Кристоф эшенбах — christoph eschenbach

Musical career

As a pianist, Eschenbach has won numerous first-place piano competition prizes, including first prize in the Clara Haskil Competition in Vevey, Switzerland in 1965. In 1964, he made his first recording (of Mozart) for Deutsche Grammophon and signed a contract with the label. Eschenbach continued to study conducting with George Szell, with whom he worked for more than three years. In addition, he counted Herbert von Karajan as a mentor.

In 1981, Eschenbach became principal guest conductor of the Tonhalle Orchestra Zurich, and was chief conductor from 1982 to 1986. He was co-artistic director of the Pacific Music Festival from 1992 to 1998. He was chief conductor of the NDR Symphony Orchestra, Hamburg from 1998 to 2004. He was artistic director of the Schleswig-Holstein Musik Festival from 1999 until 2003, and became principal conductor of the Schleswig-Holstein Festival Orchestra in 2003. From 2000 to 2010, Eschenbach was Music Director of the Orchestre de Paris.

In the United States, Eschenbach was music director of the Houston Symphony Orchestra from 1988 to 1999. The orchestra toured Japan and Europe under his tenure as well made several recordings with Koch International Classics and RCA. In honour of his achievements and tenure with the Houston Symphony, the City of Houston placed a bronze commemorative star with his name in front of Jones Hall, the performance home of the Houston Symphony. He was music director of the Ravinia Festival from 1994 to 2005.

Eschenbach has made more than 80 recordings as piano soloist, conductor, or both, has appeared in several television documentaries, and has made many concert broadcasts for different European, Japanese and U.S. networks. Eschenbach is credited with helping and supporting talented young musicians in their career development, including soprano Renée Fleming, pianists Tzimon Barto and Lang Lang, cellists Claudio Bohórquez , and Daniel Müller-Schott, and soprano Marisol Montalvo.

Later career

In September 2008, the National Symphony Orchestra (NSO) appointed Eschenbach as its sixth music director, effective with the 2010–2011 season, as well as the newly created music director of the Kennedy Center. In September 2011, the NSO and the Kennedy Center announced the extension of Eschenbach’s contract through the 2014–2015 season. In March 2014, the organisations announced an extension of Eschenbach’s contract through the 2016–2017 season. In February 2015, the NSO announced that Eschenbach was to conclude his tenure as NSO music director at the end of the 2016–2017 season. Eschenbach subsequently took the title of conductor laureate of the NSO.

In November 2017, the Konzerthausorchester Berlin announced the appointment of Eschenbach as its next chief conductor, effective with the 2019–2020 season, with an initial contract of 3 years. In July 2021, the Konzerthausorchester Berlin announced the extension of Eschenbach’s contract through the 2022–2023 season. He is scheduled to stand down from the Konzerthausorchester Berlin post at the close of the 2022-2023 season.

Дальнейшая карьера

25 сентября 2008 г. Национальный симфонический оркестр (NSO) назначило Эшенбаха своим шестым музыкальным руководителем, вступившим в силу в сезоне 2010–11 годов, а также новым музыкальным руководителем Центра Кеннеди. В сентябре 2011 года Национальное статистическое управление и Центр Кеннеди объявили продление контракта Эшенбаха на сезон 2014–2015 годов. В марте 2014 года организации объявили о продлении контракта Эшенбаха на сезон 2016–2017 годов. В феврале 2015 года Национальное статистическое управление объявило о запланированном завершении срока полномочий Эшенбаха в качестве музыкального директора Национальной статистической службы. из В сезоне 2016–2017 гг. Он стал лауреатом дирижерской премии NSO.

В ноябре 2017 года Konzerthausorchester Berlin объявил о назначении Эшенбаха своим следующим главным дирижером с 2019–2020 годов. сезон, с первоначальным контрактом на 3 года.

