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Madeline Plays Mendelssohn
Madeline Plays Mendelssohn TIMPANOGOS SYMPHONY ORCHESTRA JOHN PEW MUSIC DIRECTOR CELEBRATING Mendelssohn, Violin Concerto 10 YEARS Schubert, Unfinished Symphony February 12 & 13, 2021 7:30 pm Timberline Middle School Concert Program Donna Diana Overture (1894) Emil von Reznicek (1860-1945) Symphony No. 8 “Unfinished” (1822) Franz Schubert (1797-1828) Violin Concerto in E minor, Op. 64 (1845) Felix Mendelssohn (1809-1847) 1. Allegro molto appassionato 2. Andante 3. Allegretto non troppo – Allegro molto vivace Madeline Adkins, violin 1 Violinist Madeline Adkins joined the Utah Symphony as Concertmaster in 2016. Prior to this appointment, she was a member of the Baltimore Symphony Orchestra, performing as Associate Concertmaster for 11 seasons. She was also Concertmaster of the Baltimore Chamber Orchestra from 2008-2016. Adkins performs on the "ex-Chardon" Guadagnini of 1782, graciously loaned by Gabrielle Israelievitch to perpetuate the legacy of her late husband, former Toronto Symphony concertmaster, Jacques Israeliev- itch. She has served as Guest Concertmaster of the Pittsburgh Symphony, the Cincinnati Symphony, the Houston Symphony, the Hong Kong Philharmonic, the Indianapolis Symphony Orchestra, the Grand Teton Music Festival Orchestra, and the Grant Park Symphony Orchestra in Chicago. Adkins has also been a guest artist at numer- ous festivals including the Stellenbosch International Chamber Music Festival in South Africa, the Sarasota Music Festival, Jackson Hole Chamber Music, Music in the Mountains, and the Sewanee Summer Music Festival, as well as a clinician at the National Orchestral Institute, the National Youth Orchestra at Carnegie Hall, and the Haitian Orchestra Institute. In addition, she has served as the Music Director of the NOVA Chamber Music Series in Salt Lake City. -
Curriculum Vitae
Curriculum Vitae Lowell E. Graham 1058 Eagle Ridge El Paso, Texas 79912 Residence Work Home e-mail (915) 581-9741 (915) 747-7825 [email protected] Education Doctor of Musical Arts, Catholic University of America, 1977, Orchestral Conducting Graduate Studies in Music, University of Missouri at Kansas City, summers 1972 and 1973 Master of Arts, University of Northern Colorado, 1971, Clarinet Performance Bachelor of Arts, University of Northern Colorado, 1970, Music Education Military Professional Education Air War College, 1996 Air Command and Staff College, 1983 Squadron Officer School, 1977 Work Experience 2009 to Present Director of Orchestral Activities Music Director, UTEP Symphony Orchestra University of Texas at El Paso El Paso, Texas As the Director or Orchestral Activities I am responsible for the training and development of major orchestral ensembles at the university. I began a tradition of featuring faculty soloists as well as winners of the annual student Concerto Competition, now with an award offered by Olivas Music, providing the orchestra the opportunity to perform significant concerto literature as well as learning the art of accompanying. In 2012, I developed a new chamber orchestra called the “UTEP Virtuosi” focusing on significant string orchestra repertoire. I initiated a concert featuring music in movies and for stage in which that music is presented and integrated via multimedia with lectures and video. It has become the capstone event for the year featuring the artistry of faculty soloists and comments per classical music used in movies and music composed exclusively for that medium. Each year six performances are scheduled. Repertoire for each year covers all eras and styles. -
Concerts Conducted by Carl Schuricht Including Music of Anton Bruckner (1912-1965) Original Source
