Interlude.hk

Tourists, Pigeons and Giovanni

Eliza — Mon, 20 May 2013 18:00:44 +0000

St. Mark's Basilica

Giovanni Gabrieli, In ecclesiis

I vividly remember my first visit to Venice. Mind you, I came prepared, at least in the literary sense, as I had eagerly plowed through various portrayals of the city in novels ranging from Lady Chatterley’s Lover, Voltaire’s Candid and Death in Venice by Thomas Mann, to Child Harold’s Pilgrimage and The Aspern Papers by Henry James. However, there is really nothing that can prepare you for the astronomical price of a cup of coffee, and since the Piazza San Marco was inundated by water, the sight of thousands of badly-dressed tourists wading ankle-deep in sewage infested waters while trying to take photographs of each other. Of course, I was also mercilessly dive-bombed by enough pigeons to feed all major population centers in China for the next two decades.

Spatial architectural arrangement inside

So this was the self-proclaimed city of love, where Giacomo Casanova and Giorgio Baffo had stalked their prospective amorous conquests, presumably with wet feet! Yet all was not lost. The major flooding had the distinct advantage that all tourist sites had been sandbagged and closed to traffic. A very good friend — whose name I shall never reveal, not even under threat of torture — smuggled me into St. Mark’s Basilica. St. Mark’s, like Venice itself was independent, its clergy more directly responsible to the reigning doge than to any outside ecclesiastical authority. Standing in awe on the marble floor ornamented with animal designs and geometric patterns, and spying the opulent Byzantine mosaics in the domes decorated with gold, bronze and the greatest variety of semi-precious stones — a most powerful symbol of extended Venetian power and wealth — tourists, pigeons and even Casanova seemed to be of little, or no consequence. The origins of this magnificent building date back to the middle of the 9th century, when Venetian merchants transported the supposed relics of Mark the Evangelist from Alexandria to Venice.

Aerial view of the Basilica

The founding structure was rebuilt in 978 and again, to form the basis of the present basilica in 1647. A new façade, adorned by a gilded mosaic and various statues was added in the first half of the 18th century, and the interior mosaics were completed shortly thereafter. The interior floor plan is based on the shape of a Greek cross; all arms are of equal length. Copying Justianian’s Basilica in Constantinople, each arm carries its own dome, and a larger central dome arches over the crossing. This type of ornate and lavish Byzantine architecture inspired exalted civic and religious ceremonies, celebrated in the church and in the Piazza. Trading with the East not only made Venice fabulously wealthy, it also engendered an essentially cosmopolitan and flamboyant atmosphere. That distinctive Venetian flair for pageantry is still celebrated annually during the Carnival of Venice. Paying homage to a victory over the Patriarch of Aquileia in 1162, citizens don elaborate costumes and distinctive masks and populate the numerous bridges and squares. However, St. Mark’s Basilica also stimulated the development of a distinct musical style. You see, the church possessed two organs in choir lofts opposite each other. This encouraged the use of divided choirs, stationed in multiple choir lofts throughout the church. Taking advantage of this spatial architectural arrangement, composers wrote music in the so-called Venetian polychoral style. Essentially homophonic and relying on a broad rhythmic organization, it became the hallmark of music at St. Mark’s.

Giovanni Gabrieli

Ever since the 13th century, the position of choirmaster at St. Mark’s had been the most coveted musical post in all of Italy. With the appointment of the Flemish Master Adrian Willaert (1490-1562) as maestro di capella in 1528, St. Mark’s became a significant creative center in Italian musical life. Willaert experimented with placing various vocal ensembles in different choir lofts, and passed this technique and knowledge to his student Andrea Gabrieli (1510-1586). However, it was Andrea’s nephew Giovanni Gabrieli (1553-1612) who massively expanded the performance forces. A contemporary traveler reports, “Sometimes they’re sung sixteen or twenty men in three, four or five choirs, having their master to keep them in order. And when they sung, the instruments played also. Sometimes sixteen played together upon their instrument, ten Sackbuts, four Cornets and two Viola de gambas.” The Venetian polychoral style greatly influenced the European musical landscape in the late sixteen and early seventeenth centuries, spread through northern Italy, Germany, Austria, Poland and Scandinavia. And just in case you were wondering, during my second visit to Venice I fell headlong into the Canale Grande!

