Together with colleagues from London and Amsterdam, MIB postdoc Niels Chr. Hansen, analysed thousands of musical themes composed by French, Italian, and Austro-German composers living in 1600-1950.
During these years, rhythmic variability in French music was initially low — just like in Italian music and language. Later on, it increased towards the natural equilibrium for Austro-German music and language before the rhythms of French music finally diverged into two separate stylistic schools of composition.
Niels Chr. Hansen’s research provides the first quantitative test of key assumptions in historical musicology regarding national influences on European. Specifically, the findings support that (North-)Italian music culture dominated Europe throughout the Baroque Era, followed by increasing influence from Austria and Germany in the Classical Era. In the (National-)Romantic Era, European music culture became more decentralised. The analysis also disproves recurring claims that French composers stubbornly resist foreign influence.
The venerable Charles Dutoit, 80 years old today, tells Rodrigo Carrizo Couto in a rare interview that next summer will be his last as music director of the Verbier Festival.
swissinfo.ch:Usted dirige la Orquesta del Festival de Verbier, en Suiza.
C.D.: Sí, una semana al año. Pero la próxima edición será la última, pues tengo ya una edad respetable, y el trabajo diario con una orquesta de jóvenes me agota. Los he dirigido durante nueve años y considero que es suficiente. Verbier tiene mucha suerte de contar con el talento de un director, Martin Engstroem, que supo hacer este festival conocido mundialmente.
The full interview, which will be published in English and German versions tonight, contains lovely tales of his short marriage to Martha Argerich and their long friendship. Click here for English version.
At the glamorous summits of classical music they are so proud of these pictures.
Parisians paid 25 percent above normal ticket prices to see Jonas Kaufmann in Tales of Hoffmann next month. He cancelled.
So here’s the deal.
Instead of offering a refund, the Paris Opéra is telling subscribers it still expects to see them at Tales of Hoffmann – now with Ramon Vargas – but will also offer them free tickets to another opera or ballet of their choice.
Good deal?
It’s only on offer to subscribers. Single-ticket holders have not been contacted.
Vous avez été informé récemment de l’impossibilité pour Monsieur Jonas Kaufmann de débuter dans le rôle d’Hoffmann dans Les Contes d’Hoffmann en novembre prochain à l’Opéra national de Paris. Monsieur Jonas Kaufmann a expliqué dans un courrier adressé aux spectateurs de nos théâtres et publié sur notre site Internet, les raisons de santé majeures qui l’obligent malheureusement à annuler sa participation à ce spectacle très attendu par tous.
Dans ce moment difficile, je lui souhaite un prompt rétablissement en espérant l’accueillir très vite sur nos scènes. Je tiens aussi à remercier chaleureusement Monsieur Ramón Vargas qui interprétera le rôle d’Hoffmann du 3 au 18 novembre, en accord avec le Metropolitan Opera de New-York. Grâce à son engagement et à l’ensemble de la distribution qui l’entourera, dirigée par le maestro Philippe Jordan, notre directeur musical, vous assisterez à un très beau spectacle, dans la mise en scène de Monsieur Robert Carsen.
Toutefois, pour atténuer la déception que vous pouvez ressentir après la nouvelle de l’annulation de Monsieur Kaufmann, et parce que vous êtes un abonné fidèle de l’Opéra national de Paris, je souhaite vous inviter sur une représentation de votre choix parmi 10 spectacles de la saison 2016-2017 (8 opéras et 2 ballets) :
– Lucia di Lammermoor (à l’Opéra Bastille, à partir du 14 octobre) – Cavalleria Rusticana / Sancta Susanna (au Palais Garnier, à partir du 30 novembre) – Iphigénie en Tauride (à l’Opéra Bastille, à partir du 2 décembre) – La Flûte Enchantée (à l’Opéra Bastille, à partir du 23 janvier) – Trompe-la-mort (au Palais Garnier, à partir du 16 mars) – Wozzeck (à l’Opéra Bastille, à partir du 26 avril) – Rigoletto (à l’Opéra Bastille, à partir du 27 mai) – Carmen (à l’Opéra Bastille, à partir du 13 juin) – Jirí Kylian (au Palais Garnier, à partir du 29 novembre) – Drumming Live (à l’Opéra Bastille, à partir du 1er juillet)
Je vous invite à réserver gratuitement dès à présent le spectacle de votre choix, en contactant un conseiller au 01 73 60 26 26. Vous pourrez obtenir le même nombre de billets, dans la même catégorie, que ceux que vous avez acquis pour Les Contes d’Hoffmann auquel, naturellement, vous assisterez.
