DOCSLIB.ORG

James Hainlen: an Oral History of an Exemplary Public School Orchestra Director and His Program Rebecca E

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
James Hainlen: an Oral History of an Exemplary Public School Orchestra Director and His Program Rebecca E University of North Dakota UND Scholarly Commons Theses and Dissertations Theses, Dissertations, and Senior Projects 12-2007 James Hainlen: An Oral History Of An Exemplary Public School Orchestra Director And His Program Rebecca E. Starr Follow this and additional works at: https://commons.und.edu/theses Part of the Music Commons Recommended Citation Starr, Rebecca E., "James Hainlen: An Oral History Of An Exemplary Public School Orchestra Director And His Program" (2007). Theses and Dissertations. 2092. https://commons.und.edu/theses/2092 This Independent Study is brought to you for free and open access by the Theses, Dissertations, and Senior Projects at UND Scholarly Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UND Scholarly Commons. For more information, please contact [email protected]. JAMES HAINLEN: AN ORAL IIlSTORY OF AN EXEMPLARY PUBLIC SCHOOL ORCHESTRA DIRECTOR AND ms PROGRAM by Rebecca E. Starr Bachelor of Science in Music Education, Minot State University, 2002 An Independent Study Submitted to the Graduate Faculty ofthe University of North Dakota in partial fulfillment of the requirements for the degree of Master of Music Grand Forks, North Dakota December 2007 This Independent Study, submitted by Rebecca E. Starr in partial fulfillment of the requirements for the Degree of Master of Music from the University of North Dakota, has been read-by the Faculty Advisory Committee under whom the work has been done and is hereby approved. 111 PERMISSION Title: James Hainlen: An Oral History of an Exemplary Public School Orchestra Director and His Program Department: Music Degree: Master of Music In presenting this Independent Study in partial fulfillment of the requirements for a graduate degree from the University of North Dakota, I agree that the library of this University shall make it freely available for inspection. I further agree that permission for extensive copying for scholarly purposes may be granted by the professor who supervised my Independent Study work or, in her absence, by the chairperson of the department or the dean of the Graduate School. It is understood that any copying or publication or other use of this Independent Study or part thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of North Dakota in any scholarly use which may be made of any material in my Independent Study. Signature Date IV TABLE OF CONTENTS ACKNOWLEDGMENTS ......................................................................... .ix ABSTRACT ............................................................................................x CHAPTER I. INTRODUCTION .................................................................. 1 Why Public School String Orchestra Programs Are Important. ..... 1 Need for the Study ......................................................... 4 Statement of Purpose ...................................................... 5 Limitations .......................................................... 5 Delimitations ...................................................... 5 II. REVIEW OF RELATED LITERATURE ....................................... 6 Introduction ..................................................................................... 6 Articles about String Teaching .......................................... 7 Books ........................................................................ 9 Research Literature ...................................................... 13 III. METHOD .......................................................................... 17 Subject ..................................................................... 17 Procedure .................................................................. 17 V IV. HAINLEN'S EDUCATION, BIOGRAPIIlCAL INFORMATION AND REPUTATION ............................................................. 19 Education .................................................................. 19 Teaching Career .......................................................... 20 Accomplishments and Recognition .................................... 21 Literature Pertaining to Hainlen as a Teacher and Conductor .................................................. 23 Literature Written by Hainlen .......................................... 28 In Hainlen's Retirement. ................................................ 30 V. COMPONENTS OF HAINLEN'S ORCHESTRAS AND THE STILLWATER ORCHESTRA PROGRAM .................................. 31 The Stillwater Orchestra Program in Context of the Stillwater Community ................................................... 31 Recruiting and Retention ................................................ 32 Accurate ·Data .................. ·................................................... 32 Grade for Beginning the String Program ........................... 35 Recruiting Strategies .......................................................... 36 Recruiting to Balance Attrition ......................................... .40 Retention During the Transition Between Schools ........... .41 Policy for Students Who Wanted to Quit.. ...................... .43 Students With Low Playing Ability .................................. .46 Beginning Orchestra and Band in the Same Grade .......... .48 Teacher Character Counts ................................................. .49 Renting, Buying, or Using School-Owned Instruments .... 50 Vl Students Who Wished to Play in More Than One Performing Ensemble ......................................................... 