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Tchaikovsky: concierto violin (Renaud Capucon). Shostakovich: sinfonia nr 7. orq. europea juvenil Dir.: andrew Litton.2009
https://rapidshare.com/files/432069066/European_Union-Litton.zip

Turnage: Texan tenebrae. Beethoven: concierto piano nr 4 (Vladimir Feltsman).Vaughan Williams: sinfonia nr 9. Orq. Chicago. Dir: Andrew Davis.2010
http://rapidshare.com/files/453513551/CA03688.zip

Mark-Anthony Turnage's 50th birthday year is launched with the premiere of Texan Tenebrae, a new orchestral commission from the Canaries Festival for the London Philharmonic Orchestra, the Royal Concertgebouw Orchestra and the Chicago Symphony Orchestra. Vladimir Jurowski conducts the first performance by the LPO in Santa Cruz de Tenerife on 21 January 2010, and the orchestra gives the UK premiere directed by Marin Alsop in London on 17 April, the latest work to be launched through Turnage's residency with the orchestra. The US premiere is given by the Chicago Symphony Orchestra under Andrew Davis on 18 November with the Dutch premiere in Amsterdam scheduled by the Royal Concertgebouw Orchestra for a future season.

Set in a single slow movement of accumulating tension, the work anticipates the American theme of Turnage's forthcoming opera based on the life of Anna Nicole Smith, the Texan-born model, actress and TV celebrity. The darkness of the 'tenebrae' is reinforced by a distinctly Mahlerian mood.

Other performance highlights of the Turnage 50th anniversary year include a Liverpool celebration on 19 May by the RLPO's contemporary music group 10:10, including the hard-hitting and extrovert Crying Out Loud and No Let Up, conducted by Clark Rundell. Turnage is currently completing a major new orchestral work for first performance next summer, and his string quartet Twisted Blues with Twisted Ballad is premiered at the Wigmore Hall next December by the Belcea Quartet, travelling on to the Concertgebouw in Amsterdam, the Philharmonie in Cologne and the Vienna Konzerthaus.

Turnage's opera Anna Nicole, with libretto by Richard Thomas of Jerry Springer: the opera fame, will be premiered at The Royal Opera in London next season, opening in February 2011 in a production by Richard Jones. Anna Nicole is Turnage's third full-length opera, following Greek for the Munich Biennale (1986/88) and The Silver Tassie for English National Opera (1997-99).

Mozart: sinfonia nr 34. Mahler: das lied von der Erde. Stuart Skelton (ten).Thomas Hampson (bar). Orq. S. Francisco. Dir. Michael Tilson Thomas. 2007
http://rapidshare.com/files/453467054/CA03685.zip

Mendelssohn: sinfonia nr 2. Christine Wolff (sopr). Stephanie Krone (sopr). Martin Petzold (ten). Dir.: Matthias Grünert. Dresden. 2010
http://rapidshare.com/files/428378923/Mendelssohn_2_Gruenert_30.10.10.zip

Sibelius: Tapiola.Detlev Glanert:música para violin y orquesta ( Stephen Bryant). Sibelius: Sinfonia nr 5.BBC. Dir.: David Robertson.2011
http://rapidshare.com/files/450216955/CA03602.zip

Grieg:Peer Gynt, Suite No. 1. Concierto piano (Lars Vogt). Sibelius: suite Pelleas y Melisande. Sibelius: sinfonia nr 3. Orq. Lucerna. Dir.: Neeme Järvi. 2010.
http://rapidshare.com/files/450338575/CA03606.zip

Brahms: Obertura Festival Académico. Obertura Trágica.Weber: obertura de Oberon. Grieg: suite Peer Gynt nr 1 y 2.Fil. Berlin. Dir.: Neeme Järvi.2010.
http://rapidshare.com/files/450505184/CA03609.zip

Albeniz (orquestaciones de Frühbeck): Córdoba (de Cantos de España). Granada (de Suite Española) .El Corpus en Sevilla (de Iberia). Prokofiev: concierto violin nr 1 (Hilary Hahn). Rimsky Korsakov: Sheherezade. Orq. Boston. Dir.: Rafael Frühbeck de Burgos. 2010
http://rapidshare.com/files/450715657/CA03612.zip

Harbison: doble concierto para violin y cello. Mahler: sinfonia nr 7. Mira Wang (violin). Jan Vogler (cello). Orq. Boston. Dir.: Carlos Kalmar. 2010
http://www.mediafire.com/?dysbdybofoif2

Composer John Harbison is among America's most prominent artistic figures. He has received numerous awards and distinctions, including three of the most prestigious: the MacArthur Foundation's "genius" award, the Pulitzer Prize, and the Heinz Award in the Arts and Humanities. Harbison has composed music for most of this country’s premiere musical institutions, including the Metropolitan Opera (for whom he wrote The Great Gatsby), the Chicago Lyric Opera, the New York Philharmonic, the Chicago Symphony, the Boston Symphony, the Los Angeles Philharmonic, the Chamber Music Society of Lincoln Center, and the Santa Fe and Aspen festivals. His works include four string quartets, five symphonies, a ballet, three operas, and numerous chamber and choral works.

