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Bernsteincelebrating More Sides of the Story
BernsteinCelebrating More Sides of the Story Wednesday 17 October 2018, 7.45pm Holy Trinity Sloane Square, SW1 Chichester Psalms Missa Brevis Choral Suite from West Side Story London Concert Choir Conductor Mark Forkgen Tickets £25 (under-25s £15) to include a programme and interval drink. Box Office (020) 7730 4500, www.cadoganhall.com and at the door A collection will be held in aid of The Royal Marsden Cancer Charity One of the most talented and successful musicians in American history, Leonard Bernstein was not only a composer, but also a conductor, pianist, educator and humanitarian. His versatility as a composer is brilliantly illustrated in this concert to celebrate the centenary of his birth. The Dean of Chichester commissioned the Psalms for the 1965 Southern Cathedrals Festival with the request that the music should contain ‘a hint of West Side Story.’ Bernstein himself described the piece as ‘forthright, songful, rhythmic, youthful.’ Performed in Hebrew and drawing on jazz rhythms and harmonies, the Psalms Music Director: include an exuberant setting of ‘O be joyful In the Lord all Mark Forkgen ye lands’ (Psalm 100) and a gentle Psalm 23, ‘The Lord is my shepherd’, as well as some menacing material cut Nathan Mercieca from the score of the musical. countertenor In 1988 Bernstein revisited the incidental music in Richard Pearce medieval style that he had composed in 1955 for organ The Lark, Anouilh’s play about Joan of Arc, and developed it into the vibrant Missa Brevis for unaccompanied choir, countertenor soloist and percussion. Anneke Hodnett harp After three contrasting solo songs, the concert is rounded off with a selection of favourite numbers from Sacha Johnson and West Side Story, including Tonight, Maria, I Feel Pretty, Alistair Marshallsay America and Somewhere. -
LCOM182 Lent & Eastertide
LITURGICAL CHORAL AND ORGAN MUSIC Lent, Holy Week, and Eastertide 2018 GRACE CATHEDRAL 2 LITURGICAL CHORAL AND ORGAN MUSIC GRACE CATHEDRAL SAN FRANCISCO LENT, HOLY WEEK, AND EASTERTIDE 2018 11 MARCH 11AM THE HOLY EUCHARIST • CATHEDRAL CHOIR OF MEN AND BOYS LÆTARE Introit: Psalm 32:1-6 – Samuel Wesley Service: Collegium Regale – Herbert Howells Psalm 107 – Thomas Attwood Walmisley O pray for the peace of Jerusalem - Howells Drop, drop, slow tears – Robert Graham Hymns: 686, 489, 473 3PM CHORAL EVENSONG • CATHEDRAL CAMERATA Responses: Benjamin Bachmann Psalm 107 – Lawrence Thain Canticles: Evening Service in A – Herbert Sumsion Anthem: God so loved the world – John Stainer Hymns: 577, 160 15 MARCH 5:15PM CHORAL EVENSONG • CATHEDRAL CHOIR OF MEN AND BOYS Responses: Thomas Tomkins Psalm 126 – George M. Garrett Canticles: Third Service – Philip Moore Anthem: Salvator mundi – John Blow Hymns: 678, 474 18 MARCH 11AM THE HOLY EUCHARIST • CATHEDRAL CHOIR OF MEN AND BOYS LENT 5 Introit: Psalm 126 – George M. Garrett Service: Missa Brevis – Giovanni Pierluigi da Palestrina Psalm 51 – T. Tertius Noble Anthem: Salvator mundi – John Blow Motet: The crown of roses – Pyotr Ilyich Tchaikovsky Hymns: 471, 443, 439 3PM CHORAL EVENSONG • CATHEDRAL CAMERATA Responses: Thomas Tomkins Psalm 51 – Jeffrey Smith Canticles: Short Service – Orlando Gibbons Anthem: Aus tiefer Not – Felix Mendelssohn Hymns: 141, 151 3 22 MARCH 5:15PM CHORAL EVENSONG • CATHEDRAL CHOIR OF MEN AND BOYS Responses: William Byrd Psalm 103 – H. Walford Davies Canticles: Fauxbourdons – Thomas -
Leonard Bernstein's Piano Music: a Comparative Study of Selected Works
