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Chuaqui C.V. 2019
MIGUEL CHUAQUI, Ph.D. Professor Director, University of Utah School of Music 1375 East Presidents Circle Salt Lake City, UT 84112 801-585-6975 [email protected] www.miguelchuaqui.com EDUCATION AND TRAINING 2007: Summer workshops in advanced Max/MSP programming, IRCAM, Paris. 1994 - 96: Post-doctoral studies in interactive electro-acoustic music, Center for New Music and Audio Technologies (CNMAT), University of California, Berkeley. 1994: Ph.D. in Music, University of California, Berkeley, Andrew Imbrie, graduate advisor. 1989: M.A. in Music, University of California, Berkeley. 1987: B.A. in Mathematics and Music, With Distinction, University of California, Berkeley. 1983: Studies in piano performance and Mathematics, Universidad Católica de Chile, Santiago, Chile. 1982: Certificate in Spanish/English translation, Cambridge University, England. 1976 - 1983: Studies in piano performance, music theory and musicianship, Escuela Moderna de Música, Santiago, Chile. WORK HISTORY 2009 – present: Professor, School of Music, University of Utah, Salt Lake City, Utah; Chair, Composition Area, 2008-2014. 2003 - 2009: Associate Professor, School of Music, University of Utah, Salt Lake City, Utah. 1996 - 2003: Assistant Professor, School of Music, University of Utah, Salt Lake City, Utah. 1994 – 1996: Organist and Assistant Conductor, St. Bonaventure Catholic Church, Clayton, California. 1992 - 1996: Instructor, Music Department, Laney College, Oakland, California. Music Theory and Musicianship. 1992 – 1993: Lecturer, Music Department, San Francisco State University, San Francisco, California. (One-year music theory sabbatical replacement position). 1989 – 1992: Graduate Student Instructor, University of California, Berkeley, California. updated 2/19 Miguel Chuaqui 2 UNIVERSITY, PROFESSIONAL, AND PUBLIC SERVICE ADMINISTRATIVE APPOINTMENTS 2015-present: Director, University of Utah School of Music. -
View List (.Pdf)
Symphony Society of New York Stadium Concert United States Premieres New York Philharmonic Commission as of November 30, 2020 NY PHIL Biennial Members of / musicians from the New York Philharmonic Click to jump to decade 1842-49 | 1850-59 | 1860-69 | 1870-79 | 1880-89 | 1890-99 | 1900-09 | 1910-19 | 1920-29 | 1930-39 1940-49 | 1950-59 | 1960-69 | 1970-79 | 1980-89 | 1990-99 | 2000-09 | 2010-19 | 2020 Composer Work Date Conductor 1842 – 1849 Beethoven Symphony No. 3, Sinfonia Eroica 18-Feb 1843 Hill Beethoven Symphony No. 7 18-Nov 1843 Hill Vieuxtemps Fantasia pour le Violon sur la quatrième corde 18-May 1844 Alpers Lindpaintner War Jubilee Overture 16-Nov 1844 Loder Mendelssohn The Hebrides Overture (Fingal's Cave) 16-Nov 1844 Loder Beethoven Symphony No. 8 16-Nov 1844 Loder Bennett Die Najaden (The Naiades) 1-Mar 1845 Wiegers Mendelssohn Symphony No. 3, Scottish 22-Nov 1845 Loder Mendelssohn Piano Concerto No. 1 17-Jan 1846 Hill Kalliwoda Symphony No. 1 7-Mar 1846 Boucher Furstenau Flute Concerto No. 5 7-Mar 1846 Boucher Donizetti "Tutto or Morte" from Faliero 20-May 1846 Hill Beethoven Symphony No. 9, Choral 20-May 1846 Loder Gade Grand Symphony 2-Dec 1848 Loder Mendelssohn Violin Concerto in E minor 24-Nov 1849 Eisfeld Beethoven Symphony No. 4 24-Nov 1849 Eisfeld 1850 – 1859 Schubert Symphony in C major, Great 11-Jan 1851 Eisfeld R. Schumann Introduction and Allegro appassionato for Piano and 25-Apr 1857 Eisfeld Orchestra Litolff Chant des belges 25-Apr 1857 Eisfeld R. Schumann Overture to the Incidental Music to Byron's Dramatic 21-Nov 1857 Eisfeld Poem, Manfred 1860 - 1869 Brahms Serenade No. -
SYDNEY SYMPHONY UNDER the STARS BENJAMIN NORTHEY DIANA DOHERTY CONDUCTOR OBOE Principal Oboe, John C Conde AO Chair
