DOCSLIB.ORG

Tchaikovsky Serenade Saturday, January 9, 2021 7:30 PM Livestreamed from Universal Preservation Hall Saratoga Springs, New York

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Tchaikovsky Serenade Saturday, January 9, 2021 7:30 PM Livestreamed from Universal Preservation Hall Saratoga Springs, New York Tchaikovsky Serenade Saturday, January 9, 2021 7:30 PM Livestreamed from Universal Preservation Hall Saratoga Springs, New York David Alan Miller, conductor Welcome to the Albany Symphony’s 2020-21 Season Re-Imagined! The one thing I have missed more than anything else during the past few months has been spending time with you and our brilliant Albany Symphony musicians, discovering, exploring, and celebrating great musical works together. Our musicians and I are thrilled to be back at work, bringing you established masterpieces and gorgeous new works in the comfort and convenience of your own home. Originally conceived to showcase triumph over adversity, inspired by the example of Beethoven and his big birthday in December, our season’s programming continues to shine a light on the ways musical visionaries create great art through every season of life. We hope that each program uplifts and inspires you, and brings you some respite from the day-to-day worries of this uncertain world. It is always an honor to stand before you with our extraordinarily gifted musicians, even if we are now doing it virtually. Thank you so much for being with us; we have a glorious season of life- affirming, deeply moving music ahead. David Alan Miller Heinrich Medicus Music Director Tchaikovsky Serenade Saturday, January 9, 2021 | 7:30 PM Livestreamed from Universal Preservation Hall David Alan Miller, conductor Jean Sibelius Andante Festivo (1865-1957) Jessie Montgomery Banner (b. 1981) George Walker Lyric for Strings (1922-2018) Caroline Shaw Entr’acte (b. 1982) Pyotr Ilyich Tchaikovsky Serenade for String Orchestra in C major, Op. 48 (1840-1893) I. Pezzo in forma di Sonatina II. Walzer III. Élégie IV. Finale (Tema Russo) Concert Talks Sponsor: TCHAIKOVSKY SERENADE - ORCHESTRA ROSTER VIOLIN I VIOLA Jamecyn Morey Daniel Brye Paula Oakes Dana Huyge Amanda Brin Ting-Ying Chang-Chien Sooyeon Kim Hannah Levinson Kae Nakano CELLO VIOLIN II Erica Pickhardt Mitsuko Suzuki Susan Debronsky Emily Frederick Hikaru Tamaki Harriet Welther Ouisa Fohrhaltz BASS Bradley Aikman Luke Baker Taylor Abbitt Tchaikovsky Serenade – Program Notes The title of tonight’s concert may allude to Tchaikovsky (and you can’t go wrong with Tchaikovsky), but isn’t it great that the new year is kicking off with new sounds? Even though we know the music of Sibelius, there are probably few who are familiar with this particular work. And what a pleasure it will be to hear the 20th- and 21st century voices of Montgomery, Shaw, and Walker. Welcome, MMXXI! Jessie Montgomery Jessie Montgomery is an acclaimed composer, violinist, and educator. She is the recipient of the Leonard Bernstein Award from the ASCAP Foundation, and her works are performed frequently around the world by leading musicians and ensembles. Her music interweaves classical music with elements of vernacular music, improvisation, language, and social justice, placing her squarely as one of the most relevant interpreters of 21st-century American sound and experience. Her profoundly felt works have been described as “turbulent, wildly colorful and exploding with life” (The Washington Post). Photo by Jiyang Chen Jessie was born and raised in Manhattan’s Lower East Side in the 1980s during a time when the neighborhood was at a major turning point in its history. Artists gravitated to the hotbed of artistic experimentation and community development. Her parents – her father a musician, her mother a theater artist and storyteller – were engaged in the activities of the neighborhood and regularly brought Jessie to rallies, performances, and parties where neighbors, activists, and artists gathered to celebrate and support the movements of the time. It is from this unique experience that Jessie has created a life that merges composing, performance, education, and advocacy. Since 1999, Jessie has been