DOCSLIB.ORG

Chicago Symphony Orchestra Riccardo Muti December 2017/January 2018

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI DECEMBER 2017/JANUARY 2018 CSO_Wrap3_C1_Dec17Jan18.indd 1 11/17/17 4:31 PM ABOVE ALL ELSE SEEK BEAUTY 74 stories of uncompromising commitment to the art of living, designed by Helmut Jahn with interiors by Kara Mann. EXTRAORDINARY MICHIGAN AVENUE CONDOMINIUM RESIDENCES CALL FOR A PRIVATE SHOWING 312-781-7510 1000SOUTHMICHIGAN.COM @1000MCHICAGO FB.ME/1000MCHICAGO 1000M is developed by 1000 South Michigan Equities LLC and is exclusively marketed by @properties. All information, including exterior façade, prices, dimensions, square footage, features, amenities, finishes, floor plans and availability are subject to change without notice. Developer License Number 2496464. Full_Page_Template.indd 1 11/16/17 1:47 PM Full_Page_Template.indd 1 11/16/17 1:48 PM CONTENTS CHICAGO SYMPHONY ORCHESTRA A Welcome Letter Program Book Production 4 Frances Atkins From Board of Trustees Chair Helen Zell and Chicago Content Director Phillip Huscher Symphony Orchestra Association President Jeff Alexander Program Annotator Gerald Virgil Meet the Musicians: Chicago Symphony Orchestra Senior Content Editor 6 Laura Emerick The latest in a series of profiles featuring the renowned Laura Sauer Content Editors members of the CSO Kristin Tobin Designer 8 Chicago Symphony Orchestra at Wheaton College CRAIN’S CHICAGO BUSINESS The CSO returns to Wheaton for a second season of Founder and editor in chief: subscription concerts. Rance Crain Crain’s Custom Media, a division of 10 Negaunee Music Institute at the Chicago Crain’s Chicago Business, serves as the publisher for the Chicago Symphony Symphony Orchestra Orchestra program books. Crain’s Learn how the Civic Fellowship program fosters the Custom Media provides production, printing, and media sales services for burgeoning careers of civically engaged and talented the CSO program books. For more young musicians. details or to secure advertising space in the programs, please contact: 12 Meet the Musicians: Chicago Symphony Chorus CRAIN’S CUSTOM MEDIA Profiles featuring members of the Chicago Symphony Director: Chorus in honor of its sixtieth anniversary Frank Sennett, 312-649-5278 [email protected] 16 Meet the Composers Exclusive agent: Bryan Dowling, 773-275-1247 Profiles featuring past composers-in-residence in honor of [email protected] the twentieth season of the CSO’s MusicNOW series Project manager: Joanna Metzger, 312-649-5241 19 Our Donors and Volunteers [email protected] Crain’s Custom Media Profiles and lists of our generous donors and volunteers, 150 N. Michigan Avenue plus information on volunteer opportunities Chicago, IL 60601 25 THIS CONCERT Information about the program and the performers for this concert PHOTOGRAPHY BY TODD ROSENBERG 44 Our Donors and Volunteers, continued 64 Upcoming Events Listings for many of the exciting concerts to be held at Symphony Center in the weeks ahead. Learn more at cso.org and csosoundsandstories.org. Global Sponsor of the CSO 2 CSO_Wrap3_Dec17Jan18_d3.indd 2 11/20/17 3:45 PM WE HAVE A REAL APPRECIATION FOR THINGS THAT ARE WELL ORCHESTRATED. Northern Trust is proud to support the Chicago Sympony Orchestra. For more than 125 years, we’ve been meeting our clients’ financial needs while nurturing a culture of caring and a commitment to invest in the communities we serve. Our goal is to help you find perfect harmony. TO LEARN MORE VISIT northerntrust.com WEALTH PLANNING \ BANKING \ TRUST & ESTATE SERVICES \ INVESTING \ FAMILY OFFICE Full_Page_Template.indd 1 9/7/17 10:53 AM LETTER FROM THE CHAIR AND THE PRESIDENT Dear Friends, This is a special time of year in Chicago. The energy on the streets is echoed by the festive concerts at Orchestra Hall, the home of the Chicago Symphony Orchestra. The Orchestra is an ensemble of artists who have dedicated their lives to the art of symphonic music and who give us the priceless experience of hearing classical repertoire performed at the highest level with the world’s greatest conductors and soloists. Now is also a season for giving and expressing gratitude. All HELEN ZELL Chair of our programs are made possible through generous gifts from Board of Trustees friends like you. Your generosity makes you part of the Chicago Chicago Symphony Orchestra Association Symphony Orchestra Association’s ongoing pursuit of artistic excellence, the development of new audiences, innovative and nurturing education and community programs, and sharing the music we love with listeners here in Chicagoland and around the world. It also ensures that the important work of the Chicago Symphony Orchestra continues for generations to come. Please consider supporting the Chicago Symphony Orchestra by making a gift to the Association’s Annual Fund this season. Your support helps the CSO remain a world-class orchestra and sustains the ongoing legacy of programs that engage more than 450,000 people each year in life-changing musical experiences. On behalf of the members of the Chicago Symphony Orchestra, JEFF ALEXANDER President Chicago Symphony Chorus, Civic Orchestra of Chicago, Negaunee Chicago Symphony Music Institute, our trustees, volunteers, administration, and above Orchestra Association all, the hundreds of thousands of people whose lives are enriched through our programs each year, we thank you for your presence and support. We send our warmest wishes for a music-filled, happy and healthy New Year. To make a contribution, please visit CSO.org/give or contact Donor Services at 312-294-3100. Thank you for your support of the Chicago Symphony Orchestra. 