Concerts conducted by Carl Schuricht including music of Anton Bruckner (1912-1965) Original source : http://carlschuricht.com/concert.htm Important Dates 3 July 1880 : Carl Adolph Schuricht was born at Danzig (Gdansk) into a family of organ-builders. His father, Carl Conrad Schuricht was born on 27 January 1856. He was an organ-builder and worked at his father's factory. He died on 9 June 1880 (3 weeks before his son was born !) when he tried to help an employee fallen into the sea, in the bay of Danzig. His mother, Amanda Ludowika Alwine Wusinowska was a well-known Polish Oratorio singer (1847-1935) . She didn't re-marry after her husband's death. 1886 : Began piano and violin lessons at the age of 6. Studied at the « Friedrichs Realgymnasium » in Berlin. 1891 : Began to compose at the age of 11. 1892 : Studied at the « Königliches Realgymnasium » in Wiesbaden. Written the music and the librettos for 2 Operas. 1895 : Started conducting at the age of 15. 1901-1902 : 1st professional job as « Korrepetitor » at the « Stadttheater » of Mainz. 1902 : Won a composition prize from the Kuszynski Foundation, and awarded a scholarship by Franz von Mendelssohn. Allowed him to continue his studies at the « Berliner Musikhochschule » (« der Königlichten Hochschule für Musik ») under Ernst Rudorff, piano ; Heinrich van Eyken (and not Engelbert Humperdink) , composition ; and, later, Max Reger in Leipzig. His musical compositions were published mostly by Drei-Lilien-Verlag, Berlin. Opus 1 : Piano Sonata in F minor. Opus 2 : « Herbst-Stücke » (Opuscules for autumn) for piano and orchestra. Opus 3 : « Fünf Lieder » (5 Songs) . -
Boll. Tosc. Giugno 2006
2 Uri Caine IN TRINCEA Cari amici, gennaio da Carlo Tenan, con le originali rielabo- razioni sulle Variazioni su un tema di Haendel di comincia un nuovo anno di musica in compa- Brahms con Uri Caine al pianoforte. gnia di Rete Toscana Classica. Tira una brutta Riproponiamo inoltre il ritratto biografico e aria per la cultura, ma vogliamo essere tenace- artistico di Giovanni Battista Lulli realizzato a mente ottimisti e sperare che qualcosa cambi in suo tempo da Sebastiano Bon, un’occasione per meglio per non disperdere il patrimonio più riaccendere l’attenzione su uno dei più importan- grande di questa Nazione, il fondamento della ti compositori toscani di tutti i tempi, creatore nostra civiltà. La musica è parte integrante di dell’opera francese. questo patrimonio e, da parte nostra, faremo di tutto per continuare a essere al vostro fianco e Insieme a tutti i collaboratori di Rete Toscana continuare il nostro servizio. Classica vi auguro un gioioso 2011 ringrazian- Il 6 gennaio trasmetteremo in differita (con dovi per la vostra fedeltà e per il vostro soste- replica il 30 gennaio) il tradizionale «Concerto gno. per l’Europa» organizzato a Capodanno dalla Scuola di Musica di Fiesole e diretto da Nicola Difendiamo insieme la musica e la cultura. Paszkowski. La programmazione del mese pre- Noi non abbasseremo la guardia. vede inoltre due dirette radiofoniche dal Teatro Verdi di Firenze con l’Orchestra della Toscana guidata il 12 gennaio da Thomas Dausgaard Alberto Batisti (con Alessandro Carbonare al clarinetto) e il 21 Direttore artistico -
Regatul Romaniei
RegatulRomaniei file:///C:/Programele%20Mele/IstorieRomania1/RegatulRomaniei/Regat... Regatul României Visul unirii tuturor românilor sub un singur steag a frământat mințile conducătorilor încă din cele mai vechi timpuri, dar alianțele militare și interesele de ordin comercial nu au fost în favoarea simplificării relațiilor dintre diferitele formațiuni statale. În vechime, țările românești au negociat protecția celor două mari imperii ale romanilor, apoi începând cu secolul al XIII-lea au întreținut legături de prietenie și ajutor mutual cu Polonia și Lituania. Din secolul al XV-lea, ca state vasale Imperiului Otoman dar sub protecția directă a Hanatului Crimeei, s-a pus problema formării unui eyalat turcesc comun. Proiectul a fost însă refuzat cu dârzenie, ca urmare a divergențelor de ordin religios. Ca o soluție de compromis, sultanii au permis independența religioasă a celor trei principate, în schimbul dependenței economice. Situația de criză a intervenit o dată cu revoluția și apoi războiul de independență purtat de greci și sârbi. Sub aripa ocrotitoare a Bisericii Ortodoxe Răsăritene, creștinii din toate țările