Szell is a child of the Empire austro-hongrois, been born to Budapest, it realizes its studies to Comes.  Among its professors, one raises the names of the composers Max Reger and Eusebius Mandyczewski, a friend of Brahms and as well as pianist Richard Robert.  In the class of the latter, it meets Rudolf Serkin with which it secures himself of a friendship that leads to many collaborations.  Szell is then a child prodigy adulated through Europe.  At the age of eleven years, it undertakes a turn of Europe; the English press the qualifies of “new Mozart”.  It plays the pieces of the catalog but also its own compositions.  For its fourteen years, the prestigious house of edition Universal of Coming offers him a contract of exclusivity rights of 10 years.  Two years later, it does its beginnings of boss of before being invited orchestra, for its ten seven years, to the philharmonie of Berlin.  Piano virtuoso, Szell nevertheless irreparably is attracted by the direction podium.  In 1915, it is engaged by the imperial opera of Berlin where it meets Richard Strauss that recognizes for him an undisputable talent and a big quality of interpreter of his music.  Szell takes besides leaves for the first recording of the symphonic poem Gift Juan. 

During the years 1920 and 1930, it traverses the pits of the principal operas of the Old continent:  Berlin, Strasburg, Prague, Darmstadt, Glasgow before becoming principal boss of the Staatsoper of Berlin in 1924.  In 1930, it crosses the Atlantic and carries out its beginnings with the symphonic orchestra of Holy Louis.  While the war threatens again Europe, it installs himself in 1939 to New York with his family.  It divides then his time between the teaching and the direction of the orchestras of the city: the NBC Symphony Orchestrated Toscanini as early as 1941, then Philharmonie of New York from 1943.  The Metropolitan Opera invites it then descend in his pit.  In 1946, it is naturalizeed American citizen while the Cleveland Orchestrated proposes him the post of musical director.  Although directed by of big names as Nikolai Sokolof (1918-1933), the fantastic but unequal Arthur Rodzinski (1933-1943) then Eric Leinsdorf (1943-1946), the Orchestra of Cleveland is considered as a phalanx of second row behind the orchestras of Chicago, Philadelphia, Boston and New York.  Holding a dreamed occasion to forge an orchestra, Szell accepts the suggestion and will remain in post until his death in 1970.  To alongside this very long reign, it transforms this formation in the elite of the American orchestras to the price of an iron discipline and of an intransigence of all the instants.  Formed to the school austro-hongroise, the boss never pleasing with the work and its repetitions are known for the unbelievable intensity that results from its high requirements.  A day that a journalist questions it on the secrets of the level of his orchestra, it replies, breaking, that when its colleagues stop working, him and its musicians begin only.  Hoisting the orchestra to an unequaled level of perfection, it signs a contract with Columbia that leads to complete Beethoven, Brahms and Schumann that mark their era and that continue to do the happiness of the music-loving while its interpretations of the symphonies of Mozart or its concerto accompaniments remain of the models of clarity and of attention.  Nevertheless wanting all check and squeezing its musicians of a fearsome iron hand, the boss forgets sometimes to leave the music to abandon itself.  Virtuoso, conquering but supple and concerned of the balance between the lines mélodiques and the desks, the style of Szell meets thus critics for his emotion absence.  But triumphant turns in Europe, Asia and even in USSR export on of other shores the know-how house.  Szell does not forget to rub itself to eminent others orchestras.  Frequently invited Concertgebouw of Amsterdam, Symphonic one of London and Philharmonie of Coming, the boss marks of his impression the Festival of Salzbourg.

His catalog covers essentially the classical Haydn or Mozart and the Germanic catalog of Brahms to Strauss and Bruckner with a big interest for the contemporary music: this is him that orders to Henri Dutilleux its Métaboles to the occasion of the forty years of his orchestra.  Very interested by the new talents, it invites Rock Roll of which it had heard to speak, one knows the continuations of special relation of the French boss with the American musicians. 