Harbison's music is distinguished by its exceptional resourcefulness and expressive range. He is considered to be "original, varied, and absorbing — relatively easy for audiences to grasp and yet formal and complex enough to hold our interest through repeated hearings — his style boasts both lucidity and logic" (Fanfare). Harbison is also a gifted commentator on the art and craft of composition and was recognized in his student years as an outstanding poet (he wrote his own libretto for Gatsby).

Several works have recently premiered: Double Concerto for Violin and Cello with the Boston Symphony Orchestra; Diamond Watch: Double Play for Two Pianos (at MIT); Leonard Stein Anagrams (for Piano Spheres); Mary Lou (for the Pittsburgh Youth Symphony); The Seven Ages (A Koussevitsky commission for the New York New Music Ensemble and the San Fransisco Contemporary Music Players); French Horn Suite (Boston, MA), A Clear Midnight (Pro Arte Singers); Winter's Tale (BMOP, complete revised version); Symphony No. 5, commissioned by the Boston Symphony Orchestra; The Great Gatsby Suite (for the Aspen Festival Orchestra); Cortège, for six percussionists (New England Conservatory); Milosz Songs (commissioned by the New York Philharmonic for long-time Harbison champion Dawn Upshaw); the Concerto for Bass Viol (commissioned by the International Society for Double Bassists for a consortium of fifteen major orchestras); But Mary Stood: Sacred Symphony for Soprano, Chorus and Strings (Cantata Singers of Boston); and the sinfonietta Umbrian Landscape (Chicago Chamber Musicians).

Harbison's present composition projects include a setting of texts by Alice Munro for voice and orchestra (for the Metropolitan Opera Orchestra), his Sixth Symphony for the Boston Symphony Orchestra (who are also honoring Harbison by presenting his full symphonic cycle between 2010-2012), his fifth string quartet (for the Pro Arte Quartet), and a work for violin and piano (Music Accord).

Harbison’s opera Full Moon in March (BMOP Sound) was released on CD in April 2009 and The First Four String Quartets (Centaur) was released in September, joining several new recordings issued last season: Christmas Vespers (Brassjar Music), Montale Occasions (Albany), and the ballet Ulysses (BMOP Sound). Other recent releases include The Rewaking (String Quartet with Soprano, Bridge); Partita (American Orchestral Works, Cedille), nominated for a Grammy Award; John Harbison: Chamber Music (Naxos); Music of John Harbison, Volume 1 (Bridge); The Amelia Trio: Music of John Harbison (Naxos); Motetti di Montale (Koch), also a Grammy nominee; Symphony No. 3 (Oehms Classics: Levine/Munich); String Quartet No. 4 (Koch); the Viola Concerto (Albany); the Cello Concerto (Albany); Four Psalms and Emerson (New World); and Variations, Four Songs of Solitude, and Twilight Music (Naxos). Altogether, more than ninety of his compositions have been recorded on labels such as Albany, Centaur, Nonesuch, Northeastern, Harmonia Mundi, New World, Decca, Koch, Archetype, CRI, Naxos, Bridge, Cedille, and Musica Omnia labels. The Musica Omnia double album of works for string quartet was named one of top ten classical CDs of the year by The New York Times.

Harbison has been composer-in-residence with the Pittsburgh Symphony, the Los Angeles Philharmonic, the Tanglewood, Marlboro, and Santa Fe Chamber Music Festivals, Songfest, and the American Academy in Rome. As a conductor, Harbison has led a number of leading orchestras and chamber groups. From 1990 to 1992 he was Creative Chair with the St. Paul Chamber Orchestra, conducting music from Monteverdi to the present, and in 1991, at the Ojai Festival, he led the Scottish Chamber Orchestra. Harbison has also conducted many other ensembles, among them the Los Angeles Philharmonic, the Boston Symphony, and the Handel and Haydn Society. Mr. Harbison first led Bach cantata performances in 1958 as conductor of Harvard’s Bach Society Orchestra. He has continued to do so every year since then, in two tenures as music director of Boston’s Cantata Singers, and then for many years as principal guest conductor of Emmanuel Music in Boston, leading performances there not only of Bach cantatas, but also 17th-century motets, and contemporary music.