Giovanni Gabrieli Music for Christmas in Saint Mark Basilica of Venice

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Edgar Moreau and Marina Yakhlakova play Faure: Elegie

Eliza — Mon, 20 May 2013 16:01:32 +0000

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Edgar Moreau will be performing at the Festival de Saint-Denis.

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Sibelius – Glazounov – Ravel

Eliza — Sun, 19 May 2013 18:00:02 +0000

Sibelius
Violin Concerto in D minor, op. 47

Glazounov
Violin Concerto in A minor, op. 82

Ravel
Morceau en forme de Habanera
Tzigane

Performed by
Thomas Magyar, violin
Willem Hielkema, piano
Willem van Otterloo, conductor
Orchestre Philharmonique de la Haye

Recorded in 1951 – 1955

Sibelius: Violin Concerto in D minor, op. 47 – Allegro ma non tanto

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Works for Viola and Piano – Brahms/ Bridge/ Enescu/ Franck/ Glinka/ Tabakova

Eliza — Sun, 19 May 2013 16:01:37 +0000

Frank Bridge
Allegro appassionato

Maxim Rysanov, viola
Evelyn Chang, piano

From Works for Viola and Piano – Brahms/ Bridge/ Enescu/ Franck/ Glinka/ Tabakova (2007)

Released by Avie Records

Frank Bridge: Allegro appassionato

Maxim Rysanov is re-defining the art of viola playing for a new generation. “Romantic expression”, says Rysanov, is the thread that unites the half-dozen works on his solo debut disc with Taiwanese pianist Evelyn Chang. Spanning the better part of two centuries, all of the works on this recording stem from a particular romantic – or romanticized – perspective.

Official Website

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BOCHK Wealth Management proudly sponsors: HK Phil with Lang Lang

Eliza — Fri, 17 May 2013 12:37:21 +0000

Date:	2013/11/23
Time:	8PM
Venue:	Concert Hall, Hong Kong Cultural Centre
Presenter(s):	Hong Kong Philharmonic
Artist(s):	Perry So, Lang Lang

Programme:

TCHAIKOVSKY MOZART PROKOFIEV	Francesca da Rimini Piano Concerto no. 17 in G Piano Concerto no. 3 in C

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The Met: Live in HD 2012-13 Season : Wagner’s Parsifal – New Production

Eliza — Fri, 17 May 2013 10:32:22 +0000

Date:	2013/8/4
Time:	1:30PM
Venue:	AMC Pacific Place
Presenter(s):	The Metropolitan Opera
Artist(s):	Jonas Kaufmann, Katarina Dalayman, Peter Mattei, Yevgeny Nikitin, Daniele Gatti, René Pape

Programme:


Wagner	Parsifal

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The Met: Live in HD 2012-13 Season : Zandonai’s Francesca da Rimini

Eliza — Fri, 17 May 2013 10:28:47 +0000

Date:	2013/9/7
Time:	1PM
Venue:	AMC Pacific Place
Presenter(s):	The Metropolitan Opera
Artist(s):	Eva-Maria Westbroek, Marcello Giordani, Marco Armiliato

Programme:


Zandonai	Francesca da Rimini

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The Planets

Eliza — Fri, 17 May 2013 10:24:52 +0000

Date:	2013/7/5-6
Time:	9PM
Venue:	Concert Hall, Hong Kong Cultural Centre
Presenter(s):	Hong Kong Philharmonic
Artist(s):	David Robertson, The Hong Kong Children’s Choir, Hong Kong Philharmonoic

Programme:

NIELSEN VIVIER HOLST	Helios Overture Orion The Planets Suite

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The Met: Live in HD 2012-13 Season : Verdi’s Otello

Eliza — Fri, 17 May 2013 02:40:30 +0000

Date:	2013/6/2
Time:	4PM
Venue:	The Grand@Element
Presenter(s):	The Metropolitan Opera
Artist(s):	Renée Fleming, Johan Botha

Programme:


Verdi	Otello

Details | Ticketing

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Symphonies turn to young conductors

Eliza — Thu, 16 May 2013 16:01:52 +0000

Gustavo Dudamel

“Youth is hot and bold,” Shakespeare wrote. He might have also mentioned it’s highly marketable.