SYDNEY SYMPHONY Photo: Photo: Jamie Williams UNDER THE STARS SYDNEY SYMPHONY ORCHESTRA I AUSTRALIA PROGRAM Dmitri Shostakovich (Russian, 1906–1975) SYDNEY Festive Overture SYMPHONY John Williams (American, born 1932) Hedwig’s Theme from Harry Potter UNDER THE Wolfgang Amadeus Mozart (Austrian, 1756–1791) Finale from the Horn Concerto No.4, K.495 STARS Ben Jacks, horn SYDNEY SYMPHONY ORCHESTRA I AUSTRALIA THE CRESCENT Hua Yanjun (Chinese, 1893–1950) PARRAMATTA PARK Reflection of the Moon on the Lake at Erquan 8PM, 19 JANUARY 120 MINS John Williams Highlights from Star Wars: Imperial March Benjamin Northey conductor Cantina Music Diana Doherty oboe Main Title Ben Jacks horn INTERVAL Sydney Symphony Orchestra Gioachino Rossini (Italian, 1792–1868) Galop (aka the Lone Ranger Theme) from the overture to the opera William Tell Percy Grainger (Australian, 1882–1961) The Nightingale and the Two Sisters from the Danish Folk-Song Suite Edvard Grieg (Norwegian, 1843–1907) Highlights from music for Ibsen’s play Peer Gynt: Morning Mood Anitra’s Dance In the Hall of the Mountain King Ennio Morricone (Italian, born 1928) Theme from The Mission Diana Doherty, oboe Josef Strauss (Austrian, 1827–1870) Music of the Spheres – Waltz Pyotr Ilyich Tchaikovsky (Russian, 1840–1893) 1812 – Festival Overture SYDNEYSYDNEY SYMPHONY SYMPHONY UNDER UNDER THE STARS THE STARS SYDNEY SYMPHONY UNDER THE STARS BENJAMIN NORTHEY DIANA DOHERTY CONDUCTOR OBOE Principal Oboe, John C Conde AO Chair Benjamin Northey is Chief Conductor of the Christchurch Diana Doherty joined the Sydney Symphony Orchestra as Symphony Orchestra and Associate Conductor of the Principal Oboe in 1997, having held the same position with Melbourne Symphony Orchestra. -
Compassion Booklet
481 0678 Compassion – Symphony of Songs Song cycle for voice and orchestra by Lior and Nigel Westlake based on a collection of ancient Hebrew and Arabic texts 1 Sim Shalom – Grant Peace 7’28 2 Eize Hu Chacham? – Who is Wise? 5’25 3 La Yu’minu – Until You Love Your Brother 4’18 4 Inna Rifqa – The Beauty Within 4’55 5 Al Takshu L’vavchem – Don’t Harden Your Hearts 4’45 6 Ma Wadani Ahadun – Until the End of Time 7’57 7 Avinu Malkeinu – Hymn of Compassion 5’57 Total Playing Time 40’46 Lior vocals Sydney Symphony Orchestra Nigel Westlake conductor Compassion was commissioned by the Sydney Symphony Orchestra, for the SSO and the other Australian symphony orchestras, with the support of Symphony Services International. 3 The Genesis of Compassion In stark contrast to what had preceded, here was another side to Lior’s artistry, his keening and emotionally charged voice allowing us an intimate glimpse into the rich vein of middle eastern heritage The catalyst for Compassion can be traced to a single watershed moment: the occurrence of my first that is his birthright. Lior concert. It was the winter of 2009 in the tiny rural village of St Albans NSW, the occasion being the inaugural fundraising event for the Smugglers of Light, a foundation formed by our family in The power and spirituality of the song struck a deep resonance amongst the crowd, all of whom were memory of my son Eli. captivated in spellbound rapture. For my own part, I had just experienced a small taste of a tantalising and exotic sound world and was overcome by a strange yearning to be a part of it. -
Peggy Glanville-Hicks' Opera Sappho, a Critical Examination
Edith Cowan University Research Online Theses: Doctorates and Masters Theses 1995 Peggy Glanville-Hicks' Opera Sappho, A Critical Examination Fiona Campbell Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Musicology Commons Recommended Citation Campbell, F. (1995). Peggy Glanville-Hicks' Opera Sappho, A Critical Examination. https://ro.ecu.edu.au/ theses/1465 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/1465 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. -