affiliated with The Sphinx Organization, which supports young African- American and Latinx string players. She currently serves as composer-in-residence for the Sphinx Virtuosi, the Organization’s flagship professional touring ensemble. She was a two-time laureate of the annual Sphinx Competition and was awarded a generous MPower grant to assist in the development of her debut album, Strum: Music for Strings (Azica Records). She has received additional grants and awards from the ASCAP Foundation, Chamber Music America, American Composers Orchestra, the Joyce Foundation, and the Sorel Organization. Her growing body of work includes solo, chamber, vocal, and orchestral works. Some recent highlights include Five Slave Songs (2018) commissioned for soprano Julia Bullock by the Metropolitan Museum of Art, Records from a Vanishing City (2016) for the Orpheus Chamber Orchestra, Caught by the Wind (2016) for the Albany Symphony and the American Music Festival, and Banner (2014) – written to mark the 200th anniversary of The Star-Spangled Banner – for The Sphinx Organization and the Joyce Foundation. In the 2019-20 season, new commissioned works will be premiered by the Orpheus Chamber Orchestra, the National Choral Society, and ASCAP Foundation. Jessie is also teaming up with composer-violinist Jannina Norpoth to reimagine Scott Joplin’s opera Treemonisha; it is being produced by Volcano Theatre and co-commissioned by Washington Performing Arts, Stanford University, Southbank Centre (London), National Arts Centre (Ottawa), and the Banff Centre for the Arts. Additionally, the Philharmonia Orchestra, Atlanta Symphony, Dallas Symphony, Minnesota Orchestra, and San Francisco Symphony will all perform Montgomery’s works this season. The New York Philharmonic has selected Jessie as one of the featured composers for their Project 19, which marks the centennial of the ratification of the 19th Amendment, granting equal voting rights in the United States to women. Other forthcoming works include a nonet inspired by the Great Migration, told from the perspective of Montgomery’s great-grandfather William McCauley and to be performed by Imani Winds and the Catalyst Quartet; a cello concerto for Thomas Mesa jointly commissioned by Carnegie Hall, New World Symphony, and The Sphinx Organization; and a new orchestral work for the National Symphony. Jessie began her violin studies, at the Third Street Music School Settlement, one of the oldest community organizations in the country. A founding member of PUBLIQuartet and currently a member of the Catalyst Quartet, she continues to maintain an active performance career as a violinist appearing regularly with her own ensembles, as well as with the Silkroad Ensemble and Sphinx Virtuosi. Jessie’s teachers and mentors include Sally Thomas, Ann Setzer, Alice Kanack, Joan Tower, Derek Bermel, Mark Suozzo, Ira Newborn, and Laura Kaminsky. She holds degrees from the Juilliard School and New York University and is currently a Graduate Fellow in Music Composition at Princeton University. Banner – Jessie Montgomery Banner is a tribute to the 200th Anniversary of the Star Spangled Banner, which was officially declared the American National Anthem in 1814 under the penmanship of Francis Scott Key. Scored for solo string quartet and string orchestra, Banner is a rhapsody on the theme of the Star Spangled Banner. Drawing on musical and historical sources from various world anthems and patriotic songs, I’ve made an attempt to answer the question: “What does an anthem for the 21st century sound like in today’s multi-cultural environment?” In 2009, I was commissioned by the Providence String Quartet and Community MusicWorks to write Anthem: A tribute to the historical election of Barack Obama. In that piece I wove together the theme from the Star Spangled Banner with the commonly named Black National Anthem Lift Every Voice and Sing by James Weldon Johnson (which coincidentally share the exact same phrase structure). Banner picks up where Anthem left off by using a similar backbone source in its middle section, but expands further both in the amount of references and also in the role play of the string quartet