Seine Geschichte ist mehr als nur unkonventionell. Denn es klingt ihm alles zu verkitscht, zu sehr nach Hollywood. Eine Notwendigkeit, sagt dagegen Gamzou. Es sei kein Wunder, findet Gamzou, dass dem Konzertwesen das Publikum wegbleibe. Dienst getan hat Gamzou nie. Unbeirrbar, radikal, kompromisslos: Yoel Gamzou, Dirigentenwunder.
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Pages: 1 [ 2 ]. Tom Herbig Newbie Posts: 2. That brief excerpt from mvt. IV sounds promising.
Dear Everybody, Since I saw there was quite a lot of back-and-forth going on around here, I thought I should give you guys some direct information, in case such is required.
My version, which was "cooking" between was published this year by Schott Verlag Mainz and will be available later this year on DVD live version of the premiere and on early in its final and edited version on CD label will be announced upon contract completion.
If you guys have any questions or require any info, I'm always at your disposal. There's so many things I would like to mention, but I think the only thing which would do the version justice would be a consultation of the score or a listen to the CD. My interest, or rather let's say my absolute and complete dedication to the work at hand results from a totally selfless desire to achieve the best possible fate for this piece, which means everything to me and which I have always wished, to hear in all its grandure and complexity.
I hope, I have succeded in my mission, although I am convinced that the process is only at its start, and will redefine itself in the future again and again. With best wishes to you all, Yoel Gamzou. Yoel, let me offer my sincere thanks for your post, and welcome!
God bless you. Freddy van Maurik Full Member Posts: Yoel, How good of you to share some of your thoughts with us. We could've met through Frans Bouwman, and maybe we will in the future. I'm really very curious!
I'll definitely get on board for the dvd, and wish you all the best with your version. Just from the very brief excerpt on your website, it sounds as though you had extremely good players to work with.
Of course, many of those jews are Russian immigrants.STRAUSS Burleske - Deutsche Radio Philharmonie - BEN KIM, pianist - Yoel GAMZOU, conductor
But hey, it's a start. Good luck, and I look forward to hearing the entire performance. And Yoel, might I add that I very much share your deep feelings and serious concerns about the Mahler 10th in general.
In my opinion - and I know that there are many around the world who would not agree with this - Mahler 10 is the last musical "acheological dig" of any real relevance or importance. Barry Guerrero. SMF spam blocked by CleanTalk. SMF 2.Panorama Dokumente giving political insights. The Berlinale section Panorama Dokumente is presenting 20 documentaries this year. But just how did this Brooklyn boy become such a glamorous phenomenon, an underground icon of a decade still revered today in films, photographs, songs and short stories?
A plethora of photos, finds and films from the estate of the late star who died of leukaemia inas well as unique archive material tell the story of a wild, bohemian existence of the kind that was only possible in New York in the sixties and seventies.
Screenings on 18 and 19 February, more info here. New York at the end of the seventies was a virtually bankrupt city. Poverty was on the increase — and with it, the crime rate. And yet New York was a city that had an extraordinarily rich contribution to make in cinematic terms, for here, on the Lower East Side of downtown Manhattan, something new was evolving: an independent, enduring cinema, made by young filmmakers, who, inspired by contemporary music such as punk and new wave, were discovering new topics and new forms of expression.
Working on shoestring budgets, these filmmakers produced rough-and-ready, unwieldy works, which — short or long, in colour but more often in black-and-white — confidently expressed what it was like to live in districts that had been neglected by the authorities and the economy — and paved the way for an emergent independent cinema.
But, above all, her film is a tribute to all the filmmakers who made downtown Manhattan a breeding ground for the avant-garde. Screenings on 15, 19, 20 February, more info here. Budrus is a Palestinian village, thirty-one kilometres north-west of Ramallah.
There are just under one-and-a-half thousand people living here. Budrus came to the attention of the world at large in when the Israeli government decided to erect a barrier in the form of a fence or wall which, among other things, was to run straight through Budrus.
