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LEONARD BERNSTEIN Symphony No
GUERRERO CONDUCTS BERNSTEIN with the NASHVILLE SYMPHONY CLASSICAL SERIES FRIDAY & SATURDAY, APRIL 5 & 6, AT 8 PM NASHVILLE SYMPHONY GIANCARLO GUERRERO, conductor JUN IWASAKI, violin LAILA ROBINS, speaker CONCERT PARTNER MARY WILSON, soprano NASHVILLE SYMPHONY CHORUS TUCKER BIDDLECOMBE, chorus director BLAIR CHILDREN’S CHORUS MARY BIDDLECOMBE, artistic director MICHAEL TORKE Adjustable Wrench KURT WEILL Concerto for Violin and Wind Orchestra, Op. 12 Andante con moto Notturno-Cadenza-Serenata Allegro molto, un poco agitato Jun Iwasaki, violin – INTERMISSION – LEONARD BERNSTEIN Symphony No. 3, “Kaddish” (1963 version) I. Invocation — Kaddish 1 II. Din-Torah — Kaddish 2 III. Scherzo — Kaddish 3 — Finale Laila Robins, speaker Mary Wilson, soprano Nashville Symphony Chorus Blair Children’s Chorus This performance is funded in part by the Kurt Weill Foundation for Music, Inc., New York, NY. This concert will last 2 hours, including a 20-minute intermission. INCONCERT 23 TONIGHT’S CONCERT AT A GLANCE MICHAEL TORKE Adjustable Wrench • Michael Torke emerged on the new music scene in the 1980s with a style that combines elements of Minimalism, jazz and popular music. Adjustable Wrench dates from 1987 and comes from a body of work that reflects an array of influences ranging from Bartók and Philip Glass to Chaka Khan and the Talking Heads. • Torke originally composed this piece for a chamber ensemble of 15 players divided into three groups, each comprised of four instruments paired with a keyboard instrument: woodwinds with piano, brass with marimba, and strings with a synthesizer. The composer however, adapted the score to make it suitable for an orchestra by allowing the string parts to be performed by multiple musicians. -
Musicalympics Curriculum Email
Musicalympics Concept by Music Director Daniel Meyer Curriculum Designed by Steven Weiser and the Erie Philharmonic Education Committee Table of Contents 1. Pre-Tests • Grades K-2 all lessons combined • Lesson 1 (Grades 3+) • Lesson 2 (Grades 3+) • Lesson 3 (Grades 3+) 2. CD Track Listing and Listening Guide for Teachers 3. Map of the Orchestra 4. History of the Erie Philharmonic 5. Lesson 1 • Lesson Plan • Orchestra Map Exploration • Identifying Instruments 6. Lesson 2 (introducing Carnegie Hall’s Link Up program The Orchestra Sings) • Exploring Link Up • Beethoven in my Neighborhood Sponsored By 7. Game Break • Maze - Grades K-2, 3+ • Word Search - Grades K-2, 3+ • Coloring - all Grades 8. Brief History of the Warner Theatre 9. Lesson 3 • Musical Characteristics 10. What to Expect at the Concert 11. Post-Tests • Grades K-2 all lessons combined • Lesson 1 (Grades 3+) • Lesson 2 (Grades 3+) • Lesson 3 (Grades 3+) Presented in partnership with Pre-Test (Grades K-2) Name ______________________ 1. Can you name one of the instrument families of the orchestra? 2. Can you name an instrument from the orchestra? 3. Can you name an instrument that has strings? 4. Can you name an instrument that you play by using air? Pre-Test Lesson 1 (Grades 3+) Name ______________________ 1. Can you list the 4 instrument families of a symphony orchestra? 1. 2. 3. 4. 2. Can you name these instruments? ______________ ______________ _________________ 3. Is this instrument from the Brass or Woodwind family? _______________________________ 4. Is this instrument from the Percussion or String family? ____________________________ 5. -
The CIM Orchestra Carl Topilow, Conductor Natalie Lin, Violin
Wednesday, September 21, 2011, 8:00 p.m. Severance Hall The CIM OrChesTra Carl TOpIlOw, conductor NaTalIe lIN, violin MICHAEL TORKE Bright Blue Music (b. 1961) BENJAMIN BRITTEN Violin Concerto in D minor, Op. 15 (1913-1976) Moderato con moto Vivace Passacaglia: Andante lento Played without pause INTERMISSION MODEST MUSSORGSKY Pictures at an Exhibition (1839-1881) Promenade – The Gnome arr. MAURICE RAVEL Promenade – The Old Castle (1875-1937) Promenade – Tuileries Bydlo Promenade – Ballet of the Chicks in Their Shells Samuel Goldenberg and Schmuyle The Marketplace at Limoges – Catacombs, Roman Tombs Cum Mortuis in Lingua Mortua The Hut on Fowl’s Legs – The Great Gate of Kiev Broadcast live on WCLV 104.9 FM with support from Audio-Technica THE CIM ORCHESTRA 1 2 THE CLEVELAND INSTITUTE OF MUSIC welCOMe! s we move further into the 21st Century, relevance to the greater community is more and more prominent in our thinking at CIM. Our students can only succeed as artists if they can find atheir audience and make their performance relevant to the world around them. We hope, this year, to bring our young students’ accomplishments into the community in new and imaginative ways while bringing the community’s culture into our own midst. On behalf of all of us at the Cleveland Institute of Music, I welcome you to the first of five appearances of the CIM Orchestra in Severance Hall for the 2011-12 season. Highlights of the coming season include a special appearance by artist-faculty member Vinson Cole, world-renowned tenor, performing alongside Jeffrey Kahane, the conductor of the Denver Symphony. -
Season 20 Season 2011-2012
Season 2011-2012 The P hiladelphia Orchestra Friday, January 6, at 2:00 Saturday, January 7, at 8:00 Sunday, January 8, at 2:00 a!id "in#an $onductor $hoon%-Jin $han% &iola Tor'e Ash First P hiladelphia O rchestra perform ances ( alton &iola $oncerto )* +ndante co#odo,$on spirito ))* &i!o, con #olto preciso )))* +lle%ro #oderato )nter#ission -eetho!en Sy#phony . o* / in $ #inor, Op* 67 )* +lle%ro con 0rio ))* +ndante con #oto )))* +lle%ro, )&* +lle%ro This pro%ra# runs appro1i#ately 1 hour, 2/ #inutes* a!id "in#an is in his 16th season as #usic director o3 the "urich Tonhalle Orchestra* 4 e studied conductin% 5ith Pierre 6onteu1 and #ade his 3irst #a7or conductin% de0ut 5ith The Philadelphia Orchestra in 1867* 6r* "in#an 5as pre!iously #usic director o3 the 9otterda# and 9ochester philhar#onics and the -alti#ore Sy#phony, and principal conductor o3 the . etherlands $ha#0er Orchestra* 4 e 5as also #usic director o3 the +spen 6usic Festi!al and School and +#erican +cade#y o3 $onductin% 3or 1: years* 6r* "in#an recently per3or#ed 5ith the . 4 ; Sy#phony and 4 on% ;on% Philhar#onic and #a'es return en%a%e#ents to the Sydney and . e5 "ealand sy#phonies this season* 4 e has toured 5idely 5ith #any international orchestras and continues to tour in <urope, +sia, and the = *S* 5ith the Tonhalle Orchestra* 4 is #ost recent opera per3or#ance 5as O33en0ach>s The Tales of H offm ann at ? ene!a Opera* 6r* "in#an>s e1tensi!e disco%raphy o3 #ore than 100 recordin%s has earned hi# nu#erous international honors, includin% 3i!e ? ra##y a5ards, t5o ? rand Pri1 du is@ue a5ards, t5o <dison priAes, the eutsche Schallplattenpreis, and a G ram ophone +5ard* 4 e 5as also the 1887 recipient o3 the itson +5ard 3ro# $olu#0ia = ni!ersity in reco%nition o3 his co##it#ent to the per3or#ance o3 5or's 0y +#erican co#posers* 6r* "in#an and the Tonhalle Orchestra recently co#pleted -rah#s and 6ahler sy#phony cycles Bthe 6ahler Sy#phony . -
Composer Brochure | Works
Book 3.indb 2 John ADAMS ElliottCARTER 9/5/2008 12:08:42 PM John Adams Introduction English 1 Deutsch 4 Français 7 Abbreviations 10 Works Operas 12 Full Orchestra 16 Chamber Orchestra 20 Solo Instrument(s) and Orchestra 21 TABLE OF CONTENTS TABLE Voice(s) and Orchestra 22 Ensemble and Chamber with out Voice(s) 23 Piano(s) 26 Instrumental 26 Miscellaneous 27 Arrangements 27 Recordings 29 Chronological List of Works 32 Boosey & Hawkes Addresses 34 Composer List Cover photo: Deborah O'Grady Book 3.indb 3 9/5/2008 12:08:42 PM The Music of John Adams ON I The strains of his grandfather’s lakeside New England dance hall were among the earliest layers of John Adams’s aural CT memory. So too were the marching bands in which he played clarinet as a young student. Learning the basic European DU canon in front of the family Magnavox, Adams readily O assimilated it alongside the crazy quilt of American vernacular R music he encountered in the early postwar decades. Duke Ellington is a recurrent inspiration, and Adams’s love of jazz— which returns in unexpected forms, such as the improvisatory NT I “hypermelody” of the Violin Concerto (1993) or the electric violin’s raga-like musings in The Dharma at Big Sur (2003)— was early nurtured by his parents’ activities in jazz groups. As a student at Harvard during the cataclysmic upheavals of the late Sixties, Adams experienced the cognitive dissonance of the arid pronouncements of contemporary serialists when confronted with the fresh, Dionysian inventiveness of this golden age of rock. -
