Pod záštitou prezidenta České republiky Václava Klause Ve spolupráci s Ministerstvem kultury České republiky Partnerem festivalu je hlavní město Praha Oficiální doprovodná akce předsednictví ČR v Radě EU Under the patronage of the President of the Czech Republic Václav Klaus In association with the Ministry of Culture of the Czech Republic The City of Prague is a Partner of the Festival Official Event to Accompany the Czech Presidency of the Council of the EU
Člen Evropské asociace festivalů a Asociace hudebních festivalů České republiky Member of the European Festivals Association and the Czech Association of Music Festivals
12. květen - 3. červen 2009 12 May - 3 June 2009
Orchestrální řada Orchestral Series
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květen, čtvrtek May, Thursday Smetanova síň 20:00 Smetana Hall, 8pm
Pod záštitou velvyslance Lucemburského velkovévodství Under the auspices of the Ambassador of Luxembourg to the Czech Republic
Bohuslav Martinů
La Rhapsodie, H 171 (Allegro symphonique)
Sergej Rachmaninov
Koncert pro klavír a orchestr č. 3 d moll, op. 30 Concerto for Piano and Orchestra No. 3 in D minor, Op. 30 Allegro ma non tanto Intermezzo. Adagio Finale. Alla breve přestávka interval
Antonín Dvořák
Symfonie č. 7 d moll, op. 70 Symphony No. 7 in D minor, Op. 70 Allegro maestoso Poco adagio Scherzo. Vivace Finale. Allegro
NIKOLAJ LUGANSKIJ – klavír piano Český rozhlas realizuje záznam koncertu pro vysílání stanice Vltava (25. 5. 2009) a rozhlasy Evropské vysílací unie (EBU). Czech Radio is recording this concert for broadcast on Vltava radio station (25 May, 2009) and radio stations affiliated to the European Broadcasting Union (EBU).
ORCHESTRE PHILHARMONIQUE DU LUXEMBOURG EMMANUEL KRIVINE – dirigent conductor
Orchestrální řada Orchestral Series
Ruský skladatel Sergej Vasiljevič Rachmaninov (1873–1943) byl sám vynikajícím klavíristou, jedním z nejlepších v první polovině 20. století. Vystupovat jako sólista začal však už koncem devadesátých let 19. století, uplatňoval se jako doprovazeč (mj. s Fjodorem Šaljapinem) a působil i jako operní dirigent. V prosinci roku 1902 koncertoval také v Praze. Svému nástroji věnoval řadu ryze sólových skladeb – preludií, etud apod., ale také Rapsodii na Paganiniho téma a především čtyři klavírní koncerty, jejichž sólové party patří k tomu nejnáročnějšímu, co kdy bylo pro klavír napsáno, a všechny vzbudily hned po svém prvním zaznění velkou pozornost a ohlas. Koncert pro klavír a orchestr č. 3 d moll, op. 30 zkomponoval v roce 1909 v Ivanovce, kde v létě pobýval. Zamýšlel ho pro svou první koncertní cestu po Spojených státech, kde měl od listopadu 1909 do února 1910 vystoupit na 26 koncertech jako klavírista a dirigent. Koncert, jehož sólový part cvičil údajně na lodi během cesty, pak poprvé provedl 28. listopadu 1909 s New York Symphony Orchestra a dirigentem Waltrem Damroschem. Zanedlouho byl koncert hrán znovu, tentokrát za řízení Gustava Mahlera. Koncert d moll nese všechny znaky Rachmaninovova stylu. Je výsostně virtuózní (slavný polský pianista Josef Hofmann, kterému je dílo věnováno, je nikdy neprovedl), lyrický a z dnešního pohledu až místy patetický, s harmonicky bohatou zvukovostí a široce založenou melodikou. Díky tomu je málem stejně populární jako Rachmaninovův Druhý klavírní koncert; autor sám mu dokonce dával přednost. Antonín Dvořák (1841–1904) patří k předním světovým symfonikům. Z jeho devíti symfonií jich nejméně polovina pravidelně zaznívá na světových pódiích. Patří k nim i skladatelova Symfonie č. 7 d moll, op. 70, která vznikla během tří měsíců na přelomu let 1884 –1885. Dvořák měl za sebou první světové úspěchy, pracoval v obzvláštní pohodě a práce mu šla dobře od ruky. Krátce předtím dokončil kantátu Svatební košile na objednávku festivalu v Birminghamu, a v Londýně (kde bylo jeho dílo