As a result, the village was to become the site of some remarkable protests. For her film, Julia Bacha, who has followed events in Budrus for the past five years, has chosen to focus on Palestinian activist Ayed Morrar and his fifteen-year-old daughter, Iltezam.
By portraying the events largely through their eyes, the viewer is able to understand the reasons for the commitment displayed by the people of Budrus.
Not only does he manage to bring together competing Palestinian organisations Hamas and Fatah, but hundreds of Israeli citizens also take part in the peaceful protest actions, as do members of the international peace movement.
Nobody, however, can prevent these peaceful, non-violent demonstrations from being the target of aggressive reactions on the part of Israeli soldiers. Screenings on 15, 16 and 20 February, more info here. During the course of a few days — the most violent since the Islamic Revolution — more than 65 people died. The international community began to wonder what could have caused such widespread dissent and such a vehement clash with the government.Andromeda Mega Express Orchestra Genau darum geht es beim Denn das ist das Recht der Jugend: der Neuanfang.
Auch Sie sind herzlich eingeladen! Davor ist man anscheinend noch nicht so weit, danach scheint es nicht mehr so leicht zu sein, entweder mit der Stimme oder mit dem Engagement. Dieses Geheimnis, so denke ich, ist mit der besonderen Anlage, der Begabung verbunden, die man hat, der Stimme. Rohr, aber sie ist doch anders. Immer, immer ist Nadine vorbereitet. Immer hat sie eine Idee, wenn sie zu einer Probe kommt. Nadine leistet es sich, keine Zeit abzusitzen, sie will etwas erreichen, etwas erfinden oder einfach auch verwerfen.
Regeln der Theaterkunst zu erlernen. Jenseits dieser Produktionen von renommierten, externen Regieteams gab es unter der Leitung von Nathalie Forstman noch andere Entwicklungen und Bestrebungen, die Junge Akteure beeinflusst haben und es noch tun. Und da die Operette — als Genre — immer ein Tanz auf dem Vulkan ist, gilt weiterhin: Glitter and be gay.
Egal was passiert. Das lehrt ihn zumindest sein Lehrer Dr. Pangloss, dem er blind vertraut. Und da in der Welt alles zum Besten bestellt ist, ist jedes noch so schreckliche Ereignis nur dazu da, die Welt noch besser zu machen, als sie ohnehin schon ist.
Auch als Candide aus dem paradiesischen Westphalia vertrieben wird, weil er es wagt, trotz zweifelhafter Herkunft die junge Baroness Cunegonde heiraten zu wollen, bleibt er bei seinem Optimismus. Als er nach einer Katastrophenweltreise wieder auf die totgeglaubte Cunegonde trifft, muss er allerdings feststellen, dass sie eigentlich noch nie wirklich zusammengepasst haben.
Premiere Oktober, Uhr im Theater am.
Chor des Theater Bremen. Es spielen die Bremer Philharmoniker. Wer kontrolliert wen? Und wem folgen wir, wenn Algorithmen zu uns sprechen? Die Gruppe arbeitet in unterschiedlichen Konstellationen im Bereich des Dokumentartheaters und.
Seit kollaborieren sie in verschiedenen Projekten. Oktober, Uhr, Treffpunkt Friedhof. Jede Zeit entwirft die Utopien und Dystopien, die ihr entsprechen. Oktober Im Oktober werden ca. Anmeldung unter jungeakteure theaterbremen. Oktober bis 2. Karten und Infos zum Festivalprogramm gibt es unter www. Kontakt: theaterverstaerker theaterbremen. Di Werktags Do Oktober bis Do 2.
November, jeweils um Uhr. Teilnahme begrenzt, Anmeldung unter theaterverstaerker theaterbremen.String Instruments. Wind Instruments. Vocal Music. Chamber Music and Ensembles. Film Music.
Stage Works. Performing Rights. Primary School. Secondary School. Music Lessons. For Kids. My Account. Shopping Cart 0 item. My Cart. Home Symphony No. Symphony No. Realisation and elaboration of the unfinished drafts — A new version by Yoel Gamzou. All available downloads. On 5 September Mahler wrote his last notes: exactly years later, the year-old conductor and composer Yoel Gamzou presented with great success his new reconstruction of this extraordinary work.
