Summer 2014 Boston Symphony Orchestra

Total Page:16

File Type:pdf, Size:1020Kb

Summer 2014 Boston Symphony Orchestra boston symphony orchestra summer 2014 AndRis Nelsons, Ray and MaRia Stata Music DiRectoR Designate BeRnaRd Haitink, LaCRoix Family Fund ConductoR EmeRitus, Endowed in PeRpetuity Seiji Ozawa, Music DiRectoR LauReate 133rd season, 2013–2014 Trustees of the Boston Symphony Orchestra, Inc. Edmund Kelly, Chair • William F. Achtmeyer, Vice-Chair • CaRmine A. MaRtignetti, Vice-Chair • Stephen R. Weber, Vice-Chair • Theresa M. Stone, Treasurer David Altshuler • GeoRge D. Behrakis • Jan BRett • Paul Buttenwieser • Ronald G. Casty • Susan BRedhoff Cohen, ex-officio • RichaRd F. Connolly, JR. • Diddy Cullinane • Cynthia Curme • Alan J. DwoRsky • William R. Elfers • Thomas E. Faust, JR. • Michael GoRdon • BRent L. Henry • ChaRles W. Jack, ex-officio • Stephen B. Kay • Joyce Linde • John M. Loder • Nancy K. Lubin • Robert J. Mayer, M.D. • RobeRt P. O’Block • Susan W. Paine • Peter Palandjian, ex-officio • John Reed • CaRol Reich • Arthur I. Segel • RogeR T. SeRvison • Wendy Shattuck • CaRoline TayloR • Roberta S. Weiner • Robert C. Winters Life Trustees Vernon R. Alden • HaRlan E. Anderson • David B. Arnold, JR. • J.P. BaRger • GabRiella Beranek • Leo L. Beranek • DeboRah Davis Berman • Peter A. BRooke • John F. Cogan, JR. • Mrs. Edith L. Dabney • Nelson J. DaRling, JR. • Nina L. Doggett • Mrs. John H. Fitzpatrick† • Nancy J. Fitzpatrick • Thelma E. Goldberg • ChaRles H. Jenkins, JR. • Mrs. Béla T. Kalman • GeoRge Krupp • Mrs. Henrietta N. Meyer • RichaRd P. MoRse • David MugaR • MaRy S. Newman • Vincent M. O’Reilly • William J. PooRvu • Peter C. Read • EdwaRd I. Rudman • RichaRd A. Smith • Ray Stata • Thomas G. Stemberg • John Hoyt Stookey • Wilmer J. Thomas, JR. • John L. ThoRndike • Stephen R. Weiner • Dr. Nicholas T. Zervas Other Officers of the Corporation MaRk Volpe, Managing Director • Thomas D. May, Chief Financial Officer • BaRt Reidy, Clerk of the Board Board of Overseers of the Boston Symphony Orchestra, Inc. Susan BRedhoff Cohen, Co-Chair • Peter Palandjian, Co-Chair NoubaR Afeyan • Peter C. Andersen • Diane M. Austin • Lloyd AxelRod, M.D. • Judith W. BaRR • Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner • MaRk G. BoRden • PaRtha Bose • KaRen BRessler • Anne F. BRooke • Stephen H. BRown • GregoRy E. Bulger • Joanne M. Burke • RichaRd E. Cavanagh • Dr. LawRence H. Cohn • ChaRles L. Cooney • Ronald A. CRutcher • William CurRy, M.D. • James C. Curvey • Gene D. Dahmen • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Alan Dynner • Philip J. Edmundson • URsula Ehret-Dichter • Joseph F. Fallon • Peter Fiedler • Steven S. Fischman • John F. Fish • SanfoRd Fisher • Jennifer MugaR Flaherty • Alexandra J. Fuchs • Robert Gallery • Levi A. GaRRaway • CoRa H. Ginsberg • Robert R. Glauber • StuaRt HiRshfield • Susan Hockfield • LawRence S. HoRn • Jill HoRnoR • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • DaRlene Luccio JoRdan, Esq. • Paul L. Joskow • Stephen R. KaRp • John L. Klinck, JR. • Peter E. Lacaillade • ChaRles LaRkin • Joshua A. Lutzker • Jay MaRks • Jeffrey E. MaRshall • Robert D. Matthews, JR. • Maureen Miskovic • Robert Mnookin • Paul M. Montrone • Sandra O. Moose • Robert J. MoRRissey • Cecile