4 CSO_Wrap3_Dec17Jan18_d3.indd 4 11/20/17 3:45 PM Friday, November 17, 2017 through Monday, January 1, 2018 See trees in a different light. Make memories as you stroll a mile-long paved path through the winter woods brought to life with innovative lights, projections, and music. New this year! Be a part of the interactive light display! Purchase a glowing Illu-medallion that reacts to the spectacular sights and sounds along your journey. Advance purchase recommended. mortonarb.org/holidaymortonarb.org/holiday Illumination Sponsors Arboretum members always save on Illumination tickets. Not a member yet? Visit mortonarb.org/join before you plan your Illumination visit! CONNECT WITH US #IlluminationTMA #mortonarboretum 4100 Illinois Route 53, Lisle, IL 60532 • mortonarb.org • 630-968-0074 Full_Page_Template.indd 1 10/19/17 9:58 AM Meet the MUSICIANS David Herbert Principal Timpani The Clinton Family Fund Chair HOMETOWN YEAR JOINED THE CSO EDUCATION Columbia, Missouri 2013 The Juilliard School PHOTO BY TODD ROSENBERG TODD BY PHOTO Which works are you Offstage, I like to: lute pinnacle for me. Stranded most looking forward to I have a new YouTube channel on a desert island, I’d take performing, and why? called Tuned in with David Schubert’s songs and string Anything and everything with Herbert that is focused on quartets and be very happy. Maestro Riccardo Muti; he is music education and discussions truly a gift to our great orches- with members of the CSO and What is your most mem- tra and this incredible city. other musicians. I encourage orable CSO performance He makes us feel special and you to watch and subscribe. I’m or experience? appreciated, and we endeavor to also studying Italian, but am I will never forget those incred- meet (and hopefully exceed) his discouraged because I’m unable ible concerts of Bach’s B minor extremely high expectations. to roll my “Rrrrrrs.” mass with Maestro Muti—my I also have a tremendous first time playing with him. amount of respect and antic- What is some of your ipation for performing with favorite music? Why did you choose Herbert Blomstedt. He makes I must admit that I love the your instrument? you feel that a great perfor- Carpenters, the Ink Spots, It’s the best of all things. I get mance is a precious, or even Les Baxter—anything that’s to play Bach, Haydn, Mozart, religious, experience. sentimental or exotic is music to Beethoven, Brahms, and my ears—but nothing is better Schubert (my favorite), and than Schubert. That’s the abso- the drums! 6 CSO_Wrap3_Dec17Jan18_d3.indd 6 11/20/17 3:45 PM Meet the MUSICIANS Jennifer Gunn Piccolo and Flute HOMETOWN YEAR JOINED THE CSO EDUCATION Selinsgrove, Pennsylvania 2005 Duquesne University PHOTO BY TODD ROSENBERG TODD BY PHOTO Which works are you University of Texas clarinet Why did you choose your most looking forward to professor) and our two pups. instrument? performing, and why? When we’re in Austin, you will I think the piccolo chose me. I In January, we are play- find us boating on Lake Travis. am drawn to the colorful addi- ing Bartók’s Concerto for tion it makes to the orchestral Orchestra. This piece contains Who are your favorite sound. It often does not get one of my favorite piccolo composers? enough credit as a beautiful parts in addition to wonderful It is very hard for me to pick instrument, and I hope to passages for the entire orches- a favorite because it changes change listeners’ opinions tra. During the same week, the from week to week depending about that. CSO will play for the movie on who is conducting. For Singin’ in the Rain. Movie example, I love playing Verdi Any advice for listeners? nights are always fun. under Maestro Muti’s direc- Come and enjoy! You don’t tion, Mahler’s symphonies with need a music degree to enjoy a Offstage, I like to: Haitink, American music with concert. If you would like more When I am not onstage, you Michael Tilson Thomas, and information about the concert, might find me meeting friends French music with Charles the preconcert lectures and for dinner, going to a show, Dutoit. Each conductor brings Classic Encounter series are exercising at my local Bar their musical opinions, and it great ways to get a taste of what Method studio, or heading to is the Orchestra’s job to deliver you are about to experience.
Recommended publications
  • The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification

    The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification

    The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below).
  • Sir John Eliot Gardiner Conductor Stravinsky Symphony in Three Movements = 160 Andante—Interlude:Q L’Istesso Tempo— Con Moto Elgar in the South (Alassio), Op

    Sir John Eliot Gardiner Conductor Stravinsky Symphony in Three Movements = 160 Andante—Interlude:Q L’Istesso Tempo— Con Moto Elgar in the South (Alassio), Op

    Program OnE HundrEd TwEnTIETH SEASOn Chicago Symphony orchestra riccardo muti Music director Pierre Boulez Helen regenstein Conductor Emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, January 20, 2011, at 8:00 Saturday, January 22, 2011, at 8:00 Sir John Eliot gardiner Conductor Stravinsky Symphony in Three Movements = 160 Andante—Interlude:q L’istesso tempo— Con moto Elgar In the South (Alassio), Op. 50 IntErmISSIon Bartók Concerto for Orchestra Introduzione: Andante non troppo—Allegro vivace Giuoco delle coppie: Allegro scherzando Elegia: Andante non troppo Intermezzo interrotto: Allegretto Finale: Presto Steinway is the official piano of the Chicago Symphony Orchestra. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. CommEntS by PHILLIP HuSCHEr Igor Stravinsky Born June 18, 1882, Oranienbaum, Russia. Died April 6, 1971, New York City. Symphony in three movements o composer has given us more Stravinsky is again playing word Nperspectives on a “symphony” games. (And, perhaps, as has than Stravinsky. He wrote a sym- been suggested, he used the term phony at the very beginning of his partly to placate his publisher, who career (it’s his op. 1), but Stravinsky reminded him, after the score was quickly became famous as the finished, that he had been com- composer of three ballet scores missioned to write a symphony.) (Petrushka, The Firebird, and The Rite Then, at last, a true symphony: in of Spring), and he spent the next few 1938, Mrs. Robert Woods Bliss, years composing for the theater and together with Mrs.
  • Verdi Week on Operavore Program Details

    Verdi Week on Operavore Program Details

    Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
  • Baltimore Symphony Orchestra Announces 2019 New Music Festival

    Baltimore Symphony Orchestra Announces 2019 New Music Festival

    Media contacts Linda Moxley, VP of Marketing & Communications 410.783.8020 [email protected] Devon Maloney, Director of Communications 410.783.8071 [email protected] For Immediate Release Baltimore Symphony Orchestra Announces 2019 New Music Festival Baltimore (April 18, 2019) Under the leadership of Music Director Marin Alsop, the Baltimore Symphony Orchestra (BSO) announces the 2019 New Music Festival. Launched by Alsop and the BSO in 2017, the New Music Festival brings contemporary classical music to Baltimore from June 19-22. The 2019 New Music Festival celebrates women composers ahead of the BSO’s 2019-20 season, which highlights women in music in conjunction with the 100th anniversary of women’s suffrage in the U.S. Performances include the Baltimore premiere of Jennifer Higdon’s Low Brass Concerto, a BSO co- commission, as well as the world premiere of Anna Clyne’s cello concerto, Dance, with Inbal Segev. “I’m thrilled that this year’s New Music Festival features such an outstanding group of contemporary composers, who happen to be women!” said Alsop. “Each piece of music that we’ve programmed tells a unique and compelling story, and we are proud to present a range of voices and perspectives that showcases some of the most inspired work happening in classical composition today.” The 2019 New Music Festival kicks off on Wednesday, June 19 when composer Sarah Kirkland Snider participates in a discussion on her composition process at Red Emma’s Bookstore Café. On Thursday, June 20, Associate Conductor Nicholas Hersh leads members of the BSO and Shara Nova, also known as My Brightest Diamond, in a free concert at the Ottobar.
  • Maurizio Pollini