51 Contact Time .................................................................................. 52 Pull-out Lessons ................................................................. 52 Group Rehearsals ............................................................... 56 Grading, Home Practice, and Other Requirements ........................ 57 Method Books and Teaching Methods ................................ 62 Methods for Beginning String Students ............................. 62 Methods for Junior High and High School Orchestra ....... 65 Methods for Teaching Finger Patterns ............................... 66 Rehearsal Structure and Curriculum ................................... 69 Orchestra Formation/Layout. ............................................. 77 Pacing ................................................................................. 78 Auditions and Placement of Students ................................ 79 Concerts and Selecting Literature ...................................... 80 The Elementary and Junior High Concert Season ............. 80 High School· "Lullaby Concert" ......................................... 83 The Remainder of the High School Concert Season ......... 85 Tours, Clinics, Seminars, and Other Special Events ................ 87 Tours .................................................................................. 87 The Value of Tours ............................................................ 88 Competitions ...................................................................... 89 Guest Musicians and Special Clinics ................................. 90 Vll Interdisciplinary Seminars ................................................. 93 Funding .............................................................................. 94 Arts Advocacy and School Politics ..................................... 94 Goals and Philosophy of Teaching ..................................... 99 A Brief Overview ............................................................... 99 Striving to Excel. ............................................................. 100 Giving Credit. .................................................................. 100 Strengths and Weaknesses ............................................... 101 Creating a Sense of Community in the Orchestra ............ 102 VI. DISCUSSION/SUMMARY AND IMPLICATIONS ...................... 107 REFERENCES .................................................................................... 111 APPENDIXES ..................................................................................... 115 Vlll ACKNOWLEDGMENTS The author expresses sincere gratitude to James Hainlen and Barbara Lewis for the many hours they have given to this project, and to her family and friends for their understanding of her commitment to this project. lX - l :I '1 I I j ABSTRACT Experts advise string teachers to identify and model successful string teachers and programs. However, there is a scarcity of literature that examines this subject. There is literature that examines exemplary band teachers and programs, and these works can be useful to the string teaching profession. However, string teachers ·can benefit more from literature that specifically examines exemplary string orchestra programs and teachers. The purpose of this study, therefore, was to gather information from a renowned public school string teacher about the components of his successful string orchestra program. The researcher conducted a personal interview with James Hainlen, retired director and chair of the Stillwater, Minnesota Public School's orchestra program. The researcher questioned Hainlen on components of the Stillwater string program. Hainlen' s comments from the interview are presented in chapter five of this paper. Many components of Hainlen' s string program were like those discussed in existing literature pertaining to teaching
Load more

Recommended publications
  • Rachmaninoff and Tchaikovsky
    ~ Program ~ Rhapsody on a Theme by Paganini Sergei Rachmaninoff (1873 - 1943) Andrew Staupe, Piano ~ Intermission ~ Symphony No. 2 in C minor, Op. 17 Pytor Ilytich Tchaikovsky PLAYING. SHARING. INSPIRING. (1840 – 1893) I. Andante sustenuto – Allegro vivo Yuri Ivan, Music Director II. Andantino marziale, quasi moderato Andrew Staupe, Piano III. Scherzo. Allegro molto vivace IV. Finale moderato assai – Allegro vivo Rachmaninoff and Tchaikovsky ~ Summer POPS! ~ Saturday, May 19, 2012 7:30 PM Sunday, August 12, 2 PM at Lake Harriet Bandshell Sunday, August 19, 7 PM at Como Lakeside Pavilion St. Albert the Great Catholic Church Minneapolis, Minnesota Monday, August 20, 7 PM at Maple Grove Town Green Visit kenwoodsymphonyorchestra.org for more information The Kenwood Symphony Orchestra was founded as the Kenwood ~ Biographies ~ Chamber Orchestra in 1972 as an adult education class at the Kenwood Community Center. From those humble beginnings, the orchestra quickly American pianist Andrew Staupe is rapidly emerging as one of the most grew in membership, ability, and reputation. Over the years, several gifted outstanding pianists of his generation. He recently debuted in Carnegie Hall conductors have graced the podium, including Uri Barnea, Lee Humphries, to great critical acclaim, in which New York Concert Review stated “Mr. Jim Riccardo, Jeannine Wager, William Intriligator, Myles Hernandez, Staupe gave a brilliant performance, handling the virtuosic demands with Kenneth Freed, and Jeffrey Stirling. Since 2007, the orchestra has been apparent ease.” This season he also debuted with the San Diego Symphony under the direction of Yuri Ivan. Based at Washburn High School, the KSO under Jahja Ling, Glacier Symphony, Rochester Symphony, and the represents over 50 highly accomplished volunteer musicians of all ages and Minnesota Sinfonia.