Higginson Murphy • Joseph J. O’Donnell • Joseph Patton • Programs copyright ©2014 Boston Symphony Orchestra, Inc. Cover photo by John Ferrillo Donald R. Peck • Steven R. Perles • Ann M. Philbin • Wendy PhilbRick • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan PooRvu • Dr. John Thomas Potts, JR. • William F. Pounds • ClaiRe PryoR • James M. Rabb, M.D. • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. CaRmichael Roberts • Graham Robinson • Susan Rothenberg • Joseph D. Roxe • Kenan Sahin • Malcolm S. Salter • Kurt W. SaRaceno • Diana Scott • Donald L. ShapiRo • Phillip A. ShaRp, Ph.D. • Christopher SmallhoRn • Michael B. SpoRn, M.D. • Nicole Stata • MaRgery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • MaRk D. Thompson • Albert Togut • Joseph M. Tucci • Robert A. Vogt • David C. Weinstein • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Dr. Michael Zinner • D. BRooks Zug Overseers Emeriti Helaine B. Allen • MaRjoRie Arons-BaRRon • CaRoline Dwight Bain • Sandra BakalaR • GeoRge W. BerRy • William T. Burgin • Mrs. Levin H. Campbell • EaRle M. Chiles • CaRol FeinbeRg Cohen • MRs. James C. Collias • Ranny CoopeR • Joan P. CuRhan • Phyllis CuRtin • TamaRa P. Davis • Mrs. Miguel de BRagança • Paul F. Deninger • JoAnneWalton Dickinson • Phyllis Dohanian • HaRRiett Eckstein • GeoRge Elvin • John P. Eustis II • Pamela D. EverhaRt • Judy Moss Feingold • RichaRd Fennell • MyRna H. FReedman • Mrs. James GaRivaltis • Dr. Arthur Gelb • Robert P. Gittens • JoRdan Golding • MaRk R. Goldweitz • Michael Halperson • John Hamill • DeboRah M. Hauser • CaRol Henderson • Mrs. RichaRd D. Hill • Roger Hunt • Lola Jaffe • Martin S. Kaplan • MRs. GoRdon F. Kingsley • Robert I. KleinbeRg • David I. Kosowsky • Robert K. Kraft • FaRla H. Krentzman • Benjamin H. Lacy • Mrs. William D. LaRkin • Robert J. Lepofsky • Edwin N. London • FRederick H. Lovejoy, JR. • Diane H. Lupean • Mrs. HaRRy L. MaRks • Joseph B. MaRtin, M.D. • Joseph C. McNay • Albert Merck • Dr. MaRtin C. Mihm, JR. • John A. Perkins • May H. Pierce • Dr. Tina Young Poussaint • Daphne BRooks Prout • Robert E. Remis • John Ex Rodgers • Alan W. Rottenberg • Roger A. Saunders • Lynda Anne Schubert • L. Scott Singleton • Gilda Slifka • Samuel ThoRne • Diana Osgood Tottenham • Paul M. VerRochi • James Westra • Mrs. Joan D. Wheeler • MaRgaRet Williams-DeCelles • RichaRd Wurtman, M.D. † Deceased Tanglewood The Tanglewood Festival On August 13, 15, and 16, 1936, the Boston Symphony Orchestra gave its fiRst concerts in the BeRkshiRe Hills of westeRn Massachusetts; music diRectoR SeRge Koussevitzky conducted. But those outdooR concerts, attended by a total of 15,000 people, did not take place at Tanglewood: the oRchestRa peRfoRmed neaRby undeR a laRge tent at Holmwood, a foRmer Vanderbilt estate that later became The Center at Foxhollow. In fact, the fiRst BerkshiRe Symphonic Festival had taken place two summers eaRlier, at Interlaken, when, oRganized by a group of music-loving BerkshiRe summer Residents, three outdooR concerts were given by members of the New YoRk PhilhaRmonic, under the diRection of composer/conductoR Henry Hadley. But after a second concert series in 1935, plans foR 1936 pRoved difficult, foR Reasons including Hadley’s health and aspects of the musical