    Maurizio Pollini

    REVISTA DE MÚSICA Año XX - Nº 196 - Abril 2005 - 6,30 DOSIER Don Quijote y la música Nº 196 - Abril 2005 SCHERZO ENTREVISTA Miguel Sánchez ENCUENTROS Ofelia Sala ACTUALIDAD Maurizio Pollini ANIVERSARIO Karl Amadeus Hartmann 9778402 134807 9100 6 AÑO XX Nº 196 Abril 2005 6,30 € 2 OPINIÓN Don Quijote y los libros de caballerías CON NOMBRE Arturo Reverter 118 PROPIO Un singular encuentro 6 Maurizio Pollini entre Falla y Cervantes Yvan Nommick 122 Carmelo di Gennaro La discoteca del hidalgo 10 AGENDA Juan Manuel Viana 126 18 ACTUALIDAD ENCUENTROS NACIONAL Ofelia Sala “Espero no perder nunca la 44 ACTUALIDAD capacidad de ilusionarme” 132 INTERNACIONAL Rafael Banús Irusta 60 ENTREVISTA ANIVERSARIO Miguel Sánchez Karl Amadeus Hartmann “No podríamos sentir la música Francisco Ramos 138 sin el concierto” EDUCACIÓN Juan Antonio Llorente Pedro Sarmiento 140 64 Discos del mes EL CANTAR DE LOS CANTARES SCHERZO DISCOS Arturo Reverter 142 65 Sumario JAZZ Pablo Sanz 144 DOSIER 113 Don Quijote y la música LIBROS 146 114 Música para unos papeles LA GUÍA 148 y cartapacios CONTRAPUNTO Alfonso de Vicente Norman Lebrecht 152 Colaboran en este número: Javier Alfaya, Daniel Álvarez Vázquez, Julio Andrade Malde, David Armendáriz Moreno, Rafael Banús Irusta, Alfredo Brotons Muñoz, José Antonio Cantón, José Luis Carles, Jacobo Cortines, Carmelo Di Gennaro, Giacomo Di Vittorio, Fernando Fraga, Joaquín García, José Antonio García y García, Mario Gerteis, José Guerrero Martín, Fernando Herrero, Leopoldo Hontañón, Bernd Hoppe, Paul Korenhof, Norman Lebrecht, Juan
  • Hearing Nostalgia in the Twilight Zone

    Hearing Nostalgia in the Twilight Zone

    JPTV 6 (1) pp. 59–80 Intellect Limited 2018 Journal of Popular Television Volume 6 Number 1 © 2018 Intellect Ltd Article. English language. doi: 10.1386/jptv.6.1.59_1 Reba A. Wissner Montclair State University No time like the past: Hearing nostalgia in The Twilight Zone Abstract Keywords One of Rod Serling’s favourite topics of exploration in The Twilight Zone (1959–64) Twilight Zone is nostalgia, which pervaded many of the episodes of the series. Although Serling Rod Serling himself often looked back upon the past wishing to regain it, he did, however, under- nostalgia stand that we often see things looking back that were not there and that the past is CBS often idealized. Like Serling, many ageing characters in The Twilight Zone often sentimentality look back or travel to the past to reclaim what they had lost. While this is a perva- stock music sive theme in the plots, in these episodes the music which accompanies the scores depict the reality of the past, showing that it is not as wonderful as the charac- ter imagined. Often, music from these various situations is reused within the same context, allowing for a stock music collection of music of nostalgia from the series. This article discusses the music of nostalgia in The Twilight Zone and the ways in which the music depicts the reality of the harshness of the past. By feeding into their own longing for the reclamation of the past, the writers and composers of these episodes remind us that what we remember is not always what was there.
  • Participation List

