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Boston Symphony Orchestra Concert Programs, Summer, 1963-1964
-•-'" 8ft :: -'•• t' - ms>* '-. "*' - h.- ••• ; ''' ' : '..- - *'.-.•..'•••• lS*-sJ BERKSHIRE MUSIC CENTER see ERICH LEINSDORF, Director Contemporary JMusic Presented under the Auspices of the Fromm zMusic Foundation at TANGLEWOOD 1963 SEMINAR in Contemporary Music Seven sessions will be given on successive Friday afternoons (at 3:15) in the Chamber Music Hall. Four of these will precede the four Fromm Fellows' Concerts, and will consist of a re- hearsal and lecture by the Host of the following Monday Fromm Concert. July 12 AARON COPLAND July 19 GUNTHER SCHULLER July 26 I Twentieth Century Piano Music PAUL JACOBS August 2 YANNIS XENAKIS j August 9 Twentieth Century Choral Music ALFRED NASH PATTERSON & LORNA COOKE de VARON August 16 I LUKAS FOSS August 23 Round Table Discussion of Contemporary Music Yannis Xenakis, Gunther Schuller and lukas foss Composers 9 Forums There will be four Composers' Forums in the Chamber Music Hall: Wednesday, July 24 at 4:00 ] Thursday, August 1 at 8:00 Wednesday, August 7 at 4:00 Thursday, August 15 at 8:00 FROMM FELLOWS' CONCERTS Theatre-Concert Hall Four Monday Evenings at 8:00 'Programs JULY 15 AUGUST 5 AARON COPLAND, Host YANNIS XENAKIS, Host Varese Octandre (1924) Boulez ...Improvisations sur Mallarme, Copland Sextet (1937) No. 2 Chavez Soli (1933) Philippot ...Variations Schoenberg String Quartet No. 2, Op. 10 Mdcbe .. ..Canzone II (1908) Brown, E ...Pentathis Stravinsky Ragtime for Eleven Instruments Marie, E... Polygraphie-Polyphonique (1918) J. Ballif,C ...Double Trio, 35, Nos. 2 and 3 Milhaud... L'Enlevement d'Europe — Op. Xenakis Achorripsis Opera minute (1927) JULY 22 AUGUST 19 GUNTHER SCHULLER, Host LUKAS FOSS, Host Ives Chromatimelodtune Paz .Dedalus, 1950 Schoenberg Herzgewacb.se Goehr... -
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. -
Emile Jaques-D Alcroze' S Influence on Frank Martin
EMILE JAQUES-DALCROZE' S INFLUENCE ON FRANK MARTIN: 1924-1937 DANIEL I. RUBINOFF A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO DECEMBER, 2011 Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-90332-2 Our file Notre reference ISBN: 978-0-494-90332-2 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Boston Symphony Orchestra Concert Programs, Season 77, 1957-1958, Subscription
*l'\ fr^j BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON 24 G> X will MIIHIi H tf SEVENTY-SEVENTH SEASON 1957-1958 BAYARD TUCEERMAN. JR. ARTHUR J. ANDERSON ROBERT T. FORREST JULIUS F. HALLER ARTHUR J. ANDERSON, JR. HERBERT 8. TUCEERMAN J. DEANE SOMERVILLE It takes only seconds for accidents to occur that damage or destroy property. It takes only a few minutes to develop a complete insurance program that will give you proper coverages in adequate amounts. It might be well for you to spend a little time with us helping to see that in the event of a loss you will find yourself protected with insurance. WHAT TIME to ask for help? Any time! Now! CHARLES H. WATKINS & CO. RICHARD P. NYQUIST in association with OBRION, RUSSELL & CO. Insurance of Every Description 108 Water Street Boston 6, Mast. LA fayette 3-5700 SEVENTY-SEVENTH SEASON, 1957-1958 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor CONCERT BULLETIN with historical and descriptive notes by John N. Burk Copyright, 1958, by Boston Symphony Orchestra, Inc. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Jacob J. Kaplan Vice-President Richard C. Paine Treasurer Talcott M. Banks Michael T. Kelleher Theodore P. Ferris Henry A. Laughlin Alvan T. Fuller John T. Noonan Francis W. Hatch Palfrey Perkins Harold D. Hodgkinson Charles H. Stockton C. D. Jackson Raymond S. Wilkins E. Morton Jennings, Jr. Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen M. A. DeWolfe Howe N. Penrose Hallowell Lewis Perry Edward A. Taft Thomas D. -
