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Festival of Contempory Music
BSO Artistic Partner Thomas Adès, director
Thomas Adès conducts the Tanglewood Music Center Orchestra featuring pianist Kirill Gerstein

Tanglewood

Seiji Ozawa Hall - Lenox, MA View Map

BSO Artistic Partner Thomas Adès leads the young musicians of the Tanglewood Music Center Orchestra in a performance as part of the 2018 Festival of Contemporary Music, the first of two with Adès as Festival Director. The program, which also features 2018's Koussevitzky Artist, pianist Kirill Gerstein and TMC Conducting Fellows, includes Knussen's Songs and a Sea Interlude, Adès's own piano concerto  In Seven Days, Gerald Barry's Diner, and Lutosławski's Symphony No. 3.

Featured Performers

Thomas Adès, conductor
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Born in London in 1971, Thomas Adès studied piano and composition at the Guildhall School of Music and Drama, and read music at King's College, Cambridge.  Renowned as both a composer and a performer he works regularly with the world's leading opera companies and festivals.  

Recent conducting engagements include a tour with the Britten Sinfonia, concerts with the Chamber Orchestra of Europe and the Gulbenkian Orchestra as part of his Gulbenkian Foundation Residency, the London Symphony and Sao Paulo State Symphony Orchestras, his debut with the Royal Concertgebouw Orchestra, the Los Angeles Philharmonic, the City of Birmingham Symphony Orchestra, the Philharmonia Orchestra, Mariinsky Theatre Orchestra, the Royal Stockholm Philharmonic Orchestra, the BBC, Finnish and Danish Radio Symphony Orchestras, the Birmingham Contemporary Music Group (whose Music Director he was between 1998 and 2000), the London Sinfonietta, Ensemble Modern and the Athelas Ensemble.
He recently conducted productions of The Rake's Progress at the Royal Opera House Covent Garden and Zurich Opera.  His most recent piano engagements include a recital at Carnegie Hall with Ian Bostridge, and an appearance with Alan Gilbert and the New York Philharmonic. In 2010 he undertook a piano recital tour that included Carnegie Hall, and London's Barbican Centre featured the premiere of his new piano work Concert Paraphrase from Powder Her Face.  2010/11 saw Adès return to Australia as an artist in residence at the Melbourne Festival.  Future plans include concerts with the Accademia Santa Cecilia in Rome, Barry's "The Importance of Being Earnest" with the Birmingham Contemporary Music Group, and a piano recital at the Festival de Saint Denis.

Between 1993 and 1995 he was Composer in Association with the Hallé Orchestra, which resulted in The Origin of the Harp (1994) and These Premises Are Alarmed for the opening of the Bridgewater Hall in 1996. Asyla (1997) was a Feeney Trust commission for Sir Simon Rattle and the CBSO who performed it at Symphony Hall in August 1998 in Rattle's last concert as Music Director. From 1999-2008 he was Artistic Director of the Aldeburgh Festival.

Adès' first opera, Powder Her Face (commissioned by Almeida Opera for the Cheltenham Festival in 1995), has been performed all around the world, was televised by Channel Four, and is available on a DVD as well as an EMI CD. Most of the composer's music has been recorded by EMI, with whom Adès has a contract as composer, pianist and conductor. Adès' second opera, The Tempest, was commissioned by the Royal Opera House and was premiered under the baton of the composer to great critical acclaim in February 2004. It was revived at Covent Garden in 2007 - again with the composer conducting and to a sold-out house - and has also been performed in Copenhagen, Strasbourg and Santa Fe. Recently released to outstanding reviews, The Tempest is also available on an EMI CD and in France, the disc was recently awarded the prestigious Diapason d'Or de l'année and the 2010 Classical Brit Award for Composer of the Year. In September 2005 his violin concerto, Concentric Paths, written for Anthony Marwood, was premiered at the Berliner Festspiele and the BBC Proms, with the Chamber Orchestra of Europe under his baton. His second orchestral work for Simon Rattle, Tevot, (2007) was commissioned by the Berliner Philharmoniker and Carnegie Hall. 

Appointed to the Richard and Barbara Debs Composer Chair at Carnegie Hall for 2007/8, he was featured as composer, conductor and pianist throughout that season.  Adès' most recent works include a 'Piano concerto with moving image' entitled In Seven Days, a collaboration with video artist Tal Rosner, commissioned by the Los Angeles Philharmonic and London's Southbank Centre and Lieux Retrouvés, a work for 'cello and piano written for Steven Isserlis and commissioned by Aldeburgh Festival and Wigmore Hall.

Adès' music has attracted numerous awards and prizes, including the prestigious Grawemeyer Award (in 2000, for Asyla), of which he is the youngest ever recipient.

Thomas Adès, conductor Tanglewood Music Center Conducting Fellows
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THE TRAINING GROUNDS FOR THE MUSICIANS OF TOMORROW


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 music.
 

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 the TMC.
 

