Manual Del Sistema Valery Gergiev

Posted : admin On 19.08.2019
Manual Del Sistema Valery Gergiev 9,6/10 8004 reviews

Telefon hyaktiv passivbeitritt ab 2014beitrag hauptv, mahler symphony no 7 valery gergiev, application acceleration with the explicitlyparallel operations system the epos, jena ausbildungsinstitut des bdy 75, homeowners guideshower armsk 9511 k 9512m product, de la s 351lection, vegacal 63, 33186906,.

  1. Maestro Valery Gergiev
Gergiev at the 2010 Time 100 Gala

Valery Abisalovich Gergiev (Russian: Валерий Абисалович Гергиев; Russian pronunciation: [vɐˈlʲerʲɪj ɐbʲɪˈsaɫəvʲɪtɕ ˈɡʲɛrɡʲɪɪf]; Ossetian: Гергиты Абисалы фырт Валери, Gergity Abisaly Fyrt Valeri; born 2 May 1953), is a Soviet and Russianconductor and opera company director of Ossetian origin. He is general director and artistic director of the Mariinsky Theatre, chief conductor of the Munich Philharmonic and artistic director of the White Nights Festival in St. Petersburg.

  • 5Recordings
    • 5.1Discography
    • 5.2Videos

Early life[edit]

Gergiev, born in Moscow, is the son of Tamara Timofeevna (Tatarkanovna) Lagkueva and Abisal Zaurbekovich Gergiev.[1]

He and his siblings were raised in Vladikavkaz in North Ossetia in the Caucasus. He had his first piano lessons in secondary school before going on to study at the Leningrad Conservatory from 1972-77.

His principal conducting teacher was Ilya Musin (Илья Мусин), one of the greatest conductor-makers in Russian musical history. His sister, Larissa, is a pianist and director of the Mariinsky's singers' academy.[2]

Career[edit]

In 1978, he became assistant conductor at the Kirov Opera, now the Mariinsky Opera, under Yuri Temirkanov, where he made his debut conducting Sergei Prokofiev's War and Peace. He was chief conductor of the Armenian Philharmonic Orchestra from 1981 until 1985 – the year he made his debut in the United Kingdom, along with pianist Evgeny Kissin and violinists Maxim Vengerov and Vadim Repin at the Lichfield Festival.

Gergiev in Brussels in 2007

In 1991, for the first time, Gergiev conducted a western European opera company with the Bavarian State Opera in a performance of Modest Mussorgsky's Boris Godunov in Munich. In the same year, he made his American début, performing War and Peace with the San Francisco Opera. Since then, he has conducted both operatic and orchestral repertoire across the world. He also participates in numerous music festivals, including the White Nights in St. Petersburg.

He became chief conductor and artistic director of the Mariinsky in 1988, and overall director of the company, appointed by the Russian government, in 1996. In addition to his artistic work with the Mariinsky, Gergiev has worked in fundraising for such projects as the recently built 1100-seat Mariinsky Hall, and intends to renovate the Mariinsky Theatre completely by 2010.[3]

From 1995 to 2008, Gergiev was principal conductor of the Rotterdam Philharmonic Orchestra. In 1997, he became principal guest conductor of the Metropolitan Opera in New York City. His contract there ran until the 2007–2008 season, and his premieres included a new version of Mussorgsky's Boris Godunov, revised and reorchestrated by Igor Buketoff in a manner faithful to Mussorgsky's intentions (unlike the Rimsky-Korsakov revision mostly used for many years until the 1960s or 1970s). In 2002, he was featured in one scene in the film Russian Ark, directed by Alexander Sokurov and filmed at the Hermitage Museum in Saint Petersburg, Russia.[citation needed]

In 2003, he initiated and conducted at the Mariinsky Theatre the first complete cycle of Wagner's The Ring of the Nibelung to be staged in Russia for over 90 years. The production's design and concept reflects many aspects of Ossetian culture. Gergiev conducted this production in Cardiff in 2006 at the Wales Millennium Centre, in Costa Mesa, California in October 2006 in the Orange County Performing Arts Center, and in July 2007 in Lincoln Center, New York City to great acclaim and completely sold-out houses.[citation needed]

In 1988, Gergiev guest-conducted the London Symphony Orchestra for the first time. In his next appearance with the LSO in 2004, he conducted the seven symphonies of Sergei Prokofiev.[4] This engagement led to his appointment in 2005 as the Orchestra's fifteenth principal conductor, succeeding Sir Colin Davis effective 1 January 2007.[5] Gergiev's initial contract with the LSO was for 3 years.[6]

His first official concert as principal conductor of the LSO was on 23 January 2007; this was originally scheduled for 13 January, but was postponed due to Gergiev's illness.[7]

In June 2011, Gergiev joined the International Tchaikovsky Competition and introduced reforms to the organisation,[8] which included replacing academic judges with notable performers and introduced an openness to the process, arranging for all performances to be streamed live and free on the internet and for the judges to speak their minds in public as and whenever they wished.[citation needed]

Since 2015, Gergiev is chief conductor of the Munich Philharmonic.[9][10]

On 5 May 2016, Gergiev competed at the Roman Theatre of Palmyra at a concert event called Praying for Palmyra – Music revives ancient ruins. It was devoted to the victims who died while liberating Palmyra from ISIS and should emphasize the state of the ancient city.[11]

Social and political involvement[edit]

Valery Gergiev's requiem concert in Tskhinvali, 21 August 2008

In April 2007, Gergiev was one of eight conductors of British orchestras to endorse the 10-year classical music outreach manifesto, 'Building on Excellence: Orchestras for the 21st century', to increase the presence of classical music in the UK, including giving free entry to all British schoolchildren to a classical music concert.[12]

After the 2004 Beslan school massacre, Gergiev appealed on television for calm and against revenge. He conducted concerts to commemorate the victims of the massacre.[13]

During the 2008 South Ossetia war, Gergiev, who is of partial Ossetian heritage himself, accused the Georgian government of massacring ethnic Ossetians, triggering the conflict with Russia.[14] He came to Tskhinvali and conducted a concert near the ruined building of the South Ossetian Parliament as tribute to the victims of the war.[15]

