Posts Tagged ‘jury’
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In today’s news: New Holst scores discovered, Amy Wheatly joins Ministry of Sound, and girl peforms own jazz composition. Audience jury wanted, Moritz Puschke to be director of ION, and Münchner Philharmoniker to play Bruckner’s Symphonies 1,3 and 4.

The Guardian

Original Gustav Holst scores discovered in New Zealand library

Experts believe one of the works, Folk Songs from Somerset, has not been played or heard in more than a centur

The Violin Channel

Stage 2 Semi-Finalists Announced at America’s Cooper International Violin Competition

The 10 Stage 2 Semi-Finalists have been announced at the 2017 Cooper International Violin Competition – Including VC Rising Star Johan Dalene

The Strad

Violinist prevented from taking 1709 Stradivarius on rail replacement bus

Christian Svarfvar claims he was forced to place his valuable violin in the luggage compartment after the driver refused him entry into Stockholm

Cmuse

The 5-year-old girl performs her own jazz composition

Elina Martirosyan is a 5-year-old prodigy. From the age of 4, she composes new jazz standards and then performs them on different instrument

Music Business Worldwide

Amy Wheatley joins Ministry of Sound as General Manager

Wheatley was previously at Three Six Zero where she was Head of UK Marketing, working on acts including Calvin Harris, Travis Scott and Hurts.

WDRB.com

Louisville Orchestra Inc. and Musicians of the Louisville Orchestra reach 3-year agreement

The Louisville Orchestra Inc. and Musicians of the Louisville Orchestra announced Tuesday a three-year contract agreement slated to run through May 31, 2020.

Der Tagesspiegel

Publikumsjury gesucht

Beim Jugendorchestertreffen im Konzerthaus am Gendarmenmarkt entscheiden die Hörer, wer den Komponistenpreis gewinnt

Berliner Morgenpost

Berliner Kurator übernimmt Kirchenmusik-Festival

Der Berliner Kulturmanager und Kurator Moritz Puschke übernimmt 2019 die Leitung des Nürnberger Kirchenmusik-Festivals ION.

Concerti

„Tradition ist nicht die Anbetung der Asche“

Es soll der Auftakt zum Bruckner-Zyklus schlechthin werden: Im Rahmen des Internationalen Brucknerfests spielen die Münchner Philharmoniker unter der Leitung ihres Chefdirigenten Valery Gergiev die Sinfonien 1, 3 und 4 in Linz ein.

 

© Bay of Plenty Symphonia

 

 

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(Written on July 19, 2017 )

In today’s news, the new artistic director at ENO will face some hard decisions and the ICMA held its General Assembly at the Grand Resort in Bad Ragaz, Switzerland. Also, Downton Abbey has been named as Britain’s favourite classical TV theme and a lost joint composition by Mozart and Salieri has been found

The Guardian

ENO in crisis: who can keep the magic alive?

Last week English National Opera advertised for an artistic director. Applications close on Wednesday. Get your skates on if you have a “broadly ranging knowledge of opera” and can “lead an artistic vision”.

Classic FM

Downton Abbey named nation’s favourite classical TV theme after poll of Classic FM listeners

Just weeks after the final episode of Downton Abbey, the theme, composed by John Lunn, has won the Classic FM TV Top 20 with the Sunday Express

BBC Music Magazine

Music’s Great Romantics

Love, requited or otherwise, was a huge inspiration for many of our greatest Romantic composers. We take a look at some of the best romantic tales of classical music…

NMZ

Zweites Internationales Musikfest Hamburg steht in den Startlöchern

Die Betreiber der Elbphilharmonie und Laeiszhalle bereiten sich auf das zweite Internationale Musikfest Hamburg vor

Die Zeit

Schön schleierhaft

Musik für unsere effektivitätskranke Gesellschaft: Der umjubelte Nils Frahm und seine Band Nonkeen legen ihre erste CD vor

Codex Flores

Interdisziplinäre Musikwissenschaft in Bochum

Die Folkwang Universität der Künste und die Ruhr-Universität Bochum (RUB) bieten ein neues Studienprogramm an

Pizzicato

A Very Fit ICMA Jury Met At The Grand Resort In Bad Ragaz

The Jury of the International Classical Music Awards (ICMA) held its General Assembly this weekend during the Next Generation Festival at the Grand Resort in Bad Ragaz, Switzerland

Le Figaro

Une “précieuse” composition de Mozart et Salieri retrouvée

Deux siècles après la disparition des compositeurs, un morceau composé à quatre mains a été redécouvert

New York Times

Amid Tension, Met and James Levine Mull Last Bow

The question of when and how to say farewell to a leader is one that bedevils all kinds of institutions

Twitter

ARTE Concert  Die offenbaren ihr Talent – heute u.a. mit und .

Manuel Brug  Interview: Jaap van Zweden und New York

dw_reise  Berliner Philharmoniker in 360 Grad! Video:

Photograph: Classicfm

Photograph: Classicfm

(Written on February 15, 2016 )

On the evening of Wednesday 1stJuly, the pianist Lucas Debargue was awarded an unexpected 4th prize in the final of the fifteenth edition of the Tchaikovsky International Competition. The self-taught pianist was not expected to win when the contestants reached the final concerto stage since he had never played with an orchestra before, and his incredibly unconventional jazz technique irritated more than a few orthodox piano teachers and judges. Two eminent Russian judges on the panel praised him as a wonder for all his flaws though. Dmitri Bashkirov, even declared that Lucas Debargue will soon be considered one of the greatest pianists of our times.

The Moscow Music Critics Association, unsatisfied by the judgement, presented him with its prestigious award for his performances during the competition, which “has become an event of genuine musical significance” and to salute a pianists “whose incredible gift, artistic vision and creative freedom have impressed the critics as well as the audience.” Lucas Debargue stole the heart of the Russian public during the competition, even astonishing chairman Valery Gergiev, who broke the protocol by inviting him to play alongside the winners in a recital at the Mariinsky on 14th July.

lucas_debargue_Blogpost

Photo credit: Bernard Bonnefon

The self-taught young pianist started playing with friends as a child before being accepted into a conservatoire, but didn’t learn any instrumental technique there! He used to learn Prokofiev’s sonatas by heart and played it faultlessly, admitting himself, “for Rachmaninoff’s 3rd concert it’s impossible, we can’t learn 15 000 different directions. […] But I always learn by ear!” He gave up the piano at the age of 16 and worked in a supermarket to pay for his literature studies. He finally restarted at the age of 20 in a disciplined, professional way to prepare for the Tchaikovsky International Competition and ended up four years later in 4th place, playing with what the media defined as an “unmissable style

Since the competition, the enthusiasm of the audience and the media has grown, enhanced by a wave in social media. Aside from the unusual path he has taken, it’s his personal interpretation of the music that marvels. Recently he has given interviews with both France Musique and Parlons Piano to talk about interpretation. “I think there is a sacrifice to made” he said, “If you want to perfectly execute a piano piece, then you will have to sacrifice the music. Because the pianist puts himself under the spotlights and says “look how well I can play”, but there is no music and the truth is that when you play, you should not know what is coming next in the music”. He explains, that after working hard for hours on a piece, after knowing all the notes, silences and nuances, the only thing to be done is to jump without a parachute, submerged in the music. “ I don’t pursue technical perfection in a difficult piece […]. What is important, is to be carried by the music, to be active in its reception without anticipating what is coming next at all.” And quoting Aristotle, he added “the more violent act between letting an object fall and catching it again, is to catch it, because there is nothing more natural on earth than gravity. With music, it’s the same.”

lucas_debargue

Photo credit: Mariinski Theatre

In any case, in this strict orthodox world that is the pianistic sphere, it is nice to have this different approach being recognized for a change. Interpretation and music should speak over technique and the difficulty of a composition. After all, if music is understood as an infinite space of freedom of speech, we should be welcoming a pianist who is already proposing an original and unique language.

(Written on August 19, 2015 )