Early life

Eschenbach was born in Breslau, Germany (now Wrocław, Poland). His parents were Margarethe (née Jaross) and Heribert Ringmann. He was orphaned during World War II. His mother died giving birth to him; his father, a politically active anti-Nazi, was sent to the Eastern front as part of a Nazi punishment battalion where he was killed. As a result of this trauma, Eschenbach did not speak for a year, until he was asked if he wanted to play music. Wallydore Eschenbach (née Jaross), his mother’s cousin, adopted him in 1946 and began to teach him to play the piano. At age 11, he attended a concert conducted by Wilhelm Furtwängler which had a great impact on him. In 1955, Eschenbach enrolled at the Musikhochschule in Cologne, studying piano with Hans-Otto Schmidt-Neuhaus and conducting with Wilhelm Brückner-Rüggeberg. He then pursued further studies at the Hochschule für Musik und Theater Hamburg with Eliza Hansen (piano) and Wilhelm Brückner-Rüggeberg (conducting).

Музыкальная карьера

Как пианист, Эшенбах получил множество призов на конкурсе пианистов за первые места, в том числе за первое место в Клара Хаскил Конкуренция в Веве, Швейцария в 1965 году. В 1964 году он сделал свою первую запись ( Моцарт ) за Deutsche Grammophon и подписали контракт с лейблом. Эшенбах продолжал изучать дирижирование с Джордж Селл, с которой проработал более трех лет. Кроме того, он насчитал Герберт фон Караян как наставник.

В 1981 году Эшенбах стал главным приглашенным дирижером театра Тонхалле оркестр Цюрих, и был главным дирижером с 1982 по 1986 год. Он был со-художественным руководителем Тихоокеанский музыкальный фестиваль с 1992 по 1998 гг. был главным дирижером Симфонический оркестр NDR, Гамбург с 1998 по 2004 гг. был художественным руководителем Музыкальный фестиваль Шлезвиг-Гольштейн с 1999 по 2003 год. С 2000 по 2010 год Эшенбах был музыкальным руководителем Парижский оркестр.

В Соединенных Штатах Эшенбах был музыкальным руководителем Хьюстонский симфонический оркестр с 1988 по 1999 год. Оркестр гастролировал по Японии и Европе под его руководством, а также сделал несколько записей с Koch International Classics и RCA. В честь его достижений и пребывания в Хьюстонском симфоническом оркестре город Хьюстон установил бронзовую памятную звезду с его именем перед Джонс-холлом, домом для выступлений Хьюстонского симфонического оркестра. Он был музыкальным руководителем Фестиваль Равинии с 1994 по 2005 гг.

Эшенбах сделал более 80 записей в качестве солиста-пианиста, дирижера или и того, и другого, снялся в нескольких телевизионных документальных фильмах и провел множество концертных трансляций для различных сетей Европы, Японии и США. Эшенбаху приписывают помощь и поддержку талантливым молодым музыкантам в их карьерном росте, включая сопрано. Рене Флеминг, пианисты Цимон Барто и Ланг Ланг, виолончелисты Клаудио Бохоркес, и Даниэль Мюллер-Шотт, и сопрано Марисоль Монтальво.

Later career

In September 2008, the National Symphony Orchestra (NSO) appointed Eschenbach as its sixth music director, effective with the 2010–2011 season, as well as the newly created music director of the Kennedy Center. In September 2011, the NSO and the Kennedy Center announced the extension of Eschenbach’s contract through the 2014–2015 season. In March 2014, the organisations announced an extension of Eschenbach’s contract through the 2016–2017 season. In February 2015, the NSO announced that Eschenbach was to conclude his tenure as NSO music director at the end of the 2016–2017 season. Eschenbach subsequently took the title of conductor laureate of the NSO.

In November 2017, the Konzerthausorchester Berlin announced the appointment of Eschenbach as its next chief conductor, effective with the 2019–2020 season, with an initial contract of 3 years. In July 2021, the Konzerthausorchester Berlin announced the extension of Eschenbach’s contract through the 2022–2023 season. He is scheduled to stand down from the Konzerthausorchester Berlin post at the close of the 2022-2023 season.

Musical career

As a pianist, Eschenbach has won numerous first-place piano competition prizes, including first prize in the Clara Haskil Competition in Vevey, Switzerland in 1965. In 1964, he made his first recording (of Mozart) for Deutsche Grammophon and signed a contract with the label. Eschenbach continued to study conducting with George Szell, with whom he worked for more than three years. In addition, he counted Herbert von Karajan as a mentor.

