MUSIC
SERIES OF CONDUCTORS
Simon Rattle
( b. 1955 )
2 / 7
In today's music world, the name of Simon Rattle means a highly respected conductor and a necessary reference with well known orchestras around Europe.
His unique style and performances takes us into a wonderful environment which mesmerizes the audiences wherever you may listen to his art of conducting, precise and in harmony.
ALMO
MUSIC
MUSIC
SERIES OF CONDUCTORS
Simon Rattle
( b. 1955 )
1 / 7
In today's music world, the name of Simon Rattle means a highly respected conductor and a necessary reference with well known orchestras around Europe.
His unique style and performances takes us into a wonderful environment which mesmerizes the audiences wherever you may listen to his art of conducting, precise and in harmony.
ALMO
From Wikipedia, the free encyclopedia
Sir Simon Denis Rattle OM CBE (born 19 January 1955) is a British conductor with German citizenship. He rose to international prominence during the 1980s and 1990s, while music director of the City of Birmingham Symphony Orchestra (1980–1998). Rattle was principal conductor of the Berlin Philharmonic from 2002 to 2018, and music director of the London Symphony Orchestra from 2017 to 2023. He has been chief conductor of Bavarian Radio Symphony Orchestra since September 2023. Among the world's leading conductors, in a 2015 Bachtrack poll, he was ranked by music critics as one of the world's best living conductors.
Rattle is also the patron of Birmingham Schools' Symphony Orchestra, arranged during his tenure with CBSO in the mid-1990s. The Youth Orchestra is now under the auspices of charitable business Services for Education. He received the Brit Award for Outstanding Contribution to Music in 2001 at the Classic Brit Awards.
Simon Rattle was born in Liverpool, England, the son of Pauline Lila Violet (née Greening) and Denis Guttridge Rattle, a lieutenant in the Royal Naval Volunteer Reserve during World War II. He was educated at Liverpool College. Although Rattle studied piano and violin, his early work with orchestras was as a percussionist for the Merseyside Youth Orchestra (now the Liverpool Philharmonic Youth Orchestra). He entered the Royal Academy of Music (now part of the University of London) in 1971. There, his teachers included John Carewe. In 1974, his graduation year, Rattle won the John Player International Conducting Competition.
After organising and conducting a performance of Mahler's Second Symphony while he was still at the academy, he was talent-spotted by the music agent Martin Campbell-White, of Harold Holt Ltd (now Askonas Holt Ltd), who has since managed Rattle's career. He spent the academic year 1980–81 at St Anne's College, Oxford studying English Language and Literature.He had been attracted to the college by the reputation of Dorothy Bednarowska, fellow and tutor in English. He was elected an Honorary Fellow of St Anne's in 1991. He was admitted to the degree of Doctor of Music honoris causa of the University of Oxford in 1999.
In 1974, he was made assistant conductor of the Bournemouth Symphony Orchestra.
He joined the Glyndebourne Festival Opera music staff at the age of 20 in 1975. He went on to conduct over 200 performances of 13 different operas at Glyndebourne and on tour during the subsequent 28 years.
His first Prom at the Royal Albert Hall, conducting the London Sinfonietta, was, according to the BBC Proms Archive website, on 9 August 1976. The programme included Harrison Birtwistle's Meridian and Arno
Rattle has conducted a wide variety of music, including some with period instruments (either actual surviving historical musical instruments or modernly made ones informed by commonly used designs and material of the time), but he is best known for his interpretations of late 19th- and early 20th-century composers such as Gustav Mahler, with a recording of Mahler's Second Symphony winning several awards on its release.[61] He has also championed much contemporary music, an example of this being the 1996 TV series Leaving Home, where he presents a 7-part survey of musical styles and conductors with excerpts recorded by the CBSO.
Other recordings in Berlin have included Dvořák tone poems, Mahler's Symphony No. 9 and Claude Debussy's La Mer. The Gramophone Magazine praised the latter as a "magnificent disc" and drew favourable comparisons with interpretations of the piece by Rattle's immediate predecessors, Claudio Abbado and Herbert von Karajan. He has also worked with the Toronto Children's Chorus. Rattle and the BPO also recorded Gustav Holst's The Planets (EMI), which was the BBC Music Magazine Orchestra Choice. In addition, Rattle's acclaimed[ complete 1989 recording of George Gershwin's opera Porgy and Bess was used as the soundtrack for the equally acclaimed 1993 television production of the work. It was the first made-for-television production of Porgy and Bess ever presented. Rattle's 2007 recording of Johannes Brahms's Ein deutsches Requiem received praise from BBC Music Magazine, as "Disc of the Month" for April 2007, "as probably the best new version of the Requiem I've heard in quite some years". Rattle and the BPO have also released recordings of Anton Bruckner's Fourth Symphony (Romantic), and Joseph Haydn's Symphonies Nos. 88, 89, 90, 91, 92 and Si
Rattle's recording of Brahms's Ein deutsches Requiem with the BPO received the Choral Performance Grammy Award in 2008. He has won two other Grammy Awards, one Choral Performance Award for a recording of Stravinsky's Symphony of Psalms in 2007, and another for Best Orchestral Performance for a recording of Mahler's unfinished Symphony No. 10 in 2000.