Boston Symphony Orchestra Concert Programs, Season 83,1963-1964, Trip
BOSTON • r . SYMPHONY ORCHESTRA FOUNDED IN 1881 BY /'I HENRY LEE HIGGINSON TUESDAY EVENING 4 ' % mm !l SERIES 5*a ?^°£D* '^<\ -#": <3< .4) \S? EIGHTY-THIRD SEASON 1963-1964 TAKE NOTE The precursor of the oboe goes back to antiquity — it was found in Sumeria (2800 bc) and was the Jewish halil, the Greek aulos, and the Roman tibia • After the renaissance, instruments of this type were found in complete families ranging from the soprano to the bass. The higher or smaller instruments were named by the French "haulx-bois" or "hault- bois" which was transcribed by the Italians into oboe which name is now used in English, German and Italian to distinguish the smallest instrument • In a symphony orchestra, it usually gives the pitch to the other instruments • Is it time for you to take note of your insurance needs? • We welcome the opportunity to analyze your present program and offer our professional service to provide you with intelligent, complete protection. invite i . We respectfully* your inquiry , , .,, / Associated with CHARLES H. WATKINS CO. & /qbrioN, RUSSELL 8c CO. Richard P. Nyquist — Charles G. Carleton / 147 milk street boston 9, Massachusetts/ Insurance of Every Description 542-1250 EIGHTY-THIRD SEASON, 1963-1964 CONCERT BULLETIN OF THE Boston Symphony Orchestra ERICH LEINSDORF, Music Director Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Talcott M. Banks Vice-President Richard C. Paine Treasurer Abram Berkowitz Henry A. Laughlin Theodore P. Ferris John T. Noonan Francis W. Hatch Mrs. -
Carmen & Vivaldi
CARMEN & VIVALDI Zachary Schwartzman conductor Saturday, March 20, 2021 Performance # 164 Season 6, Concert 12 Livestreamed from the Fisher Center at Bard Sosnoff Theater SIGN UP FOR TŌN EMAIL by clicking here INSPIRE GREATNESS by making a donation at theorchestranow.org/support TABLE OF CONTENTS 4 CONCERT QUICK GUIDE 23 THE ADMINISTRATION 5 THE MUSIC 24 ABOUT BARD COLLEGE 6 ANTONIO VIVALDI CONCERTO FOR STRINGS IN G MINOR, RV 156 7 FRANK MARTIN PETITE SYMPHONIE CONCERTANTE 8 ARVO PÄRT CANTUS IN MEMORY OF BENJAMIN BRITTEN 9 RODION SHCHEDRIN CARMEN SUITE (AFTER BIZET’S OPERA) 10 THE ARTISTS 11 ZACHARY SCHWARTZMAN conductor 12 FRANK CORLISS piano 13 TAYLOR ANN FLESHMAN TŌN ’22 harp 14 RENÉE ANNE LOUPRETTE harpsichord 15 ARVO PÄRT composer 16 RODION SHCHEDRIN composer 17 THE ORCHESTRA NOW 19 SER KONVALIN horn 20 CHARLES GILLETTE percussion 21 SUPPORT TŌN Rehearsals and performances adhere to the strict guidelines set by the CDC, with daily health checks, the wearing of masks throughout, and musicians placed at a safe social 22 THE TŌN FUND DONORS distance. Musicians sharing a music stand also share a home. Concert Quick Guide The Music The Artists ™ Support TŌN CONCERT QUICK GUIDE The TŌN Fund Donors The Administration About Bard College ZACHARY SCHWARTZMAN conductor CONCERT TIMELINE 1 hour and 40 minutes Petite symphonie Concerto concertante Cantus Carmen Suite 6 min 21 min 6 min 42 min Brief remarks by Ser Konvalin horn ANTONIO VIVALDI Born 3/4/1678 in Venice, Italy Died 7/27 or 28/1741 at age 63 in Vienna CONCERTO FOR STRINGS IN G MINOR, -