Balcanice au ridicat la început glasul, apoi armele, cerând vehement ieșirea din situația de compromis religios. Ca rezultat, boierii și dragomanii greci au fost maziliți, iar mănăstirile filiale ale celor de la Muntele Athos au fost secularizate. În urma grecilor au rămas nenumăratele lor rude născute din alianțe cu casele boierești autohtone, practic aproape toată crema boierimii. Pentru a umple vidul administrativ rămas s-a hotărât instituirea unei locotenențe domnești, ajutată de o Adunare Constituantă a fruntașilor celor două țări. În ambele principate, toate sufragiile au fost întrunite în anul 1859 de Colonelul Alexandru Ioan Cuza, cu funcția de Ministru de Război, fost deputat de Galați și fost șef al Miliției de la Dunărea de Jos. -
Opera by the Book: Defining Music Theater in the Third Reich
Opera by the Book: Defining Music Theater in the Third Reich The MIT Faculty has made this article openly available. Please share how this access benefits you. Your story matters. Citation Pollock, Emily Richmond. “Opera by the Book: Defining Music Theater in the Third Reich.” The Journal of musicology 35 (2018): 295-335 © 2018 The Author As Published https://dx.doi.org/10.1525/JM.2018.35.3.295 Publisher University of California Press Version Author's final manuscript Citable link https://hdl.handle.net/1721.1/125555 Terms of Use Creative Commons Attribution-Noncommercial-Share Alike Detailed Terms http://creativecommons.org/licenses/by-nc-sa/4.0/ 1 Opera by the Book: Defining Music Theater in the Third Reich EMILY RICHMOND POLLOCK What was “Nazi opera”? Scholars have long critiqued the most common tropes regarding the aesthetics of opera during the Third Reich—Richard Wagner around the clock, enforced militaristic kitsch, neo-Romantic bombast—and rejected the idea that the Reich’s bureaucratic efforts to control culture had as homogenizing an effect on German music as historians once thought.1 These tropes, which strategically alienated “Nazi music” from the historical teleology of Classical music and our common sense of musical “quality,” further enabled other, more pernicious myths to flourish: that great music is always autonomous, not political; that “Nazi” art (debased, instrumentalized) was something obviously distinct from “German” art (great, A version of this essay was first presented at the MIT Works in Progress Series and at the annual meeting of the American Musicological Society in Pittsburgh (November 2013). -
March • April • May Cinema Classics Spring Membership Drive in The
March • April • May Quarter Notes WCPE Radio, The Classical Station • Spring 2020 Cinema Classics Spring Membership Drive In the Gardens of Spain Back to the Baroque Primarily Piano table of contents WCPE Daily Schedule Quarter Notes® Meet Your Host .......................1 Weekdays WCPE’s member magazine From the Editor .......................2 Vol. 42, no. 1 12:00 Sleepers, Awake! with Sherman Wallace March Calendar .......................3 midnight WCPE’s mission is to expand the community of Classical music lovers by sharing Classical music with everyone, 5:30 a.m. Rise and Shine with Phil Davis Campbell everywhere, at any time. We entertain, educate, and April Calendar .........................4 engage our audience with informative announcers, 10:00 a.m. Classical Café with Charles Holloway programs, and publications. We strive to make it easy to May Calendar ..........................5 appreciate and enjoy Great Classical Music. 9:00 a.m.– Final Friday of each month: 10:00 p.m. All-Request Friday Editor: Christina Strobl Romano Spring Highlights .....................6 Designer: Deborah Cruz As You Like It with Nick Robinson 1:00 p.m. Printer: Chamblee Graphics Mondays This Quarter 4:00 p.m. Allegro with Dick Storck WCPE Staff My Life in Music, Renaissance Fare .......8 5:30 p.m. 5:30 waltz Monday Night at the Symphony ............9 Deborah S. Proctor .........................General Manager 7:00 p.m. Mondays through Wednesdays and & Chief Engineer Meet Your Host: Opera House .........................10 Fridays: WCPE Concert Hall -