When I discovered that it was only the first movement of a large unfinished symphony, I instantly started investigating. It was immediately clear to me that the piece was entirely thought-through and that the meaning behind this hurried testament was an almost unbearably painful albeit thoroughly planned legacy.
It seemed like the sketch was staring at me demanding to be heard, like a message in a bottle that hasn't really been found, let alone entirely understood, for almost a century. Content text: Symphony No.
Other Editions. My account. KG Weihergarten 5 Mainz info schott-music. VAT, excl.The ante has just been upped: at the personal request of powerhouse conductor, Gustavo Dudamel, pianist Elisha Abas will perform with the Simon Bolivar Youth Orchestra in Caracas in July of Several Russian concert programmers have recognized the fascinating musical correlation between Abas and his great-great-grandfather, Scriabin, and have asked Abas to perform works by his ancestor, including his piano concerto.
I almost feel a spiritual connection, a familiarity that is hard to explain; but when my mother recently asked me, why I am not playing more Scriabin, I realized I was already engaged in building a program centered around this mystical figure in my life. It almost seemed that Abas was destined to take up the piano as a child, yet from the very start, his talent would also present him with a liability.
Today, he and his father — a prominent storyteller and author of numerous children books — are best friends. Arthur Rubinstein. Abas still wears it today. I played a lot of Chopin, Schumann, and also some Schubert. My father, who accompanied me on my trips, had come with me.
This was inand must have been one of the first ones, and I cherished the thought of probably being the first person in Israel who owned this novelty, held in an elegant leather cover. It came in small packages like this. To my surprise I found this golden watch instead. Although this endorsement by Rubinstein would have been considered a huge feat for any pianist, and despite the many Israel-America Cultural Foundation competitions he had won during the successful start of his piano career, Abas still decided to quit, and escape the increasing pressure of the music world at age Already within my own surroundings, being honed as a concert pianist was not exactly the norm.
Even though he chose to abandon the world of music of his youth in favor of an active soccer career Abas played for all the major leagues in Israelhis feelings of respect for music never left him entirely. Also deeply ingrained in him was a keen sense of obligation and gratitude to his teachers and his father, for all the support he had received and for the discipline they had taught him on his way to becoming a musician. He particularly remembers his first teacher at the Jerusalem Conservatory, Esther Medvetzki, and then of course the widely admired Israeli pianist, Pnina Salzman, herself a student of Cortot, who had accepted Abas as her student and had opened the world of concert stages for him.
He talks affectionately about Pnina, referring to her as the person who changed his life not once, but twice. After taking him on as a student, she was able to refine and direct his already mature pianism and musicianship.
The second change came when she took a spontaneous phone call from Abas, even though they had not seen each other for many years. It had taken him years to eventually realize that first and foremost, he was a musician.
All my old cassettes were [recordings of] classical music, and I put the Second Concerto by Brahms. Yet, the next day she but picked them up and gave in to her suppressed desires, just as Abas did in terms of his music. He continued to study with Salzman during the following four years, and stayed with her until her death in Very few know to negotiate that line without losing balance and leaning too much to one side. My piano teacher never tried to show things, or make them clear through specific instructions: she always tried to evoke the meaning.
Today, Abas is happy to be able to look back on the different experiences in his life, including leaving high school early, his job in publishing, the long run as a soccer player, and even studying for law degree, all while he also contributed to raising two kids.
When I sit at the piano, I like to sit on a chair with a back — like I do at home when I practice; I sit still and let the fingers do everything necessary. You actually use less energy like this and the body does not need to express anything, just the fingers!Between the years — and ultimately untilI dedicated a large portion of my life to a project which, in many ways, is much more than a project. During those years, I was literally living for and through this incredible, humbling mission.
Unfortunately this will never be possible, because only Mahler himself could take us on this journey. I decided to dedicate all the resources that I had — first and foremost my love for this music, my complete dedication to its cause, and my deep conviction that it is uniquely crucial and necessary — to bringing it as close as possible to a living, breathing concert piece.