Composing Freedom: Elliott Carter's 'Self-Reinvention' and the Early
Composing Freedom: Elliott Carter’s ‘Self-Reinvention’ and the Early Cold War Daniel Guberman A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2012 Approved By, Brigid Cohen, chair Allen Anderson Annegret Fauser Mark Katz Severine Neff © 2012 Daniel Guberman ALL RIGHTS RESERVED ii ABSTRACT DANIEL GUBERMAN: Composing Freedom: Elliott Carter’s ‘Self-Reinvention’ and the Early Cold War (Under the direction of Brigid Cohen) In this dissertation I examine Elliott Carter’s development from the end of the Second World War through the 1960s arguing that he carefully constructed his postwar compositional identity for Cold War audiences on both sides of the Atlantic. The majority of studies of Carter’s music have focused on technical aspects of his methods, or roots of his thoughts in earlier philosophies. Making use of published writings, correspondence, recordings of lectures, compositional sketches, and a drafts of writings, this is one of the first studies to examine Carter’s music from the perspective of the contemporary cultural and political environment. In this Cold War environment Carter emerged as one of the most prominent composers in the United States and Europe. I argue that Carter’s success lay in part due to his extraordinary acumen for developing a public persona. And his presentation of his works resonated with the times, appealing simultaneously to concert audiences, government and private foundation agents, and music professionals including impresarios, performers and other composers. -
Lineage Curated by Julia Bullock Soundbox
LINEAGE CURATED BY JULIA BULLOCK SOUNDBOX 1 julia bullock on lineage “I’ve found that musicians often share a lot about the various influences in their lives— whether they be historical, political, philosophical, personal, or based on other mediums of art. They let diverse influences not only impact their work, but find ways to let them register explicitly. It’s like musicians are hyper conscious of their lineage—they honor it and value it. So, as I continue to follow along the path and legacy of artists that came before me, lineage has become increasingly important—it’s a part of knowing from where I originated and letting that inform where I envision myself going. The musicians on this SoundBox program could not make music all together in one place, or even at one time, but the very nature of this program—which links material that spans across almost 900 years—captures an audio and visual snapshot of how lineage can inform, influence, impact, and express itself in a musical context.” 2 Esa-Pekka Salonen SAN FRANCISCO SYMPHONY MUSIC DIRECTOR San Francisco Symphony Music Director Esa-Pekka Salonen has, through his many high-profile conducting roles and work as a leading composer, shaped a unique vision for the present and future of the contemporary symphony orchestra. Salonen is currently the Principal Conductor & Artistic Advisor for London’s Philharmonia Orchestra and is Artist in Association at the Finnish National Opera and Ballet. He is a member of the faculty of the Colburn School in Los Angeles, where he developed and directs the pre-professional Negaunee Conducting Program. -
Laura Elise Schwendinger
Laura Elise Schwendinger Laura Elise Schwendinger received her PhD. from the University of California, Berkeley, where her principal teacher was Andrew Imbrie. She has also studied with John Adams, Olly Wilson, Milton Babbitt and Chinary Ung. Her honors include commissions from the Koussevitzky Fotrndation (2001), the Fromm Foundation (1999), the Harvard Musical Association (2000), fellowships from the Radcliffe Institute for Advanced Studies (2002), the American Academy in Berlin prize (the first American composer to receive this award - 2000), The Charles Ives Scholaiship from The