as the individual voice working both with and against the larger community of the orchestra behind them. The structure is loosely based on traditional marching band form where there are several strains or contrasting sections, preceded by an introduction, and I have drawn on the drum line chorus as a source for the rhythmic underpinning in the finale. Within the same tradition, I have attempted to evoke the breathing of a large brass choir as it approaches the climax of the “trio” section. A variety of other cultural Anthems and American folk songs and popular idioms interact to form various textures in the finale section, contributing to a multi- layered fanfare. The Star Spangled Banner is an ideal subject for exploration in contradictions. For most Americans the song represents a paradigm of liberty and solidarity against fierce odds, and for others it implies a contradiction between the ideals of freedom and the realities of injustice and oppression. As a culture, it is my opinion that we Americans are perpetually in search of ways to express and celebrate our ideals of freedom — a way to proclaim, “we’ve made it!” as if the very action of saying it aloud makes it so. And for many of our nation’s people, that was the case: through work songs and spirituals, enslaved Africans promised themselves a way out and built the nerve to endure the most abominable treatment for the promise of a free life. Immigrants from Europe, Central America and the Pacific have sought out a safe haven here and though met with the trials of building a multi-cultured democracy, continue to find rooting in our nation and make significant contributions to our cultural landscape. In 2014, a tribute to the U.S. National Anthem means acknowledging the contradictions, leaps and bounds, and milestones that allow us to celebrate and maintain the tradition of our ideals. - Jessie Montgomery Jean Sibelius The career of Finnish composer Jean Sibelius (1865-1957) was curious. Despite the fact that he lived longer than, say, Camille Saint-Saëns and Richard Strauss, both of whom lived into their 80s, he did not continue composing music until the end, as they did.
Load more

Recommended publications
  • William Burnet Tuthill Collection
    WILLIAM BURNET TUTHILL COLLECTION William Burnet Tuthill Collection Guide Overview: Repository: Inclusive Dates: Carnegie Hall Archives – 1891 - 1920 Storage Room Creator: Extent: William Burnet Tuthill 1 box, 42 folders; 1 Scrapbook (10 X 15 X 3.5), 5 pages + 1 folder; 44 architectural drawings Summary / Abstract: William Burnet Tuthill is the architect of Carnegie Hall. He was an amateur cellist, the secretary of the Oratorio Society, and an active man in the music panorama of New York. The Collection includes the questionnaires he sent to European theaters to investigate about other theaters and hall, a scrapbook with clippings of articles and lithographs of his works, and a series of architectural drawings for the Hall and its renovations. Access and restriction: This collection is open to on-site access. Appointments must be made with Carnegie Hall Archives. Due to the fragile nature of the Scrapbook, consultation could be restricted by archivist’s choice. To publish images of material from this collection, permission must be obtained in writing from the Carnegie Hall Archives Collection Identifier & Preferred citation note: CHA – WBTC – Q (001-042) ; CHA – WBTC – S (001-011) ; CHA – AD (001-044) William Burnet Tuthill Collection, Personal Collections, Carnegie Hall Archives, NY Biography of William Burnet Tuthill William Burnet Tuthill born in Hoboken, New Jersey, in 1855. He was a professional architect as well as passionate and amateur musician, a good cellist, and an active man in the music scene of New York. He studied at College of the City of New York in 1875 and after receiving the Master of Arts degree, started his architectural career in Richard Morris Hunt’s atelier (renowned architect recognized for the main hall and the façade of the Metropolitan Museum on Fifth Avenue, the Charity Home on Amsterdam Avenue – now the Hosteling International Building- and the pedestal of the Statue of Liberty).