Gotten married to two returns, Szell is outside of his musical life, a fine gourmet and a highly skilled driver refusing often the services of the driver of the orchestra to return at his place to the flying one of his imposing Cadillac.  Having abandoned a pianist career, the boss produces himself occasionally to the piano in room music. 

George Szell is the one of the first American artists of international stature to have returned in Europe after the second World War and in particular to the festival of Salzbourg.  In 1949, it does its beginnings in the Rosenkavalier and in concert with the Philharmonie of Coming.  As early as 1952, it is an uniform guest of the demonstration assuring the world-wide creation of three operas of Rolf Liebermann (Penelope and Said Schule der Frauen) and of Werner Egk (Irische Legende) all while driving productions of Says Entführung air dem Serail and of Says Zauberflöte.  Between 1949 and 1969, it produces himself at the head of the philharmonie of Coming, but also to the desk of the numerous invited orchestras on the shores of the Salzach of the Concertgebouw of Amsterdam to the orchestra of the RTF.  The present and massive casket proposes us therefore a concert selection that comes to complete certain edited bands with Sony, Andante and Orfeo. 

This is well évidement with Mozart that the boss attains a perfection out norms.  If the two symphonies of Mozart at the head of the Concertgebouw of Amsterdam are models, this the accompaniment of the two concertos that touches here to the sublimates.  Helped by soloists all so grandiose, the artist does to shine this music with the brightness of the light of a sunny spring.  The symphony “Oxford” of Haydn is taken by an aesthete, but the valiant orchestra of the RTF has not hardly the silky one of the ropes of Coming, Amsterdam or Dresde; anything to repeat symphony n°3 of sculptured Beethoven in the granit by an attentive boss to the content and to the content.  In terms of concertos of the big deaf one and in spite of a Clifford Curzon highly inspired, one will remain faithful to two other associations of the boss with soloists:  Emil Gilels for the concerto n°3 (live to Salzbourg with Orfeo equally) and concerto n°5 (concert to Comes with Gulda edited by Andante).  Only the concerto n°4 chiseled one with a poetry all romantic one imposes as a big reference. 

The symphony n°7 of Bruckner is licked hyper and served by an ideal orchestra, but it lacks to this version, just as to the other testimonies brucknériens of the boss, an abandonment and a mysticism that transcend the simple orchestral perfection.  The symphony domesticates Strauss is she taken by an insane rage just as the concert 100% XX century that opposes Von Einem, Walton and Prokofiev.  In these three scores of orchestral parade, the boss rouses an incandescent Concertgebouw. 

Precious Jallon of a discography of a big wealth, this casket completes judiciously the famous available recordings henceforth with Sony in economical collections.  The aficionados of the boss will find on the canvas an exhaustive discography of the musician to the address www.szell.co.uk

Some years ago, the symbolic director of the national Center of lyric artists (CNIPAL) Gérard Founau, about the recruitment of its “students” (17 currently of which 10 foreigners) pointed out me:  “If one has trouble to have ténors, one has some again more to have low”.  Useless to say that it appeared me very happy to the coming from the first recital of three of these young people, while learning me that there were some two in the new promotion (of which a good party, we offered, a little later, a pleasant one “concert of Christmas”).  And it added with pride:  “And of equal talent”.  This talent, one in had a proof with the benefit of Nika Guliashvili programmed with two others interpret (an “hour of tea” misogynous: in reality, their feminine foreseen partners had had engagements to the exterior one) and a pianist Nino Pavlennichvilt, very appreciated in the ungrateful role of accompanist that, in addition, conferred a lot of brilliances to the opening of The magpie thief (Rossini).  All sharply being applauded by the numerous public that had not left, in the home of the Opera, any empty seat.  Thus, the three categories of masculine singers fortunately were represented.  The baritone (type more current), this was with Alec Avedissian giving, in particular, a lot of charm to the serenade of the Gift Giovanni of Mozart; to the enticing stamp, to the supple phrasé, to the perfect style in the opera as in the melody.  The ténor, this was Xin Wang, embodying superbly, among others, the melancholic hero of the of Arles one (Cilea), especially remarkable in muted colors, vocalize them, the nuances of the line of song, the transmission ease; his sharp request to become more “polite”.  The Bulgarian one and this Chinese returning, in an impeccable, articulated French as it is it rarely even by our compatriots, the famous duet of the Fishermen of appears, appropriating itself really the score of Bizet.  At last, that to say of this low one?  Sumptuousness, consistency, volume, power, voice length, and which mastery in the interpretation!  Which in fact already the equal one of the prestigious colleagues and elder of the Georgian Guliashvili (often besides Slavs as him).  Brief, ideal, that this be for the Mozart as for the Rossini and Turned greenen.  Yes, once more, the director of the CNIPAL (and his team) did actually “the good choice”. 