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s nadšením přijímáno) ho Filharmonická společnost, jejímž byl čestným členem, požádala o novou symfonii. Dvořák se rozhodl, že bude taková, „aby hýbala světem, no, a dá bůh, že tak bude“. Dvořák se prý také chtěl vyrovnat s Brahmsovou Třetí symfonií a mistrovsky se mu to podařilo. Symfonie d moll je – typicky dvořákovsky – invenčně nesmírně bohatá a navíc dokonale logicky vystavěná. Oproti předchozím ji více prozařuje duch evropské než slovanské hudby. Obrovské množství nápadů se promítá hned do sonátové formy 1. věty, která exponuje ve dvou hlavních liniích několik vzájemně souvisejících témat. Meditativní 2. věta s rušnějším středním dílem předchází symfonické Scherzo 3. věty, jakýsi přízračný tanec, přerušený jen v prostém triu. V závěrečném Allegru Dvořák zpracovává a shrnuje i témata předchozí, především z první věty. Symfonie d moll tak končí skvělou ukázkou skladatelova variačního a kontrapunktického mistrovství. Premiéru v St James Hall Filharmonické společnosti v Londýně dirigoval sám Antonín Dvořák a došlo k ní 22. dubna 1885. Jana Vašatová, 2009/2006/2007 Bohuslav Martinů (1890–1959) is familiar to world audiences chiefly for his operas and six symphonies which he only began writing during the war, however, when he was living in the United States. The first is dated 1942, the rest appeared at yearly intervals up until the year 1946, except the Sixth, which waited a full seven years for its completion. Thus it appears that he wanted to give himself time before deciding to confront this compositional genre. Nevertheless, he probably made his first attempt (a work now lost) in his native Polička back in 1912, and he resolved to try again in 1928 during his sojourn in Paris. The result was the single-movement La Rhapsodie, also known as Allegro symphonique, the title Martinů originally wrote at the top of the score. The piece was to have been the basis for a symphony which he had intended dedicating to conductor Serge Koussevitzky. The latter had already premiered Martinů’s La Bagarre (Vřava) to great acclaim in Boston in the autumn of 1927 and the composer wished to draw Koussevitzky’s attention to a new work. In the end, there was nothing to show for the symphony except the crossed-out heading in the manuscript and the note “Pour Darney”, which was a small town in the French district of Vosges, where the 1st Czechoslovak brigade, French legionnaires, were concentrated for six months during the First World War. They were also visited by T. G. Masaryk and, on 30 June 1918, their military inspection was performed by French President Raymond Poincaré who also presented them with a banner, a gift from the City of Paris, as a symbol of the official acknowledgement of the Czechoslovak state. The tenth anniversary of this event was remembered in a special ceremony in 1928. Martinů, probably instigated by the legation in Paris, decided to commemorate this anniversary as well; thus this piece is also referred to as the “Military Symphony”.