Gergiev has been, according to Alex Ross in The New Yorker, 'a prominent supporter of the current Russian regime. In 2012, in a television ad for Putin's third Presidential campaign, he said, 'One needs to be able to hold oneself presidentially, so that people reckon with the country. I don't know if it's fear? Respect? Reckoning.''[16]

In December 2012, Gergiev sided with the Putin administration against the members of Russian band Pussy Riot and suggested that their motivation was commercial. He told the British newspaper The Independent, 'I don't think this is anything to do with artistic freedom....Why go to the Cathedral of Christ to make a political statement? Why with screaming and dancing? You don't need to go to a place that is considered sacred by many people ... I am told by too many people that those girls are potentially a very good business proposition. Suppose that someone created all this in order to produce another touring group earning millions and millions? Anna Netrebko (acclaimed Russian soprano) didn't need to do something like this.'[17] In The New Yorker, Alex Ross decried Gergiev's allegation by noting, 'One member [of Pussy Riot] has been on a hunger strike in a prison camp.'[16]

In New York City in 2013, the LGBT activist group Queer Nation interrupted performances by orchestras conducted by Gergiev at the Metropolitan Opera[18] and Carnegie Hall.[19]

The activists cited Gergiev's support for Vladimir Putin, whose government had recently enacted a law that bans the distribution of 'propaganda of non-traditional sexual relations' to minors, as the reason for their actions.[19] In London, the veteran activist, Peter Tatchell, led anti-Gergiev demonstrations.[20]

In a public statement Gergiev replied, 'It is wrong to suggest that I have ever supported anti-gay legislation and in all my work I have upheld equal rights for all people. I am an artist and have for over three decades worked with tens of thousands of people and many of them are indeed my friends.'[20] This did not satisfy all of his critics; the novelist Philip Hensher tweeted: 'Gergiev summarised: 'Some of my best friends are gay. I don't support institutional homophobia. I leave that up to my friend Putin.''[20]

Writing in The Guardian, Mark Brown wrote, 'Gergiev's case was not helped by comments he made to the Dutch newspaper Volkskrant on 10 September [2013]: 'In Russia we do everything we can to protect children from paedophiles. This law is not about homosexuality, it targets paedophilia. But I have too busy a schedule to explore this matter in detail.''[20]

On 26 December 2013, the city of Munich made public a letter from Gergiev assuring them that he fully supports the city's anti-discrimination law and adding, 'In my entire professional career as an artist, I have always and everywhere adhered to these principles and will do so in the future...All other allegations hurt me very much.' [21]

In March 2014, he joined a host of other Russian arts and cultural figures in signing an open letter of support for Russia's position regarding Ukraine and the Annexation of Crimea by the Russian Federation. The letter was posted on the website of Russia's culture ministry on 12 March 2014. In the letter signatories stated that they 'firmly declare our support for the position of the president of the Russian Federation' in the region.[22][23]

However, in September 2015, as he became chief conductor of the Munich Philharmonic, Gergiev said that he did not really sign the letter to Putin, but only had a phone conversation about it with Vladimir Medinsky.[24]The New York Times reported that Russian artists may have been pushed by the Russian government to endorse the annexation of Crimea. The article specifically mentioned Gergiev, who faced protests in New York City while performing.[25] After Ukrainian public outcry, the Ukrainian Ministry of Culture blacklisted Gergiev from performing in Ukraine.[25][26][27]

Personal life[edit]

In 1999, Gergiev married the musician Natalya Dzebisova, more than a quarter century his junior, and a fellow Ossetian. They have three children together, two boys and a girl. From time to time Gergiev has been reported to be a friend of Putin; they have been said to be godfathers to each other's children,[28] but in a letter to The Daily Telegraph Gergiev rejected this notion.[29] From a past relationship with the language teacher Lena Ostovich, the conductor has another daughter, Natasha.[1]

Recordings[edit]

Gergiev has focused on recording Russian composers' works, both operatic and symphonic, including Mikhail Glinka, Pyotr Ilyich Tchaikovsky, Alexander Borodin, Nikolai Rimsky-Korsakov, Sergei Prokofiev, Dmitri Shostakovich, Igor Stravinsky and Rodion Shchedrin. Most of his recordings, on the Philips label, are with the Kirov Orchestra, but he has also recorded with the Vienna Philharmonic. A recent undertaking, the complete Prokofiev symphonies, is with the London Symphony Orchestra.[30]

Gergiev has recorded the complete symphonies of Gustav Mahler with the London Symphony Orchestra; all were recorded live in concert, issued on the London Symphony Orchestra Live label and made available on digital media. In 2009, Gergiev and the Mariinsky launched a Mariinsky Live record label (being distributed by London Symphony Orchestra Live), with the first two recordings featuring music by Dmitri Shostakovich.[citation needed]

Gergiev's recording of Prokofiev's Romeo and Juliet with London Symphony Orchestra on LSO live in 2010 was voted the winner of the Orchestral category and the Disc of the Year for the 2011 BBC Music Magazine Awards.[31]

Discography[edit]

Ballets[edit]

AlbumOrchestraLabelDiscsRelease Year
PROKOFIEV: Romeo and Juliet (complete ballet)KirovPhilips21991
PROKOFIEV: Romeo and Juliet (complete ballet)LSOLSO Live22010
RAVEL: Daphnis et Chloé (complete ballet) (with Pavane pour une infante défunte and Boléro)LSOLSO Live12010
STRAVINSKY: The Firebird (L'Oiseau de feu) (Complete ballet)KirovPhilips11998
STRAVINSKY: The Rite of Spring (Le sacre du printemps) (with Scriabin's The Poem of Ecstasy)KirovPhilips12001
TCHAIKOVSKY: The Sleeping Beauty (complete ballet)KirovPhilips31993
TCHAIKOVSKY: The Nutcracker (complete ballet)KirovPhilips11998
TCHAIKOVSKY: Swan Lake (complete ballet) (Highlights available separately)MariinskyDecca22007