In 1981, Eschenbach became principal guest conductor of the Tonhalle Orchestra Zurich, and was chief conductor from 1982 to 1986. He was co-artistic director of the Pacific Music Festival from 1992 to 1998. He was chief conductor of the NDR Symphony Orchestra, Hamburg from 1998 to 2004. He was artistic director of the Schleswig-Holstein Musik Festival from 1999 until 2003, and became principal conductor of the Schleswig-Holstein Festival Orchestra in 2003. From 2000 to 2010, Eschenbach was Music Director of the Orchestre de Paris.

In the United States, Eschenbach was music director of the Houston Symphony Orchestra from 1988 to 1999. The orchestra toured Japan and Europe under his tenure as well made several recordings with Koch International Classics and RCA. In honour of his achievements and tenure with the Houston Symphony, the City of Houston placed a bronze commemorative star with his name in front of Jones Hall, the performance home of the Houston Symphony. He was music director of the Ravinia Festival from 1994 to 2005.

Eschenbach has made more than 80 recordings as piano soloist, conductor, or both, has appeared in several television documentaries, and has made many concert broadcasts for different European, Japanese and U.S. networks. Eschenbach is credited with helping and supporting talented young musicians in their career development, including soprano Renée Fleming, pianists Tzimon Barto and Lang Lang, cellists Claudio Bohórquez , and Daniel Müller-Schott, and soprano Marisol Montalvo.

Early life

Eschenbach was born in Breslau, Germany (now Wrocław, Poland). His parents were Margarethe (née Jaross) and Heribert Ringmann. He was orphaned during World War II. His mother died giving birth to him; his father, a politically active anti-Nazi, was sent to the Eastern front as part of a Nazi punishment battalion where he was killed. As a result of this trauma, Eschenbach did not speak for a year, until he was asked if he wanted to play music. Wallydore Eschenbach (née Jaross), his mother’s cousin, adopted him in 1946 and began to teach him to play the piano. At age 11, he attended a concert conducted by Wilhelm Furtwängler which had a great impact on him. In 1955, Eschenbach enrolled at the Musikhochschule in Cologne, studying piano with Hans-Otto Schmidt-Neuhaus and conducting with Wilhelm Brückner-Rüggeberg. He then pursued further studies at the Hochschule für Musik und Theater Hamburg with Eliza Hansen (piano) and Wilhelm Brückner-Rüggeberg (conducting).

Musical career

As a pianist, Eschenbach has won numerous first-place piano competition prizes, including first prize in the Clara Haskil Competition in Vevey, Switzerland in 1965. In 1964, he made his first recording (of Mozart) for Deutsche Grammophon and signed a contract with the label. Eschenbach continued to study conducting with George Szell, with whom he worked for more than three years. In addition, Herbert von Karajan was his mentor for nearly twenty-five years.

In 1981, Eschenbach became principal guest conductor of the Tonhalle Orchestra Zurich, and was chief conductor from 1982 to 1986. Other posts have included Music Director of the Houston Symphony Orchestra (1988–1999), where he now holds the title of Conductor Laureate; co-artistic director of the Pacific Music Festival, from 1992 to 1998; chief conductor of the NDR Symphony Orchestra, Hamburg (1998–2004); and music director of the Ravinia Festival, summer home of the Chicago Symphony Orchestra (1994–2005). In addition, he was artistic director of the Schleswig-Holstein Musik Festival from 1999 until 2003. Since 2000, Eschenbach has been the Music Director of the Orchestre de Paris; in May 2007, it was announced that Eschenbach would conclude his tenure with the Orchestre de Paris in 2010. In addition, from 2003 till 2008 Eschenbach was the Music Director of the Philadelphia Orchestra. In 2010 he assumed his position as Music Director of both the National Symphony Orchestra and the Kennedy Center for Performing Arts in Washington, D.C.

Christoph Eschenbach has made more than 80 recordings as piano soloist, conductor, or both, has appeared in several television documentaries, and has made many concert broadcasts for different European, Japanese and U.S. networks.

Having received great mentoring guidance in his early years as a conductor through both Herbert von Karajan and George Szell, Eschenbach is credited with helping and supporting talented young musicians in their career development, including soprano Renée Fleming, pianists Tzimon Barto and Lang Lang, cellists Claudio Bohórquez, and Daniel Müller-Schott, and soprano Marisol Montalvo.

