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The Little Orchestra Society THOMAS SCHERMAN, Music Director
l (b~{ ozoog BROOKLYN ACADEMY OF MUSIC The Little Orchestra Society THOMAS SCHERMAN, Music Director ANNUAL SUBSCRIPTION SERIES-SEASON 1968-69 Second Concert Sunday Afternoon, December 15, 1968 at 2:30P.M. HERBERT BARRETT, Manager ALVARO CASSUTO, Guest Conductor RUGGIERO RICCI, Violinist WOLFGANG AMADEUS MOZART Symphony No. 34 inC major, K. 338 I Allegro vivace II Andante di molto III Allegro vivace PAUL HINDEMITH Kammermusik No. 4 for Violin and Chamber Orchestra, Op. 36, No.3 I Signal. Breite majestatische Halbe- 11 Sehr lebhaft III Nachtstiick. Massig schnelle Achtel IV Lebhafte Viertel- V So Schnell, wie moglich RUGGIERO RICCI, Soloist INTERMISSION JOSEF ALEXANDER Duo Concertante for Trombone, String Orchestra, and Percussion (World premiere) JOHN GRAMM, Trombone WALLACE DEYERLE, Percussion JOLY BRAGA SANTOS Sinfonietta for String Orchestra (American premiere) I Adagi~Allegro II Adagio III Allegro ben marcato, rna non tropp~ Larg~Tempo I ROBERT SCHUMANN Overture, Scherzo, and Finale Op. 52 I Overture: Andante con mot~Allegro II Scherzo: Vivo Ill Finale: Allegro molto vivace NOTES ON THE PROGRAM by BERNARD JACOBSON Wolfgang Amadeus Mozart Symphony No. 34 in C maJor, K. 338 (17 5 6-1791 ) I Allegro Vlvace II Andante di molto III A /legro vivace Mozart's 34th Symphony was the last one he wrote m Salzburg. It was composed in August, 1780, and like its predecessor by a year-No. 33 m B flat major, K. 319-was ongmally performed v.1th only three movements. In the case of No 34, however, the composer's autograph core contams, between the first two movements, the beginning of a mmuet Th1s was subsequently deleted. -
The-Piano-Teaching-Legacy-Of-Solomon-Mikowsky.Pdf
! " #$ % $%& $ '()*) & + & ! ! ' ,'* - .& " ' + ! / 0 # 1 2 3 0 ! 1 2 45 3 678 9 , :$, /; !! < <4 $ ! !! 6=>= < # * - / $ ? ?; ! " # $ !% ! & $ ' ' ($ ' # % %) %* % ' $ ' + " % & ' !# $, ( $ - . ! "- ( % . % % % % $ $ $ - - - - // $$$ 0 1"1"#23." 4& )*5/ +) * !6 !& 7!8%779:9& % ) - 2 ; ! * & < "-$=/-%# & # % %:>9? /- @:>9A4& )*5/ +) "3 " & :>9A 1 The Piano Teaching Legacy of Solomon Mikowsky by Kookhee Hong New York City, NY 2013 2 TABLE OF CONTENTS Preface by Koohe Hong .......................................................3 Endorsements .......................................................................3 Comments ............................................................................5 Part I: Biography ................................................................12 Part II: Pedagogy................................................................71 Part III: Appendices .........................................................148 1. Student Tributes ....................................................149 2. Student Statements ................................................176 -
ANNIE GOSFIELD, Whom the BBC Called “A One Woman Hadron
ANNIE GOSFIELD, whom the BBC called “A one woman Hadron collider,” lives in New York City and works on the boundaries between notated and improvised music, electronic and acoustic sounds, refined timbres and noise. Her music is often inspired by the inherent beauty of found sounds, noise, and machinery. She was dubbed “a master of musical feedback” by The New York Times, who wrote “Ms. Gosfield’s choice of sounds — which on this occasion included radio static, the signals transmitted by the Soviet satellite Sputnik I, and recordings of Hurricane Sandy — are never a mere gimmick. Her extraordinary command of texture and timbre means that whether she is working with a solo cello or with the ensemble she calls her “21st-century avant noisy dream band,” she is able to conjure up a palette of saturated and heady hues.” In 2017 Gosfield collaborated with Yuval Sharon and the Los Angeles Philharmonic on the multi-site opera “War of the