    [Show full text]
  • Rachmaninov Symphony No. 2Conducted by Leopold Stokowski with the Hollywood Bowl Orchestra
    Rachmaninov Symphony No. 2 Conducted by Leopold Stokowski with the Hollywood Bowl Orchestra and Robert Russell Bennett Violin Concerto Bernard Herrmann conducting the London Symphony Orchestra, Louis Kaufman, violin RACHMANINOV ible music. And when it was done, the host of home that much. That all changed in 1918. With SYMPHONY NO. 2 whatever program it was came on and informed the war on and Russia in turmoil, Rachmaninov us listeners that we’d just heard Rachmaninov’s accepted a series of concerts in Scandinavia. Quick – what do Eric Carmen’s hit song “Never second symphony, conducted by Adrian Boult There he stayed until the tour was finished, and Gonna Fall in Love Again,” Don Sebeskey’s on London Records. I knew Mr. Boult’s work then he boarded a boat for the United States “You Can’t Go Home Again,” Barry Manilow’s because the second piece of music I bought and arrived in New York City eleven days later. “If I Should Love Again,” Danilo Perez’s “If I on LP after “The Moldau” was Fantasia on He became an in-demand conductor and per- Ever Forget You,” and the film Birdman all have Greensleeves by Vaughan Williams, conducted former, and also signed a deal to record for the in common? Yes, the all “borrow” from Rach- by Boult. Well, I immediately drove directly to Victor Talking Machine Company. Audiences maninov’s brilliant Symphony No. 2. While Vogue Records in Westwood. They had a won- loved him, but critics were divided on the worth Birdman used parts of the first and second derful classical department there and I asked of his music.
    [Show full text]
  • Bush Foundation Annual Report 2000
    Bush Foundation Foundation Bush Bush Foundation Annual Annual Report Annual Report Report BUSH FOUNDATION Information The Annual Report highlights grants made by the Bush Foundation in . For information on grant guidelines for organizations or fellow- ships, please contact the Foundation. Bush Foundation East First National Bank Building Minnesota Street St. Paul, Minnesota Tel: -- Fax: -- E-mail: [email protected] www.bushfoundation.org BUSH FOUNDATION Contents Grant Overview 3 Year in Review 5 Program Highlights 11 Grant List 27 Fellowship Programs 71 Financial Review 75 Board of Directors 86 Staff 88 Program Committees 90 Index 92 BUSH FOUNDATION Grant Overview Grant Payments and New Commitments - Grant payments are those made in the year indicated on current and past grants. New commitments are the sum of dollars the Board votes in approved grants each year. These obligations will be paid in either the current year or in later years. ’ ’ ’ ’ ’ Grant payments New commitments ($ Millions) Distribution of Grants This chart shows the Fellowship Arts & distribution of Programs Humanities . grant amounts by % .% Other program area. The .% Bush Board does not Education have any prior poli- .% cies which determine the amount to be granted in one pro- Human Services gram area in a given .% Health year, except in the .% fellowship programs. BUSH FOUNDATION Year in Review The year was an PROGRAMS unusual year for the Bush The spring retreat Foundation. Our endow- focused on Bush work in ment and grant making education. We examined exceeded expectations; we emerging issues in early expanded and evaluated childhood, K-, and higher program areas and devel- education. The Board oped new programs; and, approved several directions we began a long-range in education: to continue planning process.