Increasingly, the message “youth sells” seems to be music to the ears of America’s symphony orchestras. And as orchestras grow ever more concerned about attracting new audiences, they’re increasingly looking to fresh-faced conductors to lead the way.

Traditionally, orchestral conductors have been valued for their experience and maturity. For this reason, in “conductor years,” 40 is still considered young. It’s not uncommon for maestros to hit their stride at a time of life when other people are retiring. Some have continued to work until they were carried out feet first.

But all that could be changing. The latest major orchestra to appoint a noticeably young conductor is the Philadelphia Orchestra. In October, the celebrated but financially challenged orchestra (newly emerged from a year of bankruptcy protection) welcomed the 37-year-old Yannick Nézet-Séguin as its new music director.

“The term ‘young conductor’ has never really been defined,” says Judith Kurnick, spokeswoman at the League of American Orchestras. “But ‘young’ seems to be getting younger. It has moved downward to around the age of 30.”

She continues: “So much of it has to do with our culture and our focus on youth. And what orchestras look for in a music director is a much broader job description than it was even a decade ago. There’s a need for someone who’s willing to try new things and have a place in the community, off the podium. Also, there’s no harm in being telegenic.”

With orchestras in Houston; Boston; Denver; Charleston, S.C.; Phoenix; and several other cities currently searching for new conductors, there’s plenty of opportunity for youthful talent on America’s podiums.

In Houston, a clutch of younger conductors who have made guest appearances in recent years – including James Gaffigan (33) and Pablo Heras-Casado (34) – may be on the orchestra’s short list. (The Houston Symphony hopes to announce its new music director in May.)

In 2007, the New York Philharmonic Orchestra raised eyebrows in the classical-music world when it announced its next music director would be Alan Gilbert. Just 40 at the time of his appointment, he replaced the outgoing Lorin Maazel, who stepped down at the age of 79.

Other youthful conductors currently leading American orchestras include Krzysztof Urbanski (30) in Indianapolis, Ludovic Morlot (38) in Seattle and Mei-Ann Chen in Memphis.

But the young conductor who has attracted the most attention is Gustavo Dudamel. The Venezuelan was appointed as music director of the Los Angeles Philharmonic Orchestra five years ago at the tender age of 29. Now that he’s firmly installed in LA, it’s apparent that the right young conductor can have a big impact on an orchestra and a community.

“Dudamel embodies the music he’s conducting,” says Gail Eichenthal, executive producer at KUSC radio and formerly the “voice of the L.A. Philharmonic” on the orchestra’s broadcasts. “He has a passion and charisma that you can’t define – but you know it when you hear it. Even the most jaded veteran players in the orchestra could see there was something here that was thrilling.”

As well, she notes that Dudamel has attracted new audiences to the orchestra, especially a younger demographic, and also members of the Hispanic community.

“At the free concert that kicked off his directorship, at the Hollywood Bowl, in 2009, I asked young people, ‘What brings you here today?’ They all said, ‘Gustavo.’ Most also said they had never been to a classical concert before.”

However, Eichenthal cautions against the idea that appointing a young conductor is a “magic pill” to solve all problems.

“An orchestra still has to make its programming attractive, fresh and adventurous. But Dudamel has definitely brought a surge of energy to the whole American orchestral scene, not just in Los Angeles.”

Pulitzer Prize-winning music critic Tim Page, who’s lived in L.A. since 2008, agrees that “the Dude” has been good for the LA Philharmonic.

“Is Dudamel the wisest old man in the classical music business?,” Page asks rhetorically. “No, he’s not. But he’s where he is for other reasons. He’s young and exciting, and orchestras respond to him. My hope is that he will grow and become a wise old sage – and there’s a good chance this will happen. I think L.A. is lucky to have him.”

However, Page also sees a downside to the appeal of youth. “Marketing is essential, but if it’s the only consideration, then the results will be junk. We’ve seen this kind of debasement going on in classical for some time.”

The appointment of young conductors to lead major orchestras certainly isn’t unprecedented. Leopold Stokowski was just 30 when he was named music director of the Philadelphia Orchestra, 100 years ago.

But in 2012, the motivation and context for such appointments has shifted. Orchestras have come to the realization that their future depends on updating their image.

For conductors today, youth has become an asset rather than a liability.

Colin Eatock (Houston Chronicle) / November 23, 2012

Weblink : http://www.chron.com/
Photo credit : http://www.chron.com/

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