Wwciguide October 2018.Pdf
From the President & CEO The Guide The Member Magazine Dear Member, for WTTW and WFMT Renée Crown Public Media Center This month, WTTW’s popular restaurant review series Check, Please! returns for a new season 5400 North Saint Louis Avenue with an old friend at the table: host Alpana Singh. Alpana has been busy since we last saw her, Chicago, Illinois 60625 as a successful restaurateur and enthusiastic ambassador for the local restaurant scene. Alpana is eager to shine a spotlight on more local eateries, and we are thrilled to welcome her back Main Switchboard (773) 583-5000 for season 18 on October 26. Join us on wttw.com/checkplease for all the action, including her Member and Viewer Services thoughts on Chicago’s culinary landscape, the changing relationship of people to food, and of (773) 509-1111 x 6 course, food and wine tips! Websites On WTTW11 and wttw.com/watch, explore the city’s creative past and present on our new wttw.com local series and companion website, Art & Design in Chicago. The Great American Read reveals wfmt.com America’s most-loved novel; at wttw.com/read, enjoy stories about Chicago’s literary scene and much more. American Experience takes us to the circus, Sue Perkins to the Ganges, Autumnwatch Publisher Anne Gleason to colorful New England, and The Woman in White to Victorian England. Shakespeare Uncovered Art Director returns with more renowned actors illuminating the Bard’s works. Finally, as Native America Tom Peth premieres, learn about the history, struggles, and contributions of Chicago’s Native Americans WTTW Contributors Julia Maish on wttw.com. -
THE GUIDE 98.7Wfmt Wfmt.Com the Member Magazine for WTTW and WFMT
wttw11 wttw Prime wttw Create wttw World wttw PBS Kids wttw.com THE GUIDE 98.7wfmt wfmt.com The Member Magazine for WTTW and WFMT One of the world’s great spoken-word collections comes to life on May 16. wfmt.com/StudsTerkelRadioArchive May 2018 ALSO INSIDE On WTTW, the highly anticipated new adaptation of Louisa May Alcott’s Little Women premieres on Mother’s Day starring Angela Lansbury and Emily Watson, and follow Sue Perkins as she begins an emotional four-part trek up Southeast Asia’s Mekong River. Air Check The Guide Dear Member, The Member Magazine for This month, WFMT is thrilled to make available free to the public a unique and invaluable resource WTTW and WFMT Renée Crown Public Media Center that has been more than 20 years in the making. On May 16, we will launch the Studs Terkel Radio 5400 North Saint Louis Avenue Archive on wfmt.com. It will be one of the world’s great spoken-word collections, consisting of more Chicago, Illinois 60625 than 5,600 of Studs’s digitized interview programs that originated at WFMT between 1952 and 1997. Join us on wfmt.com on what would have been Studs’s 106th birthday to enjoy 45 years of his revealing Main Switchboard (773) 583-5000 conversations with the celebrated and the unsung…and everyone in between. Member and Viewer Services On WTTW11, dive into an engaging new two-part adaptation of Louisa May Alcott’s Little Women, (773) 509-1111 x 6 which premieres on Mother’s Day and stars Angela Lansbury and Emily Watson. -
UC Berkeley UC Berkeley Electronic Theses and Dissertations
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Opera after Stunde Null Permalink https://escholarship.org/uc/item/8qq8z2m7 Author Pollock, Emily Richmond Publication Date 2012 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Opera after Stunde Null by Emily Richmond Pollock A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Mary Ann Smart, Chair Professor Richard Taruskin Professor Martin Jay Fall 2012 © 2012 Emily Richmond Pollock All Rights Reserved 1 Abstract Opera after Stunde Null by Emily Richmond Pollock Doctor of Philosophy in Music University of California, Berkeley Professor Mary Ann Smart, Chair This dissertation discusses the musical, dramatic, and political implications of postwar German opera through the examination of four case studies: Boris