanti Quintet, the New York Consort of Viols, and is a regular performer on the “Octoberzest” series in Great Barrington. He has been on the staffs of summer early music workshops at World Fellowship and Pinewoods Camp.
In 1996, he presented a program at the Bard Music Festival devoted to Charles Ives designed around a performance the composer’s Second Violin Sonata along with all the source tunes that are quoted in it. Part of this program was repeated at Lincoln Center in NY. He has also appeared on programs in Washington DC, and at St. Croix VI. As a composer, his works have been heard in New York, Boston, Amherst, the Berkshires, and at Bard College.

Ray Chen, Peter Oundjian and the Sydney Symphony

It can sometimes seem like a scalping to play an opera overture as a concert piece, but Maestro Oundjian’s apparent delight in Berlioz’ music overcame any such qualms. They played the piece as if it were self-contained with a closer-than-usual study and without the anticipation or apprehension of the visual elements of theatre. It can be nice to hear an overture without the distraction of a rising curtain. It also served nicely as a relatively lighter prelude to the Brahms and Tchaikovsky. The precise stops and timing of the silences were very satisfying (and provided an interesting test of the hall’s acoustical decay time — the sound taking about 3 seconds to decay but fairly evenly across the pitches). The Sydney Symphony brought across the vivid orchestration as effortlessly as singing.

About Andrew Miller

Andrew Miller writes mostly about music and theatre, especially ballet and opera.

He holds a Bachelor of Science degree from the University of Sydney, and once studied the piano and trombone.

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