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Andris Nelsons is Music Director of the Boston Symphony Orchestra and is Gewandhauskapellmeister of the Gewandhausorchester Leipzig. With these positions, and in leading a pioneering alliance between two such esteemed institutions, Grammy Award-winning Nelsons is firmly underlined as one of the most renowned and innovative conductors on the international scene today.
Nelsons began his tenure as Music Director of the BSO in the 2014/15 season and after one year, his contract was extended through the 2021/22 season. Last season, the BSO and Nelsons embarked on a tour to Japan together for the first time, notably with three performances in Suntory Hall. At the beginning of the 2018/19 seasons, Nelsons toured Europe together with the orchestra for the third time since Nelsons’ Music Directorship, visiting the London Proms, Hamburg, Berlin, Leipzig, Vienna, Lucerne, Paris and Amsterdam. Nelsons gave his debut with the Gewandhausorchester in 2011, followed by regular performances at the Gewandhaus zu Leipzig in subsequent years. In February 2018, Nelsons received the title of Gewandhauskapellmeister in a four-week inaugural festival, also marking the 275th anniversary of the orchestra. Three joint tours for the Gewandhausorchester Leipzig and Nelsons have been incorporated into the 2018/2019 season: two European tours, one in October 2018, including stops at London’s prestigious Royal Festival Hall, in Scandinavia and in Nelsons' native city, Riga, and the other in January 2019, to venues including the new Hamburg Elbphilharmonie, Philharmonie de Paris and Vienna’s Musikverein. The season’s third tour in May/June 2019 takes the orchestra and Nelsons to Japan and China, where they will appear together for the first time.
The 2018/19 season marks Nelsons’ final season as Artist-in-Residence at the Konzerthaus Dortmund, and Nelsons’ first season as Artist-in-Residence at Hamburg’s Elbphilharmonie. Furthermore, Nelsons continues his regular collaborations with the Berliner Philharmoniker and Wiener Philharmoniker, with whom he lead a tour through China last season in addition to his ongoing guest performances at the Musikverein in Vienna. In 2020, he will conduct the Wiener Philharmoniker’s prestigious New Year’s Day concert, broadcast to millions across the world. Throughout his career, Nelsons has established regular collaborations with Royal Concertgebouw Orchestra, Symphonieorchester des Bayerischen Rundfunks and Philharmonia Orchestra. Nelsons has been a regular guest at the Bayreuther Festspiele and at the Royal Opera House Covent Garden.
Andris Nelsons has an exclusive recording relationship with Deutsche Grammophon, which has paved the way for three landmark projects. Nelsons and the BSO partner on recording the complete Shostakovich symphonies, and the opera Lady Macbeth of the Mtensk District. The first and second instalments have both received consecutive Grammy Awards for Best Orchestral performance, the third has been nominated for two Grammy Awards, and the fourth instalment will be released in February 2019. Nelsons and the yellow label also have embarked upon a project with the Gewandhausorchester that sheds new light on the symphonies of Bruckner, and pairs these distinctive symphonic pieces with works by Wagner. The most recent release appeared in April 2018 to widespread critical acclaim. Furthermore, Nelsons will record Beethoven’s complete symphonies with the Wiener Philharmoniker between 2016-2019, and will return to Vienna to perform the complete cycle in 2020, celebrating the 250th anniversary of the composer’s birth.
Born in Riga in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was Music Director of the City of Birmingham Symphony Orchestra from 2008-2015, Principal Conductor of Nordwestdeutsche Philharmonie in Herford, Germany 2006-2009 and Music Director of Latvian National Opera 2003-2007.
Andris Nelsons, conductor
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Paul Lewis is internationally regarded as one of the leading musicians of his generation. His cycles of core piano works by Beethoven and Schubert have received unanimous critical and public acclaim worldwide, and consolidated his reputation as one of the world’s foremost interpreters of the central European classical repertoire. His numerous awards have included the Royal Philharmonic Society’s Instrumentalist of the Year, two Edison awards, three Gramophone awards, the Diapason D'or de l'Annee, the Preis Der Deutschen Schallplattenkritik, the Premio Internazionale Accademia Musicale Chigiana, and the South Bank Show Classical Music award. He holds honorary degrees from Liverpool, Edge Hill, and Southampton Universities, and was appointed Commander of the Order of the British Empire (CBE) in the 2016 Queen's Birthday Honours.
He appears regularly as soloist with the world's great orchestras, including the Boston Symphony, Chicago Symphony, London Symphony, London Philharmonic, Bavarian Radio Symphony, NHK Symphony, New York Philharmonic, LA Philharmonic, and the Royal Concertgebouw, Cleveland, Tonhalle Zurich, Leipzig Gewandhaus, Philharmonia, and Mahler Chamber Orchestras.
The 16/17 season included Beethoven concerto cycles with Melbourne Symphony Orchestra, the São Paulo State Symphony Orchestra, and the Royal Flemish Philharmonic Orchestra, appearances with the Orchestre de Paris and Daniel Harding, the Philharmonia with Andris Nelsons, Chicago Symphony with Manfred Honeck, and the Bavarian Radio Symphony Orchestra with Bernard Haitink. The 18/19 season sees the continuation of a two year recital series exploring connections between the sonatas of Haydn, the late piano works of Brahms, and Beethoven's Bagatelles and Diabelli Variations.