Boston Symphony Orchestra Concert Programs, Season 80, 1960-1961
E I G H T I E T H S EASON i960 - 1961 BAYARD TUCKERMAN, JR. ARTHUR J. ANDERSON ROBERT T. FORREST JULIUS F. HALLER ARTHUR J. ANDERSON, JR. HERBERT S. TUCKERMAN J. DEANE SOMERVILLE We blueprint the basic structure for the insurance of our clients and build their protection on a sound foundation. Only by a complete survey of needs, followed by intelligent counsel, can a proper insur- ance program be constructed. Without obligation on your part, we would be happy to act as your insurance architects. Please call us at any time. CHARLES H. WATKINS & CO. RICHARD P. NYQUIST in association with OBRION, RUSSELL & CO. When You Think of Insurance . Think of us! 141 Milk Street Boston 6, Massachusetts HU bbard 2-6200 EIGHTIETH SEASON, 1960-1961 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor CONCERT BULLETIN with historical and descriptive notes by John N. Burk Copyright, 1960, by Boston Symphony Orchestra, Inc. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Talcott M. Banks Vice-President Richard C. Paine Treasurer Theodore P. Ferris John T. Noonan Francis W. Hatch Palfrey Perkins Harold D. Hodgkinson Sidney R. Rabb C. D. Jackson Charles H. Stockton E. Morton Jennings, Jr. John L. Thorndike Henry A. Laughlin Raymond S. Wilkins Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen Lewis Perry N. Penrose Hallowell Edward A. Taft Thomas D. Perry, Jr., Manager Norman S. Shirk James J. Brosnahan Assistant Manager Business Administrator Leonard Burkat Rosario Mazzeo Music Administrator Personnel Manager SYMPHONY HALL BOSTON 15 [643] mm . Boston's Pops are known throughout the world as a yardstick for excellence . -
Definitely Not Retiring: Mit Institute Professor John Harbison at 75
DEFINITELY NOT RETIRING: MIT INSTITUTE PROFESSOR JOHN HARBISON AT 75 MIT Vocal Jazz Ensemble, and MIT’s faculty jazz quintet, Strength in Numbers special guest Rose Mary Harbison, violin MIT Chamber Chorus and members of the MIT Wind Ensemble December 8, 2013 Sunday | 7pm Kresge Auditorium, MIT Please turn off all cell phones, pagers and other electronic devices. Flash photography, audio and/or video recordings are prohibited. Enter and exit the concert hall only between pieces. Thank you. PROGRAM Cortège (2008) John Harbison (b. 1938) for six percussionists in memoriam Donald Sur I. Risoluto II. Allegro III. Lento MIT Wind Ensemble Percussion Section: Richard Arnold, Joseph Babcock, Victoria Chang, Mark Chilenski, Jesus Gonzalez, Andrew Tang Surprise #1, #2 & #3 Remarks from Phillip S. Khoury, Ford International Professor of History and Associate Provost Surprise #4 O Jesus Christ, mein Lebens Licht, BWV 118 J.S. Bach (1685-1750) MIT Chamber Chorus, William Cutter, conductor, and members of the MIT Wind Ensemble John Harbison, conductor INTERMISSION Pure Blues John Harbison Miles by Train John Harbison All for You* John Harbison Sweet Pretty Baby* John Harbison (based on a virelai by Gil Macho) Strength in Numbers *guest appearance: Rose Mary Harbison, violin Strength in Numbers Mark Harvey, trumpet Dylan Sherry, tenor sax, soprano sax John Harbison, piano Keala Kaumeheiwa, bass Fred Harris, drums The MIT Vocal Jazz Ensemble Lyrics Project Music by John Harbison Lyrics by members of VJE Taking a Chance Edan Krolewicz Ben Lee The Right Thing Hannah Wood Hannah Wood Nature’s Best Royal Morris Royal Morris Oh How I Wish You Knew Emily Wean Jackie Xu I Don’t Know How You Love Me Ben Bloomberg Ben Bloomberg A Puzzlement Tiandra Ray Tiandra Ray & Matt Starr Dust Emily Wean Emily Wean It’s Saturday Edan Krolewicz Edan Krolewicz Finale: Aunt Hagar’s Blues VJE & S.I.N. -