Worlds.” This large-scale, citywide collaborative performance was a powerful engagement with public life, bringing opera out of the concert hall and into the streets. Three defunct air raid sirens located in downtown Los Angeles were re-purposed into public speakers to broadcast a free, live performance from Walt Disney Concert Hall. The sirens also served as remote sites for singers and musicians to report back to the concert hall from the street. The notorious 1938 radio drama created by Orson Welles came to new life, directed by The Industry’s Yuval Sharon, conducted by Christopher Rountree and narrated by Sigourney Weaver. -
Flyer Sean Lee Masterclass
Presents VIOLIN GROUP MASTERCLASS WITH CONCERT ARTIST SEAN LEE Saturday, March 23, 2019 2:00-4:00 pm The Lyceum 201 S. Washington St. Alexandria, Virginia Registration for participants and teacher observers via www.sagwa.org Two group classes open to Suzuki violin students (class sizes very limited): 2-3 pm: Book 2/3 Level Students 3-4 pm: Advanced Students (Book 4 and above) PARTICIPANT FEES (parent attendance is included in this fee) SAGWA members: $40/student Non-SAGWA members: $60/student OBSERVER FEES SAGWA teachers: FREE Non-SAGWA teachers: $30 Register at www.sagwa.org Mr. Lee will present two hour long masterclasses focusing on scales and arpeggios and technique building. Sean will begin with a short presentation, continue with a student involved masterclass, and he will end the class with a short performance. http://www.seanleeviolin.com/ Violinist Sean Lee has captured the attention of audiences around the world with his lively performances of the classics. A recipient of the 2016 Avery Fisher Career Grant, Lee is one of few violinists who dare to perform Niccolò Paganini’s 24 Caprices in concert, and his YouTube series, Paganini POV, continues to draw praise for the use of technology in sharing unique perspectives and insight into violin playing. As an artist at the Chamber Music Society of Lincoln Center, Lee continues to perform regularly at Lincoln Center, as well as on tour. Originally from Los Angeles, Lee studied with Robert Lipsett of the Colburn Conservatory and legendary violinist Ruggiero Ricci before moving at the age of seventeen to study at the Juilliard School with his longtime mentor, violinist Itzhak Perlman. -
San Diego Symphony Orchestra a Jacobs Masterworks Concert
SAN DIEGO SYMPHONY ORCHESTRA A JACOBS MASTERWORKS CONCERT December 4, 5 and 6, 2015 LUDWIG VAN BEETHOVEN Leonore Overture No. 3, Op. 72b JEAN SIBELIUS Violin Concerto in D minor, Op. 47 Allegro moderato Adagio di molto Allegro; ma non tanto Karen Gomyo, violin INTERMISSION IGOR STRAVINSKY Le sacre du printemps (The Rite of Spring) PART I: Adoration of the Earth Introduction The Augurs of Spring – Dances of the Young Girls Ritual of Abduction Spring Rounds Ritual of the Rival Tribes Procession of the Sage The Sage Dance of the Earth PART II: The Sacrifice Introduction Mystic Circle of the Young Girls Glorification of the Chosen One Evocation of the Ancestors Ritual Action of the Ancestors Sacrificial Dance (The Chosen One) Leonore Overture No. 3, Op. 72b LUDWIG VAN BEETHOVEN Born December 16, 1770, Bonn Died March 26, 1827, Vienna (Approx. 14 minutes) No other work gave Beethoven more trouble than his only opera, Leonore, which he retitled Fidelio during its final revision. This tale of political idealism, resistance to tyranny and marital fidelity comes to a climax when the heroine Leonore prepares to sacrifice her life to protect her imprisoned husband Florestan from the evil Pizarro. The couple is saved at the last minute by the arrival of the good minister Don Fernando, who has Pizarro arrested. Beethoven’s problems with the opera, which occupied him over a span of 11 years and took him through three different versions, are reflected in his problems devising a suitable overture: Fidelio is doubtless the only opera in existence to have four different overtures. -