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2018 Leonard Bernstein's Piano Music: A Comparative Study of Selected Works Leann Osterkamp The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2572 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] LEONARD BERNSTEIN’S PIANO MUSIC: A COMPARATIVE STUDY OF SELECTED WORKS by LEANN OSTERKAMP A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2018 ©2018 LEANN OSTERKAMP All Rights Reserved ii Leonard Bernstein’s Piano Music: A Comparative Study of Selected Works by Leann Osterkamp This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts. Date Ursula Oppens Chair of Examining Committee Date Norman Carey Executive Director Supervisory Committee Dr. Jeffrey Taylor, Advisor Dr. Philip Lambert, First Reader Michael Barrett, Second Reader THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Leonard Bernstein’s Piano Music: A Comparative Study of Selected Works by Leann Osterkamp Advisor: Dr. Jeffrey Taylor Much of Leonard Bernstein’s piano music is incorporated in his orchestral and theatrical works. The comparison and understanding of how the piano works relate to the orchestral manifestations validates the independence of the piano works, provides new insights into Bernstein’s compositional process, and presents several significant issues of notation and interpretation that can influence the performance practice of both musical versions. -
Composition Catalog
1 LEONARD BERNSTEIN AT 100 New York Content & Review Boosey & Hawkes, Inc. Marie Carter Table of Contents 229 West 28th St, 11th Floor Trudy Chan New York, NY 10001 Patrick Gullo 2 A Welcoming USA Steven Lankenau +1 (212) 358-5300 4 Introduction (English) [email protected] Introduction 8 Introduction (Español) www.boosey.com Carol J. Oja 11 Introduction (Deutsch) The Leonard Bernstein Office, Inc. Translations 14 A Leonard Bernstein Timeline 121 West 27th St, Suite 1104 Straker Translations New York, NY 10001 Jens Luckwaldt 16 Orchestras Conducted by Bernstein USA Dr. Kerstin Schüssler-Bach 18 Abbreviations +1 (212) 315-0640 Sebastián Zubieta [email protected] 21 Works www.leonardbernstein.com Art Direction & Design 22 Stage Kristin Spix Design 36 Ballet London Iris A. Brown Design Boosey & Hawkes Music Publishers Limited 36 Full Orchestra Aldwych House Printing & Packaging 38 Solo Instrument(s) & Orchestra 71-91 Aldwych UNIMAC Graphics London, WC2B 4HN 40 Voice(s) & Orchestra UK Cover Photograph 42 Ensemble & Chamber without Voice(s) +44 (20) 7054 7200 Alfred Eisenstaedt [email protected] 43 Ensemble & Chamber with Voice(s) www.boosey.com Special thanks to The Leonard Bernstein 45 Chorus & Orchestra Office, The Craig Urquhart Office, and the Berlin Library of Congress 46 Piano(s) Boosey & Hawkes • Bote & Bock GmbH 46 Band Lützowufer 26 The “g-clef in letter B” logo is a trademark of 47 Songs in a Theatrical Style 10787 Berlin Amberson Holdings LLC. Deutschland 47 Songs Written for Shows +49 (30) 2500 13-0 2015 & © Boosey & Hawkes, Inc. 48 Vocal [email protected] www.boosey.de 48 Choral 49 Instrumental 50 Chronological List of Compositions 52 CD Track Listing LEONARD BERNSTEIN AT 100 2 3 LEONARD BERNSTEIN AT 100 A Welcoming Leonard Bernstein’s essential approach to music was one of celebration; it was about making the most of all that was beautiful in sound. -
Leonard Bernstein
chamber music with a modernist edge. His Piano Sonata (1938) reflected his Leonard Bernstein ties to Copland, with links also to the music of Hindemith and Stravinsky, and his Sonata for Clarinet and Piano (1942) was similarly grounded in a neoclassical aesthetic. The composer Paul Bowles praised the clarinet sonata as having a "tender, sharp, singing quality," as being "alive, tough, integrated." It was a prescient assessment, which ultimately applied to Bernstein’s music in all genres. Bernstein’s professional breakthrough came with exceptional force and visibility, establishing him as a stunning new talent. In 1943, at age twenty-five, he made his debut with the New York Philharmonic, replacing Bruno Walter at the last minute and inspiring a front-page story in the New York Times. In rapid succession, Bernstein Leonard Bernstein photo © Susech Batah, Berlin (DG) produced a major series of compositions, some drawing on his own Jewish heritage, as in his Symphony No. 1, "Jeremiah," which had its first Leonard Bernstein—celebrated as one of the most influential musicians of the performance with the composer conducting the Pittsburgh Symphony in 20th century—ushered in an era of major cultural and technological transition. January 1944. "Lamentation," its final movement, features a mezzo-soprano He led the way in advocating an open attitude about what constituted "good" delivering Hebrew texts from the Book of Lamentations. In April of that year, music, actively bridging the gap between classical music, Broadway musicals, Bernstein’s Fancy Free was unveiled by Ballet Theatre, with choreography by jazz, and rock, and he seized new media for its potential to reach diverse the young Jerome Robbins. -