Operas[edit]

AlbumOrchestraLabelDiscsRelease Year
BARTÓK: Bluebeard's CastleLSOLSO Live12009
BORODIN: Prince IgorKirovPhilips31995
DONIZETTI: Lucia di LammermoorMariinskyMariinsky Live22011
GLINKA: Ruslan and LudmilaKirovPhilips31997
MUSSORGSKY: Boris Godunov (1869 & 1872 version)KirovPhilips51999
MUSSORGSKY: KhovanshchinaKirovPhilips31992
PROKOFIEV: The Love for Three OrangesKirovPhilips22001
PROKOFIEV: Semyon KotkoKirovPhilips22000
PROKOFIEV: The GamblerKirovPhilips21999
PROKOFIEV: The Fiery AngelKirovPhilips21995
PROKOFIEV: War and PeaceKirovPhilips31993
PROKOFIEV: Betrothal in a MonasteryKirovPhilips31998
RIMSKY-KORSAKOV: SadkoKirovPhilips31994
RIMSKY-KORSAKOV: The Maid of PskovKirovPhilips21997
RIMSKY-KORSAKOV: The Legend of the Invisible City of KitezhKirovPhilips31999
RIMSKY-KORSAKOV: Kashchey the ImmortalKirovPhilips11999
RIMSKY-KORSAKOV: The Tsar's BrideKirovPhilips21999
SHOSTAKOVICH: The NoseMariinskyMariinsky Live22009
STRAVINSKY: Oedipus rex (Comes with Ballet Les noces)MariinskyMariinsky Live12010
TCHAIKOVSKY: Pique DameKirovPhilips31993
TCHAIKOVSKY: MazeppaKirovPhilips31998
TCHAIKOVSKY: IolantaKirovPhilips21998
VERDI: La Forza del Destino (1862 original version)KirovPhilips31997
WAGNER: ParsifalMariinskyMariinsky Live42010

Orchestral works[edit]

AlbumOrchestraLabelDiscsRelease Year
BERLIOZ: Symphonie Fantastique, La Mort de Cléopâtre (Soprano: Olga Borodina)VPOPhilips12003
BORODIN: Symphonies No. 1 & 2RPhOPolygram11991
DEBUSSY: Prélude à l'après-midi d'un faune, La Mer, JeuxLSOLSO Live12011
MAHLER: Symphony No. 1LSOLSO Live12008
MAHLER: Symphony Nos. 2 & 10 (Adagio)LSOLSO Live22009
MAHLER:Symphony No. 3LSOLSO Live22008
MAHLER: Symphony No. 4LSOLSO Live12010
MAHLER: Symphony No. 5LSOLSO Live12011
MAHLER: Symphony No. 6LSOLSO Live12008
MAHLER: Symphony No. 7LSOLSO Live12008
MAHLER: Symphony No. 8LSOLSO Live12009
MAHLER: Symphony No. 9LSOLSO Live12011
MUSSORGSKY: Pictures at an ExhibitionVPOPhilips12002
PROKOFIEV: Scythian Suite, Alexander NevskyKirovPhilips12003
PROKOFIEV: Completes Symphonies (No. 1–7) (No. 4: 1930 + 1947 Versions)LSOPhilips42006
RACHMANINOV: Symphony No. 2KirovPhilips11994
RACHMANINOV: Symphony No. 2LSOLSO Live12010
RIMSKY-KORSAKOV: Scheherazade,

BORODIN: In the Steppes of Central Asia,BALAKIREV: Islamey

KirovPhilips12001
SHOSTAKOVICH: The War Symphonies (No. 4–9)

Each one available separately

KirovPhilips52005
SHOSTAKOVICH: Symphonies No. 1 & 15MariinskyMariinsky Live12009
SHOSTAKOVICH: Symphonies No. 2 & 11MariinskyMariinsky Live12010
SHOSTAKOVICH: Symphonies No. 3 & 10MariinskyMariinsky Live12011
SHOSTAKOVICH: Symphonies No. 4, 5 & 6MariinskyMariinsky Live22014
SHOSTAKOVICH: Symphony No. 7 'Leningrad'MariinskyMariinsky Live12012
SHOSTAKOVICH: Symphony No. 8MariinskyMariinsky Live12013
STRAVINSKY: The Firebird – SCRIABIN: PrometheusKirovPhilips11998
STRAVINSKY: The Rite of Spring – SCRIABIN: The Poem of EcstasyKirovPhilips12001
TCHAIKOVSKY: Symphonies No. 4, 5, 6Each one available separatelyVPOPhilips32005
TCHAIKOVSKY: Symphony No. 5VPOPhilips11999
TCHAIKOVSKY: Symphony No. 6, Francesca da Rimini, Romeo and JulietKirovPhilips12000
TCHAIKOVSKY: 1812 Overture and othersKirovPhilips11994
TCHAIKOVSKY: 1812 Overture, Moscow Cantata, Marche Slave, Coronation March, Danish OvertureMariinskyMariinsky Live12009

Orchestral works with soloists[edit]

ALBUMSOLOISTORCHESTRALABELDISCSRELEASE YEAR
BRAHMS & KORNGOLD: Violin ConcertosNikolaj ZnaiderVPORCA Red Seal12009
Lang Lang: Liszt, My Piano Hero (LISZT: Piano Concerto No. 1)Lang LangVPOSony12011
PROKOFIEV: Complete Piano Concertos (No. 1–5)Alexander ToradzeKirovPhilips21998
RACHMANINOV: Piano Concerto No.2, Rhapsody on a Theme of PaganiniLang LangMariinskyDG12003
RACHMANINOV: Piano Concerto No.3, Rhapsody on a Theme of PaganiniDenis MatsuevMariinskyMariinsky Live12010
TCHAIKOVSKY & MIASKOVSKY: Violin ConcertosVadim RepinMariinskyPhilips12003
TCHAIKOVSKY: Variation on a Rococo Theme, PROKOFIEV: Sinfonia ConcertanteGautier CapuçonMariinskyVirgin12010