The French Government awarded him the honour of Chevalier de la Légion d'honneur in 2010. Rattle was elected to the inaugural Gramophone Hall of Fame in 2012.
MUSIC
Francesco Xaverio Geminiani (baptised 5 December 1687 – 17 September 1762) was an Italian violinist, composer, and music theorist. BBC Radio 3 once described him as "now largely forgotten, but in his time considered almost a musical god, deemed to be the equal of Handel and Corelli."
Born at Lucca, he received lessons in music from Alessandro Scarlatti, and studied the violin under Carlo Ambrogio Lonati in Milan and afterwards under Arcangelo Corelli. From 1707 he took the place of his father in the Cappella Palatina of Lucca. From 1711, he led the opera orchestra at Naples, as Leader of the Opera Orchestra and concertmaster, which gave him many opportunities for contact with Alessandro Scarlatti. After a brief return to Lucca, in 1714, he set off for London in the company of Francesco Barsanti, where he arrived with the reputation of a virtuoso violinist, and soon attracted attention and patrons, including William Capel, 3rd Earl of Essex, who remained a consistent patron. In 1715 Geminiani played his violin concerti for the court of George I, with Handel at the keyboard. In the mid-1720s he became a freemason in London, notably as a leading member of the short-lived lodge Philo-Musicae et Architecturae Societas (1725–27) at the Queen's Head Tavern on Fleet Street. He seems to have retained his masonic connections thereafter. On 1 February 1725, he joined the Queen's Head lodge in London, becoming the first Italian to be initiated in the Freemasonry. On 12 May 1725, he became Fellowcraft and Master Mason in the same day. On 11 May 1728, the Grand Master of the Premier Grand Lodge of England James King 4th Baron of Kingstone designated the brothers Geminiani for constituting in Naples the first Italian regular masonic Lodge, directly affiliated to the English Freemasonry.
Geminiani made a living by teaching and writing music, and tried to keep pace with his passion for collecting by dealing in art, not always successfully. Many of his students went on to have successful careers, such as Charles Avison, Matthew Dubourg, Michael Christian Festing, Bernhard Joachim Hagen and Cecilia Young. See: List of music students by teacher: G to J#Francesco Geminiani.
After visiting Paris and living there for some time, he returned to England in 1755. In 1761, on one of his sojourns in Dublin, a servant robbed him of a musical manuscript on which he had bestowed much time and labour. His vexation at this loss is said to have hastened his death. He died and was buried in Dublin, but his remains were later reburied in the city of his birth, in the church of San Francesco, Lucca.
He appears to have been a first-rate violinist. Tartini reportedly called him Il Furibondo, the Madman, because of his expressive rhythms.
Geminiani's best-known compositions are three sets of concerti grossi; his Opus 2 (1732), Opus 3 (1733) and Opus 7 (1746) (there are 42 concerti in all) which introduce the viola as a member of the concertino group of soloists, making them essentially concerti for string quartet. These works are deeply contrapuntal to please a London audience still in love with Corelli, compared to the galant work that was fashionable on the Continent at the time of their composition. Geminiani also reworked his teacher Corelli's Opp. 1, 3 and 5 into concerti grossi.
Geminiani's significance today is largely due to his 1751 treatise Art of Playing on the Violin Op. 9, published in London, which is the best known summation of the 18th-century Italian method of violin playing and is an invaluable source for the study of late Baroque performance practice. The book is in the form of 24 exercises accompanied by a relatively short but extremely informative section of text, giving detailed instructions on articulation, trills and other ornaments, shifting between positions, and other aspects of left- and right-hand violin technique. The instructions in this treatise are famously opposed to those expressed by Leopold Mozart in his Treatise on the Fundamental Principles of Violin Playing (1756) on several issues, including on bow hold, use of vibrato, and the so-called "rule of the down-bow", which states that the first beat of every bar must be played with a down-stroke.
His Guida harmonica (c. 1752, with an addendum in 1756) is one of the most unusual harmony treatises of the late Baroque, serving as a sort of encyclopedia of basso continuo patterns and realizations. There are 2,236 patterns in all, and at the end of each pattern is a page number reference for a potential next pattern; thus a student composer studying the book would have an idea of all the subsequent possibilities available after any given short bass line.
Geminiani also published a number of solos for the violin, three sets of violin concerti, twelve violin trios, the Art of Accompaniment on the Harpsichord, Organ, etc. (1754), Lessons for the Harpsichord, Art of Playing on the Guitar or Cittra (1760) and some other works.
POESIA 17 Enero 2025 Cuánta Energía comienza a fluir en tí, en el aquí y en el ahora, vibran deste...