Dialogue with BEETHOVEN 2020 Dialogue with BEETHOVEN 2020
Dialogue with BEETHOVEN 2020 Dialogue with BEETHOVEN 2020 Ludwig van Beethoven is the composer’s composer. Though later luminaries such as Mahler, Ravel, Stravinsky, or Messiaen may loom large in a personal If I was really pressed to choose just pantheon, it is Beethoven that many composers look to as the archetypal figure exemplifying the creative will. Signaling the break from aristocratic patronage, one composer from the classical canon he took the new classical style and molded it into an individual idiom with an enhanced sense of freedom and bold expressive power. it would have to be Beethoven, because Composers are naturally attracted to his craftsmanship and struggle to achieve perfection, but also to the modernism of his late works, which explore a he stands out as an example of what splintering of language and continuity that has become increasingly relevant in later centuries. Beethoven’s dynamic energy and driving motives are precursors it is to be a contemporary composer. of minimalism and his expansion of references from classical beauty to the world around him have proved influential long beyond the Romantic era. Many MAGNUS LINDBERG composers are simply drawn to Beethoven the man, with his stormy personality, battles against personal adversity, and political aspirations for humankind, driven forward by his belief that “music is a higher revelation than all wisdom and philosophy.” The 250th anniversary of the composer’s birth, falling in December 2020, offers orchestras, festivals, and broadcasters the chance to set this titanic figure in the context of music from later centuries. Modern works can be selected to explore specific aspects of Beethoven and his oeuvre, offering imaginative pairings for his symphonies, concertos, and chamber music, and widening the audience’s perspective beyond the well-earned familiarity of Beethoven’s classic scores. -
Musical Process in Selected Works by Michael Torke Kathleen Biddick Smith
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Musical Process in Selected Works by Michael Torke Kathleen Biddick Smith Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MUSICAL PROCESS IN SELECTED WORKS BY MICHAEL TORKE By KATHLEEN BIDDICK SMITH A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2009 The members of the Committee approve the Dissertation of Kathleen Biddick Smith defended on March 17, 2009. Michael Buchler Professor Directing Dissertation Patrick Meighan Outside Committee Member Jane Piper Clendinning Committee Member Evan Jones Committee Member James Mathes Committee Member The Graduate School has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS I would like to express my sincere appreciation and gratitude to my advisor, Michael Buchler, for his patience, support, and encouragement throughout this journey. His doctoral seminar sparked the initial inspiration for this work, and I cannot thank him enough for his guidance, his enthusiasm, and his careful critiques of my writing. I am also grateful for the contributions of the rest of my committee members: Jane Piper Clendinning, for her helpful feedback on both early and late drafts; Evan Jones, particularly for a successful brainstorming session early on in the project; James Mathes, for his doctoral seminar on form during which an initial chapter of this dissertation was drafted; and Patrick Meighan for lending an invaluable performer’s perspective to this work. -
NATIONAL FESTIVAL ORCHESTRA APPALACHIAN SPRING DAVID ALAN MILLER, Conductor SATURDAY, JUNE 13, 2015 . 8PM ELSIE & MARVIN