Boston Symphony Orchestra Concert Programs, Season 77, 1957-1958
r BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON SEVENTY-SEVENTH SEASON !957-!958 Sanders Theatre, Cambridge [harvard University] Boston Symphony Orchestra (Seventy-seventh Season, 1957-1958) CHARLES MUNCH, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Violas Bassoons Richard Burgin Joseph de Pasquale Sherman Walt Concert-master Jean Cauhape Ernst Panenka Alfred Krips Eugen Lehner Theodore Brewster Albert Bernard George Zazofsky Roll and Tapley George Humphrey Contra-Bassoon Norbert Lauga Jerome Lipson Richard Plaster Vladimir Resnikoff Robert Karol Horns Harry Dickson Reuben Green Gottfried Wilfinger Bernard Kadinoff James Stagliano Vincent Charles Yancich Einar Hansen Mauricci Joseph Leibovici John Fiasca Harry Shapiro Harold Meek Emil Kornsand Earl Hedberg Paul Keaney Roger Shermont Violoncellos Osbourne McConathy Minot Beale Samuel Mayes Herman Silberman Alfred Zighera Trumpets Stanley Benson Jacobus Langendoen Leo Panasevich Roger Voisin Mischa Nieland Andre Come Sheldon Rotenberg Karl Zeise Armando Ghitalla Fredy Ostrovsky Josef Zimbler Gerard Goguen Clarence Knudson Bernard Parronchi Trombones Pierre Mayer Martin Hoherman Manuel Zung Louis Berger William Gibson Samuel Diamond Richard Kapuscinski William Moyer Kauko Kabila Victor Manusevitch Robert Ripley Josef Orosz James Nagy Winifred Winograd Melvin Bryant Flutes Tuba Lloyd Stonestreet Doriot Anthony Dwyer K. Vinal Smith Saverio Messina James Pappoutsakis William Waterhouse Phillip Kaplan Harps William Marshall Bernard Zighera Leonard -
Rubinoff-Formatted Proceedings-8
Sacre Celebration 2013 Rubinoff Frank Martin’s La nique à Satan: The Dalcroze Connection Daniel Rubinoff York University Abstract This presentation focuses on the creative affinity between Émile Jaques-Dalcroze (1865- 1950) and fellow Swiss composer Frank Martin (1890-1974). Early in his career, Martin forged close ties with Dalcroze’s Eurhythmics method, and in 1926, he enrolled in Dalcroze’s Geneva-based Institut Jaques-Dalcroze. He graduated with a Diplôme in 1928 and taught there as a professor of improvisation and rhythmic theory until 1937. During Martin’s tenure as professor of rhythmic theory and improvisation at Dalcroze’s Institut, he composed the score for La nique à Satan. Martin conceived of a popular theatre piece that included singing, mime, dance and elaborate costumes. He involved numerous Institut teachers and students in the Geneva première on February 25, 1933. Martin also dedicated the vocal/piano edition of the score to Dalcroze. This talk will explain how the songs in Martin’s composition resemble some of the prominent aspects of Dalcroze’s Eurhythmics method. The eurhythmic subjects of irregular beats, anacrusic rhythms, complementary rhythm and bodily gesture correspond with important aspects of Martin’s score. The presentation also includes footage from a 1998 performance of La nique à Satan by the Swiss ensemble, Choeur d’Avully. Introduction It’s a great pleasure to be a part of this group of papers that explores post-Rite artistic currents. My purpose today is to explore the connection between Émile Jaques-Dalcroze and fellow Swiss composer Frank Martin. I will discuss this connection in the context of Dalcroze’s eurhythmics method and its affinity with Martin’s theatrical piece, La nique à Satan. -