    [Show full text]
  • The Saxophone in China: Historical Performance and Development
    THE SAXOPHONE IN CHINA: HISTORICAL PERFORMANCE AND DEVELOPMENT Jason Pockrus Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Eric M. Nestler, Major Professor Catherine Ragland, Committee Member John C. Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Pockrus, Jason. The Saxophone in China: Historical Performance and Development. Doctor of Musical Arts (Performance), August 2018, 222 pp., 12 figures, 1 appendix, bibliography, 419 titles. The purpose of this document is to chronicle and describe the historical developments of saxophone performance in mainland China. Arguing against other published research, this document presents proof of the uninterrupted, large-scale use of the saxophone from its first introduction into Shanghai’s nineteenth century amateur musical societies, continuously through to present day. In order to better describe the performance scene for saxophonists in China, each chapter presents historical and political context. Also described in this document is the changing importance of the saxophone in China’s musical development and musical culture since its introduction in the nineteenth century. The nature of the saxophone as a symbol of modernity, western ideologies, political duality, progress, and freedom and the effects of those realities in the lives of musicians and audiences in China are briefly discussed in each chapter. These topics are included to contribute to a better, more thorough understanding of the performance history of saxophonists, both native and foreign, in China.
    [Show full text]
  • Music in the Schools 2016 -2017 1 Water – One of Our Most Precious Resource
    Minnesota Sinfonia Music in the Schools 2016 -2017 1 Water – One of Our Most Precious Resource Dear Teachers, I am very excited to work with you for this year’s Music in the Schools presentation, Water, One of Our Most Precious Resources This program focuses on science, and how we as musicians use water as a theme for some of the music we perform. Following are teaching materials that I hope you will find helpful when preparing for our visit: • Lesson plans/activities that will relate the music we will play to the science standards and student activities in this curriculum. Listed are state-mandated standards for each grade level of K-8 that can be supported by using our materials. The Sinfonia welcomes new ideas, so please send us any suggestions you think we could include for the next time we use this curriculum. • Master listening CD that includes full renditions of the music the Sinfonia will perform, recordings of songs the students will sing and the music the orchestra students will play. Please use this CD in your classroom daily, and feel free to add other classical recordings, too. • Music for student choirs to sing: Students’ Songs: Down by the Riverside. and It‘s Raining (to be sung in English and Spanish) are songs that your school choir will perform on concert day with the orchestra (for schools without choirs, the children in one or two grades can serve as the choir). For schools with advanced choirs, both songs have optional second voice parts, If you cannot play the accompaniments on a piano, then please use the computer-generated accompaniments at the end of the CD when teaching children the music.
    [Show full text]
  • Tv Advertised Lp's