Aspects of Jazz and Classical Music in David N. Baker's Ethnic Variations
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2002 Aspects of jazz and classical music in David N. Baker's Ethnic Variations on a Theme of Paganini Heather Koren Pinson Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Music Commons Recommended Citation Pinson, Heather Koren, "Aspects of jazz and classical music in David N. Baker's Ethnic Variations on a Theme of Paganini" (2002). LSU Master's Theses. 2589. https://digitalcommons.lsu.edu/gradschool_theses/2589 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. ASPECTS OF JAZZ AND CLASSICAL MUSIC IN DAVID N. BAKER’S ETHNIC VARIATIONS ON A THEME OF PAGANINI A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Music in The School of Music by Heather Koren Pinson B.A., Samford University, 1998 August 2002 Table of Contents ABSTRACT . .. iii INTRODUCTION . 1 CHAPTER 1. THE CONFLUENCE OF JAZZ AND CLASSICAL MUSIC 2 CHAPTER 2. ASPECTS OF MODELING . 15 CHAPTER 3. JAZZ INFLUENCES . 25 BIBLIOGRAPHY . 48 APPENDIX 1. CHORD SYMBOLS USED IN JAZZ ANALYSIS . 53 APPENDIX 2 . PERMISSION TO USE COPYRIGHTED MATERIAL . 54 VITA . 55 ii Abstract David Baker’s Ethnic Variations on a Theme of Paganini (1976) for violin and piano bring together stylistic elements of jazz and classical music, a synthesis for which Gunther Schuller in 1957 coined the term “third stream.” In regard to classical aspects, Baker’s work is modeled on Nicolò Paganini’s Twenty-fourth Caprice for Solo Violin, itself a theme and variations. -
Sean Lee Biography (Updated May 2019)
5/31/2019 SeanLeeBiography - Google Docs Sean Lee Biography (Updated May 2019) Full-length Bio (362 words) With performances described by the New York Times as “breathtakingly beautiful”, violinist Sean Lee has captured the attention of audiences worldwide with his lively performances of the classics. A recipient of Lincoln Center’s Avery Fisher Career Grant, his debut album, released by EMI Classics, reached the iTunes top 20 classical bestsellers list. In 2018, Lee released his second album, SONGBOOK, and continues to draw attention to his educational YouTube series, Paganini POV, which utilizes modern technology to share a unique perspective on violin playing. Lee has appeared as a soloist with orchestras including the San Francisco Symphony, Jerusalem Symphony, Utah Symphony, Orchestra Del Teatro Carlo Felice, and Israel Camerata Jerusalem. His recital appearances have taken him to Carnegie Hall’s Weill Hall, Tel Aviv Museum of Art, Festival di Carro Paganiniano of Italy, and Vienna’s Konzerthaus. A top prizewinner at the “Premio Paganini” International Violin Competition, Lee embraces the legacy of his late mentor, violinist Ruggiero Ricci, as one of few violinists who dare to perform the complete 24 Caprices of Niccolò Paganini in recital. Lee has collaborated in performances with Itzhak Perlman, James Galway, Deborah Voigt, and members of the Emerson and Guarneri String Quartets. As an artist with the Chamber Music Society of Lincoln Center, Lee performs regularly at Lincoln Center, as well as on tour internationally. Recent international performances with the Chamber Music Society of Lincoln Center include Lobkowicz Palace in Prague, Czech Republic; LG Arts Center in Seoul, Korea; National Theater in Taipei, Taiwan; and the White Nights Festival in St. -
John Zorn Marathon Royce Triple Threat Featuring Abraxas, Secret Chiefs 3 & Bladerunner & the Hermetic Organ