Blacher’s Abstrakte Oper Nr. 1 (1953), Hans Werner Henze’s König Hirsch (1956), Carl Orff’s Oedipus der Tyrann (1959), and Bernd Alois Zimmermann’s Die Soldaten (1965). Both the composers’ musical decisions and the finished works’ critical and musicological reception demonstrate just how urgently the genre of opera was thought to be in crisis. Enabled by the myth of the “Stunde Null” or Zero Hour, many avant-garde composers shunned opera as artistically bankrupt and conservative, preferring instead genres that were less closely tied to the musical past. Opera’s coherence as a genre depended upon the maintenance and renewal of dramatic and musical conventions from eras both immediate and distant – a dependence that became politicized as the boundaries of “new music” were policed. -
Meet the Competitors Repertoire
Meet the Competitors Repertoire 31 Alcee Round Chriss III Selections Preliminary Round Organ Concerto in D Minor, BWV 596 Johann Sebastian Bach (1685–1750) Pelleas et Melisande, Op. 80 Gabriel Fauré transcr. Louis Robilliard (1845–1924) I. Prelude Symphonic Dances, Op. 45 Sergei Rachmaninoff transcr. Alcee Chriss III (1873–1943) I. Non Allegro Final Round Comes Autumn Time Leo Sowerby (1895–1968) Fantaisie Chorale No. 1 in D-Flat Major Percy WhitlocK (1903–1946) Die Walküre: “Ride of the Valkyries” from Act III Richard Wagner transcr. Edwin H. Lemare (1813–1883) Blue Skies Art Tatum transcr. Alcee Chriss III (1909–1956) Alcee Chriss III, 23, has performed throughout the United States and France and is emerging as an Fantasy on B-A-C-H, Op. 46a Max Reger outstanding young concert artist of virtuosity and (1873–1916) versatility. He has won top prizes at international and national competitions, receiving First Prize and Audience Prize in the Miami International Organ Competition (2014), the Albert Schweitzer Organ Competition in Wethersfeld, CT (2013), and the Quimby Regional Competition for Young Organists in Austin, TX (2013). An alumnus of Oberlin Conservatory of Music, Alcee received the Master of Arts degree in historical keyboard and a Bachelor of Arts degree in Organ. He has performed in such venues as the Myerson Symphony Center (Dallas, TX), Kennedy Center, Washington National Cathedral, Caruth Auditorium, and St. Olaf’s Catholic Church, Minneapolis MN, among others. 33 Thomas Round Gaynor Selections Preliminary Round Prelude and Fugue in A minor BWV 543 Johann Sebastian Bach (1685–1750) Vocalise, Op. 34, No. -
Opera After Stunde Null by Emily Richmond Pollock a Dissertation
Opera after Stunde Null by Emily Richmond Pollock A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Mary Ann Smart, Chair Professor Richard Taruskin Professor Martin Jay Fall 2012 © 2012 Emily Richmond Pollock All Rights Reserved 1 Abstract Opera after Stunde Null by Emily Richmond Pollock Doctor of Philosophy in Music University of California, Berkeley Professor Mary Ann Smart, Chair This dissertation discusses the musical, dramatic, and political implications of postwar German opera through the examination of four case studies: Boris Blacher’s Abstrakte Oper Nr. 1 (1953), Hans Werner Henze’s König Hirsch (1956), Carl Orff’s Oedipus der Tyrann (1959), and Bernd Alois Zimmermann’s Die Soldaten (1965). Both the composers’ musical decisions and the finished works’ critical and musicological reception demonstrate just how urgently the genre of opera was thought to be in crisis. Enabled by the myth of the “Stunde Null” or Zero Hour, many avant-garde composers shunned opera as artistically bankrupt and conservative, preferring instead genres that were less closely tied to the musical past. Opera’s coherence as a genre depended upon the maintenance and renewal of dramatic and musical conventions from eras both immediate and distant – a dependence that became politicized as the boundaries of “new music” were policed. Composers of new operas in this era were forced to attempt creative and productive solutions to the problem of how to write an opera in a milieu skeptical of opera’s potential for innovation.