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Black US Army Bands and Their Bandmasters in World War I
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of Fall 8-21-2012 Black US Army Bands and Their Bandmasters in World War I Peter M. Lefferts University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicfacpub Part of the Music Commons Lefferts, Peter M., "Black US Army Bands and Their Bandmasters in World War I" (2012). Faculty Publications: School of Music. 25. https://digitalcommons.unl.edu/musicfacpub/25 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. 1 Version of 08/21/2012 This essay is a work in progress. It was uploaded for the first time in August 2012, and the present document is the first version. The author welcomes comments, additions, and corrections ([email protected]). Black US Army bands and their bandmasters in World War I Peter M. Lefferts This essay sketches the story of the bands and bandmasters of the twenty seven new black army regiments which served in the U.S. Army in World War I. They underwent rapid mobilization and demobilization over 1917-1919, and were for the most part unconnected by personnel or traditions to the long-established bands of the four black regular U.S. Army regiments that preceded them and continued to serve after them. Pressed to find sufficient numbers of willing and able black band leaders, the army turned to schools and the entertainment industry for the necessary talent. -
Lynn Harrell 59 Olivier Latry
Table of Contents | Week 19 7 bso news 15 on display in symphony hall 16 the boston symphony orchestra 19 completing the circle: wagner’s brave new world in the concert hall by thomas may 25 this week’s program Notes on the Program 26 The Program in Brief… 27 Wolfgang Amadè Mozart 35 Augusta Read Thomas 43 Camille Saint-Saëns 51 To Read and Hear More… Guest Artists 55 Christoph Eschenbach 57 Lynn Harrell 59 Olivier Latry 62 sponsors and donors 72 future programs 74 symphony hall exit plan 75 symphony hall information program copyright ©2013 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photo of BSO cellist Alexandre Lecarme by Stu Rosner BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617)266-1492 bso.org bernard haitink, lacroix family fund conductor emeritus, endowed in perpetuity seiji ozawa, music director laureate 132nd season, 2012–2013 trustees of the boston symphony orchestra, inc. Edmund Kelly, Chairman • Paul Buttenwieser, Vice-Chairman • Diddy Cullinane, Vice-Chairman • Stephen B. Kay, Vice-Chairman • Robert P. O’Block, Vice-Chairman • Roger T. Servison, Vice-Chairman • Stephen R. Weber, Vice-Chairman • Theresa M. Stone, Treasurer William F. Achtmeyer • George D. Behrakis • Jan Brett • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Nancy J. Fitzpatrick • Michael Gordon • Brent L. Henry • Charles W. Jack, ex-officio • Charles H. Jenkins, Jr. • Joyce G. Linde • John M. Loder • Nancy K. Lubin • Carmine A. Martignetti • Robert J. Mayer, M.D. • Susan W. -
Tokyo String Quartet
THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN Tokyo String Quartet PETER OUNDJIAN, Violinist KAZUHIDE ISOMURA, Violist KIKUEI IKEDA, Violinist SADAO HARADA, Cellist THURSDAY EVENING, SEPTEMBER 29, 1988, AT 8:00 RACKHAM AUDITORIUM, ANN ARBOR, MICHIGAN A Program Celebrating Rackham's 50th Anniversary Quartet in B-flat major, Op. 18, No. 6 .......................... BEETHOVEN Allegro con brio Adagio ma non troppo Scherzo La Malinconia: adagio, allegretto quasi allegro Quartet No. 3 ................................................... BARTOK Prima parte: moderate Seconda parte: allegro Ricapitulazione della prima parte: moderate Coda: allegro molto (in one continuous movement) INTERMISSION Quartet in D minor, D. 810 ("Death and the Maiden") .............. SCHUBERT Allegro Andante con moto (variations) Scherzo: allegro molto Presto John D'Arms, Dean of the Graduate School, invites all concertgoers to join him in the lobby after the concert for a champagne toast to the 50th birthday of the Rackham Building. The Tokyo String Quartet appears by arrangement with /CM Artists, Ltd., New York. Halls Cough Tablets, courtesy of Warner-Lambert Company, are available in the lobby. Second Concert of the 110th Season Special Concert PROGRAM NOTES Quartet in B-flat major, Op. 18, No. 6 .............. LUDWIG VAN BEETHOVEN (1770-1827) Beethoven's Opus 18 consists of six string quartets that were written mostly in 1799, though they were not published until 1801. This was a successful and contented period for the young composer, who was not yet troubled by any signs of his impending tragic deafness and was achieving a respected reputation as a pianist and composer in musical and aristocratic circles in Vienna. A composer writing in this medium at that time could not fail to have been constantly aware of the great masterpieces of eighteenth-century quartet literature that had been produced by Mozart and Haydn. -