programming; so the oRganizing committee instead approached Koussevitzky and the BSO’s TRustees, whose enthusiastic Response led to the BSO’s fiRst concerts in the BerkshiRes. In the winter of 1936, following the BSO’s concerts that summer, Mrs. GoRham BRooks and Miss MaRy Aspinwall Tappan offered Tanglewood, the Tappan family estate, with its buildings and 210 acRes of lawns and meadows, as a gift to Koussevitzky and the oRchestRa. The offeR was gRatefully accepted, a two-weekend festival was planned foR 1937, and on August 5 that yeaR, the festival’s laRgest crowd to date assembled under a tent foR the fiRst Tanglewood concert, an all-Beethoven program. At the all-Wagner concert that opened the 1937 festival’s second weekend, Rain and thundeR twice inteRRupted the Rienzi OveRtuRe and necessitated the omission altogetheR of the Siegfried Idyll, music too gentle to be heaRd through the downpour. At the inter- mission, Miss GeRtRude Robinson Smith, one of the festival’s foundeRs, made an appeal to Raise funds foR the building of a permanent structure. The appeal was bRoadened by means of a printed ciRculaR handed out at the two Remaining concerts, and within a shoRt time enough money was Raised to begin active planning foR a “music pavilion.” Eliel SaaRinen, the eminent aRchitect selected by Koussevitzky, proposed an elaboRate design that went faR beyond the festival’s immediate needs, and also well beyond the $100,000 budget. When his second, simplified plans were again deemed too expensive, A banner advertising the 1939 Berkshire Symphonic Festival (BSO Archives) he finally wRote that if the TRustees insisted on Remaining within theiR budget, they would have “just a shed...which any buildeR could accomplish without the aid of an aRchitect.” The TRustees then asked StockbRidge engineeR Joseph FRanz to simplify SaaRinen’s plans fuRtheR, and the “Shed” he eRected—which Remains, with modifica- tions, to this day—was inaugurated on August 4, 1938, with the fiRst concert of that yeaR’s festival. It has Resounded to the music of the Boston Symphony Orchestra every summer since, except foR the waR yeaRs 1942-45, and has become almost a place of pilgrimage to millions of concertgoers. In 1959, as the Result of a collaboRa- tion between the acoustical consultant Bolt Beranek and Newman and aRchi- tect EeRo SaaRinen and Associates, the installation of the then-unique Edmund Hawes Talbot ORchestRa Canopy, along with otheR impRove- After the storm of August 12, 1937, which precipitated a fundraising drive ments, produced the Shed’s present for the construction of the Tanglewood Shed (BSO Archives) woRld-famous acoustics. In 1988, on the occasion of its fiftieth anniveRsaRy, the Shed was Rededicated as “The SeRge Kous- sevitzky Music Shed,” Recognizing the faR-Reaching vision of the BSO’s legendaRy music diRectoR. In 1940, the BerkshiRe Music Center (now the Tanglewood Music Center) began its operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small studios weRe finished, and the festival had so expanded its activities
Recommended publications
  • WXXI Program Guide | May 2021