Vocal works[edit]

ALBUMSOLOISTORCHESTRALABELDISCSRELEASE YEAR
Tchaikovsky & Verdi AriasDmitri HvorostovskyKirovPhilips11990
Tchaikovsky & Verdi AriasGalina GorchakovaKirovPhilips11996
Homage: The Age Of The DivaRenée FlemingMariinskyDecca12007
Russian AlbumAnna NetrebkoMariinskyDG12006
PROKOFIEV: Ivan The Terrible CantataRPhOPhilips11998
VERDI: RequiemKirovPhilips22001

Videos[edit]

DVD[edit]

  • Valery Gergiev in Rehearsal and Performance
  • 60 Minutes: The Wild Man of Music, 2004.
  • Valery Gergiev Conducts the Vienna Philharmonic Orchestra in Prokofiev, Schnittke & Stravinsky, 2003.
  • Verdi: La forza del destino, Marinsky Theatre Orchestra, 1998.
  • Rimsky-Korsakov: Sadko, Kirov Opera, 2006.
  • Puccini: Turandot, Vienna Philharmonic, 2006.
  • Prokofiev: Betrothal in a Monastery, Kirov Opera, 2005.
  • Shostakovich against Stalin, 2005.
  • 'All the Russias – a musical journey': a five-part documentary through the tradition and heritage of Russian music.
  • 'Gergiev Conducts Brahms: Ein Deutsches Requiem' Kringelborn, Kwiecien, Swedish Radio Choir, Rotterdam Philharmonic, 2008
  • Tschaikovsky: Eugene Onegin; Dmitri Hvorostovsky, Renee Fleming, Ramon Vargas, Metropolitan Opera, 2007

VHS[edit]

  • Mussorgsky: Boris Godunov, Kirov Opera, 1993.
  • Tchaikovsky: Pique Dame, Kirov Opera, 1994.
  • Tchaikovsky: Pique Dame, Acts 1 and 2, Kirov Opera, 1992.
  • Mussorgsky: Kovanshchina, Kirov Orchestra, 1994.
  • Prokofiev: Fiery Angel, Polygram Video, 1996.

Honours and awards[edit]

Russian
  • Order of Merit for the Fatherland;
    • 3rd class (24 April 2003) – for outstanding contribution to music culture
    • 4th class (2 May 2008) – for outstanding contribution to the development of domestic and world music and theatre, many years of creative activity
  • Order of Friendship (12 April 2000) – for services to the state, many years of fruitful work in the field of culture and art, a great contribution to strengthening friendship and cooperation between nations
  • Medal 'In Commemoration of the 300th Anniversary of Saint Petersburg' (2003)
  • Gratitude of the President of the Russian Federation (15 January 2009) – for the concert the Mariinsky Theatre orchestra under the direction of Valery Gergiev in support of victims during the Georgian-Ossetian conflict
  • Medal 'For Valiant Labour' (Tatarstan) – for a fruitful cooperation with the Republic of Tatarstan, an active part in national projects in the fields of culture, outstanding contribution to the development of domestic and world music
  • Hero of Labour of the Russian Federation – for particular services to the State and its people. The new honour was created 29 March 2013, and first awarded on 1 May 2013.[32][33]
Foreign awards
  • Order of St. Mashtots (Armenia, 2000)
  • Grand Officer of the Order of Merit of the Italian Republic (2001)
  • Order 'Danaker' (2001, Kyrgyzstan)
  • Medal 'Dank' (Kyrgyzstan, 1998)
  • Knight of the Order of the Netherlands Lion (2005)
  • Order of Prince Yaroslav the Wise, 5th class (Ukraine, 10 May 2006) – a significant personal contribution to the development of cultural ties between Ukraine and Russia, high professionalism and many years of fruitful creative activity
  • Officer's Cross of the Order of Merit of the Federal Republic of Germany (2001)
  • Order of Prince Yaroslav the Wise, 5th class (Ukraine, 10 May 2006) – a significant personal contribution to the development of cultural ties between Ukraine and Russia, high professionalism and many years of fruitful creative activity
  • Commander of the Order of the Lion of Finland (2006)
  • Officer of the Legion of Honour (France, 2007)
  • Order of Arts and Letters (France)
  • Order of the Rising Sun with Golden Rays and Ribbon (Japan, 2006)
  • Order 'Uatsamonga' (South Ossetia, 29 January 2009) – for courage and great patriotism, invaluable assistance and support to the people of South Ossetia during the Georgian aggression disaster in August 2008
  • Honoured Worker of Kazakhstan (2011)
  • Silver medal in Valencia (Spain, 2006)
  • Medal Pro Mikkeli (Mikkeli, Finland, 2005)
  • Medal Johan van Oldenbarnevelt (2008, Rotterdam, The Netherlands)
  • Gold Medal for Merit to Culture (Gloria Artis) (Poland, 2011)
Religious awards
  • Order of Holy Prince Daniel of Moscow, 3rd class (Russian Orthodox Church, 2003)
  • Order of St. Vladimir (Ukrainian Orthodox Church, 2001)
  • Medal of St. Sergius of Radonezh, 1st class (Russian Orthodox Church, 2010).
Community Awards
  • Commemorative Gold Medal 'olive branch with Diamonds' (the Russian-Armenian (Slavic) State University)
Titles
  • People's Artist of Russia (20 June 1996) – for the great achievements in art
  • People's Artist of Ukraine (2004)
  • People's Artist of North Ossetia – Alania
  • Honorary citizen of St. Petersburg (2007), Vladikavkaz (2003), Lyon and Toulouse
  • 'Conductor of the Year' (1994) awarded by a jury of the international organization International Classical Music Awards
  • UNESCO Artist for Peace (2003)
  • Honorary Doctor of St. Petersburg State University
  • Honorary Professor of Moscow State University (2001)
Awards
  • State Prize of the Russian Federation in the field of art and literature in 1993 (7 December 1993) and 1998 (4 June 1999)
  • Prize awarded by the President of the Russian Federation in the field of literature and art in 2001 (30 January 2002)
  • Winner of the country's theatrical prize 'Golden Mask' (five times from 1996 to 2000)
  • Winner of the Theatre Award of Saint Petersburg 'Gold soffit' (four times; 1997, 1998, 2000 and 2003)
  • Russian opera prize «Casta diva» for the best performance – 'Parsifal' (1998)
  • Winner of Tsarskoye Selo Art Prize (1999)
  • Shostakovich Prize (Yuri Bashmet Foundation, 1997)
  • Royal Swedish Academy of Music Polar Music Prize (2005)
  • Herbert von Karajan Prize winner (Baden-Baden, 2006)
  • Laureate of the Foundation of American-Russian Cultural Cooperation (2006)
  • Polar Music Prize (together with Led Zeppelin) (2006)
  • DaCapo KlassiK Award - Conductor of the Year (2014)

