Krystian Zimerman was born in Zabrze (Poland) on 7 December 1956. He made his first major breakthrough in 1975, when he won the first prize at the Chopin Competition in Warsaw. His friendship with Artur Rubinstein exerted a lasting influence on him in his youth. After expanding his repertoire and studying in London in 1980, he began to make a name for himself as one of the most talented pianists of his generation through numerous concerts and recordings. Further important stations in his career were his projects with such great conductors as Bernstein, Giulini and Karajan. The Polish composer Witold Lutoslawski dedicated a piano concerto to him, which he premiered in Salzburg in 1988.
Introduction to Contemporary Music – A series by Michel Fano and Dominique Jameux with Pierre Boulez
New Year’s Eve Concert 1978
Karajan had been appointed music director for life of the Berlin Philharmonic in 1955, and soon the orchestra mastered the entire palette of Karajan’s subtly defined phrasings, moods and orchestral colors. At home in the majesty of Bruckner or the raw power of Beethoven, the orchestra was also able to “let go” and enjoy a rollicking time with Suppé or a Lisztian Hungarian Rhapsody, as the present recording superbly illustrates. For the 1978 New Year’s Eve concert with the Berlin Philharmonic, Karajan put together a program of exclusively popular classical works, pieces that would guarantee a bubbly good time. Following Verdi’s Overture to “La forza del destino” are the two major works of the program, Bizet’s Arlésienne Suite No. 2 and Liszt’s Hungarian Rhapsody No. 2. The Hungarian March, or “Rákóczy March,” from Berlioz’s “La damnation de Faust” never fails to rouse listeners with its dazzling instrumentation. The program closes with the Intermezzo from Mascagni’s “L’amico Fritz” and the ever-popular Overture to “Leichte Kavallerie” by Franz von Suppé.
New Year’s Eve Concert 1979
Gaiety and temperament are the keynotes of this New Year’s Eve program with the London Philharmonic Orchestra recorded live in Munich’s Herkulessaal on New Year’s Eve 1979. It begins with “Gaieté Parisienne,” an arrangement of Jacques Offenbach’s most popular operetta melodies. This is followed by a generous helping of central European esprit in the Slavonically inspired dances of Léo Delibes’ “Coppélia” ballet, and in the Viennese lightness of Franz von Suppé’s “Pique Dame” Overture, a delicious little work by the founding father of the Viennese operetta. Amilcare Ponchielli’s “Dance of the Hours” has delighted “promenade” concertgoers for years now – perhaps because it reminds us of his two great pupils Puccini and Mascagni? The luscious lyricism of the waltzes from Richard Strauss’s “Rosenkavalier” is dispelled by the solemn majesty of Sir Edward Elgar’s “Pomp and Circumstance March No. 4.” From Victorian England we travel to Czarist St. Petersburg, to the magical world of Peter I. Tchaikovsky’s “Nutcracker Suite.” And since all good things must come to an end, the Land of Sweets disappears under a vigorous sprinkling of fiery paprika in Johannes Brahms’s “Hungarian Dance No. 5,” which closes the program on a spicy note.
Theodor
“The World Premiere of ‘Theodor’ involved you emotionally, intellectually, and spiritually with effective singing, convincing acting, taut libretto, and intuitive, haunting music” (Opera Now, Critics’ Choice) The opera Theodor intertwines two key periods in Theodor Herzl’s life. In one, a disillusioned, older Herzl flees his failed marriage and a world filled with hate, haunted by the Dreyfus Affair. In the other, a young Herzl, proud of joining a nationalist student union, looks toward a promising future. As these timelines converge, both versions of Herzl struggle with the desire to belong and escape their inner isolation, each seeking to create a new reality for himself just before he transforms into a legend. Theodor is the first opera by Israel born composer Yonatan Cnaan. His cinematic music contains references to Chopin and Kurt Weill, for example, but also to early Jewish composers like Sasha Argov. An “excellent” cast of twelve leading Israeli singers, among them Oded Reich in the title role and Anat Czarny in the role of his wife Julie, makes the production a “roaring success” and a “must-see” (The Jerusalem Post).
Ton Koopman in Japan
This concert shows the magic that happens when a master of his craft meets the most masterfully crafted instrument: On the occasion of his 80th birthday, world-famous organist Ton Koopman plays the pipe organ at the Salamanca Hall in Gifu, Japan for an exclusive recording. The largest work of Tsuji Hiroshi, a pioneering organ builder in Japan, the instrument incorporates the features of the organ at the Salamanca Cathedral in Spain and is unique for its blend of Spanish and German styles. Giving thought to the unending flow of time, Koopman draws out the appeal of the organ to its fullest, playing Spanish Batalha, Frescobaldi, Buxtehude, and Bach.
Filippo Gorini in Japan
Experience the enchanting fusion of classical music and traditional Japanese culture as acclaimed Italian pianist Filippo Gorini performs a captivating recital featuring works by Franz Schubert at the serene Hokokuji Temple. Filippo Gorini, a rising star in the classical music world, has been captivating audiences worldwide since winning the First Prize and Audience Prize at the Telekom-Beethoven Competition in Bonn in 2015. PROGRAM Kurtag: A Ligatura for Màrta; Schubert: Sonata No. 21; Bach/Petri: Schafe können sicher weiden, BWV 208, No. 9
Kirill Gerstein & Mao Fujita in Recital
Experience an extraordinary evening of piano artistry as acclaimed pianist Kirill Gerstein appears with his brilliant protégé Mao Fujita at the Ark Hall, Tokorozawa Civic Cultural Centre. This special concert offers a rare glimpse into the powerful artistic bond between master and student. A recipient of the Gilmore Artist Award and professor at Berlin’s Hanns Eisler Hochschule, Gerstein is internationally celebrated for his imaginative interpretations and distinctive blend of classical and jazz influences. Mao Fujita, silver medalist at the 2019 Tchaikovsky Competition, has rapidly emerged as one of the most compelling pianists of his generation. Schubert: Variations Op. 46; Schumann: Andante and Variations Op. 46; Ravel: La Valse; Busoni: Duettino concertante based on Mozart’s Piano Concerto No. 19; Rachmaninoff: Symphonic Dances Op. 45; Debussy: Lindaraja; Rachmaninoff: Waltz for 4 Hands Op.11, No.4
Christian Thielemann – A portrait
This film by Bengt Wennehorst is a portrait of one of the absolute foremost and sought-after conductors of our time. With his own words, charm and humour, Christian Thielemann tells of his childhood and youth in the outskirts of Berlin, how he played the piano as a five-year-old and how, just as early on, he got to accompany his music-loving parents to concerts and opera performances once or twice a week. Extensive video material provides insights into his intensive rehearsal work and documents acclaimed concert and opera performances of his career. The portrait includes interviews with artists such as actress and director Katharina Thalbach, opera singers Anja Kampe and Renée Fleming and Albena Danailova, concert master of the Wiener Philharmoniker.
Silla
Handel’s opera Silla is probably the most enigmatic and unknown of all his operas. The production at the Kanagawa Prefectural Music Hall, however, is not only a rare occasion, but also the world premiere of the full-stage version. Tadashi Miroku’s production is inspired by traditional Kabuki theatre, known for its highly stylised performances and often glamorous costumes and make-up. Fabio Biondi conducts “his” Europa Galante, an internationally renowned and award-winning ensemble for baroque music, performing together with a magnificent cast of singers representing the world of early music, such as Vivica Genaux and Roberta Invernizzi. “More than a common orchestra, Europa Galante looks like a guitar or multi-register harp struck by Biondi’s master hand”. (Amadeus)