NATIONAL FESTIVAL ORCHESTRA APPALACHIAN SPRING DAVID ALAN MILLER, conductor SATURDAY, JUNE 13, 2015 . 8PM ELSIE & MARVIN DEKELBOUM CONCERT HALL PROGRAM Michael Torke Bright Blue Music Aaron Copland Appalachian Spring (Suite from the Ballet) - intermission - John Corigliano Symphony No. 1 Apologue: Of Rage and Remembrance Tarantella Chaconne: Giulio’s Song Epilogue 13 Bright Blue Music When Bright Blue Music had its Appalachian Spring (Suite from MICHAEL TORKE premiere, in 1985, Torke wrote that he the Ballet) had been inspired by ideas put forward Born September 22, 1961, Milwaukee, by the respected Austrian/British AARON COPLAND Wisconsin philosopher Ludwig Wittgenstein Born November 14, 1900, Brooklyn, Now living in Las Vegas, Nevada (1889–1951) “that meaning is not in New York words themselves, but in the grammar Died December 2, 1990, North Tarrytown, This work was composed in 1985, under of words used: I conceived of a New York a commission from the New York Youth parallel in musical terms. Harmonies Symphony, which gave the premiere at in themselves do not contain any Copland composed his music for the Carnegie Hall on November 23 of that meaning; rather, musical meaning ballet Appalachian Spring under a year, with David Alan Miller conducting. results only in the way harmonies are commission from the Elizabeth Sprague The score calls for 2 piccolos, 3 flutes, 2 used. Harmonic language is then, in Coolidge Foundation in 1944; the oboes, 2 clarinets, 2 bassoons, 4 horns, a sense, inconsequential. If the choice work was given its -
Selective American Perspectives on Issues of Twenty-First-Century Musical Progress
SELECTIVE AMERICAN PERSPECTIVES ON ISSUES OF TWENTY-FIRST-CENTURY MUSICAL PROGRESS DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Yuri Bortz, M.M. ***** The Ohio State University 2005 Dissertation Committee: Approved by Professor Jan Radzynski, Adviser ______________________ Adviser Professor Donald Harris School of Music Professor Burdette Green Professor Timothy Gerber ABSTRACT To define musical progress is an arbitrary matter. However, this has not prevented attempts to discuss it in the past. Igor Stravinsky, Arnold Schoenberg, and George Dyson were only three figures from the previous century who offered discourse on this subject. The concern for its definition, various manifestations, and value in our twenty-first century will be the central topic of investigation through eight interviews with American composers. The selected composers for interview in this document are Stefania de Kenessey, Mathew Fuerst, Eric Ewazen, Julia Wolfe, Francis Thorne, Michael Torke, Milton Babbitt, and Richard Danielpour. In this order, they were all interviewed during a four- day period between Monday, September 13th and Thursday, September 16th, 2004. For seven of the eight composers who reside in New York City, their interviews were conducted at various locations in the Borough of Manhattan. Milton Babbitt, however, was met in New York two days prior to his interview, and it was then decided to arrange his discussion via the telephone on September 15th from his domicile in Princeton, New Jersey. Many composers today could bring forth stimulating and authoritative insights in regard to this topic. Yet, these eight choices help achieve two objectives. -
COLORHIM Michael Torke
University of Rochester Spring 1988 Review Departments Features From the President 2 Bedtime Story 3 Rochester in Review 32 by Jan Fitzpatrick Alumni Gazette 38 Sleep; Everybody does it but lew know much about it. Alumni Milestones 42 Anew medical specialty Is unveiling some of the mysteries. Rochester Travelers 45 After/Words 48 David B. Skinner '56 CEO, New York Hospital Cornell Medical Center Our Most Quoted Alumnus 8 by Elizabeth Brayer Roches'er Re"iew Every morning schoolchildren across America recite EdilOr: Margarel Bond Assislanl editor: Denise Bolger Kovnal the cadenced phrases of advertising genius Francis Staff "'riler: Shinji Morokuma J, Bellamy, a one-time clergyman with a "knack tor Design manager: Stephen Reynolds words. " Graphic anist: Susan Gottfried Staff pholographer: James Montanus Editorial assistants: Joyce Farrell, Tim Fox Design: Roben Meyer Design, Inc. Editorial office, 108 Administration Color Him Ecstatic 16 Building, Universily of Rochester. Rochesler, NY 14627, (716) 275-2102. by Jeremy Schlosberg Michael Torke '84E supports himself as a tull·time Published quarrerly for alumni, studenls, lheir parents. and other friends of the Uni composer. At any age this is noteworthy. At age 26 versity, Rochester Review is produced by it is astounding. lhe Office of UniversilY Public Relations, Roben Kraus, director. Office of Alumni Relations, University of Rochester, Rochesler, NY 14627, (716) 275-3684. Opinions expressed are those of the How Many Ways to Tell About Time 20 aUlhors, lhe editors, or lheir subjecls and do not necessarily represent official posi by Thomas Fitzpatrick lions of the UniversilY of Rochesler. The 1988 Rochester Conference turns the University Postmaster: '-:--"'~'-'~- into a community of clock watchers. -