Ранние годы

Эшенбах родился в Бреслау, Германия (сейчас же Вроцлав, Польша). Его родителями были Маргарет (урожденная Ярос) и Хериберт Рингманн. Он осиротел во время Вторая Мировая Война. Его мать умерла, родив его; его отец, политически активный анти-Нацистский был отправлен на Восточный фронт в составе Нацистский карательный батальон где он был убит. В результате этой травмы Эшенбах не разговаривал год, пока его не спросили, хочет ли он заниматься музыкой. Валлидор Эшенбах (урожденная Ярос), двоюродная сестра его матери, усыновила его в 1946 году и начала учить его игре на фортепиано. В 11 лет он посетил концерт под управлением Вильгельм Фуртвенглер что оказало на него большое влияние. В 1955 году Эшенбах поступил в Musikhochschule в Кёльн, учусь на фортепиано с Ганс-Отто Шмидт-Нойгаус и проведение с Вильгельм Брюкнер-Рюггеберг. Затем он продолжил обучение в Hochschule für Musik und Theater Hamburg с Элиза Хансен  (фортепиано) и Вильгельм Брюкнер-Рюггеберг (дирижирование).

Дирижер

В 1972 году он начал карьеру дирижера, а в году дебютировал в Америке за партой Симфонического оркестра Сан-Франциско . Затем он работал с большинством крупных американских оркестров ( Нью-Йоркский филармонический оркестр, Лос-Анджелес, Кливлендский оркестр, Чикагский симфонический оркестр, Сан-Франциско, Филадельфия, Бостон …) и европейскими ( Филармонический оркестр и филармонический оркестр Лондона, Дрезденская государственная капелла, Берлинский филармонический оркестр, Мюнхен, Парижский оркестр ). Он постоянный гость на международных фестивалях, таких как Tanglewood, Hollywood Bowl, Ravinia и Schleswig-Holstein.

В области оперы он дирижировал Così fan tutte в Ковент-Гарден в 1984 году, а в Хьюстонской опере — Les Noces de Figaro, Don Giovanni, снова Così fan tutte, Le Chevalier à la rose, Lohengrin, Parsifal, Salomé и Elektra . В году он поставил « Парсифаля» на Байройтском фестивале в 2001 году, « Арабеллу» в Метрополитен-опера в Нью-Йорке и в 2004 году, посвященный пятидесятилетию Чикагской лирической оперы, « Дон Жуан» .

Houston Symphony

Eschenbach was music director of the Houston Symphony from 1988 to 1999. In that period, he has been credited with enhancing the symphony’s both in terms of national and international prominence and well as musical quality. The orchestra toured Japan and Europe under his tenure as well made several recordings with Koch International Classics and RCA. Eschenbach’s era was marked by a strong relationship with the musicians, who admired him on and off the stage.

In honor of his many achievements and tenure with the Houston Symphony, the City of Houston placed a bronze commemorative star with his name in front of Jones Hall, the performance home of the Houston Symphony.