    WXXI-TV | WORLD | CREATE | WXXI KIDS 24/7 | WXXI NEWS | WXXI CLASSICAL | WRUR 88.5 SEE CENTER PAGES OF CITY PROGRAMPUBLIC TELEVISION & PUBLIC RADIO FOR ROCHESTER LISTINGSFOR WXXI SHOW MAY/EARLY JUNE 2021 HIGHLIGHTS! WXXI-TV DAYTIME SCHEDULE MAY/EARLY JUNE PLEASE NOTE: WXXI-TV’s daytime schedule listed here runs from 6:00am to 7:00pm. The complete prime time television schedule begins on page 2. Saturday The PBS Kids programs below are shaded in gray. 6:00am Mister Roger’s Neighborhood 6:30am Arthur 7vam Molly of Denali Monday-Friday 7:30am Wild Kratts 6:00am Ready Jet Go! 8:00am Hero Elementary 6:30am Arthur 8:30am Xavier Riddle and the Secret Museum 7:00am Molly of Denali 9:00am Curious George 7:30am Wild Kratts 9:30am A Wider World 8:00am Hero Elementary 10:00am This Old House 8:30am Xavier Riddle and the Secret Museum 10:30am Ask This Old House 9:00am Curious George 11:00am Woodsmith Shop 9:30am Daniel Tiger’s Neighborhood 11:30am Ciao Italia 10:00am Donkey Hodie 12:00pm Lidia’s Kitchen 10:30am Elinor Wonders Why 12:30pm Christopher Kimball’s Milk Street Television 11:00am Sesame Street 1:00pm The Great British Baking Show 11:30am Pinkalicious & Peterrific 2:00pm America’s Test Kitchen 12:00pm Dinosaur Train 2:30pm Cook’s Country 12:30pm Clifford the Big Red Dog 3:00pm Second Opinion with Joan Lunden (WXXI) 1:00pm Sesame Street 3:30pm Rick Steves’ Europe 1:30pm Donkey Hodie 2:00pm Daniel Tiger’s Neighborhood Sunday 2:30pm Let’s Go Luna! 6:00am Mister Roger’s Neighborhood 3:00pm Nature Cat 6:30am Arthur 3:30pm Wild Kratts 7:00am Molly
    [Show full text]
  • Juilliard Orchestra Marin Alsop, Conductor Daniel Ficarri, Organ Daniel Hass, Cello
    Saturday Evening, January 25, 2020, at 7:30 The Juilliard School presents Juilliard Orchestra Marin Alsop, Conductor Daniel Ficarri, Organ Daniel Hass, Cello SAMUEL BARBER (1910–81) Toccata Festiva (1960) DANIEL FICARRI, Organ DMITRI SHOSTAKOVICH (1906–75) Cello Concerto No. 2 in G major, Op. 126 (1966) Largo Allegretto Allegretto DANIEL HASS, Cello Intermission CHRISTOPHER ROUSE (1949–2019) Processional (2014) JOHANNES BRAHMS (1833–97) Symphony No. 2 in D major, Op. 73 (1877) Allegro non troppo Adagio non troppo Allegretto grazioso Allegro con spirito Performance time: approximately 1 hour and 50 minutes, including an intermission This performance is made possible with support from the Celia Ascher Fund for Juilliard. The taking of photographs and the use of recording equipment are not permitted in this auditorium. Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving). Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. Juilliard About the Program the organ’s and the orchestra’s full ranges. A fluid approach to rhythm and meter By Jay Goodwin provides momentum and bite, and intricate passagework—including a dazzling cadenza Toccata Festiva for the pedals that sets the organist’s feet SAMUEL BARBER to dancing—calls to mind the great organ Born: March 9, 1910, in West Chester, music of the Baroque era. Pennsylvania Died: January 23, 1981, in New York City Cello Concerto No. 2 in G major, Op. 126 DMITRI SHOSTAKOVICH In terms of scale, pipe organs are Born: September 25, 1906, in Saint Petersburg different from every other type of Died: August 9, 1975, in Moscow musical instrument, and designing and assembling a new one can be a challenge There are several reasons that of architecture and engineering as complex Shostakovich’s Cello Concerto No.