Choral Arts in New England
Your choral legacy: Make Choral Arts in a tax-deductible gift to Choral Arts New England and the Patterson Foundation as part of New England your planned giving! Encouraging Choral Excellence through Alfred Nash Patterson Grants September 2018 Boston Singers’ Gwyneth Walker Resource 2018 Lifetime Achievement Award Recipient Helping singers throughout New England r. Gwyneth Walker is a ll chorus members are singers. Everyone who D revered New England participates in a choral performance knows A composer whose the beauty of human voices meaningfully joined in works have been song—and likely knows, too, how hard it can be widely performed to achieve that high level of accomplishment. As throughout the singers themselves, choristers take special pleasure country. Her career, in singing with accomplished soloists, who often spanning a lifetime bring a performance to new heights. of composing, has Boston is home to a unique organization devoted given the choral world to supporting and enriching the lives of all sing- many beloved pieces, ers. Boston Singers’ Resource (BSR) provides in- ranging from long- formation about singing, connections to teachers form works for SATB and performing organizations, workshops, net- chorus and orchestra to shorter pieces, some for working opportunities, and auditions that intro- women’s voices or children’s choirs. Walker is one of duce outstanding soloists to directors of choruses, the most frequently performed modern composers of church choirs, opera and theater companies, and concerts listed in the Choral Arts New England cal- others who might employ their talents. endar, with her compositions being explicitly named Anyone can go to www.bostonsingersresource.org on 37 different programs since 2012. -
Conductor David Hoose Turns Toward the Next Movement - the Boston Globe
2/18/2021 Conductor David Hoose turns toward the next movement - The Boston Globe ● BREAKING: MASS. VACCINE BREAKING MASS. VACCINE APPOINTMENT APPOINTMENT WEBSITE EXPERIENCES WEBSITE EXPERIENCES TECHNICAL TECHNICAL ISSUES DUE TO HIGH ISSUES DUE TO HIGH TRAFFIC TRAFFIC MUSIC Conductor David Hoose turns toward the next movement By Jeremy Eichler Globe Staff, Updated February 18, 2021, 1 hour ago Conductor David Hoose is retiring after more than three decades at the helm of Cantata Singers. SUZANNE KREITER/GLOBE STAFF David Hoose believes that, on its face, choral music can be difficult to love. It’s an unexpected sentiment from the conductor of Cantata Singers, one of the city’s most treasured ensembles, but Hoose has his reasons: The sound of a chorus doesn’t https://www.bostonglobe.com/2021/02/18/arts/conductor-david-hoose-turns-toward-next-movement/ 1/10 2/18/2021 , Conductor David Hoose turns toward the next movement - The Boston Globe have as much coloristic glamour or layered complexity as the sound of an orchestra; at a choral concert, there is nothing to watch — no bows dancing in unison or percussion vividly struck; there are none of the dramatic plots or the costumes found in opera; and in many choral works, you can’t even understand the words well enough to appreciate the subtlety of their relationship to the music. He’s not wrong in any of these observations. And yet despite them all, Hoose himself, over the course of 38 seasons at the helm of Cantata Singers, has made the most persuasive case imaginable for choral music belonging not at the periphery but near the very center of a city’s musical identity.