 |
 |
Andrew Litton
Born: May 16, 1959; USA
|
Identified early as a gifted musician, Andrew Litton trained in America and then established himself as an outstanding conductor in England before returning to the United States to assume the directorship of a major orchestra, the Dallas Symphony. As one of only a small handful of American-born, American-trained artists to hold an important podium position in the United States, Litton has endured a greater-than-customary-degree of scrutiny. While
...
Read more
|
|
|
|
|
|
| |
|
Composers
|
|
Aho, Kalevi (1)
|
|
Alnaes, Eyvind (1)
|
|
Anderson, Leroy (2)
|
|
Anonymous (2)
|
|
Barber, Samuel (1)
|
|
Bartók, Béla (1)
|
|
Bellini, Vincenzo (1)
|
|
Berlin, Irving (2)
|
|
Berlioz, Hector (1)
|
|
Bernstein, Leonard (5)
|
|
Billings, William (1)
|
|
Bottesini, Giovanni (1)
|
|
Brahms, Johannes (2)
|
|
Bruch, Max (1)
|
|
Castelnuovo-Tedesco, Mario (1)
|
|
Chausson, Ernest (1)
|
|
Chopin, Frédéric (1)
|
|
Colombier, Michel (1)
|
|
Copland, Aaron (2)
|
|
Debussy, Claude (2)
|
|
Donizetti, Gaetano (1)
|
|
Dvorák, Antonín (1)
|
|
Elgar, Sir Edward (1)
|
|
Fauré, Gabriel (1)
|
|
Franck, César (1)
|
|
Gershwin, George (4)
|
|
Glazunov, Alexander (2)
|
|
Grieg, Edvard (1)
|
|
Griffes, Charles Tomlinson (1)
|
|
Gruber, Franz Xaver (1)
|
|
Holst, Gustav (2)
|
|
Hovhaness, Alan (1)
|
|
Ives, Charles (5)
|
|
Kabalevsky, Dmitri (1)
|
|
Korngold, Erich Wolfgang (1)
|
|
Liebermann, Lowell (1)
|
|
Liszt, Franz (2)
|
|
Litolff, Henry Charles (2)
|
|
Lutoslawski, Witold (1)
|
|
MacDowell, Edward (1)
|
|
Mahler, Gustav (11)
|
|
Martin, Hugh (1)
|
|
Mason, Lowell (1)
|
|
Massenet, Jules (9)
|
|
Mendelssohn, Felix (5)
|
|
Mussorgsky, Modest (1)
|
|
Paganini, Niccolň (1)
|
|
Piston, Walter (1)
|
|
Prokofiev, Sergei (3)
|
|
Puccini, Giacomo (1)
|
|
Rachmaninov, Sergei (9)
|
|
Ravel, Maurice (9)
|
|
Rietz, August Julius (1)
|
|
Rimsky-Korsakov, Nikolai (2)
|
|
Rodrigo, Joaquin (4)
|
|
Rózsa, Miklós (1)
|
|
Saint-Saëns, Camille (3)
|
|
Sarasate, Pablo de (5)
|
|
Satie, Erik (1)
|
|
Schuman, William (1)
|
|
Schwantner, Joseph (1)
|
|
Seiber, Mátyás (1)
|
|
Serly, Tibor (1)
|
|
Shchedrin, Rodion (2)
|
|
Shostakovich, Dmitri (8)
|
|
Sibelius, Jean (1)
|
|
Silver, Fred (1)
|
|
Sinding, Christian (1)
|
|
Solčre, Etienne (1)
|
|
Strauss, Richard (5)
|
|
Stravinsky, Igor (3)
|
|
Tavener, John (1)
|
|
Tchaikovsky, Peter Ilyich (17)
|
|
Thomas, Ambroise (1)
|
|
Traditional (3)
|
|
Tsontakis, George (1)
|
|
Vaughan Williams, Ralph (5)
|
|
Verdi, Giuseppe (1)
|
|
Villa-Lobos, Heitor (1)
|
|
Walton, Sir William (9)
|
|
Williams, John T. (2)
|
|
Ysa˙e, Eugčne (1)
|
|
|
|
|
|
|
|
| More Featured Andrew Litton CDs & DVDs: |
|
|
| |
|
|
| |
|
|
| |
|
|
| |
|
|
|
|
Biography |
by Erik Eriksson
|
| Identified early as a gifted musician, Andrew Litton trained in America and then established himself as an outstanding conductor in England before returning to the United States to assume the directorship of a major orchestra, the Dallas Symphony. As one of only a small handful of American-born, American-trained artists to hold an important podium position in the United States, Litton has endured a greater-than-customary-degree of scrutiny. While few of his interpretations have been found definitive, his preparedness and high competence have proven rewarding. He has enjoyed the additional benefit of conducting in a remarkable concert hall and recording for a company that has afforded him and his orchestra extraordinarily vivid sound. At New York's Juilliard School of Music, Litton studied conducting under Swedish maestro Sixten Ehrling and piano under Nadia Reisenberg. Demonstrating exceptional ability, he won the Bruno Walter Scholarship for further study with Edoardo Müller and Neeme Järvi and with Walter Weller in Austria. Winning the 1982 Rupert Foundation International Competition in England provided Litton a debut conducting the BBC Symphony Orchestra later that same year and generous exposure to British audiences. Litton served first as associate conductor, than as assistant conductor under Mstislav Rostropovich with Washington's National Symphony Orchestra from 1982 to 1986. There, he learned much, especially from the man he describes as his "first and only boss." While Litton missed the opportunity to work with Kiril Kondrashin in Amsterdam when the famous Russian conductor died in 1981, he gained numerous insights about Shostakovich from Rostropovich. Litton has expressed his belief that Shostakovich was the twentieth century's great symphonist, capturing the struggles of living in modern times. After his years with the N.S.O., Litton conducted widely throughout the United States and Europe before being appointed principal conductor and artistic advisor of England's Bournemouth Symphony Orchestra in 1988. He remained there, earning high marks from English critics and the approval of English audiences while attracting worldwide attention through a series of recordings. In 1994, Litton was appointed music director of the Dallas Symphony Orchestra while becoming conductor laureate in Bournemouth. Meanwhile, Litton undertook several opera assignments, making his Metropolitan Opera debut in 1989 leading a production of Yevgeny Onegin. When the Glyndebourne Festival production of Porgy and Bess, originally conducted by Simon Rattle, was revived at Covent Garden in 1992, Litton was chosen to lead it. He also conducted performances of Salome and Falstaff for the English National Opera. In Dallas, Litton has stepped into the comprehensive role played by an American music director with clear understanding of his responsibility for not only conducting stimulating performances, but also playing a key role in fundraising. His outgoing personality has been an asset in meeting the people of the Dallas and convincing them that their orchestra is an enhancement central to a vital community. Litton points with some pride to an endowment increase over seven years from 19 million to 70 million dollars. Under Litton, the Dallas Symphony became the first major orchestra to broadcast a live concert via the Internet. Litton has expressed the belief that this medium can break down prejudices about concert works and afford listeners an opportunity to respond and comment immediately. He is enthused over critics no longer having the final word. Among Litton's recordings are discs devoted to Shostakovich, Mahler, Elgar, and Tchaikovsky. |
| |
|