Paul Lewis’ recital career takes him to venues such as London's Royal Festival Hall, Alice Tully and Carnegie Hall in New York, the Musikverein and Konzerthaus in Vienna, the Theatre des Champs Elysees in Paris, the Concertgebouw in Amsterdam, and the Berlin Philharmonie and Konzerthaus. He is also a frequent guest at the some of the world's most prestigious festivals, including Tanglewood, Ravinia, Schubertiade, Edinburgh, Salzburg, Lucerne, and the BBC Proms where in 2010 he became the first person to play a complete Beethoven piano concerto cycle in a single season.
His multi-award winning discography for Harmonia Mundi includes the complete Beethoven piano sonatas, concertos, and the Diabelli Variations, Liszt’s B minor Sonata and other late works, all of Schubert’s major piano works from the last six years of his life including the 3 song cycles with tenor Mark Padmore, solo works by Schumann and Mussorgsky, and the Brahms D minor piano concerto with the Swedish Radio Symphony Orchestra and Daniel Harding. Future recording plans include a multi-CD series of Haydn sonatas, Beethoven's Bagatelles, and works by Bach.
Paul Lewis studied with Joan Havill at the Guildhall School of Music and Drama in London before going on to study privately with Alfred Brendel. He is co-Artistic Director of Midsummer Music, an annual chamber music festival held in Buckinghamshire, UK, and the Leeds International Piano Competition.
Paul Lewis, piano
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THE TRAINING GROUNDS FOR THE MUSICIANS OF
The Tanglewood Music Center Fellowship Program is the Boston
Symphony Orchestra's summer academy for advanced musical study. The
TMC offers an intensive schedule of study and performance for
emerging professional instrumentalists, singers, conductors, and
composers who have completed most of their formal training in
Serge Koussevitzky, the Boston Symphony Orchestra's music
director from 1924 to 1949, founded the school with the intention
of creating a premier music academy where, with the resources of a
great symphony orchestra at their disposal, young musicians would
sharpen their skills under the tutelage of Boston Symphony
Orchestra musicians and other specially invited artists.
The Berkshire Music Center opened formally on July 8, 1940, with
both speeches (Koussevitzky, alluding to the war then raging in
Europe, said, "If ever there was a time to speak of music, it is
now in the New World") and music, including the first performance
of Randall Thompson's Alleluia for unaccompanied chorus, which was
written for the ceremony and arrived less than an hour before the
event was to begin, but which made such an impression that it is
sung every summer at the TMC's Opening Exercises. The TMC became
Koussevitzky's pride and joy for the rest of his life. He assembled
an extraordinary faculty in composition, operatic and choral
activities, and instrumental performance; he himself taught the
most gifted conductors.
Koussevitzky continued to develop the Tanglewood Music Center
until 1950, a year after his retirement as the BSO's music
director. Charles Munch, his successor in that position, ran the
TMC from 1951 through 1962, working with Leonard Bernstein and
Aaron Copland to shape the school's programs. In 1963, new BSO
Music Director Erich Leinsdorf took over the school's reins,
returning to Koussevitzky's hands-on leadership approach while
restoring a renewed emphasis on contemporary music. The TMC's
annual Festival of Contemporary Music, produced in association with
the Fromm Music Foundation, was begun in 1963.
In 1970, three years before his appointment as BSO music
director, Seiji Ozawa became head of the BSO's programs at
Tanglewood, with Gunther Schuller leading the TMC and Leonard
Bernstein as general advisor. Leon Fleisher served as the TMC's
Artistic Director from 1985 to 1997. In 1994, with the opening of
Seiji Ozawa Hall, the TMC centralized its activities on the Leonard
Bernstein Campus, which also includes the Aaron Copland Library,
chamber music studios, administrative offices, and the Leonard
Bernstein Performers Pavilion adjacent to Ozawa Hall. In 1998,
Ellen Highstein was appointed to the new position of Director of
the Tanglewood Music Center, operating under the artistic
supervision of Seiji Ozawa. Maestro James Levine took over as Music
Director of the BSO in 2005 and has continued the tradition of
hands-on involvement with the TMC, conducting both orchestral
concerts and staged operas, as well as participating in
masterclasses for singers, conductors, and composers.
It would be impossible to list all the distinguished musicians
who have studied at the Tanglewood Music Center. According to
recent estimates, 20 percent of the members of American symphony
orchestras, and 30 percent of all first-chair players, studied at
Today, alumni of the Tanglewood Music Center play a vital role
in the musical life of the nation. Tanglewood and the Tanglewood
Music Center, have become a fitting shrine to the memory of Serge
Koussevitzky, a living embodiment of the vital, humanistic
tradition that was his legacy. At the same time, the Tanglewood
Music Center maintains its commitment to the future as one of the
world's most important training grounds for the composers,
conductors, instrumentalists, and vocalists of tomorrow.
Tanglewood Music Center Orchestra