INAUGURAL CONCERT Wolfgang Amadeus Mozart: MISSA BREVIS in D, K194, Classics & Spirituals
The Choral Foundation in the Midwest Presents the INAUGURAL CONCERT Wolfgang Amadeus Mozart: MISSA BREVIS IN D, K194, Classics & Spirituals The Summer Singers of Lee’s Summit & Chamber Orchestra Lynn Swanson & William O. Baker, DMA, Music Directors Steven McDonald, DMA, Organist Christine Freeman, soprano Jamea Sale, alto David White, tenor Michael Carter, bass Sunday Afternoon, 27 July 2014 St. Paul’s Episcopal Church Lee’s Summit, Missouri www.FestivalSingers.org The Summer Singers of Lee’s Summit William O. Baker, DMA Joseph Alsman Jennie Murphy Co-Music Director, Lee’s Summit David Armstrong Taura Owens Founder of the Choral Foundation Frances Armstrong Rebecca Palmer Nikki L. Banister Marjorie Peterson Lynn Swanson Michael Barnes Ruth Ann Phares Co- Music Director, Lee’s Summit Executive Associate of the Choral Foundation Toni Boehm Bruce Quaile *Jocelyn Botkin Charlotte Reynolds Christine Freeman Bridget Brown Carol Rothwell Associate Music Director/Senior Vocal Coach Mary K. Burrington Carole Runnenberger Darryl Chamberlain Vaughn Scarcliff Scott C. Smith Donna Chavez *Jim Schrock Choral Associate & Administrator, Atlanta Rachel Cheslik *Cindy Sheets Carl Chinnery Sarah Spilman Jamea Sale Amy Chinnery-Valmassei Nancy Stacy-Barrows Choral Assistant, Kansas City Carolyn Conner Joseph M. Steffen Charles Nelson Helen Darby Sandra Strawn Director, Northwest Georgia Summer Singers Pat DeMonbrun *Stephanie Sullivan Suzanne Fischer Lessie J. Thompson Amy Thropp Kenneth M. Frashier Don Thomson Director, Zimria Festivale Atlanta Linda Rene -
Celebrating Bernstein Flyer.Pdf
BernsteinCelebrating More Sides of the Story Wednesday 17 October 2018, 7.45pm Holy Trinity Sloane Square, SW1 Chichester Psalms Missa Brevis Choral Suite from West Side Story London Concert Choir Conductor Mark Forkgen Tickets £25 (under-25s £15) to include a programme and interval drink. Box Office (020) 7730 4500, www.cadoganhall.com and at the door One of the most talented and successful musicians in American history, Leonard Bernstein was not only a composer, but also a conductor, pianist, educator and humanitarian. His versatility as a composer is brilliantly illustrated in this concert to celebrate the centenary of his birth. The Dean of Chichester commissioned the Psalms for the 1965 Southern Cathedrals Festival with the request that the music should contain ‘a hint of West Side Story.’ Bernstein himself described the piece as ‘forthright, songful, rhythmic, youthful.’ Performed in Hebrew and Music Director: drawing on jazz rhythms and harmonies, the Psalms Mark Forkgen include an exuberant setting of ‘O be joyful In the Lord all ye lands’ (Psalm 100) and a gentle Psalm 23, ‘The Lord Nathan Mercieca is my shepherd’, as well as some menacing material cut countertenor from the score of the musical. Richard Pearce In 1988 Bernstein revisited the incidental music in organ medieval style that he had composed in 1955 for The Lark, Anouilh’s play about Joan of Arc, and developed Daniel de-Fry it into the vibrant Missa Brevis for unaccompanied choir, harp countertenor soloist and percussion. After three contrasting solo songs, the concert is Sacha Johnson and rounded off with a selection of favourite numbers from Alistair Marshallsay West Side Story, including Tonight, Maria, I Feel Pretty, percussion America and Somewhere. -
Psalms Devotionals
