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Maria Paradis - Klaverudtog

Olivier Messiaen: Eclairs sur l'Au-delà Vol.2 (Orchestra)

7.Et Dieu essuiera toute Larme de leurs Yeux; 8.Les Etoiles et la Gloire; 9.Plusieurs Oiseaux des Arbres de Vie; 10.Le Chemin de l'Invisible; 11.Le Christ, Lumière du Paradis

Orpheus in the Underworld

Jacques Offenbach was born in 1819 in Cologne, Germany, but as a child he moved to Paris where he received a thorough musical education. In his operetta Orpheus in the Underworld, Offenbach parodies the famous Greek legend of Orpheus and Euridice. Indirectly, however, he criticises the complacency of many of his contemporaries. The overture was not written entirely by Offenbach, Carl Binder added various pieces to it for a Viennese production of this operetta in 1860 and since then, these pieces have remained part of the composition. This appealing transcription includes the famous Can Can which is sure to get your audience high kicking in the aisles!

Reflections on Narcissus

Composed in 2004/2005; performance material available for hire.Matthias Pintscher was born in Marl in North Rhine-Westphalia, Germany, in 1971 and studied composition with Giselher Klebe and Manfred Trojahn.Formative influences were his encounters with Hans Werner Henze, who invited him to Montepulciano in 1991 and 1992, and with Helmut Lachenmann, Pierre Boulez and Peter Eötvös. Awards include first prize in the HitzackerComposition Competition (1992), the Rolf Liebermann Prize and the Opera Prize from the Körber Foundation Hamburg (1993 and 1996), the Prince Pierre de Monaco Prize (1999), Composition Prize from the Salzburg Easter Festival andtheHindemith Prize from the Schleswig Holstein Music Festival (2000). In 2002 he was awarded the Hans Werner Henze Prize (Westphalian Music Prize). Pintscher first came to international attention with the opera Thomas Chatterton atthe Semper Opera, Dresden (1998), and later with his second opera L'espace dernier at the Opéra National de Paris (2004). He was composer-in-residence with the Cleveland Orchestra in 2002, the following seasons at the KonzerthausDortmund, Lucerne Festival, with the Radio Symphony Orchestra Saarbrücken, at the Philharmonie, Cologne and at the RSO Stuttgart. From 2010 onwards Pintscher is “Artist-in-Association” at the BBC Scottish Symphony Orchestra, since2014 Artist-in-residence at the Danish Radio Orchestra. As a conductor, Matthias Pintscher works regularly with leading orchestras and ensembles in Europe and the USA. From 2007 to 2009 he was Professor of Composition at theUniversity of Music and Performing Arts Munich and 2010 to 2011 at the New York University. He is Music Director of the Ensemble intercontemporain and since the 2013 14 season. As of September 2014 he is Professor for compositionat the Juilliard School of Music New York.

Hans Abrahamsen: Left, Alone (Score)

Left, Alone for Piano (left hand) and Orchestra was composed by hans Abrahamsen in 2014-15. Commissioned by Westdeutscher Rundfunk and co-commissioned by City of Birmingham Symphony Orchestra, Danish National Symphony Orchestra and Rotterdam Philharmonic Orchestra. Premiered by the WDR Sinfonieorchester and Alexandre Tharaud (piano) concducted by Ilan Volkov on January 29, 2016, Cologne. Programme Note: I was born with a right hand that is not fully functional, and though it never prevented me from loving playing the piano as well as I could with this physical limitation, it has obviously given me an alternative focus on the whole piano literature and has given me a close relationship with the works written for the left hand by Ravel and others. This repertoire has been with me since my youth.My very first public performance of one of my own works was in autumn 1969. The piece was called October and I played the piano with my left hand and the horn, my principal instrument (the only instrument that can be played with only the left hand). Part of the piece requires the performer to play natural harmonics of the horn directly into the open strings of the grand piano to create resonance. The pedal was kept down by an assistant lying on the floor.Through decades the idea of writing a larger work for piano left hand has been in my mind. This new work is not written for a pianist with only one hand, but rather by a composer who can only play with the left hand. The title Left, alone contains all kinds of references, not only to the obvious fact that the left hand is playing alone. Left, alone is divided into two large parts, each consisting of three smaller movements – in effect, six in total. The work was commissioned by Westdeutscher Rundfunk, and co-commissioned by City of Birmingham Symphony Orchestra, Danish National Symphony Orchestra and Rotterdam Philharmonic and written for Alexandre Tharaud. Hans Abrahamsen, 2015

Il Teuzzone, RV 736 : Edizione critica a cura di Alessandro Borin - Antonio Moccia (testi in italiano e inglese)

With Il Teuzzone, RV 736, the collected edition of operas by Antonio Vivaldi gains a new volume that brings to completion the pair of operas written by the “Red Priest” for Mantua. Premiered during the last days of 1718, the opera preceded by a few months the production of Tito Manlio, RV 738 (PR 1411). This edition of Teuzzone, the first in modern times, is based on the two complete sources to have survived: a copy originating from the composer’s own archive (Biblioteca Nazionale Universitaria di Torino, Raccolta Mauro Fo 33) and the one today housed in Berlin (Staatsbibliothek zu Berlin Preussischer Kulturbesitz, Musikabteilung, N. Mus, ms. 125), which was made for the Mantuan production. Additionally, numerous secondary sources have been collated. An appendix to the volume contains the musical materials discarded by Vivaldi during the period preceding the opera’s premiere. The supporting texts for the edition report on new findings that have emerged from archival and documentary research. It has been established, for instance, that the aria Tu, mio vezzoso (I.03) is a borrowing from Alessandro Severo by Antonio Lotti, while the aria Tornerò, pupille belle (II.02) is a reworking of Nelle mie selve natie, an aria in Scanderbeg, RV 732. These examples reveal the pasticcio-like nature of this Vivaldi opera. In the section concerned with the description of the sources, which includes a meticulous codicological examination of the source in Turin, a bold attempt has been made to reconstruct the phases that the composition of Vivaldi’s opera underwent, an operation that sheds light on the inner workings of Vivaldi’s atelier. In addition, the close relationship of this score to a work with the same title staged in Turin with music by G. Casanova and A. S. Fiorè is analysed.