    [Show full text]
  • NOT JUST to WIN AUDITIONS: PLAYING ORCHESTRAL PERCUSSION EXCERPTS for PEDAGOGY and ENRICHMENT by Richard David Puzzo, Jr a Docum
    Not Just to Win Auditions: Playing Orchestral Percussion Excerpts for Pedagogy and Enrichment Item Type text; Electronic Dissertation Authors Puzzo, Richard D., Jr. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 08/10/2021 18:57:28 Link to Item http://hdl.handle.net/10150/623254 NOT JUST TO WIN AUDITIONS: PLAYING ORCHESTRAL PERCUSSION EXCERPTS FOR PEDAGOGY AND ENRICHMENT By Richard David Puzzo, Jr Copyright © Richard Puzzo, Jr. 2017 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2017 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Richard David Puzzo, Jr., titled “Not Just to Win Auditions: Playing Orchestral Percussion Excerpts for Pedagogy and Enrichment” and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. _____________________________________________ Date: December 7, 2016 Norman Weinberg _____________________________________________ Date: December 7, 2016 Edward Reid _____________________________________________ Date: December 7, 2016 Moisés Paiewonsky Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement.
    [Show full text]
  • Sounding Nostalgia in Post-World War I Paris
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Sounding Nostalgia In Post-World War I Paris Tristan Paré-Morin University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Paré-Morin, Tristan, "Sounding Nostalgia In Post-World War I Paris" (2019). Publicly Accessible Penn Dissertations. 3399. https://repository.upenn.edu/edissertations/3399 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3399 For more information, please contact [email protected]. Sounding Nostalgia In Post-World War I Paris Abstract In the years that immediately followed the Armistice of November 11, 1918, Paris was at a turning point in its history: the aftermath of the Great War overlapped with the early stages of what is commonly perceived as a decade of rejuvenation. This transitional period was marked by tension between the preservation (and reconstruction) of a certain prewar heritage and the negation of that heritage through a series of social and cultural innovations. In this dissertation, I examine the intricate role that nostalgia played across various conflicting experiences of sound and music in the cultural institutions and popular media of the city of Paris during that transition to peace, around 1919-1920. I show how artists understood nostalgia as an affective concept and how they employed it as a creative resource that served multiple personal, social, cultural, and national functions. Rather than using the term “nostalgia” as a mere diagnosis of temporal longing, I revert to the capricious definitions of the early twentieth century in order to propose a notion of nostalgia as a set of interconnected forms of longing.
    [Show full text]
  • National Endowment for the Arts Annual Report 1982
    Nat]onal Endowment for the Arts National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1982. Respectfully, F. S. M. Hodsoll Chairman The President The White House Washington, D.C. March 1983 Contents Chairman’s Statement 3 The Agency and Its Functions 6 The National Council on the Arts 7 Programs 8 Dance 10 Design Arts 30 Expansion Arts 46 Folk Arts 70 Inter-Arts 82 International 96 Literature 98 Media Arts: Film/Radio/Television 114 Museum 132 Music 160 Opera-Musical Theater 200 Theater 210 Visual Arts 230 Policy, Planning and Research 252 Challenge Grants 254 Endowment Fellows 259 Research 261 Special Constituencies 262 Office for Partnership 264 Artists in Education 266 State Programs 272 Financial Summary 277 History of Authorizations and Appropriations 278 The descriptions of the 5,090 grants listed in this matching grants, advocacy, and information. In 1982 Annual Report represent a rich variety of terms of public funding, we are complemented at artistic creativity taking place throughout the the state and local levels by state and local arts country. These grants testify to the central impor­ agencies. tance of the arts in American life and to the TheEndowment’s1982budgetwas$143million. fundamental fact that the arts ate alive and, in State appropriations from 50 states and six special many cases, flourishing, jurisdictions aggregated $120 million--an 8.9 per­ The diversity of artistic activity in America is cent gain over state appropriations for FY 81.