American Academy of Arts and Letters, The Judges' Commendation from The Barlow Endowment, the Norton Stevens fellowship from the MacDowell Colony, two Meet the Composer grants, an American Composers Forum grant, and First Prize of the 1995 ALEA III International Composition competition (the first American winner in over a decade), and two grants from the University of Illinois in support of a new concert work and a recording project with the Chicago Chamber Musicians. She has held residencies at the Rockefeller Foundation's Bellagio Centei (1997), the Bogliasco Foundation's Liguria Center (2002), the MacDowell, Yaddo and Ragdale Colonies, and the Virginia Center for the Creative Arts. Dr. Schwendinger is currently an Assistant Professor of Music at the University of Illinois at Chicago where she teaches composition and theory. For ten years she was on the faculty of the San Francisco Conservatory of Music, Preparatory Division, where she developed a program -
Boston Symphony Orchestra Concert Programs, Summer, 1965-1966
TANGLEWOOD Festival of Contemporary American Music August 14, 15, 16, 17, 18, 1966 Sponsored by the Berkshire Music Center In Cooperation with the Fromm Music Foundation I " STMVINSKY tt.VlOW agon vam 7/re Boston Symphony SCHULLER 7 STUDIES ox THEMES of PAUL KLEE BOSTON SYMPHONY ORCHESTRA/ERICH lEINSDORf under Leinsdorf Leinsdorf expresses with great power the vivid colors of Schuller's Seven Studies on Themes of Paul Kiee and, in the same album, Stravinsky's ballet music from Agon. Forthe majorsinging roles in Menotti's dramatic cantata, The Death of the Bishop of Brindisi. Leinsdorf astutely selected George London, and Lili Chookasian, of whom the Chicago Daily Tribune has written, "Her voice has the Boston symphony ecich teinsooof / luminous tonal sheath that makes listening luxurious. menotti Also hear Chookasian in this same album, in songs from the death op the Bishop op BRSndlSI Schbnberg's Gurre-Lieder. In Dynagroove sound. Qeonoe ionoon • tilt choolusun s<:b6notec,/ou*«*--l(eoeo. sooq of the wooo-6ove ac^acm rca Victor fa @ The most trusted name in sound ^V V BERKSHIRE MUSIC CENTER ERICH LeinsDORF, Director Joseph Silverstein, Chairman of the Faculty Aaron Copland, Chairman of the Faculty Emeritus Louis Speyer, Assistant Director Victor Babin, Chairman of the Tanglewood Institute Harry J. Kraut, Administrator FESTIVAL of CONTEMPORARY AMERICAN MUSIC presented in cooperation with THE FROMM MUSIC FOUNDATION Paul Fromm, President Alexander Schneider, Associate Director FELLOWSHIP PROGRAM Contemporary Music Activities Gunther Schuller, Head Roger Sessions, George Rochberg, and Donald Martino, Guest Teachers Paul Zukofsky, Fromm Teaching Fellow James Whitaker, Chief Coordinator Viola C Aliferis, Assistant Administrator The Berkshire Music Center is maintained for advanced study in music sponsored by the BOSTON SYMPHONY ORCHESTRA Erich Leinsdorf, Music Director Thomas D. -
L I V M I G D a L Marian Migdal
LIV MIGDAL VIOLINE & PIANO MARIAN MIGDAL BEETHOVEN DEBUSSY STRAUSS MULTICHANNEL plays on SACD, CD & DVD player MOZART GESELLSCHAFT DORTMUND Wir bedanken uns bei der MOZART GESELLSCHAFT DORTMUND e.V. und der OPLÄNDER STIFTUNG für die freundliche Unterstützung. Many thanks to MOZART GESELLSCHAFT DORTMUND e.V. and to OPLÄNDER STIFTUNG for the generous support. 2 3 »Diese Sonaten sind die einzigen in ihrer Art. […] Dabey ist das Accompagnement der Violine mit der Clavierpartie so künstlich verbunden, daß beide Instrumente in beständiger Aufmerk - samkeit unterhalten werden; so daß diese Sonaten einen eben so fertigen Violin- als Clavier- LUDWIG VAN BEETHOVEN (177 0–1827 ) Spieler erfordern.