The Cleveland Orchestra Announces 2011-12 Season

By -

Franz Welser-Möst will begin his tenth season as Music Director

The Cleveland Orchestra has announced its 2011-12 season with Music Director Franz Welser-Möst. Highlights of Franz Welser-Möst’s tenth season with the Orchestra include opera-in-concert performances of Strauss’s Salome at Severance Hall and Carnegie Hall and a three-week festival featuring Brahms masterworks: Piano Concertos Nos. 1 and 2 and the Violin Concerto. Returning conductors and artists who appear regularly with the Orchestra will include Pierre Boulez, Mitsuko Uchida, and Artist-in-Residence Ton Koopman. Sean Shepherd, the Daniel R. Lewis Young Composer Fellow, begins his two-year tenure in the 2011-12 season.

Since becoming Music Director in 2002, Franz Welser-Möst has expanded the programming of The Cleveland Orchestra to include staged opera, led performances of Bruckner symphonies in the United States , Europe, and Asia , welcomed new audiences with Fridays@7, and returned the Orchestra to perform at public high schools, while raising the Orchestra’s standard of artistic excellence. He has established Cleveland Orchestra residencies in Miami , Lucerne , and Vienna , and will lead the Orchestra in a new residency at the Lincoln Center Festival this summer, in the first of three biennial appearances.

Mr. Welser-Möst’s recording legacy with the Orchestra includes four highly acclaimed Bruckner symphony DVDs and a Grammy Award-winning disc of music by Wagner. This season, Mr. Welser-Möst will lead The Cleveland Orchestra on their eleventh international tour together. Twenty-seven musicians on the roster for 2011-12, including Principal Cello, Principal Oboe, Principal Trombone, Principal Tuba, Principal Harp, and Principal Percussion, have been appointed during his tenure. Franz Welser-Möst is committed to The Cleveland Orchestra up to its centennial in 2018.

For more information visit: clevelandorchestra.com.

Comments

Post a Comment

Popular posts from this blog

The Role of Music in Opera

By -
There are numerous books on the topic, and every composer, librettist, director, singer and audience member has their opinion as to what role the music should play in an opera. In a play without music, the words ought to support the meaning behind a character's actions. However, in the case of action movies, often times the action is what tells the story and there aren't words, just images to forward the plot. We might hear music to accompany action, build tension, but the action tells the story. Musicals tend to speak until the emotion of the moment just "has" to break out in song - unless it's something like "Mama Mia" where the dialog is the rails we travel on between songs; the songs themselves, written before the concept of the musical, are the focus of the production, while the story is secondary. Operas are a different beast. The music provides emotion to the words spoken, but it also plays the role of ambience when there is only action. In ...
Read more

Episode 210b: Joyeuse le départ

By -
Image
Podcast:  Play in new window  |  Download Subscribe:  Apple Podcasts  |  Android  |  Google Play  |  Stitcher  |  TuneIn  |  RSS Provost Cunningham has Transmigrated, but to where! What is Dr Sage going to do with his body? And how can she bring home her friends, Abigail and Erasmus, without also bring home Cunningham? What are they going to say when they find the “skeleton” she’s hiding in her closet? Cast: Eddie Louise Clark  as Dr Sage Chip Clark  as Professor Savant Justin Bremer  as the Narrator Emily Riley Piatt  as Abigail Entwhistle, Calypso & Dean Stewart Written by  Eddie Louise Theme music by  Unwoman Sound Design by  Chip Michael
Read more

Teaching Composition – What are we trying to achieve

By -
In the process of learning composition I have spent time with a number of instructors who have encouraged me to write twelve-tone, pitch-class, electro-acoustic and other forms of experimental techniques. No matter how much I might understand and appreciate the work of other composers in the genres, these are not forms of music I resonate with. They are simply not forms of music I listen to and I struggle with the idea of writing them. However, in a Master Class by Libby Larsen she made the comment, “Learn them all, because all forms of music have something to offer.” This I very much agree. There are elements of each of the above mentioned forms (and others) that I do resonate with. Berg’s Violin Concerto is a beautiful twelve-tone work, although it is possible to look at numerous sections of the music with a “tonal” analysis. Another composer friend, Gary Bachlund commented that using these techniques can narrow the choices for how to compose a piece of work. If you look at ...
Read more