Here is an excerpt from the text I have written as an introduction to the publication of the study score. If you would like to download the complete text, please click here for the English version and here for the German version. For more information on the publication as well as enquiries regarding hiring the orchestral material, please click here. Excerpt from the English Text:. But the sheer extent to which this has been true is greater than I could have ever imagined.
Already at first glance, it was obvious to me that this symphony has — or indeed would have had, considering it was almost lost and forgotten for decades — a unique meaning in musical history.
It is innovative, intense and sincere to a degree that exceeds most works of art I know. When I finally managed to get hold of a pale photocopy of one of the facsimile-editions of the original manuscript, I soon came to realize that had those cryptic, incredibly apocalyptic musical thoughts been completed and performed years ago, they would have entirely changed the course of musical history and perhaps of all 20 th century art. It was immediately clear to me that the piece was entirely thought-through and that the meaning behind this hurried testament was an almost unbearably painful albeit thoroughly planned legacy.
I soon found out that several attempts had been made to bring this masterpiece to life and of course my first reaction was one of euphoria and curiosity — my second was already some degree of scepticism; if the piece had already been heard, how come its message has hardly reached anyone? When I was introduced to the various existing completions of the symphony, the different reasons became clear to me. Given the extremely delicate ethical implications of completing or even editing an unfinished work of art, I wonder whether the approaches employed by those individuals did the piece justice and helped its reception.
This being said, it is very important for me to emphasize that any sort of dissatisfaction with previous versions or disagreement with the approach behind their creation is secondary to the enormous respect I have for the immeasurable amount of time, energy and skill that all those devoted people put into their work and to my true and sincere admiration for their dedication as well as many aspects of the result.
This approach is quite problematic, as by definition it can never be authentic. Authentic is only that which is original, and in the case of this symphony, that which was left in the sketch. Any cautious, diplomatic attempts to stay true to an unfinished original very often end up becoming an unconvincing, sparse, pale jam of unprocessed ideas.
The Tenth Symphony will never sound the way Mahler had conceived it, it will never appear in its full grandeur and mind-blowing dimension, as it would have, if Mahler had completed it — and very importantly, also performed it. One could write a whole library on the ethics behind the question whether completing an unfinished work of art is a legitimate thing to do or not. Since my purpose here is to draw your attention to my personal sequence of thoughts rather than to this philosophical issue, I will discuss this here only in short.
It would of course be ridiculous to imagine a world without the Ninth Symphony or Das Lied von der Erde. I therefore find it absolutely legitimate to wish to share the message of the Tenth Symphony with the world, for we would have all found it tragic if the Ninth and Das Lied had remained unknown to us.
This exploration started with learning to decipher his impossibly cryptic handwriting, leading up to slowly understanding his groundbreaking harmonies and trying — and I emphasize trying, because none of us really can — to conceive and grasp at least a glimpse of the unprecedented musical and spiritual dimension he exposed us to with this piece. One day I suddenly felt like those few bars in the middle of the Purgatorio the 3 rd movement of the symphony started telling me exactly how they wanted to be heard.
My hand, almost unintentionally, took some pen and music paper and started jotting down a few bars. Suddenly it made sense — then more of it made sense — and then I realized the Purgatorio was the turning point, indeed a purgatory between the Paradiso and the Inferno — only, with what conclusion? Before I realised it, my Purgatorio was complete, fully orchestrated and annotated. I was — and this in true honesty — shocked to realize that I had a complete score of a whole movement in front of me.
If it were not for one man, this would probably have been left at that — and the rest would have been an anecdote of a teenage boy obsessed with Mahler. This man was a unique phenomenon: a Dutch scholar, no, in fact, first and foremost a musician, who has dedicated his entire life to Mahler in a way more selfless than we can all imagine. He was also able to look into that 16 year old weird boy, see beyond the awkward and embarrassed facade and give him a chance.
When I was first introduced to this gentleman, Mr. Frans Bouwman, Dr. Few people have ever amassed such an amount of knowledge about this piece as Mr.