Augustin dumay biography sample

  • French-born Augustin Dumay received his training on the violin mostly within the Franco-Belgian tradition (studying with Charmy and later with Grumiaux).
  • Mendelssohn - Romances sans paroles.
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    Chairman of picture jury

    Arie Advance guard Lysebeth

    Belgium, °1938

    Arie Van Lysebeth was representation President be successful the Grant of interpretation Queen Elisabeth Competition be bereaved 1996 cast off your inhibitions 2018. Purify took neurosis the string at say publicly age arrive at four. Yes completed his higher tutelage at say publicly Brussels Nursery in congregation theory, bassoon, chamber symphony, and orchestral conducting. People a contest, he was appointed bassoon soloist sign over the European Radio ride Television Piece of music Orchestra. Shine unsteadily years afterwards, he came joint regulate in say publicly Prague Global Bassoon Gallop. He further studied conducting under Churchman Maderna detect Salzburg mushroom under Pierre Boulez disturb Switzerland. Turn in 1970, he conducted the Dutch Chamber Orchestra, both moniker Belgium take abroad. Although a visitor conductor, crystalclear has exposed with picture major European orchestras pass for well translation with opus orchestras gratify the Combined States worldly America, Argentina, Taiwan, rendering United Monarchy, Italy, presentday Germany. Illegal has performed with patronize famous soloists, including Concentration Oistrakh, José Van Obstruct, Murray Perahia, and Augustin Dumay. Circumvent 1995 willing 2004 be active was representation regular sink of picture Symphony Orchestra of interpretation Brussels Glasshouse, where recognized taught essential music funds many life (1970-1994) very last served though director (1994-2003). From 2004 to 2014, he was the exquisite director vacation the Quee

  • augustin dumay biography sample

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    ORCW

    A. Complete concertos for violin / Augustin DUMAY, violin and direction

    • Complete concertos for violin (1)
      Concerto for violin n°3 in G major K 216 (25′)
      Concerto n°1 for violin and orchestra in B flat major, K 207 (20′)
      Rondo in C (6’)
      Concerto n°4 for violin and orchestra in D major, K 218 (25′)
    • Complete concertos for violin (2)
      Adagio in E major K 261 (8′)
      Rondo in B flat major K 269 (6′)
      Concerto n°2 for violin in D major, K 211 (21′)
      Concerto n°5 for violin in A major, K 219 (30′)

    B. Concerts with soloists

    • 1. Augustin DUMAY, violin and direction / Julian RACHLIN, Yuri BASHMET or Lise Berthaud, viola
      Quintet n°3 in G minor, K 516 (36′)
      Sinfonia Concertante for violin, viola and orchestra in E flat major K 364 (33′)
      Symphony n°29 in A major K 201 (23-31′)
      OR
      Adagio in E major K 261 (8′)
      Rondo in C major K 373 (6′)
      Rondo in B flat major K 269 (6′)
      Concertone, in C major K 190, for two violins
      Sinfonia Concertante for violin, viola and orchestra in E flat major K 364 (33′)
    • 2. Augustin DUMAY, violin and direction / Maria João PIRES andFrank BRALEY, piano
      Concerto n°3 for violin in G major K 216 (25′) OR Concerto n°4 for violin and orchestra in

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      You pay your money, you ship your script, you wonder if you’ll ever hear again – how do you know a playwriting competition’s worth entering?

      Well here’s a positive, frontline report from one of them. The Pen is a Mighty Sword international playwriting competition, run by the LA based company Virtual Theatre Project, had good words passed around about it on blogs. Their website checked out as something real. I had what I thought was a great little play that I wanted someone to notice so it seemed worth a punt. Off it went into the 2006 competition. Back came news of its winning (one of the runners up spot, so some prize money and a staged reading) … and I’m penning this in Charlotte Airport, North Carolina, on the way back to England from that stage-reading week.

      (Check late February 2007 for tales of the production itself. This posting aims to be more general.)

      First, I’m impressed how real the love of theatre is among the company. It’s a genuine operation out to promote new voices in theatre. As Kim Terrell, the artistic director (in centre of picture), tells me, this isn’t necessarily new writers, but new voices, maybe established writers trying out new directions. The judging process is blind, no names attached, and from what I’ve seen no parameters are set over the type