See also[edit]

References[edit]

  1. ^ abJohn O'Mahony (18 September 1999). 'Demon king of the pit'. The Guardian. Retrieved 18 April 2007.
  2. ^Duchen, Jessica (19 January 2007). 'Valery Gergiev: Light the red touchpaper, stand back'. London, UK: The Independent. Archived from the original on 23 January 2007.
  3. ^Norris, Geoffrey (18 January 2007). 'A Russian energy import'. London, UK: Telegraph. Archived from the original on 23 August 2007.
  4. ^Tom Service (10 May 2004). 'LSO/Gergiev'. London, UK: The Guardian. Retrieved 18 April 2007.
  5. ^Morrison, Richard (24 May 2005). 'Lightning conductor'. London, UK: The Times. Archived from the original on 17 May 2011.
  6. ^Charlotte Higgins (14 April 2006). 'Russian maestro reveals his plans for the LSO'. London, UK: The Guardian. Retrieved 18 April 2007.
  7. ^Tim Ashley (16 January 2007). 'Gubaidulina'. London, UK: The Guardian. Retrieved 18 April 2007.
  8. ^Tom Service (20 September 2011). 'Everything to play for at the Tchaikovsky competition'. The Guardian. Retrieved 14 March 2015.
  9. ^'Valery Gergiev Chefdirigent der Münchner Philharmoniker ab 2015' (Press release). Landeshauptstadt München Kulturreferat. 2014. Retrieved 14 March 2015.
  10. ^'Geschichte des Orchesters'. Die Münchner Philharmoniker. Retrieved 14 October 2017.
  11. ^Praying for Palmyra: Russian maestro leads orchestra in ruins of ancient city, rt.com; accessed 14 October 2017.
  12. ^Charlotte Higgins (26 April 2007). 'Orchestras urge free concerts for children'. London, UK: The Guardian. Retrieved 6 May 2007.
  13. ^Tom Service (10 November 2004). 'Orchestra of the Mariinsky Theatre'. London, UK: The Guardian. Retrieved 20 May 2007.
  14. ^Tim Cornwell (16 August 2008). ''How many of my people were burned?''. Edinburgh, UK: The Scotsman. Retrieved 17 August 2008.
  15. ^The Times, LSO conductor Valery Gergiev leads defiant South Ossetia concert, 22 August 2008.
  16. ^ abAlex Ross, 'Imperious: The problem with Valery Gergiev', The New Yorker, 4 November 2013.
  17. ^Adam Sherwin, 'London Symphony Orchestra director takes sides with Putin against Pussy Riot', The Independent, 12 December 2012.
  18. ^Cooper, Michael (23 September 2013). 'Gay Rights Protest Greets Opening Night at the Met'. The New York Times.
  19. ^ abCooper, Michael (10 October 2013). 'Gay Rights Protests Follow Gergiev to Carnegie Hall'. The New York Times.
  20. ^ abcdMark Brown (7 November 2013). 'Valery Gergiev concert picketed by gay rights supporters'. The Guardian. Retrieved 14 March 2015.
  21. ^Melissa Eddy, 'Gergiev, With Eye on Munich Job, Responds to Antigay Accusations', New York Times, 27 December 2013.
  22. ^'The cultural figures of Russia - in support of the position of the President in Ukraine and Crimea'. Ministry of Culture of the Russian Federation. 11 March 2014. Archived from the original on 11 March 2014.
  23. ^Ng, David (12 March 2014). 'Putin policy in Crimea backed by Valery Gergiev, other arts figures'. Los Angeles Times. Retrieved 15 December 2017.
  24. ^Gergiev, Valery (21 September 2015). 'Sometimes people think they are holding a magic wand'. tass.ru/en (Interview). Interviewed by Andrei Vandenko. Russian News Agency TASS. Retrieved 23 November 2017.
  25. ^ abTommasini, Anthony (3 April 2014). 'Gustavo Dudamel and Valery Gergiev Face National Issues'. Nytimes.com. Retrieved 14 October 2017.
  26. ^Fonseca-Wollheim, Corinna da (14 October 2017). 'Lisa Batiashvili on Violins, Ukraine and Valery Gergiev'. Nytimes.com. Retrieved 14 October 2017.
  27. ^Meier, Andrew (14 October 2017). 'Valery Gergiev: 'Anyone Can Buy a Ticket''. Nytimes.com. Retrieved 14 October 2017.
  28. ^Mansfield, Susan (15 August 2008). 'Reaping the Russian whirlwind - Valery Gergiev'. Edinburgh, UK: The Scotsman. Archived from the original on 5 June 2011.
  29. ^Valery Gergiev (August 2008). 'Letters to the Telegraph'. The Daily Telegraph. London, UK. Retrieved 15 December 2008.
  30. ^Andrew Clements (23 June 2006). 'Prokofiev: Symphonies 1–7, LSO/Gergiev'. London, UK: The Guardian. Retrieved 18 April 2007.
  31. ^'BBC Music Magazine Awards - The Results'. BBC Music Magazine. 12 April 2011. Archived from the original on 26 July 2011.
  32. ^'Putin Hands Out First Soviet-Style Awards'. sputniknews.com. Sputnik (RIA Novosti). 1 May 2013.
  33. ^'Valery Gergiev receives the title of Hero of Labour'. mariinsky.ru. Mariinsky Theatre. 1 May 2013. Archived from the original on 28 December 2013.