    [Show full text]
  • Singapore Dance Theatre Launches 25 Season with Coppélia
    ARTISTIC DIRECTOR | JANEK SCHERGEN FOR IMMEDIATE RELEASE MEDIA CONTACT Melissa Tan Publicity and Advertising Executive [email protected] Joseph See Acting Marketing Manager [email protected] Office: (65) 6338 0611 Fax: (65) 6338 9748 www.singaporedancetheatre.com Singapore Dance Theatre Launches 25th Season with Coppélia 14 - 17 March 2013 at the Esplanade Theatre As Singapore Dance Theatre (SDT) celebrates its 25th Silver Anniversary, the Company is proud to open its 2013 season with one of the most well-loved comedy ballets, Coppélia – The Girl with Enamel Eyes. From 14 – 17 March at the Esplanade Theatre, SDT will mesmerise audiences with this charming and sentimental tale of adventure, mistaken identity and a beautiful life-sized doll. A new staging by Artistic Director Janek Schergen, featuring original choreography by Arthur Saint-Leon, Coppélia is set to a ballet libretto by Charles Nuittier, with music by Léo Delibes. Based on a story by E.T.A. Hoffman, this three-act ballet tells the light-hearted story of the mysterious Dr Coppélius who owns a beautiful life-sized puppet, Coppélia. A village youth named Franz, betrothed to the beautiful Swanilda becomes infatuated with Coppélia, not knowing that she just a doll. The magic and fun begins when Coppélia springs to life! Coppélia is one of the most performed and favourite full-length classical ballets from SDT’s repertoire. This colourful ballet was first performed by SDT in 1995 with staging by Colin Peasley of The Australian Ballet. Following this, the production was revived again in 1997, 2001 and 2007. This year, Artistic Director Janek Schergen will be bringing this ballet back to life with a new staging.
    [Show full text]
  • Finding Aid for Bolender Collection
    KANSAS CITY BALLET ARCHIVES BOLENDER COLLECTION Bolender, Todd (1914-2006) Personal Collection, 1924-2006 44 linear feet 32 document boxes 9 oversize boxes (15”x19”x3”) 2 oversize boxes (17”x21”x3”) 1 oversize box (32”x19”x4”) 1 oversize box (32”x19”x6”) 8 storage boxes 2 storage tubes; 1 trunk lid; 1 garment bag Scope and Contents The Bolender Collection contains personal papers and artifacts of Todd Bolender, dancer, choreographer, teacher and ballet director. Bolender spent the final third of his 70-year career in Kansas City, as Artistic Director of the Kansas City Ballet 1981-1995 (Missouri State Ballet 1986- 2000) and Director Emeritus, 1996-2006. Bolender’s records constitute the first processed collection of the Kansas City Ballet Archives. The collection spans Bolender’s lifetime with the bulk of records dating after 1960. The Bolender material consists of the following: Artifacts and memorabilia Artwork Books Choreography Correspondence General files Kansas City Ballet (KCB) / State Ballet of Missouri (SBM) files Music scores Notebooks, calendars, address books Photographs Postcard collection Press clippings and articles Publications – dance journals, art catalogs, publicity materials Programs – dance and theatre Video and audio tapes LK/January 2018 Bolender Collection, KCB Archives (continued) Chronology 1914 Born February 27 in Canton, Ohio, son of Charles and Hazel Humphries Bolender 1931 Studied theatrical dance in New York City 1933 Moved to New York City 1936-44 Performed with American Ballet, founded by
    [Show full text]
  • Discover the World of Linn Records
    CKD 220 ALSO AVAILABLE FROM LINN RECORDS BY SCOTTISH CHAMBER ORCHESTRA FELIX MENDELSSOHN WOLFGANG AMADEUS JOHANNES BRAHMS Violin Concerto MOZART Violin Concerto Symphony No.3 ‘Scottish’ Requiem Hungarian Dances Hebrides Overture Adagio & Fugue – CKD 224 (SACD) – – CKD 216 (SACD) – – CKD 211 (SACD) – @ www.linnrecords.com discover the world of linn records Linn Records, Glasgow Road, Waterfoot, Glasgow G76 0EQ, UK t: +44 (0)141 303 5027/29 f: +44 (0)141 303 5007 e: [email protected] a soaring but seemingly unattainable joy, this mitigated little against the overall Jean Sibelius impression of a relentless underlying force”. [The Guardian, London]. He continues his relationship with the Orchestra, returning regularly over forthcoming seasons. Pelleas and Melisande Swensen is a regular guest conductor with many of the world’s major 1. At the Castle Gate 2. Melisande orchestras, and appearances in recent seasons have included the London 3. At the Seashore 4. A Spring in the Park Philharmonic, BBC Symphony, Hallé, Bournemouth Symphony, City of Birmingham 5. The Three Blind Sisters 6. Pastorale Symphony, Orchestre National du Capitole de Toulouse, Mozarteum, Staatsorchester 7. Melisande at the Spinning-Wheel Stuttgart, Real Orquestra Sinfonica de Sevilla, and, in North America, the Los Angeles 8. Entr’acte 9. The Death of Melisande Philharmonic, Saint Paul Chamber, Saint Louis, Dallas, Indianapolis and Toronto Symphony Orchestras. Kuolema Before deciding to dedicate himself solely to his conducting career, Joseph 10. Valse Triste Swensen enjoyed a highly-successful career as a professional violinist, appearing as a soloist with the world’s major orchestras. Nowadays his occasional appearances as a Belshazzar’s Feast violin soloist are a natural extension of his work as a conductor, playing and directing 11.