Read Psalm 1 For the LORD knows the way of the righteous, but the way of the wicked will perish. Psalms 1:6 When our family moved to Memphis from Missouri, all I had to go on for directions was Mapquest. So as we were getting closer to our new home, I turned off on the exit that the website had given, which I soon regretted. We must have arrived in the same Memphis ghetto that inspired Elvis to write his song. It was congested and difficult to get the U- haul through some of traffic that we were encountering. After finally arriving at our apartment, my brother-in-law who was following us in his car suggested that next time I just look at a map instead of blindly trusting a website. Have you ever just taken someone’s word on the right way to go? Unfortunately, we live in a society of know-it-alls. In an effort to appear more important or smarter than they really are, some people are willing to simply say whatever comes into their head. I would like to tell you this is an epidemic amongst the lost only, but there are plenty of believers who get wrapped up in self-importance and can lead us astray. Believers have to remember that when man is confused, God is not. Surround yourself with godly people who can give you counsel, but remember that ultimately God’s going to reveal His will for your life to you. This verse says that God knows the way of the righteous and it literally means He "approves" it. -
MUSIC at MOUNT CARMEL
Twenty-seventh Sunday in Ordinary Time Second Sunday of Advent ABOUT THE PARISH October 7, 2018 December 9, 2018 Our Lady of Mount Carmel, the founding parish of all the English speaking congregations on the North Shore of Chicago, was Music of Healey Willan Music of William Ferris for harp and choir established in 1886. The present Indiana limestone structure Missa Brevis #1 Missa Adventus was built in 1913 in English Gothic style. The motif of the Blessed Art Thou, O Lord & O Sacred Feast On Jordan's Bank & Long is Our Winter exterior design is imitated in the Carrara marble work in the In salutari tuo anima mea, Gregorian chant Jerusalem surge, Gregorian chant sanctuary. A notable feature of the church is the splendid opalescent stained glass. The fine ribbed vault ceiling and dark Twenty-eighth Sunday in Ordinary Time Third Sunday of Advent oak woodwork further enhance the building’s warm ambience. October 14, 2018 December 16, 2018 Music of Thomas Luis da Victoria Missa Octavi Toni, Orlando di Lassus ABOUT THE MUSIC PROGRAM Missa "O Quam Gloriosum est Regnum" Rejoice in the Lord, anonymous Music has always played an important role in the liturgical life of the parish, and this tradition flourishes to this day. With a rich Jesu Dulcis Memoria & Tantum Ergo O Sacrum Convivium, Thomas Weelkes legacy of musical leadership including Adalbert Huguelet and Aufer a me opprobrium et contemptum, Gregorian Chant Gaudete in Domino semper, chant William Ferris that continues under the guidance of Paul French, the assembly has an opportunity to worship with music from the Twenty-ninth Sunday in Ordinary Time Fourth Sunday of Advent rich heritage of the Catholic Church, and is an active participant MUSIC at October 21, 2018 December 23, 2018 in all the liturgies through spirited singing of psalms, chants, (The Morning Choir and Treble Choir) Missa Emmanuel, Richard Proulx acclamations, hymns and songs. -
Leonard Bernstein (1918-1990) 1 1
AMERICAN CLASSICS BERNSTEIN Symphony No. 3 ‘Kaddish’ Claire Bloom, Narrator Kelley Nassief, Soprano The São Paulo Symphony Choir The Maryland State Boychoir The Washington Chorus Baltimore Symphony Orchestra Marin Alsop Missa Brevis (1988) 10:31 Leonard Bernstein (1918-1990) 1 1. Kyrie 0:54 Missa Brevis • Symphony No. 3 ‘Kaddish’ • The Lark 2 2. Gloria 2:52 3 3. Sanctus 1:17 In the original version of Leonard Bernstein’s Symphony Symphony Orchestra celebrating the orchestra’s 75th No. 3, the speaker – reciting words that no doubt came anniversary in 1955. The mid-fifties were a remarkably 4 4. Benedictus 1:22 directly from the composer’s heart – proclaims, “As long busy time for Bernstein – between 1953 and 1957 he 5 5. Agnus Dei 1:57 as I sing, I shall live.” Singers, both solo and choral, figure composed a film score, incidental music for The Lark, 6 6. Dona nobis pacem 2:09 prominently in many of Bernstein’s works; clearly he three musicals and a violin concerto. He also assumed considered the human voice one of the most expressive musical directorship of the New York Philharmonic in Symphony No. 3 ‘Kaddish’ (Original version, 1963) 42:32 instruments in a composer’s arsenal. This program 1958, so the delay in composing the symphony was not 7 Ia. Invocation 3:15 features three examples of his vocal art. surprising. He began work in earnest during the summer 8 Ib. Kaddish 1 4:58 Bernstein first considered turning the choruses he of 1961 on Martha’s Vineyard, and continued during the 9 IIa. -