    Participation List

    #WeMakeEvents #RedAlertRESTART #ExtendPUA Participation List Name City State Alabama Theatre Birmingham Alabama South Baldwin Community Theatre Gulf Shores Alabama AC Marriot Huntsville Alabama Embassy Suites Huntsville Alabama Huntsville Art Museum Huntsville Alabama Mark C. Smith Concert Hall Huntsville Alabama Mars Music Hall Huntsville Alabama Propst Arena Huntsville Alabama Gulfquest Maritime Museum Mobile Alabama The Steeple on St. Francis Mobile Alabama Alabama Contempory Art Center Mobile Alabama Alabama Music Box Mobile Alabama The Merry Window Mobile Alabama The Soul Kitchen Music Hall Mobile Alabama Axis Sound and Lights Muscle Shoals Alabama Fame Recording Sudio Muscle Shoals Alabama Jonathan Edwards Home Muscle Shoals Alabama Sweettree Productions Warehouse Muscle Shoals Alabama Shoals Theatre Muscle Shoals Alabama Nick Pratt Boathouse Orange Bach Alabama David &DeAnn Milly Boathouse Orange Beach Alabama The Wharf Mainstreet Orange Beach Alabama Enlighten Entertainment Orange Beach Alabama Orange Beach Preforming Arts Studio Orange Beach Alabama Greg Trenor Boathouse Orange Beach Alabama Russellville Municipal Auditorium Russellville Alabama The Historic Bama Theatre Tuscaloosa Alabama Rawhide Chandler Arizona Rawhide Motorsports Park Chandler Arizona Northern Arizona university Flagstaff Arizona Orpheum Theater - Flagstaff location Flagstaff Arizona Mesa Arts Center Mesa Arizona Clearwing Productions Phoenix Arizona Creative Backstage/Pride Group Phoenix Arizona Crescent Ballroom Phoenix Arizona Herberger Theatre Phoenix
  • Culturalupdate

    Culturalupdate

    CONCIERGE UNLIMITED INTERNATIONAL June 2017 culturalupdate Volume XXVII—Issue VI happening in rosemont arts / museums Monday’s Cornhole Bags on Mondays MB Financial Park Open Tuesday’s Country in the Park MB Financial Park 3 Little Lower Layer MCA Chicago 6 Takashi Murakami MCA Chicago Wednesday’s Zumba in the Park MB Financial Park 25 Gauguin Art Institute Chicago Thursday’s Rockin’ in the Park MB Financial Park 29 Helena Almeida Art Institute Chicago Friday’s Friday Night Concerts MB Financial Park Through 16 New Kids on the Block Allstate Arena 4 Colors of the Oasis Museum Fine Arts Houston 17 Gloria Trevi vs Alejandra Guzmán Allstate Arena 4 Go Art Institute Chicago 24 B96 Summer Bash Allstate Arena 11 Whistler’s Mother Art Institute Chicago 18 Marsden Hartley’s Maine Metropolitan Art NYC This month’s special is: 20% off the- Free Admission to Museums Catering Sub Tray; includes 6 assorted Museum of Contemporary Art*: Tuesday’s: 6, 13, 20, 27 classic subs. Art Institute of Chicago*: Thursdays 5:00 - 8:00 P.M. Chicago History Museum*(12:30 - 7:30 pm) Tuesday’s: 6, 13, 20, 27 key feature * Available to Illinois residents only. Must show valid ID. ♦Italian Village Restaurant (71 W. Monroe) A landmark in Chicago’s Loop since 1927, the Italian Village ballet / dance Restaurants, comprised of three distinct restaurants, have served 7-11 Hubbard Street Summer Series Harris Theatre the best in Italian cuisine for both lunch and dinner. Now the 10 2017 Performance Visceral Studio Company Capitanini family invites you to enjoy their exceptional cuisine, 10 Lost in This World Auditorium Theatre unparalleled service, and their Wine Spectator Award winning 21-7/14 Otello - The Royal Ballet Royal Opera House London wine list, which features over 1,200 vintage wines dating back to the 60’s! Italian Village is centrally located to Loop Theaters, Millennium Park, Orchestra Hall, Civic Opera House, and hotels.
  • Maybe Something Beautiful—A New Bilingual English/Spanish Short Film