John Zorn Marathon Royce Triple Threat featuring Abraxas, Secret Chiefs 3 & Bladerunner & The Hermetic Organ Sat, May 2 ROYCE TRIPLE THREAT 8pm – Abraxas: Psychomagia Royce Triple Threat Aram Bajakian Guitar Royce Hall Eyal Maoz Guitar 8pm Kenny Grohowski Drums RUNNING TIME: Shanir Blumenkranz Gimbri Approximately 3 hours; Two intermissions Intermission The Hermetic Organ 9pm – Secret Chiefs 3: Masada Book Two Royce Hall Trey Spruance Guitar Midnight Eyvind Kang Violin Ches Smith Drums RUNNING TIME: Approximately 45 minutes; Jason Schimmel Guitar No intermission Matt Lebofsky Keyboards Toby Driver Bass PRE-SHOW TERRACE EVENT: Round-Robin Duets: Intermission A Musical Improvisation 6:30 pm 10pm – Bladerunner Inspired by John Zorn’s improvisational John Zorn Sax techniques, a group of UCLA student Bill Laswell Bass musicians play a round-robin of s Dave Lombardo Drums pontaneous duets, culminating in a group imrov-jam session. THE HERMETIC ORGAN John Zorn Solo Organ Improvisations CAP UCLA SPONSOR: Supported in part by the Andrew W. Mellon Foundation ABOUT THE PROGRAM Although organ was Zorn’s first instrument (he often credits Lon Chaney MEDIA SPONSOR: in The Phantom of the Opera as a primal influence), in 2011 the saxophone great surprised even his hardcore fans by initiating a new series of solo organ concerts in churches around the world. The music is breathtaking, and distinguished by a spiritual mood that only a huge pipe organ like Royce Hall’s Skinner can create. A perfect outlet for Zorn’s dramatic sense of color and contrast, this performance reveals the composer’s mind at work in all its permutations. -
Don Giovanni Opera Box Lesson Plan Title Page with Related Academic Standards
Opera Box 620 North First Street, Minneapolis, MN 55401 Kevin Ramach, PRESIDENT AND GENERAL DIRECTOR Dale Johnson, ARTISTIC DIRECTOR Dear Educator, Thank you for using a Minnesota Opera Opera Box. This collection of material has been designed to help any educator to teach students about the beauty of opera. This collection of material includes audio and video recordings, scores, reference books and a Teacher’s Guide. The Teacher’s Guide includes Lesson Plans that have been designed around the materials found in the box and other easily obtained items. In addition, Lesson Plans have been aligned with State and National Standards. See the Unit Overview for a detailed explanation. Before returning the box, please fill out the Evaluation Form at the end of the Teacher’s Guide. As this project is new, your feedback is imperative. Comments and ideas from you – the educators who actually use it – will help shape the content for future boxes. In addition, you are encouraged to include any original lesson plans. The Teacher’s Guide is intended to be a living reference book that will provide inspiration for other teachers. If you feel comfortable, include a name and number for future contact from teachers who might have questions regarding your lessons and to give credit for your original ideas. You may leave lesson plans in the Opera Box or mail them in separately. Before returning, please double check that everything has been assembled. The deposit money will be held until I personally check that everything has been returned (i.e. CDs having been put back in the cases). -
An Opera Tailored to the Singers
Mundoclasico.com miércoles, 22 de abril de 2009 ESTADOS UNIDOS An opera tailored to the singers CLAUDIO VELLUTINI Mozart composed his first Viennese opera, The Abduction from the Seraglio, for a cast of outstanding singers. His primadonna was Caterina Cavalieri, a young and promising soprano who studied with Hofkapellmeister Antonio Salieri, and for whom the composer tailored the role of Konstanze. Mozart, who praised her “agile voice” in a letter to his father, wrote three tremendously difficult arias for her which require at the same time complete mastery of coloratura singing, wide vocal range, intense lyricism and remarkable vocal power to face the massive orchestration of Konstanze’s well-known aria 'Marten aller Arten'. Her partner on stage was the tenor Valentin Adamberger, one of Mozart’s closest friends in Vienna. He Wolfgang Amadeus Mozart asiste a una was trained as a singer according to the precepts of the