May 2018 Volume 46, No
May 2018 Volume 46, No. 4 Spring Orgy® Period 95.3 FM N WHRB PROGRAM GUIDE Wednesday, May 2 noon COMMONWEALTH HIP HOP Spring Orgy® Period Hip hop is the defining trend in modern world music. But world rap music is, at present, divided. Commonwealth nations have an enduring history of English, and this colors their music May, 2018 to a substantial degree. Nations never colonized by the English Empire make hip hop that sounds substantially different. We explore the hip hop traditions of countries like Jamaica, Canada, Tuesday, May 1 India, South Africa, Northern Ireland and Nigeria. In some cases, this will involve examining the way American rap music 12:00 am ORCHID TAPES and foreign rap cultures influenced each other. In others, it means 5:00 am THE DISCOGRAPHY OF FRED HERSCH Fred Hersch is one of the greatest jazz pianists of his taking a closer look at how the English language has shaped generation. Yet what makes him especially interesting is his world history, even for songs and artists using other languages. extraordinary versatility. With collaborators including Stan Getz, 5:00 am PROFESSOR LONGHAIR AND THE Bill Frisell, Dawn Upshaw, Joshua Bell, and Audra McDonald, NEW ORLEANS BLUES Hersch refuses to limit himself and his playing to one genre. We Down in New Orleans, the Blues is done differently. explore many of Hersch’s solo albums, as well as albums he has Certainly, any one alive can tell you what it is to have the Blues, collaborated on, in a celebration of his virtuosic and technical but it takes a different kind of touch to weave the feeling with abilities rhumba, paint it bold with calypso and lay it down with mambo. -
The Secularization of the Repertoire of the Mormon Tabernacle Choir, 1949-1992
THE SECULARIZATION OF THE REPERTOIRE OF THE MORMON TABERNACLE CHOIR, 1949-1992 Mark David Porcaro A dissertation submitted to the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music (Musicology) Chapel Hill 2006 Approved by Advisor: Thomas Warburton Reader: Severine Neff Reader: Philip Vandermeer Reader: Laurie Maffly-Kipp Reader: Jocelyn Neal © 2006 Mark David Porcaro ALL RIGHTS RESERVED ii ABSTRACT MARK PORCARO: The Secularization of the Repertoire of the Mormon Tabernacle Choir, 1949-1992 (Under the direction of Thomas Warburton) In 1997 in the New Yorker, Sidney Harris published a cartoon depicting the “Ethel Mormon Tabernacle Choir” singing “There’s NO business like SHOW business...” Besides the obvious play on the names of Ethel Merman and the Mormon Tabernacle Choir, the cartoon, in an odd way, is a true-to-life commentary on the image of the Salt Lake Mormon Tabernacle Choir (MTC) in the mid-1990s; at this time the Choir was seen as an entertainment ensemble, not just a church choir. This leads us to the central question of this dissertation, what changes took place in the latter part of the twentieth century to secularize the repertoire of the primary choir for the Church of Jesus Christ of Latter-day Saints (LDS)? In the 1860s, when the MTC began, its sole purpose was to perform for various church meetings, in particular for General Conference of the LDS church which was held in the Tabernacle at Temple Square in Salt Lake City. From the beginning of the twentieth century and escalating during the late 1950s to the early 1960s, the Choir’s role changed from an in-house choir for the LDS church to a choir that also fulfilled a cultural and entertainment function, not only for the LDS church but also for the American public at large.