External links[edit]

Wikimedia Commons has media related to Valery Gergiev.
  • Valery Gergiev at AllMusic
  • Rotterdam Philharmonic Gergiev Festival [1]
  • Interview with Valery Gergiev, 16 October 1992
Cultural offices
Preceded by
David Khanjian
Principal Conductor, Armenian Philharmonic Orchestra
1981–1985
Succeeded by
Rafael Mangassarian
Preceded by
Yuri Temirkanov
Principal Conductor and Music Director, Kirov Opera
1988–present
Succeeded by
incumbent
Preceded by
Jeffrey Tate
Principal Conductor, Rotterdam Philharmonic Orchestra
1995–2008
Succeeded by
Yannick Nézet-Séguin
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Valery_Gergiev&oldid=903952329'
CAMARGO, Luciano de Freitas. Regência e educação musical. In: DUARTE, R.; FIORETTI, E. (Org.). Educação Musical no Norte: um mosaico de possibilidades e ações desafiadoras. II Encontro Regional Norte da Associação Brasileira de Educação... more
CAMARGO, Luciano de Freitas. Regência e educação musical. In: DUARTE, R.; FIORETTI, E. (Org.). Educação
Musical no Norte: um mosaico de possibilidades e ações desafiadoras. II Encontro Regional Norte da Associação
Brasileira de Educação Musical - ABEM. I Jornada Estadual do Fórum Latinoamericano - Fladem/Brasil. Boa Vista:
Editora da UFRR, 2018, p. 43-58. (Capítulo de livro)
ISSN: 978-85-8288-184-2
    • by Luciano Camargo
Liner notes for the Avie Records recording of Donald Fraser's orchestration of the Elgar Piano Quintet in A minor for symphony orchestra and his arrangement of Elgar's song cycle 'Sea Pictures' for SATB chorus and Strings. Released as... more
Liner notes for the Avie Records recording of Donald Fraser's orchestration of the Elgar Piano Quintet in A minor for symphony orchestra and his arrangement of Elgar's song cycle 'Sea Pictures' for SATB chorus and Strings. Released as AV2362 in 2016
Performers
English Symphony Orchestra
English Chamber Orchestra
Rodolfus Chamber Choir
Kenneth Woods - conductor
Valery gergiev youtubeGergiev
    • by Kenneth Woods
The chapter interprets the rich manuscript legacy of the 1831 Dublin Music Festival’s musical advisor and fixer, Sir George Smart, shedding light on the logistics and impact of this watershed event and on the remarkable reception given to... more
The chapter interprets the rich manuscript legacy of the 1831 Dublin Music Festival’s musical advisor and fixer, Sir George Smart, shedding light on the logistics and impact of this watershed event and on the remarkable reception given to the virtuoso violinist, Paganini. The realities and etiquettes of coordinating and directing programmes, soloists, instrumentalists and choristers are vividly revealed thanks to Smart’s assiduous documentation of his association with the Festival.
    • by Fiona M Palmer
    • 5
While programming and repertoire selection form the majority of a conductor's artistic duties, collegiate orchestra directors have an additional consideration as to how orchestral experiences shape and inform students' music... more
While programming and repertoire selection form the majority of a conductor's artistic duties, collegiate orchestra directors have an additional consideration as to how orchestral experiences shape and inform students' music education-repertoire choices determine what students will not learn in their college training years. The current study surveyed the 2016-17 collegiate orchestra concert programs of 53 US institutions. The findings suggest that college orchestras were more like to program American composers than professional orchestras. However, women composers and living composers were drastically under-represented. Modeling Rob Deemer's proposal for well-balanced programming with factors influencing orchestral programs, I propose a practical repertoire recommendation for fellow collegiate orchestras, to include around 20% of works by living composers and 6-8% by women composers annually.
    • by Chaowen Ting
    • by Luigi Verdi
This paper deals with the myriad of aspects central to the conductor’s art. Above and beyond the purely technical or the ‘craft’ of conducting, this paper considers and evaluates the distinct individual and cumulative elements which... more
This paper deals with the myriad of aspects central to the conductor’s art. Above and beyond the purely technical or the ‘craft’ of conducting, this paper considers and evaluates the distinct individual and cumulative elements which underline and inform the artistic work of professional conductors. Facets such as musical traits, score study, forming an interpretation and the effect of personality are discussed. With many of these elements being largely intangible, a rigorous scientific analysis of the conductor’s art is not a possibility however it is anticipated this appraisal will go some way towards demystifying, at least to an extent, the art of conducting.
    • by Carolyn Watson
The great Austrian conductor Carlos Kleiber (1930-2004) was an intriguing character – a legendary conductor whose foibles were equally as legendary. Kleiber’s work was characterized by an unusually small yet highly specialized core of... more
The great Austrian conductor Carlos Kleiber (1930-2004) was an intriguing character – a legendary conductor whose foibles were equally as legendary. Kleiber’s work was characterized by an unusually small yet highly specialized core of repertoire which he performed most frequently. Johann Strauss II’s operetta, Die Fledermaus, was one of Kleiber’s favorite works, and became one with which the conductor was associated throughout his career. This paper chronicles Kleiber’s lifelong fascination with Strauss’ Die Fledermaus, culminating in what many consider to be the definitive performance of the overture – the 1989 New Year’s Concert with the Vienna Philharmonic Orchestra under Kleiber.
    • by Carolyn Watson
    • by Carolyn Watson
This paper is centered on orchestral conducting and more specifically it examines the apparent challenges faced by aspiring female conductors in this traditionally male-dominated profession. In 2017, women conductors are arguably somewhat... more
This paper is centered on orchestral conducting and more specifically it examines the apparent challenges faced by aspiring female conductors in this traditionally male-dominated profession. In 2017, women conductors are arguably somewhat ‘in vogue’ with a raft of recent and high-profile appointments alongside increased media coverage, awareness and debate. Nevertheless, the statistics on the number of women conductors – particularly those working at the upper-most echelons internationally – paint an indisputable picture with the League of American Orchestras reporting that in 2016, the percentage of music directors were 91% male and 9% female. For conducting positions that are not music directorships it was 79% male and 21% female.