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Orchestrální řada Orchestral Series
In La Rhapsodie, written as a tribute to the events of that time, lyrical and chorale-like meditative passages alternate with burnished military signals; the piece is full of energy and ceremonial atmosphere. The premiere of the work – going by the title “La Symphonie” – was held in Boston on 14 December; the Boston Symphony Orchestra was conducted by Serge Koussevitzky. During its time, the performance of the Rhapsodie also had important social significance, as indicated in a letter Martinů sent to Miloš Šafránek while he was spending the summer in Polička: “I was so delighted to receive a letter from Minister Beneš, mother was completely stunned by it.” The work was also presented by Ernest Ansermet and Walter Straram, but then it practically disappeared from concert programmes altogether. In this country it was performed most recently in 2001 by the Czech Philharmonic under Kurt Sanderling. Russian composer Sergei Vasilyevich Rachmaninov (1873–1943) was himself an excellent pianist, one of the finest during the first half of the 20th century. He began appearing as a soloist at the end of the 1890s, he worked as an accompanist (with Fyodor Shalyapin, among others) and he was also an opera conductor. He performed in concert in Prague in December 1902. He dedicated a number of purely solo works to his instrument – preludes, etudes and so on, but also the Rhapsody on a Theme of Paganini and, above all, four piano concertos, whose solo parts are some of the most technically demanding ever written for the piano; all of them generated a great deal of excitement and critical acclaim after their very first performance. Rachmaninov wrote Concerto for Piano and Orchestra No. 3 in D minor, Op. 30, in 1909 in Ivanovka, where he spent his summers. He had in mind to play this piece during his first concert tour of the United States where, during the period November 1909 to February 1910, he was to perform 26 concerts as both pianist and conductor. He premiered the concerto, which he is said to have practised on the boat journey over, on 28 November 1909 with the New York Symphony Orchestra under conductor Walter Damrosch. It was not long before the concerto was performed again, this time under Gustav Mahler. The Concerto in D minor bears all Rachmaninov’s stylistic traits. It is supremely virtuoso in character (the famous Polish pianist Josef Hofmann, to whom the work is dedicated, never performed it), lyrical and, from today’s point of view, even impassioned in places, with a rich harmonic palette and broad, sweeping melody. Thanks to these qualities, the work is almost as popular as Rachmaninov’s Piano Concerto No. 2; the composer himself even preferred it.
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Antonín Dvořák (1841–1904) is a leading world symphonic writer; of his nine symphonies, at least half of them are regularly performed on international concert platforms. These include the composer’s Symphony No. 7 in D minor, Op. 70, which was written during the space of three months in late 1884 and early 1885. Dvořák already had his first world successes behind him, he was in a very relaxed frame of mind for the task and he found the work effortless. Shortly beforehand he had completed the cantata The Spectre’s Bride, a commission from the Birmingham festival, and in London (where his work had been extremely well received), the Philharmonic Society, of which he was an honorary member, requested a new symphony from him. It was Dvořák’s intention to write a work which would “move the world; well, God willing, it will”. Dvořák is said to have aspired to create a work of the calibre of Brahms’s Symphony No. 3, which he certainly succeeded in doing. The Symphony in D minor is – typically for Dvořák – a masterpiece of invention and, moreover, is flawlessly and logically constructed. Unlike his previous symphonies, the work reflects much more the spirit of European than Slav music. A myriad ideas are projected into the score at the very beginning, in the sonataform scheme of the first movement which, tracing two major lines, exposes several mutually related themes. The meditative 2nd movement, with its more lively middle section, ultimately gives rise to the symphonic Scherzo of the 3rd movement, a kind of ethereal dance, interrupted only in the simple trio. In the closing Allegro, Dvořák also elaborates and recapitulates previous themes, particularly from the first movement. The Symphony in D minor thus ends with a dazzling example of the composer’s variational and contrapuntal genius. The premiere organised by the Philharmonic Society at St James’s Hall in London was conducted by Antonín Dvořák himself on 22 April 1885.
