Fall/Winter 2004/2005

Total Page:16

File Type:pdf, Size:1020Kb

Fall/Winter 2004/2005 PRELUDE, FUGUE News for Friends of Leonard Bernstein RIFFS Fall/Winter 2004 Leonard Bernstein's Young People's Concerts with the New York Philharmonic Premiere on DVD by Thomas Cabaniss n the classical music world, we know we must look for new and different ways to reach Ikids and families. After all, the 21st century, teeming with iPods and cellphone-camera-gizmos, is worlds away from the three­ network TV cu lture of the 1960s. So why should we look anew at the CBS broadcasts of Leonard Bernstein's Young People's Concerts (YPCs) with the New York Philharmonic? Put simply, for inspiration. LB placed teaching at the center of everything he did. When programming the concerts he conducted, he owned up to a "lurking didactic streak" that ran through all his work as a performing musician. When he composed, he couldn't help but the most obvious vehicles for that draw the listener in, not to Leonard teach: think of West Side Story's "an old incorrigible pedagogue" mention his fabulous command Be rnstein message of tolerance, or MASS to unleash his form idable of the English language. (None and its exploration of teaching talents. of this was improvisational or presenting one But this fabled concert series tossed off - each concert was contemporary spirituality, or of the Young A Quiet Place with its plea for is more than the sum of its parts; pa instakingly, consciously peace and resolution. His music and yes, they're all there: LB's designed with a remarkable People's personal charisma on the podium, support team. As composer still reaches out to us - to move, Concerts to provoke, to instruct. The the great programming ideas, the John Corigliano, just one of the Young People's Concerts, along judicious use of musical examples luminaries who served on that with Omnibus and the to illuminate great orchestral team has said, no detail was left Norton Lectures, were simply works, the brilliant "hooks" (continued on page 2) Inside ... 3 I'm a Liberal, and Proud of It 6 An American Life 14 Calendar of Events 4 GRAMMY Foundation 10 In the News 16 Looking Ahead Young People's To Our Concerts, Readers continued irst, a few red-letter items. Two to chance.) But ultimately, the YPCs have staying power because of Leonard Bernstein's dearest F of LB's passionate inquiry into friends and colleagues are music and the world in which celebrating 90th birthdays this it resides. season: Robby Lantz and Carlos His "passionate inquiry" is be looking for ways to make Moseley. We sa lute these two more than using a focal question concerts more interactive? (In wonderful friends and send them to guide each concert - which February 2004, John Corigli ano our warmest birthday wishes. And the YPCs did. It's more than invented a brilliant YPC for the one of Bernstein's most devoted making connections between New York Philharmonic that ideas and music, encouraging involved engaging the audience musical assistants, Jack Gottlieb, "the intersection of musical in a live orchestration activity, has an important book coming out. lines," - which the YPCs also unheard of in the 1960s, but His former boss would have been so did. Passionate inquiry means completely in keeping with LB's delighted for him. that the search for music, for life, spirit. ) Would he look for new Toward the end of his life, for ideas - is never at rest. ways to encourage yo ung talent, Bernstein said that the achievement That's why the YPCs still vibrate as he did with Andre Watts, he was proudest of was his teaching. today. We sense LB's quest is still Paula Robison and Gary Karr? in process, reaching forward into (Wynton Marsalis' Jazz for Young We're all fortunate - and the next our gizmo-laden 21st century People's Concerts include jam generation, too - that his peerless with questions no less pressing sessions that meaningfully break Young People's Concerts with the than the day he proposed them. down barriers between audiences New York Philharmonic, broadcast For those of us who think and performers.) Fooli shly, per­ for years on CBS, are being about how to extend LB's legacy, haps, I feel I know the answer re-released on DVD this fall. These this joyful achievement, this to these questions. Lenny would concerts retain their benchmark "glorious, good fun" of the YPCs be searching, and his passionate status to this very day; no one presents a real dilemma. During inquiry would never let the those years, Leonard Bernstein possibilities or the questions rest. has come close to improving on was the country's music teacher. He would be experimenting, his model. His powerful presence on the thinking, and dreaming anew. Those who wish to reflect on national