    [Show full text]
  • Gräsbeck 2017.5236 Words
    Which of Sibelius’s 379 miniatures are remarkable? Folke Gräsbeck "Auch kleine Dinge können uns entzücken…" (Paul Heyse) Reckoning that Sibelius’s compositions amount to circa 600 separate pieces (youth works included, fragments omitted), we have to consider that roughly more than half of them are miniatures. I have calculated that nearly 380 original, separate pieces last less than 4 minutes. If we reject only Sibelius’s miniatures, we omit practically half his production. ‘I am a man of the orchestra᾿, Sibelius proclaimed. Needless to say, his successful orchestral works, generally regarded as national monuments in Finland, are impressive frescos; nonetheless, these large-scale pieces are full of carefully elaborated details. What about the painstakingly worked-out details in his small works? Do they lack credibility because they are included in miniatures? Sibelius ‘forged᾿ the motifs and melodies in the small pieces no less carefully, sometimes referring to his miniatures as his ‘suffering pieces᾿ or 'pain pieces'[1]. Probably he would not have referred to them in this way if he had not valued them highly. The designation ‘salon piece’ is clumsy as applied to Sibelius’s miniatures. Very few of them were purposely composed as standard salon music – they are all too refined and abstract, and lack the lax and redundant reiterations so typical of such pieces. Perhaps the Valse lyrique, Op. 96a, approaches a real salon piece, but the material soars far above standard salon vocabulary, the lyrical sections, for example, revealing remarkable intimacy and character. Nowadays, it is common to employ the designation ‘Salon music’ in a pejorative sense.
    [Show full text]
  • HHH Collections Management Database V8.0
    HENRY HUDSON PARKWAY HAER NY-334 Extending 11.2 miles from West 72nd Street to Bronx-Westchester NY-334 border New York New York County New York WRITTEN HISTORICAL AND DESCRIPTIVE DATA HISTORIC AMERICAN ENGINEERING RECORD National Park Service U.S. Department of the Interior 1849 C Street NW Washington, DC 20240-0001 HISTORIC AMERICAN ENGINEERING RECORD HENRY HUDSON PARKWAY HAER No. NY-334 LOCATION: The Henry Hudson Parkway extends from West 72nd Street in New York City, New York, 11.2 miles north to the beginning of the Saw Mill River Parkway at Westchester County, New York. The parkway runs along the Hudson River and links Manhattan and Bronx counties in New York City to the Hudson River Valley. DATES OF CONSTRUCTION: 1934-37 DESIGNERS: Henry Hudson Parkway Authority under direction of Robert Moses (Emil H. Praeger, Chief Engineer; Clinton F. Loyd, Chief of Architectural Design); New York City Department of Parks (William H. Latham, Park Engineer); New York State Department of Public Works (Joseph J. Darcy, District Engineer); New York Central System (J.W. Pfau, Chief Engineer) PRESENT OWNERS: New York State Department of Transportation; New York City Department of Transportation; New York City Department of Parks and Recreation; Metropolitan Transit Authority; Amtrak; New York Port Authority PRESENT USE: The Henry Hudson Parkway is part of New York Route 9A and is a linear park and multi-modal scenic transportation corridor. Route 9A is restricted to non-commercial vehicles. Commuters use the parkway as a scenic and efficient alternative to the city’s expressways and local streets. Visitors use it as a gateway to Manhattan, while city residents use it to access the Hudson River Valley, located on either side of the Hudson River.