Beethoven Birthday Bash - Forever Young Saturday, December 12, 2020 7:30 PM Livestreamed from Universal Preservation Hall Saratoga Springs, New York
Beethoven Birthday Bash - Forever Young Saturday, December 12, 2020 7:30 PM Livestreamed from Universal Preservation Hall Saratoga Springs, New York David Alan Miller, conductor Karen Hosmer, oboe Nancy Dimock, oboe Welcome to the Albany Symphony’s 2020-21 Season Re-Imagined! The one thing I have missed more than anything else during the past few months has been spending time with you and our brilliant Albany Symphony musicians, discovering, exploring, and celebrating great musical works together. Our musicians and I are thrilled to be back at work, bringing you established masterpieces and gorgeous new works in the comfort and convenience of your own home. Originally conceived to showcase triumph over adversity, inspired by the example of Beethoven and his big birthday in December, our season’s programming continues to shine a light on the ways musical visionaries create great art through every season of life. We hope that each program uplifts and inspires you, and brings you some respite from the day-to-day worries of this uncertain world. It is always an honor to stand before you with our extraordinarily gifted musicians, even if we are now doing it virtually. Thank you so much for being with us; we have a glorious season of life- affirming, deeply moving music ahead. David Alan Miller Heinrich Medicus Music Director Beethoven Birthday Bash -Forever Young Saturday, December 12, 2020 | 7:30 PM Livestreamed from Universal Preservation Hall David Alan Miller, conductor Karen Hosmer, oboe Nancy Dimock, oboe Ludwig van Beethoven The Creatures of Prometheus: Overture and Finale (1770-1827) Michael Torke Ash (b. -
CONCERTO for ORCHESTRA Sunday, March 14, 2010 • 3:00 PM Meany Theater
ORCHESTRA SEATTLE ■ SEATTLE CHAMBER SINGERS GEORGE SHANGROW, MUSIC DIRECTOR 2009-2010 SEASON CONCERTO FOR ORCHESTRA Sunday, March 14, 2010 • 3:00 PM Meany Theater Orchestra Seattle George Shangrow, conductor MICHAEL TORKE Saxophone Concerto 1993 (rev. 2000) (b. 1961) I. II. Slowly III. Erik Ibsen-Nowak, soprano saxophone RICHARD STRAUSS Four Last Songs (1948) (1864-1949) Friihling September Beim Schlafengehen lin Abendrot Eleanor Stallcop-Horrox„soprano INTERMISSION BELA BARTOK Concerto for Orchestra (1944) (1881-1945) Andante non troppo ( Introduzione) Allegro scherzando (Giuoco delle Coppie) Andante non troppo (Elegia) Allegretto (Intermezzo Interrotto) Pesante-Presto (Finale) Please disconnect signal watches, pagers and cellular telephones. Thank you. Use of cameras and recording equipment is not permitted in the concert hall. Michael Torke Music, and The Yellow Pages (in such "Color Music," Torke (b. Milwaukee, WI, September 22, 1961) associates specific chords or keys with his interpretations of the Saxophone Concerto moods and characters of different hues, and these works inaugurated a series of color-themed works written over the "The idea that rhythm is intrinsically human — not just primitive next six years that include Ecstatic Orange, Green, Purple, — that we all have hearts that beat at a steady rate and don't stop ... Copper, Red, etc). The composer left Yale in 1985 and moved to reminds me of life itself. In that sense my music is like certain popular New York to further his composing career, and the following music where the rhythm drives from beginning to end." — year he won a Rome Prize Fellowship and started a five-year Michael Torke collaboration with Peter Martins and the New York City Ballet.