Jana Vašatová, 2009/2006/2007 English translation by Karolina Vočadlo Hughes, 2009/2006/2007
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Orchestrální řada Orchestral Series
NIKOLAJ LUGANSKIJ (1972) pochází z Moskvy, kde získal hudební vzdělání u věhlasné klavíristky a pedagožky Tatiany Nikolajevové a kde také dodnes žije. Jeho mimořádný talent byl rozpoznán v mezinárodních soutěžích, z nichž si odnášel nejvyšší ceny – Bachova soutěž v Lipsku (1988), Celosvazová [SSSR] soutěž Rachmaninova (1990) a především triumfální úspěch na Čajkovského soutěži v Moskvě roku 1994, který mu vynesl bezprostřední pozvání na přední koncertní pódia po celém světě. Jeho americký debut se odehrál v losangeleském Hollywood Bowlu v rámci turné Kirovova orchestru (Mariinského divadla v Sankt Petěrburgu) s Valerijem Gergijevem v roce 1996. Tentýž rok debutoval mladý klavírista na festivalu Pražské jaro. Nikolaj Luganskij je dalším v řadě mezinárodně respektovaných pianistů vzešlých z klasické ruské školy. Patří k současné špičce, hraje s těmi nejlepšími orchestry v Evropě (Orchestre National de France, Orchestre de Paris, londýnská Philharmonia, London Philharmonic Orchestra, Royal Concertgebouworkest, Rotterdamská filharmonie, Berlínští symfonikové, Mnichovská filharmonie, Drážďanská filharmonie, lipský Gewandhausorchester), USA (zejména San Francisco Symphony, Los Angeles Philharmonic, Pittsburgh Symphony) a v Japonsku (Tokyo Philharmonic). Stejně tak hvězdný je i výčet dirigentů, pod nimiž vystupuje: Paavo Berglund, Riccardo Chailly, Christoph Eschenbach, Marek Janowski, Neeme Järvi, Vladimir Jurovsky, Emmanuel Krivine, Charles Mackerras, Kurt Masur, Kent Nagano, Sakari Oramo, Michail Pletnev, Jukka-Pekka Saraste, Jurij Těmirkanov aj. Luganskij se zaměřuje na standardní kmenový repertoár klavíristů s mírnou převahou ruské hudby. Jeho doménou je Sergej Rachmaninov, jehož kompletní klavírní odkaz, pro sólový nástroj a s orchestrem, hrává po celém světě a také jej natočil. Obdržel za nahrávky mnohonásobná ocenění (Diapason d´Or, Preis der deutschen Schallplattenkritik, Echo Klassik a další). V roce 2004 získal čestné občanství Ivanovky (letní sídlo Rachmaninova v tambovské gubernii, asi 600 km jihovýchodně od Moskvy) jako uznání za uměleckou a finanční podporu tamního Muzea Rachmaninova. Obsáhlá diskografie Nikolaje Luganského zahrnuje také téměř kompletní dílo Chopina, Čajkovského Klavírní koncert b moll s Ruským národním orchestrem pod Kentem Naganem (PentaTone Classics), v posledních letech zejména na labelu Warner Classics jsou to disky s komorními a koncertními skladbami Prokofjeva, Beethovenovy sonáty, ale také komorní hudba (Chopin, Rachmaninov) s violoncellistou Alexandrem Kniazevem (ECHO Klassik 2007).
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Nikolai Lugansky (1972) is a native of Moscow, where he received his musical education from celebrated pianist and teacher Tatiana Nikolayeva; the city is now his home. His supreme talent was recognised at international competitions where he garnered the highest awards – the International Bach Competition in Leipzig (1988), the All-Union [USSR] Rachmaninov Competition (1990) and, in particular, his triumphant win at the Tchaikovsky International Competition in Moscow in 1994, which immediately led to invitations to perform at major concert venues all over the world. He gave his American debut at the Hollywood Bowl in Los Angeles during a tour with the Kirov Orchestra (Mariinsky Theatre in St Petersburg) and Valery Gergiev in 1996. The young pianist debuted at the Prague Spring festival that same year. Nikolai Lugansky has been hailed as the next in line of a series of great Russian pianists. Already a major artist, he performs with the finest orchestras in Europe (Orchestre National de France, Orchestre de Paris, London Philharmonia, London Philharmonic Orchestra, Royal Concertgebouworkest, Rotterdam Philharmonic, Berlin Symphony, Munich Philharmonic, Dresden Philharmonic, the Leipzig Gewandhaus), in the USA (in particular, the San Francisco Symphony, Los Angeles Philharmonic, Pittsburgh Symphony) and