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 Conducting Fellows
Kirill Gerstein, piano
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The multifaceted pianist Kirill Gerstein is rapidly ascending into classical music's highest ranks. With a masterful technique, discerning intelligence, and a musical curiosity that has led him to explore repertoire spanning centuries and numerous styles, he has proven to be one of today's most intriguing and versatile musicians.

Mr. Gerstein is the sixth recipient of the prestigious Gilmore Artist Award, presented every four years to an exceptional pianist who, regardless of age or nationality, possesses broad and profound musicianship and charisma and who desires and can sustain a career as a major international concert artist. Since receiving the award in 2010, Mr. Gerstein has shared his prize through the commissioning of boundary-crossing new works by Oliver Knussen, Chick Corea, Brad Mehldau, Timothy Andres and Alexander Goehr. Mr. Gerstein was also awarded First Prize at the 2001 Arthur Rubinstein Piano Competition in Tel Aviv, received a 2002 Gilmore Young Artist Award and a 2010 Avery Fisher Grant.

Highlights of his 2015-16 season in North America include performances of Scriabin's Prometheus: Poem of Fire with Ricardo Muti and the Chicago Symphony, Rachmaninoff Concerto No. 2 with Semyon Bychkov and the Berlin Philharmonic, Rachmaninoff Concerto No. 1 with the Cleveland Orchestra, and playing both of George Gershwin's piano concertos in the original jazz-band version to open New York's 92nd Street Y's 15/16 season; re-engagements with the Los Angeles Philharmonic as well as with the Toronto, Cincinnati, Dallas, Houston, Colorado, Utah and Oregon symphonies and the National Arts Centre Orchestra; a tour to Australia and New Zealand; his debut with the Royal Concertgebouw with concerts in Amsterdam and Frankfurt; a European tour with the Czech Philharmonic; and recitals in New York and Houston.

Kirill Gerstein's recent North American engagements include performances with the New York Philharmonic, the Philadelphia and Minnesota Orchestras, and the Boston, St. Louis, San Francisco, Atlanta, Baltimore, Detroit, Indianapolis and Montreal symphonies among others. He has also recently appeared at the Aspen Music Festival, Santa Fe Chamber Music Festival, Chicago's Grant Park, Tanglewood with the Boston Symphony, Blossom with the Cleveland Orchestra, and with the Philadelphia Orchestra at the Bravo! Vail Valley Festival, Mann Music Center and Saratoga; and performed in recital at New York's 92nd St. Y and Zankel Hall at Carnegie Hall, the Kennedy Center and in Boston, Toronto, Berkeley, Vancouver, Detroit, Miami and Princeton.

Internationally, Kirill Gerstein has played with such prominent European orchestras as the Czech, Munich, Rotterdam and London Philharmonics, the City of Birmingham Symphony Orchestra, Deutsches Symphonie-Orchester Berlin, Dresden Staatskappelle, Finnish Radio Orchestra, Tonkünstler Orchestra Vienna, WDR Symphony Orchestra Cologne and the Zurich Tonhalle, as well as with the NHK Symphony Orchestra in Tokyo. He has performed recitals in Paris, Prague, Hamburg, London's Wigmore Hall and Queen Elizabeth Hall, and at the Liszt Academy in Budapest. He made his Salzburg Festival debut playing solo and two piano works with Andras Schiff and has also appeared at the Lucerne and Jerusalem Chamber Music Festivals as well as at the Proms in London.

Mr. Gerstein's second solo recording featuring Mussorgsky's Pictures at an Exhibition and Schumann's Carnaval was released by Myrios Classics in June 2014. His first solo recording with works by Schumann, Liszt and Oliver Knussen, also for Myrios, was chosen by The New York Times as one of the best recordings of 2010. He also collaborated with Tabea Zimmerman on two recordings of sonatas for viola and piano for Myrios, released in February 2011 and November 2012. His most recent recording of the Tchaikovsky Piano Concerto No. 1 and the Prokofiev Piano Concerto No. 2 with the Deutsches Symphonie-Orchester Berlin was released by Myrios in March 2015 and is the first recording using the new critical edition recently completed by the Tchaikovsky Museum in Moscow using the composer's original second version.

Born in 1979 in Voronezh, Russia, Mr. Gerstein studied piano at a special music school for gifted children and taught himself to play jazz by listening to his parents' extensive record collection. At the age of 14, he came to the United States to study jazz piano as the youngest student ever to attend Boston's Berklee College of Music. After completing his studies in three years and following his second summer at the Boston University program at Tanglewood, Mr. Gerstein turned his focus back to classical music and moved to New York City to attend the Manhattan School of Music, where he studied with Solomon Mikowsky and earned both Bachelors and Masters of Music degrees by the age of 20. He continued his studies in Madrid with Dmitri Bashkirov and in Budapest with Ferenc Rados.

Mr. Gerstein became an American citizen in 2003 and divides his time between the United States and Germany.

Kirill Gerstein, piano
Program Notes Audio
KNUSSEN - Songs and a Sea Interlude
Thomas ADÈS - In Seven Days, for piano and orchestra
Gerald BARRY - Diner
LUTOSŁAWSKI - Symphony No. 3