Рекомендации

1. Кристоф Эшенбах в «Путешествии странника: слушая Малера». Рут Йоркин Дразен, PBS, 2007.
2. Интервью с Маргарет Тросби транслировать на ABC Classic FM 31 июля 2013 г.
3. 88 нот для фортепиано соло, Жан-Пьер Тиолле, Невские издательства, 2015, с. 52 и 277. ISBN  978-2-3505-5192-0
4. ^ Дэвид Патрик Стернс, «Эшенбах покинул пост в Париже». Philadelphia Inquirer, 1 июня 2007 г.
5. ^
6. ^ Петр Добрин: «Оркестру нужно учесть несколько уроков». Philadelphia Inquirer, 29 октября 2006 г.
7. Петр Добрин: «Назовите это завершением: начните поиск гармоничного совпадения прямо сейчас». Philadelphia Inquirer, 24 сентября 2006 г.
8. Дэвид Патрик Стернс: «Сохрани его: его личное творчество — сокровище». Philadelphia Inquirer, 24 сентября 2006 г.
9. Бакстер, Роберт, «Несколько оваций Эшенбаху». Курьер-Почта, 15 октября 2006 г.
10. Питер Добрин, «Эшенбах выйдет из игры в 2008 году». Philadelphia Inquirer, 21 октября 2006 г.
11. Петр Добрин, «Увертюра из Палм-Бич». Philadelphia Inquirer, 3 апреля 2005 г.
12. Петр Добрин: «Созвучно поставленной задаче». Philadelphia Inquirer, 30 августа 2006 г.
13. Письмо Ассоциации оркестров Филадельфии от 27 октября 2006 г., размещено на веб-сайте 16 ноября 2006 г., отправлено меценатам по электронной почте в октябре 2006 г.
14. Питер Добрин, «Эшенбах говорит о« бомбе замедленного действия »». Philadelphia Inquirer, 16 ноября 2006 г.
15. Марк Свед, «Классический переворот». Лос-Анджелес Таймс, 21 января 2007 г.
16. Питер Добрин: «Молодежь выходит на новый подиум в Нью-Йорке». Philadelphia Inquirer, 19 июля 2007 г.
17. Дэвид Патрик Стернс, «Эшенбах, оркестр, чтобы продолжить отношения». Philadelphia Inquirer, 15 августа 2007 г.
18. [постоянная мертвая ссылка ]

Early life

Eschenbach’s parents were Margarethe (née Jaross) and Heribert Ringmann. He was orphaned during World War II. His mother died giving birth to him; his father, a politically active anti-Nazi, was sent to the Eastern front as part of a Nazi punishment battalion where he was killed. As a result of this trauma, Eschenbach did not speak for a year, until he was asked if he wanted to play music. Wallydore Eschenbach (née Jaross), his mother’s cousin, adopted him in 1946 and began to teach him to play the piano. At age 11, he attended a concert conducted by Wilhelm Furtwängler which had a great impact on the youngster. In 1955 Eschenbach enrolled at the Musikhochschule in Cologne, studying piano with Hans-Otto Schmidt-Neuhaus and conducting with Wilhelm Brückner-Rüggeberg.

References

1. Christoph Eschenbach in «A Wayfarer’s Journey: Listening to Mahler.» Ruth Yorkin Drazen, PBS, 2007.
2. ^ David Patrick Stearns, «Eschenbach out of post in Paris». Philadelphia Inquirer, 1 June 2007.
3. ^
4. ^ Peter Dobrin, «Orchestra has some lessons to consider». Philadelphia Inquirer, 29 October 2006.
5. Peter Dobrin, «Call it quits: Start search now for a harmonious match.» Philadelphia Inquirer, 24 September 2006.
6. David Patrick Stearns, «Keep him: His personal music-making is a treasure.» Philadelphia Inquirer, 24 September 2006.
7. Baxter, Robert, «Few standing ovations for Eschenbach.» Courier-Post, 15 October 2006.
8. Peter Dobrin, «Eschenbach to bow out in 2008». Philadelphia Inquirer, 21 October 2006.
9. Peter Dobrin, «Palm Beach overture». Philadelphia Inquirer, 3 April 2005.
10. Peter Dobrin, «In tune with the task». Philadelphia Inquirer, 30 August 2006.
11. Letter from The Philadelphia Orchestra Association, 27 October 2006, posted on website 16 November 2006, sent to patrons by e-mail October 2006.
12. Peter Dobrin, «Eschenbach talks of a ‘time bomb'». Philadelphia Inquirer, 16 November 2006.
13. Mark Swed, «A Classic Coup». Los Angeles Times, 21 January 2007.
14. Peter Dobrin, «Youth takes another podium, in NYC». Philadelphia Inquirer, 19 July 2007.
15. David Patrick Stearns, «Eschenbach, orchestra to continue relationship». Philadelphia Inquirer, 15 August 2007.
16. Hilary Finch at Albert Hall/Radio 3, The Times, September 6, 2006
17. David Patrick Stearns, «Warm welcome in Hamburg». Philadelphia Inquirer, August 30, 2006.
18. Klaus Geitel, «The Delicacy of Euphony,» Berliner Morgenpost, September 3, 2006.