podium casts a very long As we all should be. That's why Bernstein's remarkable life will have shadow, and for that reason we I'm thrilled to have the YPCs a chance to explore it in depth risk being mimics rather than humming on my laptop DVD through a unique eleven-part radio disciples. We need to embrace his player - I know he will inspire series, painstakingly researched and legacy with enthusiasm tempered me all over again. • compiled by Steve Rowland. With by understanding and imagination. its mixture of interviews, letters, An interesting question to For mure i11/ormatiu11 Oil the new ponder: what would a Young DVD collectio11, sec page I I. music and narration, this series will People's Concert look and sound be a priceless resource as well as a like if LB were to design one Thomas Cabaniss, composer, fascinating listening experience. today? Would he simply revive worked with Leonard Bernstein We can't decide if we fervently the CBS format or would he be and John Mauceri on Candide wish Leonard Bernstein were here searching for new ways to use and A Quiet Place in the early to witness this calamitous political technology? (At a recent Zankel 1980s; he served as a teaching season, or whether we're glad he Hall concert featuring the piece artist and Director of Education was spared the agony. One thing is which is this publication's name­ for the New York Philharmonic sake, Jamie Bernstein and for sure: if he were here, he would and is currently the Music Michael Barrett experimented Animateur for the Philadelphia not be very quiet. In this issue, we with the possibilities of a "score­ Orchestra. A new dance piece, include an article he wrote over 15 cam" that allows the audience to "Efficiency", with choreographer years ago that still resonates with an see the music as it is being Hilary Easton, premieres in May eerie timeliness. played.) Would LB retain his 2005 at Danspace in New York. J.B. • didactic stance or would he 0 I'm a Liberal, and Proud of It by Leonard Bernstein better day, a more tranquil night, homeless - these are all forms and a bright and infinite future. of tyranny. Did Leonard Bemstein come What can possibly be wrong with Who fought to free the slaves? back from tl1e beyond to write that? Only this: that the word Liberals. Who succeeded in this? Belieue it or not, Bemstein has been debased, defamed and abolishing the poll tax? Liberals. wrote the fo llowing essay, which totally misused by powerful Who fought for civil rights, was printed in the New Yori:!. interests that have sought even women's rights, free public Times, in 1988 - under another greater authoritarian power. education? Liberals. Who stood Bush Administration. Liberal is a word soiled by the guard and still stands guard greedy, reactionary, backward­ against sweatshops, child labor, have just returned from two looking impulse toward tyranny. racism, bigotry? Lovers of Imonths in Europe, where I Here are just two out of, alas, freedom and enemies of tyranny: followed the election news dozens in our own America and Liberals. assiduously. I've been appalled in our own century: First, the at the passivity of the electorate, hateful Red scare invented and Leonard at the lack of the elementary perpetrated by William Randolph Bernstein and principles of democratic thought Hearst in the first decades of the and action, at the degeneration of century and magnified through daughter Nina our language, at the lulling, the his countless newspapers and with Jimmy brainwashing, the disinformation. magazines into a panic in which I found most Europeans equally everyone with a beard was prob­ Carter appalled. I began to dream about ably a Bolshevik with a bomb in this campaign obsessively. I would his pocket - aimed at you, and dream-up speeches every night in which merely reading a and each morning I would jot Russian novel rendered you down notes about them - on suspect and possibly treasonous. subjects ranging from racism to The second example, even the grand illusion of the peace­ more hateful and infinitely more I dreamed all this and wrote and-prosperity line put forth by dangerous, was the rise of it down. And I dreamed I heard the meretricious Bush campaign, McCarthyism in the 50's - a rise [the Democratic candidate] say: to Boston Harbor, to the obsolete so steady and so strong that only "I'm proud to be called a liberal. folly of war, to that newly a prolonged television hearing I am neither a Red nor an naughty "L-word"- liberal. could expose the despicable jun­ anarchist, nor do I have a bomb I want to re-define the word ior senator from Wisconsin for in my pocket. liberal, not run from it, nor the power-greedy psychopath he "I love my country - so cower defensively at its insulting was.
Recommended publications
  • Leonard Bernstein
    Leonard Bernstein Arias and Barcarolles (Bright Sheng version) 1988 31 min for mezzo and baritone, strings and percussion Orchestrated with the assistance of Bright Sheng perc(2):xyl/glsp/vib/small cym/small SD/large SD/chimes/small BD/ tamb/tgl/crotales/small tam-t/police whistle/small wdbl/large wdbl/ small susp.cym/TD-strings Availability: This work is available from Boosey & Hawkes for the world Arias and Barcarolles (Bruce Coughlin version) Leonard Bernstein photo © Susech Batah, Berlin (DG) Leonard Bernstein, arranged by Bruce Coughlin 1988, arr. 1993 31 min VOICE(S) AND ORCHESTRA arranged for mezzo-soprano, baritone and chamber orchestra 1(=picc).1(=corA).1(=Ebcl,asax).1-2.1.0.0-perc(2):timp/SD/low tom-t/ 1600 Pennsylvania Avenue trap set(hi-hat cym/ride cym/BD)/cyms/susp.cym/low gong/crot/ slapstick/rainstick/auto brake dr/police whistle/tamb/tgl/wdbl/ Selections for concert performance glsp/xyl/vib-strings(8.8.6.6.3 or 1.1.1.1.1) 1976 Availability: This work is available from Boosey & Hawkes for the world for solo voice and orchestra Bernstein's Blues Availability: This work is available from Boosey & Hawkes for the world Leonard Bernstein, arranged by Sid Ramin 2003 14 min 1600 Pennsylvania Avenue a suite of four songs arranged for voice and orchestra: Ain't Got No Tears Take Care of this House Left, Lonely Me, Screwed On Wrong, Big Stuff 1976 4 min 2.2.2.2.asax.tsax.barisax-2.2.2.1-timp-perc(trap set)-gtr-pft-strings for voice and orchestra Availability: This work is available from Boosey & Hawkes for the world 1.1.2.bcl.1-2.2.2.1-perc(2):timp/xyl/bells-harp-guitar-pft-strings
    [Show full text]
  • Dédé Et Tété En Amérique
    Alice n’est plus ici Un premier film hollywoodien de Scorsese et un Oscar pour l’actrice Ellen Burstyn. 1 Sur CineCinema Culte. PAGE 24 Profession régisseur Quatrième portrait de notre série TV&Radio d’été consacrée aux métiers Du lundi 4 août de la fiction. PAGES 2 ET 3 au dimanche 10 août 2008 Dédé et Tété en Amérique L’audiovisuel public en questions (4) Entretien avec Catherine Tasca, sénatrice (PS) des Yvelines, ex-ministre de la culture et de la communication. PAGE 3 Belleville tour Khalid Maadour, Francis Renaud et Marilou Berry dans une fable sociale drôle et légère. Sur France 2. PAGE 12 Le musicien André Manoukian et le chanteur- Nathalie Guyon/ France 5 ; Warner ; Calt Production ; compositeur Tété PHOTOPQR/La Voix du Nord ; Jean Pimentel/France 2. dans un road-movie musical en quatre étapes sur France 5. PAGE 16 - CAHIER DU « MONDE » DATÉ DIMANCHE 3 - LUNDI 4 AOÛT 2008, Nº 19757. NE PEUT ÊTRE VENDU SÉPARÉMENT - 2 Le Monde Dimanche 3 - Lundi 4 août 2008 SÉRIES D’ÉTÉ Les métiers de la fiction (4) Service compris Régisseur. Des places de parking à l’hébergement de l’équipe ou à l’installation d’une cantine en passant par le transport du matériel, des techniciens ou des comédiens, il est en charge de la logistique d’un tournage et sert d’interface entre le plateau et le monde extérieur ORSQUE nous l’avons être transférée… vers l’auberge rencontré, à Mende, de jeunesse. en Lozère, fin juin, Chargés de la logistique et de Fabien Morault, ré- l’intendance pour toute la com- gisseur de cinéma, munauté impliquée dans l’élabo- était « en sinistre » : ration d’un film, les régisseurs le tournage de sont responsables du lieu de L« Hero corp », une série produite tournage, de la sécurisation des par la société Calt (« Kaame- personnes et de la zone de tra- lott », « Caméra café », « Off- vail.
    [Show full text]
  • American Masters 200 List Finaljan2014
    Premiere Date # American Masters Program Title (Month-YY) Subject Name 1 ARTHUR MILLER: PRIVATE CONVERSATIONS On the Set of "Death of a Salesman" June-86 Arthur Miller 2 PHILIP JOHNSON: A SELF PORTRAIT June-86 Philip Johnson 3 KATHERINE ANNE PORTER: THE EYE OF MEMORY July-86 Katherine Anne Porter 4 UNKNOWN CHAPLIN (Part 1) July-86 Charlie Chaplin 5 UNKNOWN CHAPLIN (Part 2) July-86 Charlie Chaplin 6 UNKNOWN CHAPLIN (Part 3) July-86 Charlie Chaplin 7 BILLIE HOLIDAY: THE LONG NIGHT OF LADY DAY August-86 Billie Holiday 8 JAMES LEVINE: THE LIFE IN MUSIC August-86 James Levine 9 AARON COPLAND: A SELF PORTRAIT August-86 Aaron Copland 10 THOMAS EAKINS: A MOTION PORTRAIT August-86 Thomas Eakins 11 GEORGIA O'KEEFFE September-86 Georgia O'Keeffe 12 EUGENE O'NEILL: A GLORY OF GHOSTS September-86 Eugene O'Neill 13 ISAAC IN AMERICA: A JOURNEY WITH ISAAC BASHEVIS SINGER July-87 Isaac Bashevis Singer 14 DIRECTED BY WILLIAM WYLER July-87 William Wyler 15 ARTHUR RUBENSTEIN: RUBENSTEIN REMEMBERED July-87 Arthur Rubinstein 16 ALWIN NIKOLAIS AND MURRAY LOUIS: NIK AND MURRAY July-87 Alwin Nikolais/Murray Louis 17 GEORGE GERSHWIN REMEMBERED August-87 George Gershwin 18 MAURICE SENDAK: MON CHER PAPA August-87 Maurice Sendak 19 THE NEGRO ENSEMBLE COMPANY September-87 Negro Ensemble Co. 20 UNANSWERED PRAYERS: THE LIFE AND TIMES OF TRUMAN CAPOTE September-87 Truman Capote 21 THE TEN YEAR LUNCH: THE WIT AND LEGEND OF THE ALGONQUIN ROUND TABLE September-87 Algonquin Round Table 22 BUSTER KEATON: A HARD ACT TO FOLLOW (Part 1) November-87 Buster Keaton 23 BUSTER KEATON:
    [Show full text]
  • Leonard Bernstein
    TuneUp! TuneUSaturday, October 18th, 2008 p! New York Philharmonic Young People’s Concert® elcome to a new season of Young People’s Concerts! Throughout history, there have been special times when music flowered in specific cities—Capitals of Music—that for a while W became the center of the musical world. Much of the music we know today comes from these times and places. But how did these great flowerings of music happen? That’s what we’ll find out this year as we discover the distinctive sounds of four of these Capitals. And where better to start than right here in New York? After the Second World War, our city became a cultural capital of the world. Leonard Bernstein—who became Music Director of the New York Philharmonic 50 years ago this fall—defined music in New York in his roles as composer, conductor, and teacher. So what was it like in New York back then? Let’s find out from a child of that time—Leonard Bernstein’s BERNSTEIN’S NEW YORK daughter Jamie! THE PROGRAM: BERNSTEIN “The Great Lover” from On the Town COPLAND “Skyline” from Music for a Great City (excerpt) GERSHWIN “I Got Rhythm” from Girl Crazy BERNSTEIN “America” from West Side Story Suite No. 2 COPLAND Fanfare for the Common Man Jamie Bernstein, host BERNSTEIN On the Waterfront Symphonic Suite (excerpt) Delta David Gier, conductor SEBASTIAN CURRIER “quickchange” from Microsymph Tom Dulack, scriptwriter and director BERNSTEIN Overture to Candide 1 2 3 5 4 CAN YOU IDENTIFY EVERYTHING IN AND AROUND LEONARD BERNSTEIN’S NEW YORK STUDIO? LOOK ON THE BACK PAGE TO SEE WHETHER YOU’RE RIGHT.
    [Show full text]
  • Volume 18 No. 2, Spring 2019
    OPERALEX.ORGbravo lexSPRING 2019! inside ALL IN THE FAMILY UKOT grads, and their daughter, thrive in NYC Page 2 OH, THE PLACES THEY GO! Students and graduates cross the continent and the sea to share their talents Page 3 Grand Time! Why Baldwin keeps coming back “Returning to Lexington is always a highlight of my year.” Grand Night For 19 years Dr. Robert Baldwin, formerly of UK and for Singing now Director of Orchestras and of Graduate Studies at Where: Singletary Center for the Arts, the University of Utah, and Music Director of the Salt Now you can support UK campus Lake Symphony, has enthusiastically returned to lead us when you shop When: June 7, at Amazon! Check the orchestra in A Grand Night for Singing. I recently 8,14,15 at 7:30 out operalex.org asked him what makes it such a highlight. p.m. “Make no mistake, this is a professional quality pro- June 9,16 at 2 p.m. duction. Many of Lexington’s most talented perform- Tickets: Call FOLLOW UKOT ers are involved with Grand Night. It is indicative of 859.257.4929 or visit the depth of talent we have here. I would not hesitate on social media! www.SCFATickets. lFacebook: UKOperaTheatre to compare this show to most professional traveling com lTwitter: UKOperaTheatre Broadway shows. Talent is only one element, however. lInstagram: ukoperatheatre See Page 5 Page 2 Andrea Jones-Sojola and Phumzile (“Puma”) Sojola, UKOT graduates, are both classically trained singers with strong back- grounds in opera, musical theater and spirituals. In 2012 they both made their Broadway debuts in the Tony Award-winning production UK of Gershwin’s Porgy and Bess, and in June 2014 they joined inter- national stars in a concert in Carnegie Hall’s popular series Musical Explorers.
    [Show full text]
  • Our History 1971-2018 20 100 Contents
    OUR HISTORY 1971-2018 20 100 CONTENTS 1 From the Founder 4 A Poem by Aaron Stern 6 Our Mission 6 Academy Timeline 8 Academy Programs 22 20 Years in Pictures 26 20 Years in Numbers 26 Where We’ve Worked 27 20th Anniversary Events 28 20th Anniversary Images Send correspondence to: Laura Pancoast, Development Coordinator 133 Seton Village Road Santa Fe, NM 87508 [email protected] ON THE COVER & LEFT: Academy for the Love of Learning photo © Kate Russell 20 YEARS of the Academy for the Love of Learning Copyright © 2018 Academy for the Love of Learning, Inc. 2018 has been a very special year, as it marks the 20th anniversary of FROM THE FOUNDER the Academy’s official founding in 1998. 2018 is also, poignantly and coincidentally, the 100th anniversary of Leonard Bernstein’s birth. Lenny, as I knew him, the great musician, the 20th century giant with whom, in 1986, I conceived the Academy, was one of the first people with whom I engaged in dialogue about “this thing,” as he called it, just before proposing that we call our “thing” the Academy for the Love of Learning. “Why that name?”, I asked – and he said: “because you believe that if we truly open ourselves to learning, it will liberate us and bring us home, individually and collectively. So, the name is perfect, because the acronym is ALL!” I resisted it at first, but soon came to realize that the name indeed was perfect. This and other prescient dialogues have helped us get to where we are today – a thriving, innovative organization.
    [Show full text]
  • KEVIN COLE “America's Pianist” Kevin Cole Has Delighted
    KEVIN COLE “America’s Pianist” Kevin Cole has delighted audiences with a repertoire that includes the best of American Music. Cole’s performances have prompted accolades from some of the foremost critics in America. "A piano genius...he reveals an understanding of harmony, rhythmic complexity and pure show-biz virtuosity that would have had Vladimir Horowitz smiling with envy," wrote critic Andrew Patner. On Cole’s affinity for Gershwin: “When Cole sits down at the piano, you would swear Gershwin himself was at work… Cole stands as the best Gershwin pianist in America today,” Howard Reich, arts critic for the Chicago Tribune. Engagements for Cole include: sold-out performances with the Los Angeles Philharmonic at the Hollywood Bowl; BBC Concert Orchestra at Royal Albert Hall; National Symphony at the Kennedy Center; Hong Kong Philharmonic; San Francisco Symphony, Chicago Symphony, Philadelphia Orchestra, Philharmonia Orchestra (London); Boston Philharmonic, Adelaide Symphony Orchestra (Australia) Minnesota Orchestra, Pittsburgh Symphony, Dallas Symphony, Seattle Symphony,Vietnam National Symphony Orchestra; New Zealand Symphony, Edmonton Symphony (Canada), Ravinia Festival, Wolf Trap, Savannah Music Festival, Castleton Festival, Chautauqua Institute and many others. He made his Carnegie Hall debut with the Albany Symphony in May 2013. He has shared the concert stage with, William Warfield, Sylvia McNair, Lorin Maazel, Brian d’Arcy James, Barbara Cook, Robert Klein, Lucie Arnaz, Maria Friedman, Idina Menzel and friend and mentor Marvin Hamlisch. Kevin was featured soloist for the PBS special, Gershwin at One Symphony Place with the Nashville Symphony. He has written, directed, co- produced and performed multimedia concerts for: The Gershwin’s HERE TO STAY -The Gershwin Experience, PLAY IT AGAIN, MARVIN!-A Celebration of the music of Marvin Hamlisch with Pittsburgh Symphony and Chicago Symphony and YOU’RE THE TOP!-Cole Porter’s 125th Birthday Celebration and I LOVE TO RHYME – An Ira Gershwin Tribute for the Ravinia Festival with Chicago Symphony.
    [Show full text]
  • July 2, 2020 – Berlin's Annie, Get Your Gun & Porter's Kiss Me, Kate
    July 2, 2020 – Berlin’s Annie, Get Your Gun & Porter’s Kiss Me, Kate On this week’s Thursday Night Opera House, we’re turning to Broadway for a pair of 1940s musicals: Irving Berlin’s Annie, Get Your Gun and Cole Porter’s Kiss Me, Kate. These were among the last such shows that were completely acoustical, with lead actors who could project their voices like opera singers. Jerome Kern was originally hired to set Dorothy Fields’s lyrics and her brother Herbert’s book, but after his unexpected death Berlin was engaged to do both the score and lyrics. Annie, Get Your Gun opened on May 16, 1946 and ran for 1,147 performances. Ethyl Merman and Ray Middleton starred as Annie Oakley and Frank Butler, respectively. Annie Oakley (Kim Criswell) is a poor, but spirited and happy, country girl who lives by her native sharp-shooting quickly makes her the star of Buffalo Bill’s (David Healy) Wild West Show, where she meets and falls in love with expert rifleman Frank Butler (Thomas Hampson). Unfortunately, the tough, outspoken Annie is not Frank’s idea of what a wife should be and the two remain at competitive odds. Then Annie is initiated into an Indian tribe whose chief, Sitting Bull (Alfred Marks), gives her some good advice: only by deliberately, but discreetly, losing a shooting contest can she win Frank’s heart. Annie does so and the show ends with the exuberant climax “There’s No Business Like Show Business.” John McGlinn conducts the London Sinfonietta and the Ambrosian Chorus in this 1991 EMI recording.
    [Show full text]
  • The "Stars for Freedom" Rally
    National Park Service U.S. Department of the Interior Selma-to-Montgomery National Historic Trail The "Stars for Freedom" Rally March 24,1965 The "March to Montgomery" held the promise of fulfilling the hopes of many Americans who desired to witness the reality of freedom and liberty for all citizens. It was a movement which drew many luminaries of American society, including internationally-known performers and artists. In a drenching rain, on the fourth day, March 24th, carloads and busloads of participants joined the march as U.S. Highway 80 widened to four lanes, thus allowing a greater volume of participants than the court- imposed 300-person limitation when the roadway was narrower. There were many well-known celebrities among the more than 25,000 persons camped on the 36-acre grounds of the City of St. Jude, a Catholic social services complex which included a school, hospital, and other service facilities, located within the Washington Park neighborhood. This fourth campsite, situated on a rain-soaked playing field, held a flatbed trailer that served as a stage and a host of famous participants that provided the scene for an inspirational performance enjoyed by thousands on the dampened grounds. The event was organized and coordinated by the internationally acclaimed activist and screen star Harry Belafonte, on the evening of March 24, 1965. The night "the Stars" came out in Alabama Mr. Belafonte had been an acquaintance of Dr. Martin Luther King, Jr. since 1956. He later raised thousands of dollars in funding support for the Freedom Riders and to bailout many protesters incarcerated during the era, including Dr.
    [Show full text]
  • Patuna, Genehouaiy Suppott the Opeltation Oti the Tangtewood
    TANGLEWOOD MUSIC CENTER The Tanglewood Music Center is maintained by the Boston Symphony Orchestra to offer advanced training in music to young pre-professional musicians. The Orchestra underwrites the cost of operating the Music Center with generous help from donors to the Annual Fellowship Program and with the sustaining support of income from the following permanent endowment funds: Faculty Funds Chairman of the Faculty endowed by the Charles E. Culpeper Foundation Head of Keyboard Activities endowed in memory of Marian Douglas Martin by Marilyn Brachman Hoffman Master Teacher endowed by Mr. and Mrs. Edward L. Bowles Endowed Guarantor Fellowships Leonard Bernstein Fellowship Charles E. Culpeper Foundation Omar del Carlo Tanglewood Fellowship Clowes Fund Fellowship Endowed Fellowshi s in the Following Names Anonymous The Luke B. Hancock Foundation Mr. and Mrs. David B. Arnold, Jr. Harold Hodgkinson Kathleen Hall Banks C. D. Jackson Leo L. Beranek Philip and Bernice Krupp Leonard Bernstein Lucy Lowell Helene R. and Norman L. Cahners Stephen and Persis Morris Rosamond Sturgis Brooks Ruth S. Morse Stanley Chapple Albert L. and Elizabeth P. Nickerson Alfred E. Chase- Northern California Fund Nat King Cole Theodore Edson Parker Foundation Caroline Grosvenor Congdon David R. and Muriel K. Pokross Dr. Marshall N. Fulton Daphne Brooks Prout Juliet Esselborn Geier Harry and Mildred Remis Gerald Gelbloom Hannah and Raymond Schneider Armando A. Ghitalla Surdna Foundation, Inc. Fernand Gillet R. Amory Thorndike Marie Gillet Augustus Thorndike John and Susanne Grandin Other Funds Anonymous Jascha Heifetz Fund The Rothenberg/Carlyle Foundation Fund Howard/Ehrlich Fund Charles E. Merrill Trust Fund Dorothy Lewis Fund Koussevitzky Centenrial Fund Northern California Audition Fund Jason Starr Fund Asher J.
    [Show full text]
  • Leonard Bernstein's MASS
    27 Season 2014-2015 Thursday, April 30, at 8:00 Friday, May 1, at 8:00 The Philadelphia Orchestra Saturday, May 2, at 8:00 Sunday, May 3, at 2:00 Leonard Bernstein’s MASS: A Theatre Piece for Singers, Players, and Dancers* Conducted by Yannick Nézet-Séguin Texts from the liturgy of the Roman Mass Additional texts by Stephen Schwartz and Leonard Bernstein For a list of performing and creative artists please turn to page 30. *First complete Philadelphia Orchestra performances This program runs approximately 1 hour, 50 minutes, and will be performed without an intermission. These performances are made possible in part by the generous support of the William Penn Foundation and the Andrew W. Mellon Foundation. Additional support has been provided by the Presser Foundation. 28 I. Devotions before Mass 1. Antiphon: Kyrie eleison 2. Hymn and Psalm: “A Simple Song” 3. Responsory: Alleluia II. First Introit (Rondo) 1. Prefatory Prayers 2. Thrice-Triple Canon: Dominus vobiscum III. Second Introit 1. In nomine Patris 2. Prayer for the Congregation (Chorale: “Almighty Father”) 3. Epiphany IV. Confession 1. Confiteor 2. Trope: “I Don’t Know” 3. Trope: “Easy” V. Meditation No. 1 VI. Gloria 1. Gloria tibi 2. Gloria in excelsis 3. Trope: “Half of the People” 4. Trope: “Thank You” VII. Mediation No. 2 VIII. Epistle: “The Word of the Lord” IX. Gospel-Sermon: “God Said” X. Credo 1. Credo in unum Deum 2. Trope: “Non Credo” 3. Trope: “Hurry” 4. Trope: “World without End” 5. Trope: “I Believe in God” XI. Meditation No. 3 (De profundis, part 1) XII.
    [Show full text]
  • PRELUDE, FUGUE News for Friends of Leonard Bernstein RIFFS Spring/Summer 2004 the Leonard Bernstein School Improvement Model: More Findings Along the Way by Dr
    PRELUDE, FUGUE News for Friends of Leonard Bernstein RIFFS Spring/Summer 2004 The Leonard Bernstein School Improvement Model: More Findings Along the Way by Dr. Richard Benjamin THE GRAMMY® FOUNDATION eonard Bernstein is cele­ brated as an artist, a CENTER FOP LEAR ll I IJ G teacher, and a scholar. His Lbook Findings expresses the joy he found in lifelong learning, and expounds his belief that the use of the arts in all aspects of education would instill that same joy in others. The Young People's Concerts were but one example of his teaching and scholarship. One of those concerts was devoted to celebrating teachers and the teaching profession. He said: "Teaching is probably the noblest profession in the world - the most unselfish, difficult, and hon­ orable profession. But it is also the most unappreciated, underrat­ Los Angeles. Devoted to improv­ There was an entrepreneurial ed, underpaid, and under-praised ing schools through the use of dimension from the start, with profession in the world." the arts, and driven by teacher each school using a few core leadership, the Center seeks to principles and local teachers Just before his death, Bernstein build the capacity in teachers and designing and customizing their established the Leonard Bernstein students to be a combination of local applications. That spirit Center for Learning Through the artist, teacher, and scholar. remains today. School teams went Arts, then in Nashville Tennessee. The early days in Nashville, their own way, collaborating That Center, and its incarnations were, from an educator's point of internally as well as with their along the way, has led to what is view, a splendid blend of rigorous own communities, to create better now a major educational reform research and talented expertise, schools using the "best practices" model, located within the with a solid reliance on teacher from within and from elsewhere.
    [Show full text]