    AUSTRALIAN RECORD LABELS TV ADVERTISED LABELS 1970 to 1992 COMPILED BY MICHAEL DE LOOPER © BIG THREE PUBLICATIONS, SEPTEMBER 2018 1 ACKNOWLEDGEMENTS MANY THANKS TO PAUL ELLWOOD FOR HELP WITH J & B. ANDREW RENAUT’S WEBSITE LISTS MANY OF THE MAJESTIC / K-TEL COMPILATIONS: https://majesticcompilations.com/ CONCEPT RECORDS CONCEPT RECORD PTY LTD, 139 MURRAY ST, PYRMONT, 2009 // 37 WHITING ST, ARTARMON, 2064. BEGUN BY THEO TAMBAKIS AS A J & B SPECIAL PRODUCTS LABEL. ACTIVE FROM 1984. CC 0001 BREAKIN’ IT UP VARIOUS 1984 CC 0002 HOWLIN’ FOR HITS 2LP VARIOUS 1984 CC 0003 LOVE THEMES INSPIRED BY TORVILL & DEAN VARIOUS CC 0004 THAT’S WHAT I CALL ROCK ‘N’ ROLL VARIOUS CC 0005 THE BOP WON’T STOP VARIOUS 1985 CC 0006 THE HITS HITS HITS MACHINE 2LP VARIOUS 1985 CC 0007 MASTERWORKS COLLECTION VARIOUS 1985 CC 0008 CC 0009 LOVE ME GENTLY VARIOUS CC 0010 4 STAR COUNTRY 2LP DUSTY, REEVES, WHITMAN, WILLIAMS CC 0011 CC 0012 THE DANCE TAPES VARIOUS 1985 CC 0013 KISS-THE SINGLES KISS 1985 CC 0014 THE VERY BEST OF BRENDA LEE 2LP BRENDA LEE 1985 CC 0015 SOLID R.O.C.K. VARIOUS 1985 CC 0016 CC 0017 CC 0018 HIT AFTER HIT VARIOUS 1985 CC 0019 BANDS OF GOLD 2LP VARIOUS CC 0020 THE EXTENDED HIT SUMMER 2LP VARIOUS 1985 CC 0021 METAL MADNESS 2LP VARIOUS 1985 CC 0022 FROM THE HEART VARIOUS 1986 CC 0023 STEPPIN’ TO THE BEAT VARIOUS 1986 CC 0024 STARDUST MELODIES NAT KING COLE CC 0025 THE VERY BEST OF OZ ROCK 2LP VARIOUS 1986 CC 0026 SHE BOP VARIOUS 1986 CC 0027 TI AMO VARIOUS 1986 CC 0028 JUMP ‘N’ JIVE VARIOUS 1986 CC 0029 TRUE LOVE WAYS VARIOUS 1986 CC 0030 PUTTIN’ ON
    [Show full text]
  • Police Still Seek Driver in Fatal Hit-And-Run Town Puts Cash Into
    Classic styling What's worse than... Hooked on classics Realtors offer homes ...shopping for a used car Westfield Symphony with unique designs with senior citizen parents? begins with Beethoven See page A-7 Real Estate section Inside See WeekendPlus INSIDE The\ftfestfield Record Vol. 4, No. 42 Thursday, October 21, 1993 A Forbes Newspaper 50 cents l Briefs Police still seek driver in fatal hit-and-run Golden goose •y NKOLEA.OAVM40 "We have spoken with several witnesses and was working at the time of the accident and has seen the police in the area every day we are asking that anybody with any infor- The Golden Goose Bou- THE RECORD said that Mr. Kopelchak came in and bought surveying the street and talking to neighbor- tique will be held at the mation to please call" Sergeant Auchter or a blank tape. "He was just like an everyday ing businesses and residents. Westfield Tennis Club, 139 N. Police are searching for a hit and run driv- Investigating Detective Donald Fuentes at normal customer. He came in, bought a Sergeant Auchter said police are continu- Chestnut St. today and Fri- er who struck and killed a Westfield man on 789-4010 or 789-4008. blank tape and left," said Mr. Adams. "The ing to speak with witnesses and neighbors day from 9 am to 0 pm, Sat- Central Avenue about 7:26 p.m. Saturday. Mr. Kopelchak moved to Westfield from next thing we know, we saw some com- and they have notified a network of busi- urday fh>m 10 am to 3 pm.
    [Show full text]
  • The Bucks to Clinch a Trip to the Can Work
    Wonderful Woody Is Coming ... "If you want to hate Woody Hayes, upset the Bucks to clinch a trip to the can work. then you must never let yourself hear Rose Bowl. Hayes plans football like a general him make a speech;' said a longtime as­ In his years at OSU Hayes has led his preparing for battle. He studies game sociate of controversal OSU coach in teams to two national championships, films for hours. When the playing dis­ the Nov. 21 issue of Life. two Rose Bowls, and three Big Ten titles pleases Hayes he takes his anger out on LOSU students will be able to decide in four years. his players or opposing coaches. Occa­ for themselves today when Coach Hayes sionally he also expresses his opinions Hayes prefers a rushing game, and stops at the Lima campus on his way to to the game officials. Vietnam. made "three yards and a cloud of dust" Hayes' one trademark is his short­ Hayes, who coached the Buckeyes a legend at Ohio State. He once said, ''there are only three things that can hap­ sleeved white shirt. Only once has he for 19 years, this year led the team to a worn a jacket at a football game. 22-game winning streak. The winning pen to a pass, and two of them are bad." ways of the Bucks were stopped in the In recent years Hayes has turned to the Football is Woody Hayes' game and W.W. (WOODY) HAYES last game of the season when Michigan pass with Rex Kem proving that passes he is a perfectionist about it.