    [Show full text]
  • For Release: Tk, 2013
    FOR RELEASE: January 23, 2013 SUPPLEMENT CHRISTOPHER ROUSE, The Marie-Josée Kravis COMPOSER-IN-RESIDENCE WORLD PREMIERE of SYMPHONY NO. 4 at the NY PHIL BIENNIAL New York Premiere of REQUIEM To Open Spring For Music Festival at Carnegie Hall New York Premiere of OBOE CONCERTO with Principal Oboe Liang Wang RAPTURE at Home and on ASIA / WINTER 2014 Tour Rouse To Advise on CONTACT!, the New-Music Series, Including New Partnership with 92nd Street Y ____________________________________ “What I’ve always loved most about the Philharmonic is that they play as though it’s a matter of life or death. The energy, excitement, commitment, and intensity are so exciting and wonderful for a composer. Some of the very best performances I’ve ever had have been by the Philharmonic.” — Christopher Rouse _______________________________________ American composer Christopher Rouse will return in the 2013–14 season to continue his two- year tenure as the Philharmonic’s Marie-Josée Kravis Composer-in-Residence. The second person to hold the Composer-in-Residence title since Alan Gilbert’s inaugural season, following Magnus Lindberg, Mr. Rouse’s compositions and musical insights will be highlighted on subscription programs; in the Philharmonic’s appearance at the Spring For Music festival; in the NY PHIL BIENNIAL; on CONTACT! events; and in the ASIA / WINTER 2014 tour. Mr. Rouse said: “Part of the experience of music should be an exposure to the pulsation of life as we know it, rather than as people in the 18th or 19th century might have known it. It is wonderful that Alan is so supportive of contemporary music and so involved in performing and programming it.” 2 Alan Gilbert said: “I’ve always said and long felt that Chris Rouse is one of the really important composers working today.
    [Show full text]
  • Graduate Recital: Chun-Ming Chen, Conductor Chun-Ming Chen
    Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 2-6-2011 Graduate Recital: Chun-Ming Chen, conductor Chun-Ming Chen Ithaca College Symphony Orchestra Follow this and additional works at: http://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Chen, Chun-Ming and Ithaca College Symphony Orchestra, "Graduate Recital: Chun-Ming Chen, conductor" (2011). All Concert & Recital Programs. 18. http://digitalcommons.ithaca.edu/music_programs/18 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Ithaca College Symphony Orchestra Graduate Recital Chun-Ming Chen, conductor Ford Hall Sunday, February 6, 2011 8:15 p.m. Program Tragic Overture, Op. 81 (1880) Johannes Brahms (1833-1897) Piano Concerto in A minor, Op. 16 (1869) Edvard Grieg I - Allegro molto moderato (1843-1907) Rapture (2000) Christopher Rouse (1949) Biographies Chun-Ming Chen, conductor Born in Taiwan, Chun-Ming Chen (Jimmy) is currently studying orchestral conducting at Ithaca College with Dr. Jeffery Meyer. While in Ithaca, he has conducted the Ithaca College Symphony and Chamber Orchestras, Cornell Symphony Orchestra, and is the co-director of the Ithaca College Sinfonietta. Mr. Chen received his Master of Music degree from Boston Conservatory in 2008, where he served as assistant to Bruce Hangen. In September 2007, he was appointed as Director of the Massachusetts Institute of Technology Chinese Choral Society. While in Boston, Mr. Chen also conducted the Boston Conservatory Symphony Orchestra, Boston Conservatory Wind Ensemble, Massachusetts Institute of Technology Chinese Choral Society, Greater Boston Chinese Cultural Association Choral Society, and Chorus Boston.