in Japan (Tokyo Philharmonic). Just as impressive is the list of distinguished conductors he has worked with: Paavo Berglund, Riccardo Chailly, Christoph Eschenbach, Marek Janowski, Neeme Järvi, Vladimir Jurovsky, Emmanuel Krivine, Charles Mackerras, Kurt Masur, Kent Nagano, Sakari Oramo, Michail Pletnev, Jukka-Pekka Saraste and Yuri Temirkanov, among others. Lugansky performs the standard key piano repertoire, focusing to some extent on Russian music. His chief domain is Sergei Rachmaninov, whose complete piano legacy, both for solo instrument and with orchestra, he performs all over the world and has also recorded. He has won numerous awards for his recordings (Diapason d’Or, Preis der deutschen Schallplattenkritik, Echo Klassik etc.). In 2004 he was made Honorary Citizen of Ivanovka (Rachmaninov’s summer residence in Tambov region, approximately 600km south-east of Moscow) in recognition of his artistic and financial support of the estate’s Rachmaninov Museum. Nikolai Lugansky’s impressive recording catalogue comprises practically the complete works of Chopin and Tchaikovsky’s Piano Concerto in B flat minor with the Russian National Orchestra under Kent Nagano (PentaTone Classics); in recent years, particularly for Warner Classics, he has recorded chamber and concertante works by Prokofiev, Beethoven sonatas and other chamber works (Chopin, Rachmaninov) with cellist Alexander Kniazev (ECHO Klassik 2007). EMMANUEL KRIVINE začal svou kariéru jako houslista, mj. získal řadu prestižních ocenění v době studií u Henryka Szerynga a Yehudi Menuhina na Hudební akademii královny Alžběty v Bruselu. Po setkání s Karlem Böhmem v Salcburku roku 1965 vyměnil smyčec za taktovku a rozhodl se pro dirigentskou dráhu. V letech 1976–1983 byl stálým hostujícím dirigentem Orchestre Philharmonique de Radio France, v letech 1987–2000 působil na postu uměleckého ředitele u Orchestre National de Lyon a současně vedl Francouzský národní mládežnický orchestr až do roku 2004. S Orchestre Philharmonique du Luxembourg je tento dirigent rusko-polského původu úzce spjat od roku 2001 jako hlavní hostující dirigent tělesa, od roku 2006 je jeho uměleckým ředitelem a šéfdirigentem. Kromě zmíněných stálých angažmá hostuje Emmanuel Krivine u předních orchestrů po celém světě. Dirigoval Berlínské filharmoniky, London Symphony Orchestra, London Philharmonic Orchestra, amsterdamský Royal Concertgebouworkest, Tonhalle v Curychu,
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Orchestrální řada Orchestral Series
Českou filharmonii, Orchestre National de France, Evropský komorní orchestr, NHK Tokyo Symphony Orchestra, Yomiuri Symphony Orchestra, kromě dalších také významné americké orchestry v Bostonu, Clevelandu, Filadelfii, Los Angeles, a v Austrálii orchestry v Sydney a Melbourne. V letošní sezoně jsou to National Symphony Orchestra Washington, Orchestre Philharmonique de Monte Carlo, Mahler Chamber Orchestra, opětovně Royal Concertgebouworkest, Filadelfský orchestr, Evropský komorní orchestr. Emmanuel Krivine je také v současné době hlavním dirigentem ansámblu La Chambre Philharmonique, který pomáhal vybudovat a jehož počáteční ideu zaštítil svým jménem. Je založena na novém stylu ansámblové hry s flexibilním obsazením hráčů, kteří pocházejí z předních evropských orchestrů. La Chambre Philharmonique debutovala v Nantes roku 2004, od té doby úspěšně hostovala s vynikajícími sólisty v Paříži (Cité de la Musique, Opéra Royal ve Versailles), v Metzu, Grenoblu, Montpellieru. Jejich první nahrávka (Mozartova Mše c moll a Mendelssohnovy Symfonie Italská a Reformační) na labelu Naîve sklidila velké uznání. V roce 2010 bude Krivine řídit tento orchestr v inscenaci Berliozovy opery Blažena a Beneš (Béatrice et Bénédict) v pařížské Opéra-Comique. Diskografie Emmanuela Krivine (Strauss, Schönberg, Ravel, Berlioz, d´Indy, Ropartz, Dusapin atd.) s orchestry, jako jsou Philharmonia, Bamberští symfonikové, Sinfonia Varsovia, Orchestre National de Lyon, Orchestre Philharmonique du Luxembourg, obohatí čerstvě natočené snímky Debussyho orchestrálních děl s orchestrem dnešního večera.