TORONTO - The Canadian singer Measha Brueggergosman will do its beginnings in an opera of Mozart, in the spring, to Toronto. 

The young native soprano of Fredericton, to New Brunswick, will hold the role of Elettra in the opera “Idomeneo” that will be given by the Opera Workshop. 

This work will be at the poster of the Theater Elgin, of April 26 to May 3. 

The American ténor Chad Shelton was chosen to interpret the personage of Idomeneo, the king of Crest. 

The production torontoise will be sung in Italian with English and French surtitres. 

It was Sunday evening the ninth annual hearing of the Requiem of Mozart climbed by Michel Brousseau.  His orchestra says “Philharmonic” counted only 30 musicians, but the choir carrying the same ambitious name took on two other choral formations for a big total closely of 200 voices. 

An audience more considerable, more largely younger and more surprisingly more attentive, filled the basilica Our Lady.  Certain will persist themselves nevertheless to repeat a little everywhere that “the classical music dies itself”. 

The ultimate one and unfinished Requiem is not the work more representative of Mozart since it is not of him than in left.  This is not not more a very long score:  50 minutes about.  Two good reasons that call the addition of another Mozart.  Sunday, Mr. Brousseau added, at the beginning of programs, the Concerto for two pianos. 

The two pianists came from Sicily, where Mr. Brousseau will go the next summer with his choir.  “Cultural exchanges” visible?  Maybe.  For the moment, here two pianists that play with a voucher together and that play Mozart with a certain taste, except for a slow movement of an improper slowness. 

The extremely quick tempi adopted for certain parties of the Requiem - for the Said irae, for example - were more justified.  Memory leader, the boss there sacrificed not never the clarity and neglected for as much the meditative episodes.  To signal, the quality of high voices (sopranos and ténors), so often a problem with the choirs, amateurs or no. 

Mr. Brousseau brought back us alas! the enough any soprano of the last year, in red blinding, flanked this time of our very low-cut Julie Nesrallah that one imagines in Amnéris of Assistance rather than to the church.  More of abstemiousness of the masculine side: sweet ténor with Figueroa, harsh stamp with Butcher. 

Violin virtuoso, renowned it “one of the bigger of Europe”, fine blade, brilliant and gallant man, the personality of Joseph of Holy Bologne georges (1745-1799), son of a slave of the Guadeloupe and of a sugar white owner, does not lack to intrigue aujourd’hui again.  Number of biographers looked into his case.  Rock Bardin, the present author delivers, searched very archives often unknown.  His work unveils so far unpublished aspects of the co-founder of the concert of the amateurs, under Louis XV policeman of the guard of the king, doubtless freemason then officer of the national guard, afterward loaded by the Convention to form a legion composed from Black, of which it became the colonel when she was transformed in regiment of hunters to horse. 

The author repositionne Holy georges in the Parisian environment of the people of color to the XVIIIe century.  Itself it recalls to his turn the good feminine fortunes of the young man, that were, for most of the columnists, principal trump of his fame, it in underlines especially triteness:  “When one does 1.80 m and that one is childlike beautiful, one attracts necessarily the most beautiful women.”  The knight made use of his charm, of course, but what returned it maybe even more irresistible and exceptional left it that took the complexity of his musical education and of his game, one compared to the one of Mozart (which is normal but excessive).  How not to attempt to quantify the unknown party, bequeathed by his maternal alignment and that carries in she deeply anchored mysterious and unknown Africa? 