« Mit diesen Worten pries man im Magazin der Musik von Carl Friedrich Sonate für Klavier und Violine Nr. 6 A-Dur op. 30 Nr. 1 Cramer die originelle Qualität der im Jahr 1781 als Opus II veröffentlichten Six Sonates pour 1 Allegro 7 : 54 le Clavecin, ou Piano Forte avec l‘accomagnement d’un Violon von Wolfgang Amadeus 2 Adagio molto espressivo 7 : 17 Mozart. Entgegen den Konventionen bemühte sich der Komponist – der damit als Begründer 3 Allegretto con variazioni 8 : 20 der modernen Violinsonate gelten kann – in seinen späten Sonaten um ein ausgewogeneres Verhältnis beider Instrumente. In folgender Generation war es Ludwig van Beethoven, der das Prinzip des musikalischen Dialogs aufgriff und mit seinen Werken den grundlegenden Typus CLAUDE DEBUSSY (1862 –1918 ) für Sonaten mit zwei gleichberechtigten Partnern schuf. Sonate für Violine und Klavier g-Moll 4 Allegro vivo 5 : 29 Dieser Entwicklung der Duopartnerschaft ging eine Norm voraus, in der die Violine stets eine 5 Intermède – Fantasque et léger 4 : 55 untergeordnete Rolle gespielt hatte. -
June, 1947 1/3/47 I Ice Skating Carnivals in Each Five Boroughs On
INDEX \ January - June, 1947 1/3/47 I Ice skating carnivals in each five boroughs on Sunday, Jan. 12 1/5/47 2 Year end report on Park's activities and progress made dur- ing 1946 1/9/47 3 Warning for skaters to observe safety signs before going on frozen ponds and lakes 1/17/47 4 Procedure for assigning lockers at golf club houses 1/22/47 5 First day of ice skating in neighborhood playgrounds 2/8/47 6 Skiing and coasting areas in parks of all five boroughs listed 3/10/47 7 Schedule for first set of borough-wide elimination boxing bouts 3/17/47 8 Second week of elimination bouts in Parks Boxing Tournement 3/24/47 9 Last two sets of Borough-wide boxing finals in preparation for City-wide Championships in Department of Parks annual Boxing Tournement. 3/26/47 10, Finalists in three divisions of Parks Basketball Tournament to take place on March 29 at Madison Square Garden 3/27/47 11 For advent of Easter, Arnold Constable to sponser Egg & I Rolling Contest in Central Park on April 5 3/29/47 12 Park Department announces opening of Annual Easter Flower Show in Greenhouse at Prospect Park on Palm Sunday 3/30/47 13 Semi-finals in junior boxing tournement sponsored by Gimbels on 3/31/47 in Queens 4/2/47 14 750 girls and boys enter Arnold Constable Egg & I Rolling Contest; further details regarding rules and prizes 4/6/47 15 Last set of City-wide semi-finals in Department of Parks Boxing Tournement sponsored by Gimbels to be held on April 7 at 8 p.m. -
Juilliard Orchestra Edo De Waart , Conductor
Saturday Evening, September 23, 2017, at 7:30 The Juilliard School presents Juilliard Orchestra Edo de Waart , Conductor JOHANNES BRAHMS (1833 –97) Concerto in D major for Violin and Orchestra, Op. 77 (1878) Allegro non troppo Adagio Allegro giocoso, ma non troppo vivace—Poco più presto Intermission MICHAEL IPPOLITO (b. 1985) Nocturne (2011) RICHARD STRAUSS (1864 –1949) Der Rosenkavalier Suite (1909 –10, rev. 1944) Performance time: approximately 1 hour and 40 minutes, including one intermission 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. Notes on the Program not as a literal repetition but rather as a rhapsodizing memory of the melody. In the by James M. Keller finale, which proved the most immediately popular with early audiences, Sarasate Concerto in D major for Violin and would have found some of the crackling Orchestra, Op. 77 “Gypsy spirit” that was one of his particu - JOHANNES BRAHMS lar specialties. Born May 7, 1833, in Hamburg, Germany Died April 3, 1897, in Vienna, Austria Brahms did some of his best work during his summer vacations, which he usually Johannes Brahms was not a violinist him - spent at some bucolic getaway in the self, but as a pianist he had worked as an Austrian countryside. The summer of accompanist to violinists since the earliest 1878—the summer of the Violin Concerto— years of his career.