Je souhaite, par cette invitation, vous remercier à nouveau très chaleureusement pour votre fidélité à l’Opéra de Paris.
Je vous prie de croire, cher abonné, en l’expression de ma meilleure considération.
Stéphane Lissner
The board of directors of Los Angeles Opera has renewed Placido Domingo’s contract as general director for another three years, to the middle of 2022, when he will be 81.
The tenor turned baritone joined LAO as artistic consultant in 1984 and as artistic director for two years before becoming general director in 2003.
We regret to report the sudden death of Jonathan Biggers, professor of organ and harpsichrd at Binghampton University in upstate New York and a regular soloist with major orchestras. He was engaged, at the time of his death in performing the complete organ works of J S Bach.
At the age of 25, he won a unanimous first prize at the 1985 Geneva International Pipe Organ Competition, followed by the 1990 Calgary International Organ Festival Concerto Competition. More here.
As of today, Airberlin has posted on its website that you can carry small instruments, apparently including violins, free of charge as cabin baggage.
Here’s the wording:
Following registration, musical instruments with maximum dimensions of 86 cm x 33 cm x 19 cm (including instrument case and/or bag) and a maximum weight of 8 kg may be transported in the aircraft cabin in place of hand baggage. For larger instruments, it is mandatory to book an extra seat through our Service Centre!
Here’s the link in case you need to show it to a recalcitrant check-in agent.
They used to be the worst of airlines. Let’s see if they mean what they say this time. (They have gone back on their pledge before.)
Pittsburgh Symphony COO Christian Schörnich is today trying to play down the letter he sent to striking musicians, reserving the right to replace them if the strike continued.
Schörnich said the letter, published in slippedisc.com, had been written by the company legal counsel – did he not read it before it went out? – and that he had no intention of replacing musicians.
‘I don’t want to even go there,’ he told the local paper. ‘There’s no intention behind this.’
So why did he sign the letter?
The Canadian early music ensemble Les Violons du Roy has named Jonathan Cohen to succeed its founder, Bernard Labadie, who has stepped down.
Cohen, 39, associate director of William Christie’s Les Arts Florissants, took over a tour for Labadie two years ago. He is founder-director of Arcangelo and artistic partner of the St Paul Chamber Orchestra. Labadie has welcomed his appointment ‘with great pleasure.’
The Mayor of Berlin announced today that he ad signed a new music director and general manager for the philharmonic orchestra. Release follows.
New General Manager for the Berliner Philharmoniker
Contract signing of Kirill Petrenko and Andrea Zietzschmann
The chairman of the board of trustees, the Governing Mayor of Berlin, Michael Müller, today signed the contracts with Kirill Petrenko as chief conductor, and Andrea Zietzschmann as general manager of the Berliner Philharmoniker Foundation. Kirill Petrenko will take up his position on 19 August 2019.
In the spring of last year, the Berliner Philharmoniker elected Kirill Petrenko as successor to Sir Simon Rattle who will leave the post in 2018. The orchestral and cultural manager Andrea Zietzschmann will become the new general manager of the Berliner Philharmoniker Foundation on 1 September 2017, taking over the position from Martin Hoffmann who is leaving at his own request.