    [Show full text]
  • Production Database Updated As of 25Nov2020
    American Composers Orchestra Works Performed Workshopped from 1977-2020 firstname middlename lastname Date eventype venue work title suffix premiere commission year written Michael Abene 4/25/04 Concert LGCH Improv ACO 2004 Muhal Richard Abrams 1/6/00 Concert JOESP Piano Improv Earshot-JCOI 19 Muhal Richard Abrams 1/6/00 Concert JOESP Duet for Violin & Piano Earshot-JCOI 19 Muhal Richard Abrams 1/6/00 Concert JOESP Duet for Double Bass & Piano Earshot-JCOI 19 Muhal Richard Abrams 1/9/00 Concert CH Tomorrow's Song, as Yesterday Sings Today World 2000 Ricardo Lorenz Abreu 12/4/94 Concert CH Concierto para orquesta U.S. 1900 John Adams 4/25/83 Concert TULLY Shaker Loops World 1978 John Adams 1/11/87 Concert CH Chairman Dances, The New York ACO-Goelet 1985 John Adams 1/28/90 Concert CH Short Ride in a Fast Machine Albany Symphony 1986 John Adams 12/5/93 Concert CH El Dorado New York Fromm 1991 John Adams 5/17/94 Concert CH Tromba Lontana strings; 3 perc; hp; 2hn; 2tbn; saxophone1900 quartet John Adams 10/8/03 Concert CH Christian Zeal and Activity ACO 1973 John Adams 4/27/07 Concert CH The Wound-Dresser 1988 John Adams 4/27/07 Concert CH My Father Knew Charles Ives ACO 2003 John Adams 4/27/07 Concert CH Violin Concerto 1993 John Luther Adams 10/15/10 Concert ZANKL The Light Within World 2010 Victor Adan 10/16/11 Concert MILLR Tractus World 0 Judah Adashi 10/23/15 Concert ZANKL Sestina World 2015 Julia Adolphe 6/3/14 Reading FISHE Dark Sand, Sifting Light 2014 Kati Agocs 2/20/09 Concert ZANKL Pearls World 2008 Kati Agocs 2/22/09 Concert IHOUS
    [Show full text]
  • Olivier Messiaen's Personal Expression of Faith in His Major Solo and Chamber Works with Piano from 1940 to 1944
    Graduate Theses, Dissertations, and Problem Reports 2012 Olivier Messiaen's Personal Expression of Faith in His Major Solo and Chamber Works with Piano from 1940 to 1944 Marie Arlou C. Borillo West Virginia University Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Borillo, Marie Arlou C., "Olivier Messiaen's Personal Expression of Faith in His Major Solo and Chamber Works with Piano from 1940 to 1944" (2012). Graduate Theses, Dissertations, and Problem Reports. 4835. https://researchrepository.wvu.edu/etd/4835 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Olivier Messiaen’s Personal Expression of Faith in His Major Solo and Chamber Works with Piano from 1940 to 1944 Marie Arlou C. Borillo Dissertation submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Piano Performance Keith Jackson, D.M.A.
    [Show full text]
  • February 22, 2012 SUPPLEMENT CHRISTOPHER ROUSE
    FOR RELEASE: February 22, 2012 SUPPLEMENT CHRISTOPHER ROUSE THE 2012–13 MARIE-JOSÉE KRAVIS COMPOSER-IN-RESIDENCE First Season of Two-Year Term: WORLD PREMIERE, SEEING, PHANTASMATA Advisory Role on CONTACT!, with WORLD, U.S., AND NEW YORK PREMIERES, Led by JAYCE OGREN and ALAN GILBERT _____________________________________ “I just love the Philharmonic musicians: I love working with them, and they play my music with incredible commitment. As a kid in Baltimore I grew up with their recordings, and then, of course, I also heard them on the Young People’s Concerts on television. I’ve always had a special feeling for the Philharmonic because the musicians have always played like they really meant it, with such energy and commitment; and when I got older and wrote music that they played, they did it the same way. I’m thrilled to be able to work with them more closely.” — Christopher Rouse _______________________________________ Christopher Rouse has been named The Marie-Josée Kravis Composer-in-Residence at the Philharmonic, and will begin his two-year tenure in the 2012–13 season. He is the second composer to hold this title, following the tenure of Magnus Lindberg. The Pulitzer Prize- and Grammy Award-winning American composer will be represented by three works with the Philharmonic this season in concerts conducted by Alan Gilbert: Phantasmata, February 21 and 22, 2013; a World Premiere–New York Philharmonic Commission, April 17–20, 2013, which will also be taken on the EUROPE / SPRING 2013 tour; and the reprise of Seeing for Piano and Orchestra (commissioned by the Philharmonic and premiered in 1999), June 20–22, 2013, performed by Emanuel Ax, the 2012–13 Mary and James G.