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Emmanuel Krivine began his career as a violinist and won a series of prestigious awards during his studies with Henryk Szeryng and Yehudi Menuhin at the Queen Elisabeth School in Brussels. After meeting Karl Böhm in Salzburg in 1965, he exchanged his bow for a baton and decided upon a conducting career. During the period 1976–1983 he was Permanent Guest Conductor of the Orchestre Philharmonique de Radio France; in the years 1987–2000 he was Artistic Director of the Orchestre National de Lyon while at the same time heading the French National Youth Orchestra until 2004. A conductor of Russian and Polish descent, he has been closely associated with the Orchestre Philharmonique du Luxembourg since 2001 as its Principal Guest Conductor and, since 2006, its Artistic Director and Chief Conductor. In addition to the above-mentioned permanent engagements, Emmanuel Krivine makes guest appearances with major orchestras all over the world. He has conducted the Berlin Philharmonic, the London Symphony Orchestra, London Philharmonic Orchestra, the Royal Concertgebouworkest in Amsterdam, Tonhalle in Zurich, Czech Philharmonic, Orchestre National de France, European Chamber Orchestra, NHK Tokyo Symphony Orchestra, Yomiuri Symphony Orchestra, along with leading American orchestras in Boston, Cleveland, Philadelphia, Los Angeles, plus Australian orchestras in Sydney and Melbourne. This season he has commitments with the National Symphony Orchestra in Washington, Orchestre Philharmonique de Monte Carlo, the Mahler Chamber Orchestra, the Royal Concertgebouworkest once more, the Philadelphia Orchestra and the European Chamber Orchestra. Emmanuel Krivine is currently also Principal Conductor of the ensemble La Chambre Philharmonique, which he co-created with other like-minded musicians. The ensemble is founded on a new style of performance involving a flexible number of players who come from foremost European orchestras. La Chambre Philharmonique gave its debut in Nantes in 2004 and, since that time, has been highly successful appearing with excellent soloists in Paris (Cité de la Musique, Opéra Royal in Versailles), Metz, Grenoble and Montpellier. The ensemble’s first recording (Mozart’s Mass in C minor and Mendelssohn’s Italian and Reformation Symphonies) for the Naîve label earned them huge recognition. In 2010 Krivine will be conducting this orchestra in a production of Berlioz’s opera Béatrice et Bénédict at the Opéra-Comique in Paris. Emmanuel Krivine’s discography (Strauss, Schoenberg, Ravel, Berlioz, d’Indy, Ropartz, Dusapin etc.) with orchestras such as the Philharmonia, Bamberg Symphony, Sinfonia Varsovia, Orchestre National de Lyon and Orchestre Philharmonique du Luxembourg, has recently been expanded to include orchestral works by Debussy recorded with the orchestra performing tonight.