representación de El rapto en el serrallo (1789) © Autor desconocido / Creative Italian singing school, which enabled him to make a career Commons in Italy before being hired in Vienna. For his lyrical, Chicago, lunes, 16 de marzo de 2009. Lyric Opera. Wolfgang Amadeus Mozart. somehow dark, yet flexible voice, Mozart wrote four of Die Entführung aus dem Serail. Chas the most beautiful arias he conceived for tenor. In the role Rader-Shieber, stage director. David Zinn, of the antagonist, Osmin, Mozart could rely upon the stage and costume designer. Christopher Akerlind, lighting designer. Erin Wall talent of one of the finest basses of his time, Ludwig (Konstanze), Matthew Polenzani Fischer, who, according to the composer, was a darling of (Belmonte), Aleksandra Kurzak (Blonde), Andrea Silvestrelli (Osmin), Steve Davislim the local audiences. -
Incorporating Contemporary American Solo Works in the Undergraduate Violin Curriculum Alexandra Matloff
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2015 Focusing on the Present: Incorporating Contemporary American Solo Works in the Undergraduate Violin Curriculum Alexandra Matloff Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC FOCUSING ON THE PRESENT: INCORPORATING CONTEMPORARY AMERICAN SOLO WORKS IN THE UNDERGRADUATE VIOLIN CURRICULUM By ALEXANDRA MATLOFF A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2015 Alexandra Matloff defended this treatise on April 3, 2015. The members of the supervisory committee were: Corinne Stillwell Professor Directing Treatise Evan A. Jones University Representative Alexander Jiménez Committee Member Benjamin Sung Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii To my parents, for not only believing in me and encouraging me to pursue my dreams, but for the many hours they spent teaching me how to write when I was a child. iii ACKNOWLEDGMENTS This treatise represents the end of an incredible experience I have had at Florida State University, and I am grateful for the many faculty and colleagues that have made it so memorable. A tremendous thank you to my major professor, Corinne Stillwell, for all of her relentless guidance and support throughout my five years at FSU. The many violin lessons and advice are truly unforgettable. A huge thank you to my committee members: to Dr. -
OTHER MINDS 14 a Festival of New Music
OTHER MINDSA festival of new music 14 GUEST COMPOSERS: MICHAEL HARRISON • DOBROMIŁA JASKOT • BEN JOHNSTON • CATHERINE LAMB • CHICO MELLO • JOHN SCHNEIDER • LINDA CATLIN SMITH • BENT SØRENSEN • CHINARY UNG MARCH 5 - 7, 2009 7PM PANEL DISCUSSIONS / 8PM CONCERTS JEWISH COMMUNITY CENTER OF SAN FRANCISCO CHARLES AMIRKHANIAN ARTISTIC DIRECTOR • ADAM FONG ASSOCIATE DIRECTOR Revelationary New Music www.radiOM.org The Djerassi Resident Artists Program is a proud co-sponsor of Other Minds Festival 14 The Mission of the Djerassi Resident Artists Program is to support and enhance the creativity of artists by providing uninterrupted time for work, reflection, and collegial interaction in a setting of great natural beauty, and to preserve the land upon which the Program is situated. The Djerassi Program annually welcomes the Other Minds Festival composers for a five-day residency for collegial interaction and preparation prior to their concert performances in San Francisco. Now celebrating its 30th Anniversary, the Djerassi Program has hosted 1800 artists of every discipline worldwide since its founding in 1979. Small, diverse groups of artists convene for one-month residencies at our rural ranch where studio space, housing, meals and staff support are provided free of charge. Information and application materials may be obtained at www.djerassi.org. The Djerassi Program is a non-profit 501 (C) (3) organization that relies on contributions from individuals and phil- anthropic organizations for its operations. Yield to Whim We welcome your support! by