References

1. Christoph Eschenbach in «A Wayfarer’s Journey: Listening to Mahler.» Ruth Yorkin Drazen, PBS, 2007.
2. Interview with Margaret Throsby broadcast on ABC Classic FM on 31 July 2013.
3. 88 notes pour piano solo, Jean-Pierre Thiollet, Neva Éditions, 2015, p. 52 and 277. ISBN 978-2-3505-5192-0
4. ^ David Patrick Stearns, «Eschenbach out of post in Paris». Philadelphia Inquirer, 1 June 2007.
5. staff (1 June 1999). «City Honors Eschenbach». Houston Chronicle. Retrieved 12 March 2010.
6. ^ Doreen Carvajal (6 February 2001). «Musicians Are Gaining Bigger Voice In Orchestras». The New York Times. Retrieved 29 April 2008.
7. Anthony Tommasini (29 October 2006). «Conductor Under Fire, Orchestra Under Pressure». The New York Times. Retrieved 3 December 2006.
8. ^ Peter Dobrin, «Orchestra has some lessons to consider». Philadelphia Inquirer, 29 October 2006.
9. Peter Culshaw (18 May 2004). «Chemistry lessons». Telegraph. Archived from the original on 29 May 2007. Retrieved 17 March 2007.
10. Peter Dobrin, «Call it quits: Start search now for a harmonious match.» Philadelphia Inquirer, 24 September 2006.
11. David Patrick Stearns, «Keep him: His personal music-making is a treasure.» Philadelphia Inquirer, 24 September 2006.
12. Baxter, Robert, «Few standing ovations for Eschenbach.» Courier-Post, 15 October 2006.
13. Peter Dobrin, «Eschenbach to bow out in 2008». Philadelphia Inquirer, 21 October 2006.
14. Peter Dobrin, «Palm Beach overture». Philadelphia Inquirer, 3 April 2005.
15. Peter Dobrin, «In tune with the task». Philadelphia Inquirer, 30 August 2006.
16. Letter from The Philadelphia Orchestra Association, 27 October 2006, posted on website 16 November 2006, sent to patrons by e-mail October 2006.
17. Leslie Kandell (4 October 1998). «A Visiting Orchestra Gets a Taste of Its Future». New York Times. Retrieved 6 January 2007.
18. Peter Dobrin, «Eschenbach talks of a ‘time bomb'». Philadelphia Inquirer, 16 November 2006.
19. Mark Swed, «A Classic Coup». Los Angeles Times, 21 January 2007.
20. Peter Dobrin, «Youth takes another podium, in NYC». Philadelphia Inquirer, 19 July 2007.
21. David Patrick Stearns, «Eschenbach, orchestra to continue relationship». Philadelphia Inquirer, 15 August 2007.
22. Matthew Westphal (15 August 2007). «Christoph Eschenbach to Maintain Relationship with Philadelphia Orchestra Beyond End of Tenure». Playbill Arts. Retrieved 16 August 2007.
23. Anne Midgette (25 September 2008). «Christoph Eschenbach to Lead National Symphony». Washington Post. Retrieved 25 September 2008.
24. Anne Midgette (25 September 2011). «Kennedy Center extends Eschenbach’s contract; new organ in works». Washington Post. Retrieved 28 September 2011.
25. Anne Midgette (24 March 2014). «Eschenbach extends Kennedy Center, NSO contract for two more seasons». Washington Post. Retrieved 4 October 2014.
26. Anne Midgette (18 February 2015). «Eschenbach’s NSO contract to end in 2017; will become conductor laureate». Washington Post. Retrieved 20 February 2015.
27. «Christoph Eschenbach übernimmt den Taktstock». Rundfunk Berlin-Brandenburg. 13 November 2017. Retrieved 18 November 2017.[permanent dead link]
28. «Christoph Eschenbach bleibt Chefdirigent bis 2023» (Press release). Konzerthausorchester Berlin. 20 July 2021. Retrieved 22 July 2021.
29. «Joana Mallwitz wird ab Saison 2023/24 Chefdirigentin und Künstlerische Leiterin des Konzerthausorchesters Berlin» (Press release). Konzerthausorchester Berlin. 31 August 2021. Retrieved 31 August 2021.