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Orchestrální řada Orchestral Series
Orchestre Philharmonique du Luxembourg was founded in 1933 as the Radio Luxembourg orchestra. Since that time it has been a showcase orchestra in the cultural life of Luxembourg and was officially appointed the Luxembourg National Orchestra in 1996. The privileged position the orchestra enjoys at home is reflected in the fact that every concert is broadcast on radio on frequency 100,7 and via the international radio network EBU. The orchestra’s first Chief Conductor was Henri Pensis, who was followed in the same post by Louis de Froment, Leopold Hager, David Shallon and Bramwell Tovey. In September 2006 the position of Music Director and Chief Conductor was assumed by Emmanuel Krivine. The orchestra earned its international reputation not only through its regular foreign tours to leading concert venues (this season they are performing around twenty concerts across Europe), but also as an orchestra hosting a series of fine artists; this season 2008– 09 features an impressive line-up: Lionel Bringuier, Aldo Ciccolini, Bernarda Fink, Julia Fischer, Rafael Frühbeck de Burgos, Nikolai Lugansky, Michael Gielen, Soile Isokoski, Janine Jansen, Sergey Khachatryan, Jukka-Pekka Saraste, Hugh Wolff and Tabea Zimmerman. The Luxembourg Philharmonic Orchestra has over 30 CD recordings to its name, released by the French label Timpani. These recordings include the collected orchestral and chamber works of Maurice Ohana, the complete orchestral oeuvre of Iannis Xenakis and works by a host of other composers, many of which were premiered by the orchestra (Ernest Bloch, Lili Boulanger, Jean Cras, Philippe Gaubert, Arthur Honegger, Klaus Huber, Ivo Malec, Bohuslav Martinů, Gabriel Pierné, Francis Poulenc, Albéric Magnard, Albert Roussel, Vincent d’Indy, Joseph Guy Ropartz, Sylvano Bussotti, Hugues Dufourt). To date the orchestra has won more than 75 international awards for its recordings, among them, in particular, the Cannes Classical Award at MIDEM 2002 (“Record of the Year”) for the recording of Cydalise et le chèvre-pied by Gabriel Pierné, conducted by David Shallon, the Deutscher Schallplattenpreis for its recording of the opera Le Pays by Joseph Guy Ropartz, and several French prizes (Orphée d’Or, Académie du disque lyrique) for the premiere recording of the opera Polyphème by Jean Cras, which was conducted by the orchestra’s former Chief Conductor, Bramwell Tovey.
Orchestre Philharmonique du Luxembourg
obsazení pro dnešní koncert players list for tonight´s concert 1. housle 1st violin Philippe Koch Fabian Perdichizzi Darko Kodzas Daniel Anciaux Michael Bouvet Larry Francini Silja Geirhardsdottir Jean-Emmanuel Grebet Attila Keresztesi Darko Millowich Gisèle Nagy Angela Rathjen Fabienne Welter Bernadette Schrietter 2. housle 2nd violin Osamu Yaguchi Franziska Pietsch Anatole Belikov Jorge Cruz Mihajlo Dudar Julia Fedorova Sébastien Grébille Marina Kalisky Slawomir Kostrzewa Jun Qiang Gisela Todd Linden Xavier Vander Rhonda Wilkinson Barbara Witzel viola Ilan Schneider Dagmar Ondracek Kris Landsverk Olivier Coupé Claire Foehr Bernard Kaiser Aurélie Entringer Olivier Kauffmann Utz Köster Petar Mladenovic Aram Diulgerian
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violoncello Alexandr Khramouchine Ilja Laporev Niall Brown Xavier Bacquart Vincent Gérin Katrin Reutlinger Marie Sapey-Triomphe Kim Sehee Karoly Sütö kontrabas double bass Thierry Gavard Darius Wisniewsky Gilles Desmaris Gabriela Fragner André Kieffer Benoît Legot Isabelle Vienne flétna flute E. Plasman M. Brönnimann Barbara Geiser Christophe Nussbaumer hoboj oboe Fabrice Mélinon Anne-Catherine Bitsch Olivier Germani klarinet clarinet Olivier Dartevelle Emmanuel Chaussade Bruno Guignard
lesní roh French horn Miklos Nagy Kerry Turner Marc Bouchard Patrick Coljon Marc Olson K. Mascher trubka trumpet Adam Rixer Isabelle Marois Niels Vind Toth Zoltan trombon trombone G. Héritier Léon Ni Arthur Topper Vincent Debès tuba Csaba Szalay tympány timpani Simon Stierle Benjamin Schäfer bicí nástroje percussion Béatrice Daudin Benjamin Schäfer Klaus Brettschneider M. Mootz klavír piano Julia Knowles
fagot bassoon David Sattler F. Baptiste Ch. St. Gautier
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