    [Show full text]
  • [email protected] DAVID ROBERTSON to RETURN
    FOR IMMEDIATE RELEASE April 21, 2016 Contact: Katherine E. Johnson (212) 875-5718; [email protected] DAVID ROBERTSON TO RETURN TO NEW YORK PHILHARMONIC Conducting Works by ELGAR, John WILLIAMS, and HOLST PRINCIPAL TUBA ALAN BAER TO MAKE NEW YORK PHILHARMONIC SOLO DEBUT Performing JOHN WILLIAMS’s Tuba Concerto Saturday Matinee Concert To Feature Prokofiev’s Quintet Music by VERY YOUNG COMPOSERS from Afghanistan, Syria, Netherlands, and New York City Performed by Philharmonic Musicians May 26–28, 2016 David Robertson will return to the New York Philharmonic to conduct John Williams’s Tuba Concerto, featuring Principal Tuba Alan Baer in his Philharmonic solo debut; Holst’s The Planets; and Elgar’s Introduction and Allegro. “This piece has such a sound track quality to it; that’s what really drew me into it,” Alan Baer said. “E.T. is very visible. It could fit right into the movie. In the third movement you hear a lot of fanfare — like The Empire Strikes Back.” Alan Baer will perform John Williams’s Tuba Concerto on an F tuba he helped create. The New York Times recently wrote of Alan Baer’s performance with the Philharmonic in Mahler’s Symphony No. 6, led by Semyon Bychkov in February 2016: “Alan Baer, the tuba player, deserves mention … having provided a firm, sonorous basis for those lovely brass chorales.” John Williams’s music will be heard earlier in the week when he is honored at the New York Philharmonic Spring Gala, A John Williams Celebration, May 24, 2016, with the Orchestra performing music from the Oscar-winning film composer’s iconic scores, led by David Newman, along with clips from select films.
    [Show full text]
  • The Balanchine Trust: Dancing Through the Steps of Two-Part Licensing
    Volume 6 Issue 2 Article 2 1999 The Balanchine Trust: Dancing through the Steps of Two-Part Licensing Cheryl Swack Follow this and additional works at: https://digitalcommons.law.villanova.edu/mslj Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Cheryl Swack, The Balanchine Trust: Dancing through the Steps of Two-Part Licensing, 6 Jeffrey S. Moorad Sports L.J. 265 (1999). Available at: https://digitalcommons.law.villanova.edu/mslj/vol6/iss2/2 This Article is brought to you for free and open access by Villanova University Charles Widger School of Law Digital Repository. It has been accepted for inclusion in Jeffrey S. Moorad Sports Law Journal by an authorized editor of Villanova University Charles Widger School of Law Digital Repository. Swack: The Balanchine Trust: Dancing through the Steps of Two-Part Licen THE BALANCHINE TRUST: DANCING THROUGH THE STEPS OF TWO-PART LICENSING CHERYL SWACK* I. INTRODUCTION A. George Balanchine George Balanchine,1 "one of the century's certifiable ge- * Member of the Florida Bar; J.D., University of Miami School of Law; B. A., Sarah Lawrence College. This article is dedicated to the memory of my mother, Allegra Swack. 1. Born in 1904 in St. Petersburg, Russia of Georgian parents, Georgi Melto- novich Balanchivadze entered the Imperial Theater School at the Maryinsky Thea- tre in 1914. See ROBERT TRAcy & SHARON DELONG, BALANci-NE's BALLERINAS: CONVERSATIONS WITH THE MUSES 14 (Linden Press 1983) [hereinafter TRAcY & DELONG]. His dance training took place during the war years of the Russian Revolution.