The Governing Mayor Michael Müller: “I am delighted that we have succeeded today in signing the contracts of both Kirill Petrenko and Andrea Zietzschmann. We now have two internationally very well-connected, innovative and creative personalities at our side for the future work of the Berliner Phiharmoniker. In Andrea Zietzschmann, who takes up her position in 2017, a highly experienced cultural and orchestra manager will become the general manager of the most important orchestra in Germany. This forward-looking personnel decision has the full support of the orchestra and Sir Simon Rattle and Kirill Petrenko.”
Kirill Petrenko, future chief conductor of the Berliner Philharmoniker: “I am delighted that Andrea Zietzschmann is to be the new general manager of the Berliner Philharmonker. She is very personable and as a result of many years of experience with various orchestras, she knows best how a musician’s soul functions. As such, Andrea Zietzschmann is perfectly equipped for the task.”
Knut Weber for the orchestra board: “We orchestra musicians are also looking forward to working with Andrea Zietzschmann. In addition to her wide-ranging experience in challenging management positions, she has proven skills and imagination in the development and planning of concert programmes. Moreover, we also share the experience of working closely together with Claudio Abbado at the same time. We look forward to a fruitful future and another exciting chapter in the history of the Berliner Philharmoniker.”
Sir Simon Rattle, chief conductor of the Berliner Philharmoniker: “Andrea Zietzschmann has a remarkable portfolio of experience dealing both with large institutions and the delicacies of a self-governing orchestra. She is knowledgeable, smart and tough, all qualities which she will need in this famously demanding and difficult job. I am delighted to welcome her to the Berliner Philharmoniker family!”
Andrea Zietzschmann on her new position: “I see it as a great pleasure and privilege to accompany the work of the Berliner Philharmoniker from September 2017. I look forward to working with Sir Simon Rattle – and also to shaping the future of this extraordinary orchestra at the side of Kirill Petrenko and the musicians.”
Kirill Petrenko, born in Omsk, Russia in 1972, moved with his family to the Austrian Vorarlberg in 1990 when his father found a job as a violinist with the local symphony orchestra. In 1995, Kirill Petrenko made his debut as an opera conductor with this orchestra at just 23 years of age. When he was 30, Petrenko came to Berlin where he was music director of the Komische Oper Berlin from 2002 to 2007. He appeared as a guest conductor with the Berliner Philharmoniker in 2006, 2009 and 2012. Petrenko has been general music director of the Bayerische Staastsoper since 2013.
Andrea Zietzschmann, born in 1970, studied musicology, business administration and art history in Freiburg, Vienna and Hamburg. While graduating with a Master of Arts, she worked in parallel with the Gustav Mahler Youth Orchestra and Westdeutscher Rundfunk. In 1997, she founded the Mahler Chamber Orchestra together with Claudio Abbado, and worked for six years as general manager of the ensemble. In 2003, she became the orchestra manager at Hessischer Rundfunk (HR), and in 2008, took on the role of head of music at HR, including responsibility for the broadcaster’s orchestras and festivals. Since September 2013, she has been manager of the four Norddeutscher Rundfunk orchestras and is head of NDR’s orchestral, choral and concert activities.
We’re hearing that Allison Vulgamore, president and chief executive officer of the Philadelphia Orchestra Association, was nowhere to be seen while talks with the musicians were heading for crisis.
In fact, she’d left the business of negotiating to deputies and kept postponing meetings with the player.
Negotiations did not start until late August when the musicians were in Saratoga Springs. The only deal her eam put on the table was a 5-year contract with percentage increases of 0, 0, 1, 1, 1.
Vulgarmore’s deps had no power to improve on that. So the musicians went on strike.
Panic ensued.
In less than two days, Vulgamore came up with an offer of of 2 percent in year one, and 2.5 percent rises in each of years two and three. The musicians quickly accepted by a 73 to 11 vote. It was a respectable offer. They would have accepted it months ago.
There was never any need for a strike. It was caused by bad management.