    Maybe Something Beautiful—A New Bilingual English/Spanish Short Film

    For Immediate Release: March 19, 2021 Press contact for Chicago Children’s Theatre: Jay Kelly, 312.315.3935, [email protected] Press contact for Chicago Symphony Orchestra: Eileen Chambers, 312.294.3092, [email protected] MAYBE SOMETHING BEAUTIFUL—A NEW BILINGUAL ENGLISH/SPANISH SHORT FILM FROM CHICAGO CHILDREN'S THEATRE AND THE CHICAGO SYMPHONY ORCHESTRA—PREMIERES APRIL 1 CHICAGO–What good can a splash of color do in a community of gray? A neighborhood radically transformed for the better is the answer in Maybe Something Beautiful, a new virtual short film for kids, families and schools from Chicago Children’s Theatre and the Negaunee Music Institute at the Chicago Symphony Orchestra (CSO). Inspired by the award-winning book by F. Isabel Campoy and Theresa Howell, illustrated by Rafael López, Maybe Something Beautiful brings together five CSO musicians performing classical works by Latino composers, bilingual English/Spanish narration, and colorful, playful puppetry to tell a true story about how even the smallest artists among us can accomplish something big. Maybe Something Beautiful, ideal viewing for children ages 5 to 10, will premiere Thursday, April 1 at 10 a.m. CT in a Facebook Premiere event cohosted by Chicago Children’s Theatre and the Chicago Symphony Orchestra Association. Immediately after, the 13-minute video will be posted on CCTv: Virtual Theatre and Learning from Chicago Children’s Theatre and CSOtv for free, on-demand viewing for children and families in Chicago and around the world. Kids of all ages will love and be inspired by Mira, the young protagonist in Maybe Something Beautiful who decides one day to paste her drawing of a sun on one of the dark walls of an alley, just to bring brightness to the smiles of her neighbors.
  • Friday, August 20, 1999 36 Pages Free

    Friday, August 20, 1999 36 Pages Free

    I Buik Rate U.S. Postage Paid Sanibel, FL. Permit #33 Postal Patron Vol. 38, No. 40 Friday, August 20, 1999 36 Pages Free , i Michael Pistella Sanibel School building supervisor Nofman Mohr power washes the pavement in the courtyard Monday afternoon preparing for the first day of school. 2 • Friday, August 20. 1999 • Islander island Island Newspaper Group In our companion newspaper the Island Reporter, you won't want to miss announces promotions the following stories: To better serve our readers, the Island humorous," Martell said. "We must make high school after college, then returned to Newspaper Group has undergone the fol- sure that each publication is different and the islands to work for the Island Reporter. M How safe is the Sanibel School? lowing reorganization, according to Group that readers are anxiously looking forward After a stint as an assistant editor with a Manager Carlene Brennen. to each publication. national magazine, she joined the Islander H Island visitors — Who visits '~This is an intriguing place to live — this year as a staff writer. Sanibel and Captiva. and how do they B Scott Martell, formerly Editor of there is a lot of change, a lot of diversity, H Pace wrote news and features for a affect us? " . the Islander, has been appointed Executive and a lot of threats to our lifestyle," Martell newspaper in Pittsburgh before moving to Editor of the group, which includes the said. "It's our job to cover it all, and to help Southwest Florida where she was quickly • U Sanibel man 'files lawsuit Islander, Island Reporter, Captiva Current create a true sense of community." grabbed as a news reporter for the Island against city* , • - > "-• , and the Captiva Chronicle magazine.
  • Tuning In” Podcast Terminology

    Tuning In” Podcast Terminology

    H+H “TUNING IN” PODCAST TERMINOLOGY Alto A designation for a range of the human voice, between soprano and tenor. Both women and men perform in the alto range. Aria A song movement which features a soloist singing in a steady tempo (as opposed to the unmeasured, sung-speech style of the recitativ). In addition to the standard continuo accompaniment, an aria can call for a few additional instruments and sometimes even feature a solo instrument, such as the solo violin in “Erbarme dich”. Bass Used to describe a musical instrument and the lowest line of music, in this case it refers to a range of the human voice below tenor. Bass line The lowest written line of music, usually carried out by instruments such as cellos and double basses along with a doubling keyboard instrument such as the organ or harpsichord. In some instances, Bach composes a bass line for an instrument in a higher range, such as the oboe da caccia, but keeps the voice and other instrument or instruments above that range. Chorale A movement which typically features a four-part hymn supported by the orchestra such that the high-pitched instruments play the same line as the sopranos, mid-range instruments play the alto line, etc.; in a Lutheran service, chorale movements allowed the congregation to join in song. Continuo As in Basso Continuo, or “Continuous Bass.” Refers to the group of players who play the lowest line of the music, typically a keyboard instrument such as organ or harpsichord, sometimes a plucked instrument such as theorbo (bass lute), and a sustaining instrument such as the cello; bass instruments which provide the harmonic foundation throughout the entire Passion, even in solo vocal movements (for which the rest of the orchestra does not play).
  • Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt

    Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt

    (De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification.