DOCSLIB.ORG

Leon Lishner (1913-1995)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Leon Lishner (1913-1995) 8l{Gf J University of Washington (1'1'1 _ mE SCHOOL OF MUSIC D~. 12., '15"2... l. -(( (.4-SS 1:2,e;: q 3 presents a/aculty recital: I Z, Cj S"l1 Emilie Berendsen, mezzo-soprano Lisa Bergman, piano .. Iiii In Celebration Leon Lishner (1913-1995) with faculty guest artists Rebecca Henderson. oboe William o. Smith. clarinet and guest speakers Professor Joseph Butwin Dave Larson Professor Emeritus Paul Dietrichson February II, 1991 8:00 PM Meany Theater <t' b.l t.::) \1\ ~.,... ~ t'" \J ,; .1 ~, ~: ! L ,.~. j U ... ; F ' 1t>'I:> from VIER LIEDER, Op. 29 (1938) ;3'Jt-Z- .... ): Rechot (Noach Stem) , 'H,;: C!:) Mazkeret (poet unknown) , )..a A. 1111 fromBEARBEI11JNGEN OSTJUDISCHER 5'3 VI , VOLKSLIEDER (1923-25) ,'\ n.r V\ ! IOndl!r'deln Kinds Wiegele " . ". , Es: Kimt GeJl~en diGilde.rn.tf, Pawe .. f. ~ 0­ Ii • ". ~.; I 'j, ., • ~., ; ': .: I .......re ·jNruMls.siON'~"-:"·" -':;~ i ,.'; ~nil '-W:Jr.i1ei-?'~~;IL<1 Jt [: .. :.;.,.<,; .!~ ,', , }1 .j:':.(:~l!.J c::~_~~ v,. ,,\5·, Son- Co.. "., '1 " .. ., ., ~ ~ . 11'1 " ':.... ·t~.".::\" 'j~~''{ 11V~';' .:1. •. 1',1. ;".~"'i.~'-!J.'; ',!;'.." ',....f ~.,"li. t- It> -<} AsaNDPHANTASIE (1943; Fri~d~cli Hotde~lin):t~.:, .. Vikto~,~lJl"~n \blO ZWEI CHINESISCHE l:IEDER(1943) l-t 'I~ ; JHp ::(1898-1944)' . ,Wanderer erwacht In der Herberge .,,: .... ,..' . Der made SoldDt' .. ' , ',' , , ~ ,/ . f''O' ' ~..:, " Il) \1)1 l-from SOL~-C0ATE n,943i; H. d. Adler 2- (/7 ~ lmmer Inm,tten -VI ; . \ I PI3 SUITE, Op. 17 (1939) .......1f4.............................................. Pavel Haas e; Furioso (1899~ 1944) \J"" Confuoco r\ , Moderato \f) \ ~ SEpM PISNO V l:.IDOvEVM T6NU, Op. 18 IL-t I (1939-40; F. L. Celakovskeho) Cozje vic! to Darek z Idsk \l,) Nrotkd holubiCka Q , '; Zruseni slibu '", ",,; Ptipoved Slzy a vzdychdni e; Statecny jondk <r­ ('( STEFAN WOLPE from VIER LIEDER Rechot [Fragrances], Mazkeret [Epitaph], (Noach Stern; trans. Hilda Morley) (anonymous; trans. Hilda Morley) Lilacs, which blow into blue, No bud, if it bloom, though it fade, recall distant days which have faded, ever bloomed in vain; and revive all the days of my dreams nor bird that sang once, in one land sang out before it died, and, in that other land, could have sung in vain. vanished iJIusions. And no man that has bloomed, I Iiiii ? Now the ripening fruits give their though his spirit may give way, scent to the trees ever bloomed in vain; and they hang there in fragrance, though his song be ended, to give us delight and to affirm with yet he sang not ever, never in vain. their scent and their gold all the gladness of life on this land. from BEAKBEIDlNGEN osrJODISCHER YOLKSLIEDER Onder dem Kinds Wiegele Es Kimt Gefloigen di Gildeme Pawe [Under the Child's Cradle] [The Golden Peacock Flies In] Under the child's cradle A golden peacock flies in Stands a little golden goat, from a foreign land. The goat went out to sell On the way she lost a golden feather, Raisins and almonds, she is very ashamed. Raisins and figs- The child will be quiet and sleep. It is not so much the golden feather as the peacock herself. Sleep, please sleep in peace, It is not so much the son-in-law Close your beautiful little eyes! as the daughter herself. Close them and then open them again. Father is coming to wake you up. Just as it is bitter, my dear mother, Father, Father, do not awaken him. for a small bird without a nest, Let the child continue to sleep. So it is bitter. my dear mother, to depend on the in-laws' keep. Sleep is a good thing. Moyshele will study Torah. Just as it is bitter, my dear mother, He will study Torah to live in a room without a door, And write many books. So it is bitter, my dear mother, And. GOd willing, for me without you. He will remain a good and pious man . • VIKTOR ULLMANN Abendphantasie {Evening Reverie] In the shade outside his cottage, in Spring blossoms forth in the evening silence sky; the ploughman sits, content with his roses bloom in thousands, and the smoking hearth. golden world glows in stillness; In the peaceful village the vesper .bell o take me there, purple-tinged clouds! calls a welcome to the traveller. And up there let my love and sorrow melt into light and air! Now the boatmen return to port, in distant towns the bustling market But the spell fades, as if dispersed - falls silent; in a quiet garden by my foolish plea; ~ Iii friends gather for a sociable meal. darkness falls, and beneath the skies I am, as ever, alone. But where am I bound? Mortal man lives by work and wages; Come to me now, sweet slumber! alternate labor and rest give him content; My heart demands too much; why, then, within my breast will this yet Youth, you restless dreamer, thorn never sleep? you too will finally bum out! Old age will bring me peace and contentment. :,~ ,;,. __,:;Hl' Zwei chinesische Lieder Always Amidst {Immei- inm~~iiO {Two Chinese Songs] Always amidst, always 8.Olidst, 1. The trayeUer )Yakes at the ioo all miracles worlds traversed, - • I awake slightly dazed, home far away, roots hard by. unused to a strange bed. the soul has endured so much, Is it frost that has spread soon it will stray into the moss, be a white carpet overnight? tom by thoms, I gaze at the moon, always amidst, always amidst. lower my head and think of my destination. Always amidst, always amidst, between despair and passionate pleas 2. The weary soldier man finds his way to the house of A poor girl, denuded, white as a sheet safety, stands at the roadside as I walk far past. slowly forgetting what it was he So stand they all, rank upon rank fought for, and head after head. 'til his ghostly revels come to an end, always amidst, always amidst. What can I remember of holy waters, what of a village sunset? Always amidst, always amidst, I am skewered by a thousand knives death rides sleepily into life; and weary, weary of too much death. its thundering hooves die way strangely. The children's eyes are like golden rain, None can say what tomorrow willi the cup of wine glows in their hands. bring I want to lie down under the trees always amidst, always amidst. and never be a soldier again. :.~ PAVEL HAAS Seven Songs in Folk Style ISedm P(sn( v Lidovevm Tonuj I. I Don't Care fCll.V je vic!1 V. Promise fPfipovrldl Ifyou don't want me, I don't care! Saturday night was over This means nothing to me. and I led the little horses to clover. Indeed, for you, my dear, Blue eyes, are you sleeping? I wouldn't drop a tear. Your promise near the forest The hill I'll climb I'll come and take in the moonlight. and another girl find. VI. Tears and Sips ISla a vulycMnil n. Love'sTokeD lDdrckzl4skl If all the tears I shed for you Iii ...... Crossing the little bridge were put together-which my love ------....-- I found a necklace released for you, my dear- strung with five strands I believe all the meadows given to a sweetheart; would be flooded. a souvenir from her beloved, it must have broken her heart. And if all the sighs were put together-which my love III. Gentle Dove fKrotkd holubi:7ral released for you, my dear- The dove left the oak I believe the tower bells and flew to her love. would start ringing. Ovet·~pond, pasturing the little horses, VII. StrlU!ping Yount: Man ' I will join him. /Statw:ny jondkJ I have a groom, Mother! Turtle doves are My word! billing and cooing; Just touch him why shouldn't we and sparks fly. bill and coo when we are both still young. He enters the inn and everyone makes way for him. IV. Broken P1edt:e fZrufeni sUb" 1 To whatever he sings, Standing by the chapel, they will soon dance. sobbing without tears 'til her heart bleeds: He drinks to everyone, "He who breaks the pledge of love, and also to me. woe to his soul." Whoever he dislikes, he will drive out. or ,. ~~-~ Stefan Wolpe was a disciple, though not a pupil, of Feruccio Busoni, but WoJpe felt a greater kinship with the artists and craftsmen of the Bauhaus than he had with his teachers at the Berlin Musikhochschule and took part in many artistic movements of the 1920s: Dada Neue Sachlichkeit, Gekiimpfmusik and others. He also wrote songs for theatrical productions, continuing this later in Palestine where he lived from 1934 until moving to New York in 1938. During his tenure as chairman of the C. W. Post College music department at Long Island University, Wolpe set THE ANGEL from William Blake's SONGS OF EXPE­ RIENCE. From a performance of Yeats' play, THE HOUR GLASS (1902), Wolpe made a declamatory setting of a scene where the Wise Man's students request him to explain the meaning of the sentence: "There, ~e two living countries, the one visible and the other invisible; and when it is Winter with us, it is summer in that country." Himself a skeptic, the Wise Man is confronted by an Angel who forces him to change his attitude. Between 1952 and 1956, while director of music at Black Mountain College in Virginia, Wolpe'set part of Ezra Pound's translation of Sophocles' TRACHINIAE. WOMEN OF TRACHIS, as Pound calls it, portrays the death and apotheosis of Heracles. Trachis is a Thessalian town in central Greece, where Deianeira, Heracles' wife, lived.
Load more

Recommended publications
  • Morton Feldman: a Celebration of His 80Th Birthday
    Morton Feldman : A Celebration of His 80th Birthday Curated by John Bewley June 1 – September 15, 2006 Case 1 Morton Feldman was born January 12, 1926 in New York City to Irving and Frances Feldman. He grew up in Woodside, Queens where his father established a company that manufactured children’s coats. His early musical education consisted of piano lessons at the Third Street Settlement School in Manhattan and beginning at age twelve, with Vera Maurina Press, an acquaintance of the Russian composer, Alexander Scriabin, and a student of Ferruccio Busoni, Emil von Sauer, and Ignaz Friedman. Feldman began composing at age nine but did not begin formal studies until age fifteen when he began compositional studies with Wallingford Riegger. Morton Feldman, age 13, at the Perisphere, New York World’s Fair, 1939? Unidentified photographer Rather than pursuing a college education, Feldman chose to study music privately while he continued working for his father until about 1967. After completing his studies in January 1944 at the Music and Arts High School in Manhattan, Feldman studied composition with Stefan Wolpe. It was through Wolpe that Feldman met Edgard Varèse whose music and professional life were major influences on Feldman’s career. Excerpt from “I met Heine on the Rue Furstenburg”, Morton Feldman in conversation with John Dwyer, Buffalo Evening News, Saturday April 21, 1973 Let me tell you about the factory and Lukas Foss (composer and former Buffalo Philharmonic conductor). The plant was near La Guardia airport. Lukas missed his plane one day and he knew I was around there, so he called me up and invited me to lunch.
    [Show full text]
  • 8.112023-24 Bk Menotti Amelia EU 26-03-2010 9:41 Pagina 16
    8.112023-24 bk Menotti Amelia_EU 26-03-2010 9:41 Pagina 16 Gian Carlo MENOTTI Also available The Consul • Amelia al ballo LO M CAR EN N OT IA T G I 8.669019 19 gs 50 din - 1954 Recor Patricia Neway • Marie Powers • Cornell MacNeil 8.669140-41 Orchestra • Lehman Engel Margherita Carosio • Rolando Panerai • Giacinto Prandelli Chorus and Orchestra of La Scala, Milan • Nino Sanzogno 8.112023-24 16 8.112023-24 bk Menotti Amelia_EU 26-03-2010 9:41 Pagina 2 MENOTTI CENTENARY EDITION Producer’s Note This CD set is the first in a series devoted to the compositions, operatic and otherwise, of Gian Carlo Menotti on Gian Carlo the occasion of his centenary in 2011. The recordings in this series date from the mid-1940s through the late 1950s, and will feature several which have never before appeared on CD, as well as some that have not been available in MENOTTI any form in nearly half a century. The present recording of The Consul, which makes its CD début here, was made a month after the work’s (1911– 2007) Philadelphia première. American Decca was at the time primarily a “pop” label, the home of Bing Crosby and Judy Garland, and did not yet have much experience in the area of Classical music. Indeed, this recording seems to have been done more because of the work’s critical acclaim on the Broadway stage than as an opera, since Decca had The Consul also recorded Arthur Miller’s Death of a Salesman with members of the original cast around the same time.
    [Show full text]
  • The Seventh Season Being Mendelssohn CHAMBER MUSIC FESTIVAL and INSTITUTE July 17–August 8, 2009 David Finckel and Wu Han, Artistic Directors
    The Seventh Season Being Mendelssohn CHAMBER MUSIC FESTIVAL AND INSTITUTE July 17–August 8, 2009 David Finckel and Wu Han, Artistic Directors Music@Menlo Being Mendelssohn the seventh season july 17–august 8, 2009 david finckel and wu han, artistic directors Contents 3 A Message from the Artistic Directors 5 Welcome from the Executive Director 7 Being Mendelssohn: Program Information 8 Essay: “Mendelssohn and Us” by R. Larry Todd 10 Encounters I–IV 12 Concert Programs I–V 29 Mendelssohn String Quartet Cycle I–III 35 Carte Blanche Concerts I–III 46 Chamber Music Institute 48 Prelude Performances 54 Koret Young Performers Concerts 57 Open House 58 Café Conversations 59 Master Classes 60 Visual Arts and the Festival 61 Artist and Faculty Biographies 74 Glossary 76 Join Music@Menlo 80 Acknowledgments 81 Ticket and Performance Information 83 Music@Menlo LIVE 84 Festival Calendar Cover artwork: untitled, 2009, oil on card stock, 40 x 40 cm by Theo Noll. Inside (p. 60): paintings by Theo Noll. Images on pp. 1, 7, 9 (Mendelssohn portrait), 10 (Mendelssohn portrait), 12, 16, 19, 23, and 26 courtesy of Bildarchiv Preussischer Kulturbesitz/Art Resource, NY. Images on pp. 10–11 (landscape) courtesy of Lebrecht Music and Arts; (insects, Mendelssohn on deathbed) courtesy of the Bridgeman Art Library. Photographs on pp. 30–31, Pacifica Quartet, courtesy of the Chamber Music Society of Lincoln Center. Theo Noll (p. 60): Simone Geissler. Bruce Adolphe (p. 61), Orli Shaham (p. 66), Da-Hong Seetoo (p. 83): Christian Steiner. William Bennett (p. 62): Ralph Granich. Hasse Borup (p. 62): Mary Noble Ours.
    [Show full text]
  • Solo Percussion Is Published Ralph Shapey by Theodore Presser; All Other Soli for Solo Percussion
    Tom Kolor, percussion Acknowledgments Recorded in Slee Hall, University Charles Wuorinen at Buffalo SUNY. Engineered, Marimba Variations edited, and mastered by Christopher Jacobs. Morton Feldman The King of Denmark Ralph Shapey’s Soli for Solo Percussion is published Ralph Shapey by Theodore Presser; all other Soli for Solo Percussion works are published by CF Peters. Christian Wolff Photo of Tom Kolor: Irene Haupt Percussionist Songs Special thanks to my family, Raymond DesRoches, Gordon Gottlieb, and to my colleagues AMERICAN MASTERPIECES FOR at University of Buffalo. SOLO PERCUSSION VOLUME II WWW.ALBANYRECORDS.COM TROY1578 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2015 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. AMERICAN MASTERPIECES FOR AMERICAN MASTERPIECES FOR Ralph Shapey TROY1578 Soli for Solo Percussion SOLO PERCUSSION 3 A [6:14] VOLUME II [6:14] 4 A + B 5 A + B + C [6:19] Tom Kolor, percussion Christian Wolf SOLO PERCUSSION Percussionist Songs Charles Wuorinen 6 Song 1 [3:12] 1 Marimba Variations [11:11] 7 Song 2 [2:58] [2:21] 8 Song 3 Tom Kolor, percussion • Morton Feldman VOLUME II 9 Song 4 [2:15] 2 The King of Denmark [6:51] 10 Song 5 [5:33] [1:38] 11 Song 6 VOLUME II • 12 Song 7 [2:01] Tom Kolor, percussion Total Time = 56:48 SOLO PERCUSSION WWW.ALBANYRECORDS.COM TROY1578 ALBANY RECORDS U.S. TROY1578 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K.
    [Show full text]
  • Negotiating Cultural Allies: American Music in Darmstadt, 1946-1956 Author(S): Amy C
    American Musicological Society Negotiating Cultural Allies: American Music in Darmstadt, 1946-1956 Author(s): Amy C. Beal Source: Journal of the American Musicological Society, Vol. 53, No. 1 (Spring, 2000), pp. 105- 139 Published by: University of California Press on behalf of the American Musicological Society Stable URL: http://www.jstor.org/stable/831871 Accessed: 22/11/2010 15:41 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=ucal. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press and American Musicological Society are collaborating with JSTOR to digitize, preserve and extend access to Journal of the American Musicological Society.
    [Show full text]
  • Download Booklet
    8.111364 bk Menotti3_EU:8.111364 bk Menotti3_EU 17-12-2010 18:25 Pagina 8 her release, and insisting she has done nothing wrong. exclaiming that he can run and jump. The Mother and The Page releases the Mother at a sign from Kaspar. the Three Kings follow him breathlessly. As he # Melchior tells the Mother that she may keep the stumbles his Mother tells him to be careful. The Kings Gian Carlo gold: He for whom it is intended will have no use for realise that Amahl has been blessed and ask if they it. He will build His kingdom on love. The Mother may touch him. They then ask if Amahl may travel throws herself at the feet of the Three Kings, telling with them. Amahl says that he would like to MENOTTI them to take back their gold – if she were not so poor accompany them. The Mother and Amahl say good- she too would send a gift to such a Child. Amahl bye to each other, the Mother all the time instructing Amahl and the Night Visitors offers his crutch as a gift. The Mother moves to stop him on what to do. As the shepherds sing, the Three him as he raises his crutch. As Amahl advances Kings, led by the Page, start their procession out of the Sebastian – Ballet Suite towards the Kings, he realizes that he has moved cottage. After a final farewell to his Mother, Amahl without the help of his crutch. Dazed he understands takes his place at the end of the procession, playing his ARLO ME that he can walk.
    [Show full text]
  • David Tudor in Darmstadt Amy C
    This article was downloaded by: [University of California, Santa Cruz] On: 22 November 2010 Access details: Access Details: [subscription number 923037288] Publisher Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37- 41 Mortimer Street, London W1T 3JH, UK Contemporary Music Review Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t713455393 David Tudor in Darmstadt Amy C. Beal To cite this Article Beal, Amy C.(2007) 'David Tudor in Darmstadt', Contemporary Music Review, 26: 1, 77 — 88 To link to this Article: DOI: 10.1080/07494460601069242 URL: http://dx.doi.org/10.1080/07494460601069242 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.informaworld.com/terms-and-conditions-of-access.pdf This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Contemporary Music Review Vol. 26, No. 1, February 2007, pp. 77 – 88 David Tudor in Darmstadt1 Amy C.
    [Show full text]
  • Stefan Wolpe and the Avant-Garde Diaspora Brigid Cohen Frontmatter More Information
    Cambridge University Press 978-1-107-00300-2 — Stefan Wolpe and the Avant-Garde Diaspora Brigid Cohen Frontmatter More Information Stefan Wolpe and the Avant-Garde Diaspora The German-Jewish émigré composer Stefan Wolpe was a vital figure in the history of modernism, with affiliations ranging from the Bauhaus, Berlin agitprop, and the kibbutz movement to bebop, Abstract Expressionism, and Black Mountain College. This is the first full-length study of this often overlooked composer, launched from the standpoint of the mass migrations that have defined recent times. Drawing on over 2,000 pages of unpublished documents, Cohen explores how avant-garde communities across three continents adapted to situations of extreme cultural and physical dislocation. A conjurer of unexpected cultural connections, Wolpe serves as an entry-point to the utopian art worlds of Weimar-era Germany, pacifist move- ments in 1930s Palestine, and vibrant art and music scenes in early Cold War America. The book takes advantage of Wolpe’s role as a mediator, bringing together perspectives from music scholarship, art history, comparative literature, postcolonial studies, and recent theories of cosmopolitanism and diaspora. Brigid Cohen is Assistant Professor of Music at New York University. Her teaching and research focus on twentieth-century avant-gardes, questions of migration and diaspora, theories of cosmopolitanism, and relationships between music, the visual arts, and literature. Her work has been recognized with awards from the American Musicological Society, the Andrew W. Mellon Foundation, the Paul Sacher Foundation, and the J. Paul Getty Research Institute. She is a recipient of the Berlin Prize from the American Academy in Berlin.
    [Show full text]
  • Martin Brody Education BA, Summa Cum Laude, Phi Beta
    Martin Brody Department of Music Wellesley College Wellesley, MA 02281 617-283-2085 [email protected] Education B.A., summa cum laude, Phi Beta Kappa, Amherst College, 1972 M.M. (1975), M.M.A. (1976), D.M.A. (1981), Yale School of Music Additional studies in music theory and analysis with Martin Boykan and Allan Keiler, Brandeis University (1977); Additional studies in electronic music and digital signal processing with Barry Vercoe, Massachusetts Institute of Technology (1979) Principal composition teachers: Donald Wheelock, Lewis Spratlan, Yehudi Wyner, Robert Morris, Seymour Shifrin Academic Positions Catherine Mills Davis Professor of Music, Wellesley College (member of faculty since 1979) Visiting Professor of Music at Brandeis University, 1994 Visiting Associate Professor of Music at Massachusetts Institute of Technology, 1989 Assistant Professor of Music at Bowdoin College, 1978-79 Assistant Professor of Music at Mount Holyoke College, 1977- Other Professional Employment Andrew Heiskell Arts Director, American Academy in Rome, 2007-10 term Executive Director, Thomas J. Watson Foundation, 1987-9 term Honors and Awards Roger Sessions Memorial Fellow in Music, Bogliasco Foundation, 2004 Composer-in-Residence, William Walton Estate, La Mortella, 2004 Fromm Foundation at Harvard, Composer Commission, 2004 Fromm Composer-in-Residence, American Academy in Rome, fall 2001 John Simon Guggenheim Memorial Fellowship, 2000 Pinanski Prize for Excellence in Teaching, Wellesley College, 2000 Commission for Earth Studies from Duncan Theater/MacArthur
    [Show full text]
  • MENOTTI Amahl and the Night Visitors Sebastian
    8.111364 rr Menotti3_EU:8.111364 rr Menotti3_EU 17-12-2010 18:29 Pagina 1 NAXOS Historical NAXOS NAXOS Historical NAXOS Gian Carlo 8.111364 Playing Time MENOTTI ADD MONO 63:06 (1911–2007) ൿ of this compact disc prohibited. and copying broadcasting Unauthorised public performance, texts and translations reserved. artwork, All rights in this sound recording, & Ꭿ Amahl and the Night Visitors Amahl and the Night Visitors 2011 Naxos Rights International Ltd. Made in Germany 2011 Naxos Rights International Ltd. Amahl . Chet Allen 1-$ 46:25 His Mother . Rosemary Kuhlmann Kaspar . Andrew McKinley MENOTTI: Melchior . David Aiken Allen • Kuhlmann Schippers Balthazar . Leon Lishner Sebastian – Ballet Suite 16:41 The Page . Frank Monachino % Introduction 1:59 Orchestra and Chorus • Thomas Schippers ^ Barcarolle 3:38 Recorded in New York City, December 1951 Amahl and the Night Visitors & Street Fight 1:17 Sebastian – Ballet Suite * Cortège 3:53 ( Robin Hood Dell Orchestra of Philadelphia Sebastian’s Dance 2:04 Dimitri Mitropoulos ) Pavane 3:50 Recorded in the Academy of Music, Philadelphia, 26th July, 1946 The reception for the first television broadcast of Menotti’s opera Amahl and the Night Visitors (also available in an acclaimed modern recording on Naxos 8.669019) was overwhelming: an estimated five million viewers, the NBC switchboard jammed with congratulatory calls and an unprecedented front-page review in The New York Times. Quickly recorded for RCA Victor, the album became a best-seller and the opera remains a Christmas evergreen, brimming with memorable tunes for both soloists and chorus. Set in 17th-century Venice, Menotti’s ballet Sebastian, the concert suite from which is heard here, was applauded by The New York Times as an ‘unblushing melodrama..
    [Show full text]
  • Cri 233 Stefan Wolpe
    CRI 233 STEFAN WOLPE: Trio Trio of the Group for Contemporary Music at Columbia University Harvey Sollberger, Flute; Charles Wuorinen, Piano; Joel Krosnik, Cello GEORGE CRUMB: Eleven Echoes of Autumn, 1965 Aeolian Chamber Players Lewis Kaplan, Violin; David Gilbert, Flute; Lloyd Greenberg, Clarinet; Jacob Maxin, Piano STEFAN WOLPE'S music integrates certain traditional practices with a uniquely contemporary language and strikingly original procedures. Wolpe, born in Berlin in 1902, first learned the tradition there but soon indicated—by his compositions, by being active in many Dada performances, and by his choice of mentors: Scherchen, Busoni, Webern—that a merely accepted heritage was insufficient. Forced to flee Germany in 1933, Wolpe went to Palestine where he continued to compose works which are relatively simple, direct, and motivically tight in a chromatically modified, dissonant diatonicism. Wolpe's “middle period” began when he came to the United States in 1938. The works from this time, e.g., The Man from Midian, the Violin Sonata, are texturally dense, logically developmental, and are primarily concerned with ways through which musical ideas can fulfill themselves. The music is organized contextually rather than systematically, for both the lines and the simultaneities are derived from and controlled by the motivic impulses, and the formal procedures allow the motives their own way. His persistent, concentrated work on variation techniques has given Wolpe an intuitive sensitivity to the inherent possibilities of any musical impulse and a sure hand for developing these impulses into finite, tangible, elegant shapes. Wolpe's works since the Enactments for Three Pianos (1952) have all the traits of a master composer's “late period” and are earning him the recognition he deserves.
    [Show full text]
  • Still SELF-UPDATING
    GE THE ORIGINS OF SYNTHETIC TIMBRE SERIALISM AND THE PARISIAN CONFLUENCE, 1949–52 by John-Philipp Gather October 2003 A dissertation submitted to the Faculty of the Graduate School of State University of New York at Buffalo in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Music COPYRIGHT NOTE The first fifty copies were published by the author. Berlin: John-Philipp Gather, 2003. Printed by Blasko Copy, Hilden, Germany. On-demand copies are available from UMI Dissertation Services, U.S.A. Copyright by John-Philipp Gather 2003 ii ACKNOWLEDGEMENTS Many persons have contributed to the present work. I would like to name first and foremost my major advisor Christopher Howard Gibbs for his unfailing support and trust throughout the five-year writing period, guiding and accompanying me on my pathways from the initial project to the present study. At the State University of New York at Buffalo, my gratitude goes to Michael Burke, Carole June Bradley, Jim Coover, John Clough, David Randall Fuller, Martha Hyde, Cort Lippe, and Jeffrey Stadelman. Among former graduate music student colleagues, I would like to express my deep appreciation for the help from Laurie Ousley, Barry Moon, Erik Oña, Michael Rozendal, and Matthew Sheehy. A special thanks to Eliav Brand for the many discussion and the new ideas we shared. At the Philips Exeter Academy in New Hampshire, I am grateful to Jacquelyn Thomas, Peter Schulz, and Rohan Smith, who helped this project through a critical juncture. I also extend my warm thanks to Karlheinz Stockhausen, who composed the music at the center of my musicological research.
    [Show full text]