BRETT MITCHELL Biography
BRETT MITCHELL Biography Hailed for presenting engaging, in-depth explorations of thoughtfully curated programs, Brett Mitchell began his tenure as Music Director of the Colorado Symphony in July 2017. Prior to this appointment, he served as the orchestra's Music Director Designate during the 2016-17 season. He leads the orchestra in ten classical subscription weeks per season as well as a wide variety special programs featuring such guest artists as Renée Fleming, Yo-Yo Ma, and Itzhak Perlman. Mr. Mitchell is also in consistent demand as a guest conductor. Highlights of his 2018-19 season include subscription debuts with the Minnesota Orchestra and Vancouver Symphony Orchestra, and return appearances with the orchestras of Cleveland, Dallas, and Indianapolis. Other upcoming and recent guest engagements include the Detroit, Houston, Milwaukee, National, Oregon, and San Antonio symphonies, the Grant Park Festival Orchestra, the Rochester Philharmonic, the Saint Paul Chamber Orchestra, and the New Zealand Symphony Orchestra. Mr. Mitchell also regularly collaborates with the world’s leading soloists, including Yo-Yo Ma, Renée Fleming, Rudolf Buchbinder, Kirill Gerstein, James Ehnes, Augustin Hadelich, Leila Josefowicz, and Alisa Weilerstein. From 2013 to 2017, Mr. Mitchell served on the conducting staff of The Cleveland Orchestra. He joined the orchestra as Assistant Conductor in 2013, and was promoted to Associate Conductor in 2015, becoming the first person to hold that title in over three decades and only the fifth in the orchestra's hundred-year history. In these roles, he led the orchestra in several dozen concerts each season at Severance Hall, Blossom Music Center, and on tour. -
Richard Danielpour
Rental orders, fee quotations, and manuscript editions: G. Schirmer/AMP Rental and Performance Department P.O. Box 572 Chester, NY 10918 RICHARD (845) 469-4699 — phone (845) 469-7544 — fax [email protected] DANIELPOUR For music in print, contact your local dealer. Hal Leonard Corporation is the exclusive print distributor for G. Schirmer, Inc. and Associated Music Publishers, Inc. PO Box 13819 Milwaukee, WI 53213 www.halleonard.com — web Perusal materials (when available): G. Schirmer/AMP Promotion Dept. 257 Park Avenue South 20th Floor New York, NY 10010 (212) 254-2100 — phone (212) 254-2013 — fax [email protected] Publisher and Agency Representation for the Music Sales Group of Companies: www.schirmer.com CHESTER MUSIC LTD NOVELLO & CO LTD 8/9 Frith Street London W1D 3JB, England CHESTER MUSIC FRANCE PREMIERE MUSIC GROUP SARL 10, rue de la Grange-Batelire 75009 Paris, France CHESTER SCHIRMER BERLIN Dorotheenstr. 3 D-10117 Berlin, Germany EDITION WILHELM HANSEN AS Bornholmsgade 1 DK-1266 Copenhagen K, Denmark KK MUSIC SALES c/o Shinko Music Publishing Co Ltd 2-1 Ogawa-machi, Kanda Chiyoda-ku, Tokyo 101, Japan G. SCHIRMER, INC. ASSOCIATED MUSIC PUBLISHERS, INC. 257 Park Avenue South, 20th Floor New York, NY 10010, USA G. SCHIRMER PTY LTD 4th Floor, Lisgar House 32 Carrington St. Sydney, NSW 2000, Australia SHAWNEE PRESS 1221 17th Ave. South Nashville, TN 37212, USA UNIÓN MUSICAL EDICIONES SL C/ Marqués de la Ensenada 4, 3o. 28004 Madrid, Spain Photo: Mike Minehan RICHARD DANIELPOUR Richard Danielpour has established himself as one of the most gifted and sought-after composers of his generation. -
German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
“In the Mood”—Glenn Miller (1939) Added to the National Recording Registry: 2004 Essay by Cary O’Dell
“In the Mood”—Glenn Miller (1939) Added to the National Recording Registry: 2004 Essay by Cary O’Dell Glenn Miller Original release label “Sun Valley Serenade” Though Glenn Miller and His Orchestra’s well-known, robust and swinging hit “In the Mood” was recorded in 1939 (and was written even earlier), it has since come to symbolize the 1940s, World War II, and the entire Big Band Era. Its resounding success—becoming a hit twice, once in 1940 and again in 1943—and its frequent reprisal by other artists has solidified it as a time- traversing classic. Covered innumerable times, “In the Mood” has endured in two versions, its original instrumental (the specific recording added to the Registry in 2004) and a version with lyrics. The music was written (or written down) by Joe Garland, a Tin Pan Alley tunesmith who also composed “Leap Frog” for Les Brown and his band. The lyrics are by Andy Razaf who would also contribute the words to “Ain’t Misbehavin’” and “Honeysuckle Rose.” For as much as it was an original work, “In the Mood” is also an amalgamation, a “mash-up” before the term was coined. It arrived at its creation via the mixture and integration of three or four different riffs from various earlier works. Its earliest elements can be found in “Clarinet Getaway,” from 1925, recorded by Jimmy O’Bryant, an Arkansas bandleader. For his Paramount label instrumental, O’Bryant was part of a four-person ensemble, featuring a clarinet (played by O’Bryant), a piano, coronet and washboard. Five years later, the jazz piece “Tar Paper Stomp” by Joseph “Wingy” Manone, from 1930, beget “In the Mood’s” signature musical phrase. -