    [Show full text]
  • National Register of Historic Places Inventory -- Nomination Form
    National Historic Landmark: Literature, Form No. 10-300 (Rev. 10-74) ^^ Drama and Music UNITED STATES DEPARlRNT OF THE INTERIOR NATIONAL PARK SERVICE NATIONAL REGISTER OF HISTORIC PLACES INVENTORY -- NOMINATION FORM SEE INSTRUCTIONS IN HOW TO COMPLETE NATIONAL REGISTER FORMS _____________TYPE ALL ENTRIES -- COMPLETE APPLICABLE SECTIONS______ | NAME HISTORIC Carnegie Hall__________________________________________ AND/OR COMMON Carnegie Hall __________________________ loCATION STREET & NUMBER 7th Avenue and West 57th Street _NOT FOR PUBLICATION CITY. TOWN CONGRESSIONAL DISTRICT New York VICINITY OF 17 STATE CODE COUNTY CODE New York 36 York 61 CLASSIFICATION CATEGORY OWNERSHIP STATUS PRESENT USE —DISTRICT ^.PUBLIC —^OCCUPIED —AGRICULTURE —MUSEUM X.BUILDINGIS) _PRIVATE —UNOCCUPIED —COMMERCIAL _PARK —STRUCTURE _BOTH _WORK IN PROGRESS —EDUCATIONAL —PRIVATE RESIDENCE —SITE PUBLIC ACQUISITION ACCESSIBLE X.ENTERTAINMENT —RELIGIOUS —OBJECT _IN PROCESS —XYES: RESTRICTED —GOVERNMENT —SCIENTIFIC _BEING CONSIDERED — YES: UNRESTRICTED —INDUSTRIAL —TRANSPORTATION —NO —MILITARY —OTHER. OWNER OF PROPERTY NAME The City of New York, Department of Parks STREEF& NUMBER Arsenal Building, Central Park CITY. TOWN STATE New York VICINITY OF New York LOCATION OF LEGAL DESCRIPTION COURTHOUSE. REGISTRY OF DEEDS,ETC. New York County Hall of Records STREET & NUMBER 51 Chambers Street CITY, TOWN STATE New York New York REPRESENTATION IN EXISTING SURVEYS TITLE None DATE —FEDERAL —STATE —COUNTY —LOCAL DEPOSITORY FOR SURVEY RECORDS CITY. TOWN STATE DESCRIPTION CONDITION
    [Show full text]
  • The Ballet That Changed Everything Balanchine’S ‘Serenade’ Took Women out of a Fairy Tale Setting—And Created a New Model for American Dance
    ENTERTAINMENT CULTURE DANCE The Ballet that Changed Everything Balanchine’s ‘Serenade’ took women out of a fairy tale setting—and created a new model for American dance BY TONI BENTLEY ERENADE” was the first ballet George Balanchine choreographed in Amer- ica, whereby he planted the seeds for the next ‘S50 fertile years during which he re- shaped classical ballet, with its French, Italian, Danish and Russian roots, as an American art form. It was 1934, he was 30 years old, and just off the boat, literally, having barely avoided detention at Ellis Island, from St. Petersburg via Europe where he was Diaghilev’s last choreographer for the Ballets Russes. “Serenade” was his third masterpiece (after “Apollon musagète” in 1928 and “Le Fils Prodigue” in 1929)—and the first of many to his beloved Tchaikovsky. The ballet is set to the composer’s soaring score “Serenade for Strings in C.” Tchaikovsky called the piece—com- posed at the same time as the 1812 Overture—“his “favorite child,” writ- ten, he said from “inner compulsion . from the heart . I am terribly in love with this Serenade.” In this single early work, remark- ably, Balanchine made a dance that would become the Rosetta Stone for a new kind of dancer, the American classical dancer. He brought a kind of democracy into the hierarchical land of ballet classicism, lifting it from its dusty 19th-century splendor, and cre- ated, simultaneously, an aristocracy for American dancers who had none. But he had plenty, having been a sub- ject, as a child in St. Petersburg, of the last Czar in Russian history.