Harbison was born in Orange, New Jersey on December 20, 1938 into a musical family. He was improvising on the piano by five years of age and started a jazz band at age 12. He did his undergraduate work at Harvard University and earned an MFA from Princeton University. Following completion of a junior fellowship at Harvard, Harbison joined the faculty at the Massachusetts Institute of Technology where, in 1984, he was named Class of 1949 Professor of Music; in 1994, Killian Award Lecturer in recognition of "extraordinary professional accomplishments;"and in 1995 he was named Institute Professor, the highest academic distinction MIT offers to resident faculty. He has also taught at CalArts and Boston University, and in 1991 he was the Mary Biddle Duke Lecturer in Music at Duke University. Furthering the work of younger composers is one of Harbison's prime interests, and he serves as president of the Aaron Copland Fund for Music.

In 1998, Harbison was named winner of the Heinz Award for the Arts and Humanities, a prize established in honor of the late Senator John Heinz by his wife Teresa to recognize five leaders annually for significant and sustained contributions in the Arts and Humanities, the Environment, the Human Condition, Public Policy and Technology, and the Economy and Employment. He is the recipient of numerous other awards, among them the Distinguished Composer award from the American Composers Orchestra (2002), the Harvard Arts Medal (2000), the American Music Center's Letter of Distinction (2000), the Kennedy Center Friedheim First Prize (for his Piano Concerto), a MacArthur Fellowship (1989), and the Pulitzer Prize (1987). He also holds four honorary doctorates.

Much of Harbison’s violin music has been composed for his wife Rose Mary, with whom he serves as artistic director of the annual Token Creek Chamber Music Festival, founded in 1989 and held on the family farm in Wisconsin, where much of Harbison’s music has been composed.

In recent years, Harbison has revived his career as a jazz pianist, composer, and arranger. Early on, as the founder-leader of the Harbison Heptet and as sideman in many other groups — playing with Tom Artin, Buck Clayton, Vic Dickenson, Jo Jones, and Edmund Hall (1952-1963) — he took a jazz sabbatical for four decades, returning in 2003 to found the Token Creek Jazz Ensemble. The quartet and guests perform exclusively for the annual Token Creek Festival in Wisconsin. As a keyboard player he explores affinities between jazz change playing and figured bass realization.

Stravinsky: scherzo fantástico. Rachmaninov: La isla de la muerte.Shostakovich: sinfonia nr 10. Orq. Boston. Dir.: Vasily Petrenko.2009
http://www.mediafire.com/?zy2patk59ag7f

Elliot Carter:diáologos para piano y orquesta. Berlioz: Haroldo en Italia. Ravel: concierto piano para la mano izquierda.Ravel: Dapne y Chloe, suite nr 2 Pierre Laurent Aimard (piano). Steven Ansell (viola). Orq. Boston. Dir.: James Levine. 2010
http://www.mediafire.com/?zdkper3bdr6k9

Born in New York City on 11 December 1908, Elliott Carter began to be seriously interested in music in high school and was encouraged at that time by Charles Ives. He attended Harvard University where he studied with Walter Piston, and later went to Paris where for three years he studied with Nadia Boulanger. He then returned to New York to devote his time to composing and teaching.

With the explorations of tempo relationships and texture that characterize his music, Carter is recognized as one of the prime innovators of 20th-century music. The challenges of works such as the Variations for Orchestra, Symphony of Three Orchestras, and the concertos and string quartets are richly rewarding. In 1960, Carter was awarded his first Pulitzer Prize for his visionary contributions to the string quartet tradition. Stravinsky considered the orchestral works that soon followed, Double Concerto for harpsichord, piano and two chamber orchestras (1961) and Piano Concerto (1967), to be "masterpieces".

Elliott Carter has been the recipient of the highest honors a composer can receive: the Gold Medal for Music awarded by the National Institute of Arts and Letters, the National Medal of Arts, membership in the American Academy of Arts and Letters and the American Academy of Arts and Sciences, and honorary degrees from many universities. Hailed by Aaron Copland as "one of America's most distinguished creative artists in any field," Carter has received two Pulitzer Prizes and commissions from many prestigious organizations.


 

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