This paper will survey current and historic data and industry trends alongside the more recent appearance of gender-specific training and professional programs available to emerging female conductors, namely the Taki Concordia Fellowship, Dallas Opera Institute for Women Conductors, Royal Philharmonic Society Women Conductors and the New York Conducting Institute’s Women’s Conducting Workshop whose website explains:
In our time as conductors, we, along with many other women we have worked with, have personally encountered blatant statements and acts of sexism, along with countless (less obvious but still telling) microaggressions. The numbers perhaps tell the story best. It still seems to be newsworthy when a woman conducts the New York Philharmonic. The recent appearance of Maestro Susanna Mälkki at The Metropolitan Opera marks the fourth woman to take the podium during its history. There are a good number of women working in opera houses as prompters and coaches, yet for some reason(s) they are not able to make the transition to the podium.
Researcher Carolyn Watson, has participated in the Dallas Opera Institute for Women Conductors and a recent Southbank Centre Workshop for Women Conductors. She has spent time working with and observing Marin Alsop with the Baltimore Symphony, and assisted renowned opera specialists Simone Young and Karen Kamensek.
    • by Carolyn Watson
Building on Thomas Leddy’s interpretation of current everyday aesthetics, I take a critical look at the position he terms “restrictivism,” concentrating especially on the work of two of its important representatives, Arto Haapala and Ossi... more
Building on Thomas Leddy’s interpretation of current everyday aesthetics, I take a critical look at the position he terms “restrictivism,” concentrating especially on the work of two of its important representatives, Arto Haapala and Ossi Naukkarinen. I begin the paper by providing a glimpse of the everyday of Valery Gergiev, the dynamo conductor famous for his frantic lifestyle, and argue that the kind of everydayness of the everyday which Haapala and Naukkarinen place at the heart of everyday aesthetics is not as necessary and all-encompassing a component of our everyday lives as they assume. Another important part of my argument is an analysis that seeks to uncover some important distinctions between our possible everyday routines. I by no means aim to question the restrictivist understanding of the everyday completely. However, I do believe that the picture of the everyday emerging from my account of Gergiev’s everyday, together with the outline of everyday routines I present, show restrictivism’s scope to be more limited than Haapala and Naukkarinen believe. This conclusion, in turn, clears the way for a more expansionist understanding of everyday aesthetics, such as the one Leddy builds on Dewey’s aesthetics.
    • by Kalle Puolakka
In this video James Humberstone interviews conductor, composers and music educator Richard Gill, to provide a counterpoint to the ideas shared in the prior lectures in this module. While Gill does not believe that students shouldn't learn... more
In this video James Humberstone interviews conductor, composers and music educator Richard Gill, to provide a counterpoint to the ideas shared in the prior lectures in this module. While Gill does not believe that students shouldn't learn popular music at all, he believes that it is a little like chocolate - if you feed kids too much, they'll just get sick. This paper is a transcription of the video which is the 16th in the free online course.
    • by James Humberstone
The communicative vocabulary of a conductor comprises an extensive repertory of manual gestures. Over the course of time the role of conductor has developed from one whose predominant function was ostensibly a fundamentally rhythmic one,... more
The communicative vocabulary of a conductor comprises an extensive repertory of manual gestures. Over the course of time the role of conductor has developed from one whose predominant function was ostensibly a fundamentally rhythmic one, to a role in which expressive aspects are focal. In this context, body language, posture, facial expressions and eye contact are integral components of the conductor’s communicative vocabulary. In this article, Australian conductor Carolyn Watson discusses how musical intent is communicated, and shares her own experience from a busy career with the baton.
    • by Carolyn Watson
Tarihsel süreç içerisinde transkripsiyon, birçok bestecinin çeşitli uygulamalarıyla tanınmış bir tekniktir. Piyanoya özgü özelliklerden dolayı, piyano müziğinin orkestra için transkripsiyonunda karşılaşabilecek bazı güçlükler olduğu... more
Tarihsel süreç içerisinde transkripsiyon, birçok bestecinin çeşitli uygulamalarıyla tanınmış bir tekniktir. Piyanoya özgü özelliklerden dolayı, piyano müziğinin orkestra için transkripsiyonunda karşılaşabilecek bazı güçlükler olduğu bilinmektedir. Piyano notasının doğrudan doğruya orkestra partilerine aktarımı teknik açıdan olumsuz ya da başarısız sonuçlar getirebilir. Bu çeşit problemleri çözmek için birçok teorisyen ve bestecinin deneyim ve bilgilerinden yararlanıp ardından bazı çalışmalar yapılmalıdır. Böylece daha sonraki transkripsiyonların ve beraberinde orkestrasyonların daha başarılı olması sağlanacaktır.Bu çalışmada öncelikle senfonik orkestranın belkemiğini oluşturan yaylı çalgıların teknik özellikleri ve transkripsiyon kurallarının incelenmesi yapılacaktır. Ardından tipik bir öğrenci orkestrasının çalabileceği düzeyde bir piyano parçasının teması, yaylı çalgılar için transkripsiyon yapılarak bu kural ve kalıpların uygulanması gösterilecektir.
    • by Bahadır Çokamay
Öz Çağdaş Türk Müziği bestecisi Muammer Sun'un Solfej kitabı, ses ve notaların öğretilmesinden aralık öğretimine, tek sesli okuma parçalarından çok sesli okuma parçalarına kadar geniş bir yelpazeyi barındırır. Bu kitaptaki çoksesli parça... more