    [Show full text]
  • Voces Intimae String Quartets 1890 -1922 Tempera Quartet
    SIBELIUS VOCES INTIMAE STRING QUARTETS 1890 -1922 TEMPERA QUARTET Tempera Quartet Tiila Kangas · Ulla Lampela Laura Vikman · Silva Koskela BIS-CD-1466 BIS-CD-1466 Sib Qt3:booklet 11/4/07 12:41 Page 2 SIBELIUS, Johan (Jean) Christian Julius (1865-1957) String Quartets – 1890-1922 1 Adagio in D minor, JS 12 (1890) (Warner/Chappell Music Finland) 12'15 String Quartet in B flat major, Op. 4 (1890) (Warner/Chappell Music Finland) 29'42 2 I. Allegro 7'24 3 II. Andante sostenuto 7'57 4 III. Presto 5'23 5 IV. Allegro 8'40 String Quartet in D minor, ‘Voces intimae’, Op. 56 (1909) (Lienau) 29'48 6 I. Andante – Allegro molto moderato 5'53 7 II. Vivace 2'18 8 III. Adagio di molto 10'51 9 IV. Allegretto (ma pesante) 5'34 10 V. Allegro 4'57 String Quartet in D minor, ‘Voces intimae’: preliminary ending 11 V. Allegro [from Risoluto, 8 bars before Fig.11] (Manuscript / Lienau) world première recording 0'32 12 Andante festivo, JS 34a (1922) (Warner/Chappell Music Finland) 5'11 TT: 78'50 Tempera Quartet Laura Vikman violin I · Silva Koskela violin II Tiila Kangas viola · Ull a Lampela cello 2 BIS-CD-1466 Sib Qt3:booklet 11/4/07 12:41 Page 3 ean Sibelius spent the academic year 1889-90 in Berlin. Socially this Jperi od was stimulating, but creatively it was a frustrating time. He had al - ready completed composition studies at the Helsinki Music Institute under Martin Wegelius, but now he was subjected to a much more authori tarian régime as a pupil of Albert Becker.
    [Show full text]
  • FEBRUARY 2020 How It All Started Letter from the Block President the Block Association Celebrates Its 50Th Year T Is the Beginning of the Year
    FEBRUARY 2020 How It All Started Letter From the Block President The Block Association Celebrates its 50th Year t is the beginning of the year.... By Joyce Mann and time to refocus on the good works done by the West n 1970 afer an attempted mugging I104th Street Block Association on the block, a group of neighbors (www.bloomingdale.org). A huge organized by Carol Goodfriend thanks to those who have renewed Igot together to hire a security guard to their commitment to us with their patrol the block in the evenings. Tat recent contributions and member- was the start of what became the West ship payments. For those who have 104th Street Block Association, which not, it is never too late to become celebrates its 50th birthday this year. a dues paying member of the West Board member Joyce Mann interviewed 104th Street Block Association. Goodfriend about those early days, and But don’t stop there—your in- how the block and neighborhood have Carol Goodfriend volvement does not have to be just a changed in the years since. fnancial contribution. Tere are lots Steve Zirinsky on the block of ways to participate and support Were you New Yorkers originally? Jim, my husband, was born and raised our block: Join our planting days, in the Bronx and got his degree in music and philosophy from NYU. I was birding excursions, Riverside Park maintenance clean-ups, pot luck dinners, born in Watertown, Massachusetts, grew up in Northampton, and then and meetings at Ellington in the Park, to name a few.
    [Show full text]