BRETT MITCHELL Biography
BRETT MITCHELL Biography Hailed for presenting engaging, in-depth explorations of thoughtfully curated programs, Brett Mitchell began his tenure as Music Director of the Colorado Symphony in July 2017. Prior to this appointment, he served as the orchestra's Music Director Designate during the 2016-17 season. He leads the orchestra in ten classical subscription weeks per season as well as a wide variety special programs featuring such guest artists as Renée Fleming, Yo-Yo Ma, and Itzhak Perlman. Mr. Mitchell is also in consistent demand as a guest conductor. Highlights of his 2018-19 season include subscription debuts with the Minnesota Orchestra and Vancouver Symphony Orchestra, and return appearances with the orchestras of Cleveland, Dallas, and Indianapolis. Other upcoming and recent guest engagements include the Detroit, Houston, Milwaukee, National, Oregon, and San Antonio symphonies, the Grant Park Festival Orchestra, the Rochester Philharmonic, the Saint Paul Chamber Orchestra, and the New Zealand Symphony Orchestra. From 2013 to 2017, Mr. Mitchell served on the conducting staff of The Cleveland Orchestra. He joined the orchestra as Assistant Conductor in 2013, and was promoted to Associate Conductor in 2015, becoming the first person to hold that title in over three decades and only the fifth in the orchestra's hundred-year history. In these roles, he led the orchestra in several dozen concerts each season at Severance Hall, Blossom Music Center, and on tour. From 2007 to 2011, Mr. Mitchell led over one hundred performances as Assistant Conductor of the Houston Symphony. He also held Assistant Conductor posts with the Orchestre National de France, where he worked under Kurt Masur from 2006 to 2009, and the Castleton Festival, where he worked under Lorin Maazel in 2009 and 2010. -
2017-2018 Senior Recital-Elizabeth Lee (Cello)
Welcome to the 2017-2018 season. The talented students and Elizabeth Lee, Cello extraordinary faculty of the Lynn Conservatory of Music take this Bachelor of Music Recital Program opportunity to share with you the Sheng-Yuan Kuan beautiful world of music. Your ongoing support ensures our place Tuesday, April 24, 2018 at 5:30 p.m. among the premier conservatories of the world and a staple of our Amarnick-Goldstein Concert Hall community. Boca Raton, Florida - Jon Robertson, dean There are a number of ways by which you can help us fulfill our mission: Chant du Ménestrel Op. 71 Alexander Glazunov Friends of the Conservatory of Music (1865-1936) Lynn University’s Friends of the Conservatory of Music is a volunteer organization that supports high-quality music education through fundraising and community outreach. Raising more than $2 million since 2003, the Friends support Lynn’s effort to provide free tuition scholarships and room and board to all Conservatory of Music students. The group also raises money for the Dean’s Discretionary Fund, which supports the immediate needs of the Suite Italienne for Cello and Piano Igor Stravinsky university’s music performance students. This is accomplished (arr. Gregor Piatigorsky) (1882-1971) through annual gifts and special events, such as outreach concerts and the annual Gingerbread Holiday Concert. I. Introduzione To learn more about joining the Friends and its many benefits, II. Serenata such as complimentary concert admission, visit III. Aria Give.lynn.edu/support-music. IV.Tarantella The Leadership Society of Lynn University V. Minuetto e Finale The Leadership Society is the premier annual giving society for donors who are committed to ensuring a standard of excellence at Lynn for all students. -
“Voices of the People”