Öz Çağdaş Türk Müziği bestecisi Muammer Sun'un Solfej kitabı, ses ve notaların öğretilmesinden aralık öğretimine, tek sesli okuma parçalarından çok sesli okuma parçalarına kadar geniş bir yelpazeyi barındırır. Bu kitaptaki çoksesli parça ve alıştırmaların müzikal analizlerinin yapılması, çoksesli müzik eğitiminin temellerini oluşturan öğelerin daha kapsamlı tanınması açısından önemli olduğu düşünülmektedir. Bu çalışma, Sun'un Solfej kitabındaki çok sesli alıştırma ve okuma parçalarında kullandığı çok seslendirme tekniklerinin belirlenmesini ve çok sesli müzik eğitimi konusunda müzik eğitimcilerine katkı sağlanmasını amaçlamaktadır. Çalışmada ilk olarak, Muammer Sun'un Solfej Kitabındaki çoksesli alıştırma ve okuma parçalarının genel özelliklerine yer verilmiştir. Daha sonra Motif-Ezgi, Dizi-Ton-Mod/Makam ve Çokseslilik boyutları olmak üzere üç ana başlıkta müzikal analizler yapılmıştır. Çoksesli alıştırma ve okuma parçalarında yapılan analizler sonucunda; motif yapılarında, esas motifin başka sesten tekrarlanması, yatay ters çevrilmesi, ses sürelerinin küçültülmesi gibi değişikliklere gidilerek, ezgiler meydana getirildiği, dizi, ton ve mod/makam yönlerinden çeşitlilik gösterdiği, temel bir iki seslilik yaratarak yatay ve dikey çokseslilik yöntemleri kullanıldığı değerlendirilmiştir. Abstract 'Solfej'(solfège), a book by Muammer Sun, a contemporary Turkish composer, contains a wide range of items, from the teaching of sounds, notes and intervals to monophonic and polyphonic pieces. The musical analysis of the polyphonic exercises and pieces found in this book may be considered to be important in terms of more comprehensive recognition of the elements that constitute the foundations of polyphonic music education.The present study aims to determine the polyphony techniques used in the polyphonic exercises and pieces in Sun's book, and to contribute to polyphonic educational music. In the study, firstly the general characteristics of the polyphonic exercises and pieces in the book in the question are presented, followed by musical analyses carried out under three main headings: motif-melody, sequence-tone-mode and the dimensions of polyphony. As a result of analyses performed on the polyphonic exercises and pieces, it is understood that melodies which vary in scale, tone and mode are composed with changes such as sequence on another sound of the main motif, horizontal inversion, reduction of sound durations in motif structures, and horizantal and vertical polyphonic methods are employed by creating a basic biphony.
    • by Bahadır Çokamay
    • by Luca Conti
    • 2
An interview with Chinese American conductor Xian Zhang, Director of the New Jersey Symphony Orchestra and former Assistant Conductor of the New York Philharmonic. Among other topics, we spoke about the role of the conductor, her... more
An interview with Chinese American conductor Xian Zhang, Director of the New Jersey Symphony Orchestra and former Assistant Conductor of the New York Philharmonic. Among other topics, we spoke about the role of the conductor, her influences and the differences in the way classical music is perceived in China versus the U.S.
    • by Carlton Wilkinson
Arguably more quintessentially ‘Hungarian’ than the compositions of his esteemed colleague Béla Bartók, the orchestral works of Zoltán Kodály are in and of themselves a study in the Hungarian folk music idiom. This notion was one... more
Arguably more quintessentially ‘Hungarian’ than the compositions of his esteemed colleague Béla Bartók, the orchestral works of Zoltán Kodály are in and of themselves a study in the Hungarian folk music idiom. This notion was one supported by Bartók who stated that Kodály’s music was “the most perfect embodiment of the Hungarian spirit.” (Paxman 2014, p.522) This paper examines four works of Kodály’s orchestral canon, namely Háry János Suite (1927), Marosszék Dances (1927 for piano, 1930 for orchestra), Dances of Galánta (1933) and the Peacock Variations (1939). These selections represent the most commonly performed orchestral compositions of Kodály.
This study will consider the direct ethnomusicological influences in each of the chosen compositions and aims to identify the musical and compositional elements which give weight to the notion of ‘Hungarian-ness’ in the orchestral compositions of Kodály. While the four works I have chosen are likely familiar to conductors, orchestral musicians and music educators, somewhat surprisingly there has been very little research of an academic nature into the orchestral writing of Kodály. (Ong, 2011, p.1) As such, this paper serves as a welcome addition to the scholarly literature on Kodály’s orchestral compositions.
    • by Carolyn Watson
Programming and repertoire selection play an essential role in the development of any ensemble. An orchestra’s repertoire choices manifest the personality and vision of its music/artistic director, the artistic goals and accomplishments... more
Programming and repertoire selection play an essential role in the development of any ensemble. An orchestra’s repertoire choices manifest the personality and vision of its music/artistic director, the artistic goals and accomplishments of the ensemble, and most importantly, the core values cherished by the organization. Even though it is impossible to measure an ensemble’s artistic achievements quantitatively, a thorough data analysis of repertoire choices can help researchers understand past and ongoing aesthetic trends shared by various orchestras, and this examination could further facilitates conversation in the Classical music arena.
Professional orchestras in the U.S., as manifested by the annual repertoire survey conducted by the Baltimore Symphony Orchestra during 2014-2017, favor works by deceased German, Austrian and Russian composers. In understanding how much collegiate orchestral programs confirm to such a status quo, I surveyed the 2016–17 college orchestra concert repertoire from 20 leading academic institutes, including universities, conservatories, and music schools. In total, 56 orchestra performed 532 pieces by 213 composers in 140 concerts. While works by German, Austrian, and Russian composers still form the majority of concert programs, collegiate orchestras are more likely to program pieces by living and American composers. Approximately one out of every ten pieces was written after 2000, and 14.23% of the presented repertoire was by living composers, yet only 2.6% of all the performed pieces were by women.
In the article, I discuss possible reasons for and factors of the drastically low representation of women composers in collegiate orchestras programming, and propose several initiatives that could potentially promote and advocate women composers’ orchestral output in concert halls.

Maestro Valery Gergiev

    • by Chaowen Ting