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 119
    S E I J I O Z A W A MUSIC Dl R ECTO R * *r u u -- w la BQS TO N <_' M-Tiir—H i>— 'ts^c»»-- YMPHONY TESTRA IV 1* 3^ J >' . <i , ^ Yx 1QQQ-20U SEASON m 'JGV&V . iifUB96fsi\SBi1l Ju p-m .*;.•. • Bring your Steinway: ^iJn&f^&dB^i SH9B £99 ftU H r*i nl ^5 raj C$8 BB **CSv 1111tr/SBl Wft/i /7(w p/tfHS /row acre gated community atop I * 1 if* 2,100 to 5,000 square feet, prestigious Fisher Hill IBB 1 -4 8? bW3I |H -A> 1 «£[i you can bring your Concert Jointly marketed by Sotheby's • v* V . 1 wSi - 1 Grand to Longyear. International Realty and bbbbb^Bf 1 Hi Bfcg .••**-i *Djjy You 11 be enjoying full-service, Hammond Residential Real Estate. » < mnn^H tU EbbbbbbbI BBB BB r*2*». <* single-floor condominium living at Priced from $1,400,000. ill V BBl Pa ?f^tla( Efl^srvrf £SnA >»'i3 its absolute finest all harmoniously Call Hammond Real Estate at qkS mi nfit *lr SlSS ^« located on an extraordinary eight- 731-4644, ext 410. Kp '^.CyS (617) H 1 jUm£' TSW 1 ISIl J<*S uJme BEI jSbbbSHI BBj ttLZMt ' 1 t^ |PKJt£ rtw^ CTJspt flSj BJ '^**v£5 BBB^ttBl LONGYEAR rftrTh v*v-H>''^\1k f$Xsp •xJK ^8 bbbvAWIH * *» > H a/ Lr/sner Jiill S& BROOKLINE \ B^L^LH 1 • ,*/* ^*$£j Bh HflH fci/TE li PrEJj fSm SlawS a^ySwaNi fjySjji jjBJy >k''s *! {MR ^>»~#*5S$Z, • '.?-v.
    [Show full text]
  • JAMES D. BABCOCK, MBA, CFA, CPA 191 South Salem Road  Ridgefield, Connecticut 06877 (203) 994-7244  [email protected]
    JAMES D. BABCOCK, MBA, CFA, CPA 191 South Salem Road Ridgefield, Connecticut 06877 (203) 994-7244 [email protected] List of Addendums First Addendum – Middle Ages Second Addendum – Modern and Modern Sub-Categories A. 20th Century B. 21st Century C. Modern and High Modern D. Postmodern and Contemporary E. Descrtiption of Categories (alphabetic) and Important Composers Third Addendum – Composers Fourth Addendum – Musical Terms and Concepts 1 First Addendum – Middle Ages A. The Early Medieval Music (500-1150). i. Early chant traditions Chant (or plainsong) is a monophonic sacred form which represents the earliest known music of the Christian Church. The simplest, syllabic chants, in which each syllable is set to one note, were probably intended to be sung by the choir or congregation, while the more florid, melismatic examples (which have many notes to each syllable) were probably performed by soloists. Plainchant melodies (which are sometimes referred to as a “drown,” are characterized by the following: A monophonic texture; For ease of singing, relatively conjunct melodic contour (meaning no large intervals between one note and the next) and a restricted range (no notes too high or too low); and Rhythms based strictly on the articulation of the word being sung (meaning no steady dancelike beats). Chant developed separately in several European centers, the most important being Rome, Hispania, Gaul, Milan and Ireland. Chant was developed to support the regional liturgies used when celebrating Mass. Each area developed its own chant and rules for celebration. In Spain and Portugal, Mozarabic chant was used, showing the influence of North Afgican music. The Mozarabic liturgy survived through Muslim rule, though this was an isolated strand and was later suppressed in an attempt to enforce conformity on the entire liturgy.
    [Show full text]