The UCLA Herb Alpert School of Music Department of Music Presents UCLA Symphonic Band Travis J. Cross Conductor Ian Richard Graduate Assistant Conductor UCLA Wind Ensemble Travis J. Cross Conductor “Voices of the People” Wednesday, May 27, 2015 8:00 p.m. Schoenberg Hall — PROGRAM — The Foundation ........................................................... Richard Franko Goldman Symphony No. 4 for Winds and Percussion ......................... Andrew Boysen, Jr. Fast Smooth and Flowing Scherzo and Trio Fast Salvation Is Created ................................................................. Pavel Chesnokov arranged by Bruce Houseknecht Fortress ........................................................................................... Frank Ticheli Undertow ........................................................................................ John Mackey — INTERMISSION — Momentum .................................................................................... Stephen Spies world premiere performance Vox Populi ........................................................................... Richard Danielpour transcribed by Jack Stamp Carmina Burana .................................................................................... Carl Orff transcribed by John Krance O Fortuna, velut Luna Fortune plango vulnera Ecce gratum Tanz—Uf dem anger Floret silva Were diu werlt alle min Amor volat undique Ego sum abbas In taberna quando sumus In trutina Dulcissime Ave formosissima Fortuna Imperatrix Mundi * * * Please join the members of the -
9'; 13 November 30, Jazz Innovations, Part 1
Lim received his fonnal. training at Indiana University, where he studied with the legendary violinist ~d teacher Josef Gingold. While at Indiana, he won First Prize in the school's Violin Concerto Competition and served on the faculty as a Visiting Lecturer. Lim later studied cham~ ber music at the Juilliard School and taught there as an assistant to the Juilliard String Quartet. No PI CI"(.. C D :::n= Lim has recorded for DreamWorks, Albany Records, CR!, Bayer GI rc... C p-:t:F I ~ 02-9resents a Faculty Recital: Records, and Aguava New Music, and appears on numerous television and film soundtracks. He has been heard on NPR programs such as Performance Today and All Things Considered. Lim currently lives in Seattle with his wife, violist Melia Watras. He performs on a violin MELIA WATRAS, VIOLA made by Tomaso Balestrieri in Cremona, Italy in 1774. with 2005~2006 UPCOMING EVENTS Kimberly Russ, piano Information for events listed below is available at www.music. washington. edu Michael Jinsoo Lim, violin and the School ofMusic Events Hotline (206-685-8384). Ticketsfor events listed in Brechemin Auditorium (Music Building) and Walker Ames Room (Kane Hall) go on sale at the door thirty minutes before the •• performance~ Tickets for events in Meany Theater and Meany Studio Theater are available from the UW Arts Ticket Office, 206:543-4880, and at November 8, 2005 7:30 PM Meany THeater the box office thirty minutes before the performance. To request disability accommodation. contact the Disability Services Office at least ten days in advance at 206-543-6450 (voice); 206-543-6452 (lTY); 685-7264 (FAX); or [email protected] (E-mail). -
Journal of the American Viola Society Volume 14 No. 2, 1998
JOURNAL ofthe AfrfERICAN ViOLA SOCIETY Section of THE INTERNATIONAL VIOI.A SOCIETY Association for the Promotion ofViola Performance and Research Vol. 14 No.2 1998 FEATURES 19 The Violin Making School of America Interview of Peter Paul Prier By David Dalton Viola Pedagogy: The Art and Value of Warming-Up By Christine Rutledge Music Insert: "Invocation for Violin and Viola" by Robert Mann AVS Chapters OFFICERS Peter Slowik President School of Music Northwestern University Evanston, IL 60201 (847) 491-3826 [email protected] William Preucil Vice President 317 Windsor Dr. Iowa City, IA 52245 Catherine Forbes Secretary 1128 Woodland Dr. Arlington, TX 76012 Ellen Rose Treasurer 2807 Lawtherwood Pl. Dallas, TX 75214 Thomas Tafton Past President 7511 Parkwoods Dr. Stockton, CA 95207 BOARD Victoria Chiang Donna Lively Clark Paul Coletti Ralph Fielding Pamela Goldsmith Lisa Hirschmugl John Graham Jerzy Kosmala Jeffrey Irvine Karen Ritscher Christine Rutledge Pamela Ryan Juliet White-Smith EDITOR, JAVS David Dalton Brigham Young University Provo, UT 84602 PAST PRESIDENTS Myron Rosenblum (1971-1981) Maurice W. Riley (1981-1986) David Dalton (1986-1990) Alan de Veritch (1990-1994) HONORARY PRESIDENT William Primrose ~Section of the International£ Viola-Gesellschaft The journal ofthe American Viola Society is a peer-reviewed publication of that organization and is produced at Brigham Young University, ©1985, ISSN 0898-5987. ]AVSwelcomes letters and articles from its readers. Editorial Office: School of Music Harris Fine Arts Center Brigham Young University Provo, UT 84602 (801) 378-4953 Fax: (801) 378-5973 [email protected] Editor: David Dalton Associate Editor: David Day Assistant Editor for Viola Pedagogy: Jeffrey Irvine Assistant Editor for Interviews: Thomas Tatton Production: Ben Dunford Advertising: Jeanette Anderson Advertising Office: Crandall House West (CRWH) Brigham Young University Provo, UT 84602 (801) 378-4455 [email protected] ]AVS appears three times yearly.