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June 2011 - June 2011
On 19 June 2011 ICA toured Münchner Philharmoniker to Ravenna, Italy for a performance in the Palazzo Mauro de André; the concert was conducted by ICA’s Kent Nagano.
The performances featured Mahler’s Symphony No 7, written in 1904-05, which is sometimes referred to by the title Song of the Night, although this title was not Mahler's own and he disapproved of it.
This performance marked the first collaboration between ICA and Münchner Philharmoniker and we are looking forward to working with the Orchestra on future touring projects.
24 Jun 2011
ICA has recently returned from touring Münchner Philharmoniker to Italy for a performance at the Ravenna Festival in North-East Italy.
The Münchner Philharmoniker, conducted by ICA’s Kent...
13 Jun 2011
On 19 June 2011 ICA will be touring Münchner Philharmoniker to Ravenna, Italy for a performance in the Palazzo Mauro de André; the concert will be conducted by ICA’s Kent Nagano.
ravennanotizie.it - Jun 2011
Kent Nagano conductor
Sunday 19 June 2011 RAVENNA, Palazzo Mauro de André (21.00)
Gustav Mahler Symphony No 7 in E Minor (80')
The Munich Philharmonic Orchestra was founded in 1893 on the private initiative of Franz Kaim, the son of a piano manufacturer, and has since then left an indelible imprint on Munich’s musical life under the direction of renowned conductors. In the earliest years of the orchestra – initially under the name “Kaim Orchestra” – conductors like Hans Winderstein, Hermann Zumpe and Bruckner pupil Ferdinand Löwe guaranteed the high technical performance level and dedicated considerable attention to the contemporary music of the time.
From the outset, it was part of the artistic concept to establish programmes and admission charges which were geared towards welcoming all levels of the population to the concerts. When Felix Weingartner took over the orchestra from 1889-1905, the number of foreign tours increased, enhancing the ensemble’s international reputation.
Gustav Mahler conducted the orchestra in the years 1901-1910 at the world premieres of his 4th and 8th Symphonies. In November of 1911, the ensemble, meanwhile renamed the “Concert Association Orchestra”, presented the world premiere of Mahler’s Das Lied von der Erde under the direction of Bruno Walter – only a six months after the composer’s death in Vienna.
From 1908-1914, Ferdinand Löwe reassumed the helm of the orchestra. Following a triumphant guest performance in Vienna on 1 March 1898, featuring Bruckner’s Symphony No 5, he led the first Bruckner concerts and thus established the orchestra’s Bruckner tradition, which continues to this day.
During the administration of Siegmund von Hausegger, who presided over the orchestra as General Music Director from 1920-1936, the world premieres of two Bruckner symphonies in their original versions among other compositions took place as well as the renaming of the orchestra to “Munich Philharmonic” thus giving it its final name.
From 1938-1944, Austrian conductor Oswald Kabasta headed the orchestra, gloriously continuing the Munich Philharmonic’s Bruckner tradition as well as proving its quality in a number of guest appearances at home and abroad.
The first concert after World War II was opened by Eugen Jochum with the overture to Shakespeare’s A Midsummer Night’s Dream by Felix Mendelssohn Bartholdy, whose music had been banned during the Nazi dictatorship, and in the autumn of 1945, the Philharmonic acquired the services of Hans Rosbaud, an outstanding orchestral director, who also promoted the case of new music.
Rosbaud’s successor from 1949-1966 was Fritz Rieger, during whose administration the foundation was laid for the Philharmonic’s successful work with young people. During the era of Rudolf Kempe, who guided the orchestra from 1961 until his untimely death in 1976, the Philharmonic made its first tour to what was then the USSR and climbed to the position as a top international orchestra.
In February 1979, Sergiu Celibidache led his first concerts with the Munich Philharmonic, and was appointed the orchestra’s General Music Director in July of the same year. During this time the Orchestra toured to several countries in Europe, South America and Asia.
After many long years in Munich’s Herkulessaal, the Philharmonic finally, in 1985, had its own concert hall with the opening of the Philharmonie. The Philharmonie is based in the municipal culture centre on the Gasteig after forty homeless years – its old home base; the “Tonhalle” on Türkenstrasse, had been completely destroyed in 1944.
From September 1999-2004, James Levine was Chief Conductor. In the summer of 2002 the Orchestra and Levine made their joint debut at the BBC Proms, London. The German Music Publishers’ Association singled out the Munich Philharmonic in the spring of 2003, awarding the prize for the “Best Concert Programmes of the 2003-2004 Season”.