But, will one say, how a hybrid one could it frequent the parlors of the good metropolitan corporation, even though the slavery beat his full one to the colonies?  Bardin shows that, tenured of a load of general inspector of the ordinary one wars, Holy georges evolves in the royal administration.  This privilege awards for him automatically it entitles horseman, then of knight.  The young hybrid one, been born of a liberal and nourished father of ideas voltairiennes in a native family of Holland - and not of Italy as one a long time did it to believe -, is thus legitimized officially by Louis XV.  The work is dense and book an infinity of details.  Too, sometimes, for the reader that stretched to untangle the mixed-up sons that the relate to the mythical knight. 

A page of a handwritten score of the one of the first major works of Mozart was sold Tuesday to the bids for near of 111,000 books (156.047 Euros), surpassing the high fork of his estimation, indicated a spokesperson of the house Sotheby’s. 

It is a matter of the one of the two handwritten pages again existing of the score of the Symphony planning for violin, alto and orchestra in mi damper major composite by the prodigy Wolfgang Amadeus Mozart in 1779.  It was 23 years old. 

This page was estimated between 70,000 and 100,000 books (98.000 to 140,000 Euros).  It finally was sold for 110,900 books (156.047 Euros), beating the record for a page of the Austrian genius, announced Sotheby’s, recalling that this symphony had propelled Mozart to the row of the biggest composers. 

It was bought by the of London antique dealer Maggs brothers for the account of a private buyer, underlined the bid house. 

The preceding record for a manuscript of Mozart was held by a leaf carrying its grades for the opening of the Rondo K386 in the major one for piano with orchestra, sold in 1998 with Sotheby’s for 89,500 books. 

If it presents a symphony score planning on the recto, the sold page Tuesday presents to the back of the elements of scores — always feather of Mozart — for horns belonging to two non identified compositions so far. 

“This is the most important unique page of apparent Mozart on the market since decades”, underlined Simon Maguire, person in charge of the department music of Sotheby’s. 

“The + Sinfonia planning + was the true first masterpiece of Mozart: with Bach and Beethoven, it is the one of the three bigger composers of all the times, and this is with this work that the young man of 23 years attained this level for the first time”, it specified. 

The original manuscript of the symphony was misled put to leaves two pages containing two rhythms, that usually were not put to bed on a score but improvised.  What adds to the exceptional character of these documents. 

The page sold Tuesday never had been seen by the public, or accessible summer to the researchers. 

The Mozart SX is a case Thermaltake exclusively reserved to the PCS to multimedia vocation.  It disposes therefore of a design that would have without too much concern to integrate itself in your parlor and of a screen to facilitate his usage.  Our colleague HomeMedia that exactly is specialized in the domain of the PCS Home Cinema was able to test this case and we propose therefore a new item that allows being done a good idea of its real aptitudes. 

 - Chronic- The collection “Sources”, published to the PUF, proposes the faxes of the old books of Swiss foundation Martin Bodmer.

 - Discover in pictures the four first appeared works. 

Despite the numerical revolution and the time passage, old books and precious manuscripts continue to exercise a fascination with the curious spirits.  Foundation Martin Bodmer, in Switzerland, meets in its rays and windows someone of the most fabulous never written documents:  Gospels, original of Proust, rare editions of Shakespeare and even a signed score Mozart. 

A treasure of the Humanity that swiss foundation and the University Presses of France (PUF) decided to reproduce faithfully in the form of a faxes.  Within this Collection Sources, every work behaves the text and the era illustrations, presented in the respect of the original edition.  A preface “modern”, composed by a specialist, allows replacing the work and his author in his context and of some to underline the reach.