In 2003, Christian Thielemann signed his contract as new General Music Director and on 29 October 2004 he conducted his inaugural concert featuring Bruckner’s Symphony No 5. On 20 October 2005, the Munich Philharmonic under the direction of Christian Thielemann had the honour of giving a concert in the presence of Pope Benedict XVI at the Vatican with 7,000 invited guests in the audience.
In November 2001 the orchestra travelled with Christian Thielemann to Asia and played concerts in Japan, Korea and China. These successful performances were followed by a second invitation for the orchestra to come to Japan for five concerts in March 2010.
A series of concert performances, of Richard Strauss’s Der Rosenkavalier conducted by Christian Thielemann in January of 2009, ushered in a long-standing collaboration with the Festival Theatre in Baden-Baden.
To commemorate the 100th anniversary of the Munich world premiere, Christian Thielemann led two performances of Gustav Mahler’s Symphony No 8 in October 2010.
For the 2012-2013 season, Lorin Maazel will assume the post of Chief Conductor of the Munich Philharmonic for a three year period.
Kent Nagano is renowned for interpretations of clarity, elegance and intelligence. He is equally at home in music of the classical, romantic and contemporary eras, introducing concert and opera audiences throughout the world to new and rediscovered music and offering fresh insights into established repertoire. In September 2006 he became Music Director of both the Bayerische Staatsoper Munich and Orchestre symphonique de Montréal.
Born in California, Nagano maintains close connections with his home state and has been Music Director of the Berkeley Symphony Orchestra since 1978. His early professional years were spent in Boston, working in the opera house and as assistant conductor to Seiji Ozawa at the Boston Symphony Orchestra. He played a key role in the world premiere of Messiaen’s opera Saint François d’Assise at the request of the composer, who became a mentor and bequeathed his piano to the conductor. Nagano’s success in America led to European appointments: Music Director of Opéra National de Lyon (1988-1998) and Music Director of the Hallé Orchestra (1991-2000).
During Nagano’s first two seasons in Munich he conducted world premieres of Rihm’s Das Gehege (together with Strauss’s Salome) and Unsuk Chin’s Alice in Wonderland along with new productions of Mussorgsky’s Khovanshchina, Mozart’s Idomeneo, Tcahikovsky’s Eugene Onegin and Strauss’s Ariadne auf Naxos. This season he takes on new productions of Berg’s Wozzeck and Wagner’s Lohengrin. He has toured throughout Europe with the Bayerisches Staatsorchester and their recording of Bruckner’s Symphony No 4 was released earlier this year by Sony Classical.
A common thread has thus far run through Nagano’s time in Montréal: Beethoven and his musical heirs including Mendelssohn, Brahms, Schumann and Wagner. Highlights have also included Beethoven’s Symphony No 9, Schoenberg’s Gurre-Lieder and concert performances of Wagner’s Tannhäuser and Tristan und Isolde. In the summer of 2008 Nagano inaugurated the first Bel Canto Festival including performances of Bellini’s Norma in collaboration with Accademia Nazionale Santa Cecilia, Rome. He has also championed new works by Canadian composers including a commission by Alexina Louie which features Inuit throat singers and earlier this season celebrated Messiaen’s centennary with performances of Saint François d'Assise. Nagano has taken the orchestra on a coast-to-coast tour of Canada and also to Japan and South Korea, and in April 2009 an extensive tour throughout Europe. Their recordings together – Beethoven: Ideals of the French Revolution and Mahler’s Das Lied von der Erde were released this year on Sony Classical/Analekta.
A new and important phase of Nagano’s career opened when he became Artistic Director and Chief Conductor of the Deutsches Symphonie Orchester, Berlin in 2000. He has become a prominent figure in a new wave of artistic thinking in Germany, opening minds to inventive, confrontational programming. In June 2006, at the end of his tenure with the orchestra, he was given the title Honorary Conductor by members of the orchestra, only the second recipient of this honour in their sixty-year history.
Kent Nagano became the first Music Director of Los Angeles Opera in 2003 having already held the position of Principal Conductor for two years. His work in other opera houses has included Shostakovich’s The Nose (Staatsoper Berlin), Rimsky Korsakov’s The Golden Cockerel (Châtelet, Paris), Saariaho’s L’amour de loin (Salzburg Festival), and Hindemith’s Cardillac (Opéra national de Paris).
As a much sought-after guest conductor he has worked with most of the world’s finest orchestras including the Vienna, Berlin and New York Philharmonic orchestras and the Chicago Symphony Orchestra. He has recorded for Erato, Teldec, Pentatone and Deutsche Grammophon as well as Harmonia Mundi, winning Grammy awards for his recordings of Busoni’s Doktor Faust with Opéra National de Lyon, and Prokofiev’s Peter and the Wolf with the Russian National Orchestra.