    [Show full text]
  • Myths of Hakkō Ichiu: Nationalism, Liminality, and Gender
    Myths of Hakko Ichiu: Nationalism, Liminality, and Gender in Official Ceremonies of Modern Japan Item Type text; Electronic Dissertation Authors Teshima, Taeko Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 01/10/2021 21:55:25 Link to Item http://hdl.handle.net/10150/194943 MYTHS OF HAKKŌ ICHIU: NATIONALISM, LIMINALITY, AND GENDER IN OFFICIAL CEREMONIES OF MODERN JAPAN by Taeko Teshima ______________________ Copyright © Taeko Teshima 2006 A Dissertation Submitted to the Faculty of the GRADUATE PROGRAM IN COMPARATIVE CULTURAL AND LITERARY STUDIES In Partial Fulfillment of the Requirements For a Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2 0 0 6 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Taeko Teshima entitled Myths of Hakkō Ichiu: Nationalism, Liminality, and Gender in Official Ceremonies of Modern Japan and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy _________________________________________________Date: 6/06/06 Barbara A. Babcock _________________________________________________Date: 6/06/06 Philip Gabriel _________________________________________________Date: 6/06/06 Susan Hardy Aiken Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement.
    [Show full text]
  • Music Library
    Fall Events Calendar Don’t miss the middle of the magazine! in the tutti. (it.) all. every musician to take part. No. 10 2000–2010 Celebrating 10 Years of the School of Music’s Collage Concert INSIDE Fall 2010 Convocation Preview Learning Through Music Student, Faculty, and Alumni News Photo: Sonkarlay Vaye music.umn.edu Fall 2010 | Volume 12 | Number 1 first will feature Paul Phoenix, tenor A vast array of achievements and rec- Photo: Kelly MacWilliams with The King’s Singers and an avid ognitions among students, faculty, spokesperson for engaging diverse and alumni is profiled in this issue of audiences. Additional work includes Tutti, where you will also enjoy read- organizing instruction and perfor- ing about Collage. This year’s 10th mance around unifying themes. We anniversary concert honors president are pursuing strategies to improve Bruininks and his wife, Dr. Susan communication across divisions and Hagstrom. If you are in the area, I to increase students’ engagement in hope you will attend. the work of the school. The intersections between core val- A task force is considering impro- ues and fiscal strategies will be key Dear Alumni, Friends, visation in the curriculum and a to assuring that our school continues and Colleagues, faculty-community committee is to fulfill a significant role in prepar- looking at the composition program ing career musicians. I am pleased John Gardner, secretary of health, and its relationships with technol- to report that recent pledges and education, and welfare during the ogy and improvisation. The catalytic donations yielded over 3.5 million 1960s, characterized the challenges work of the Engaged Department dollars, a much appreciated mark of of his day as incredible opportunities Leadership Team (EDLT) has confidence and trust in our work.
    [Show full text]
  • Meadow Brook Music Festival
    Archives ML 38 .02 M47 1982 c.3 Meadow Brook Music Festival AUGUSTJULYAUGUST87 1211 8:00 PM JOANDETROITFRED BAEZWARING'SSYMPHONYSYMPHONYAUGUSTPENNSYLVANIANSORCHESTRA5 STANISLAWSERGIUDETROITNEVILLEROBERTCOMISSIONA,MARRINER,COHEN,SYMPHONYSKROWACZEWSKI,cellistconductingORCHESTRAconductingconducting BILLYFIREWORKS&SWAN KENNETH JEWELL CHORALE WEDNESDAYSTHURSDAYS ARLOKRISMEADOWKRISTOFFERSONGUTHRIEOOK ESTAT KATETOM PAXTONANNA McGARRIGLE OPENINGDETROIT SYMPHONYNIGHT ORCHESTRASEMYONCECILEOXANAGARYBORISMYUNG-WHUNJEAN-PIERREJOSEPHNADJADETROITSIXTENNATHANBERTINI,BERMAN,SALERNO-SONNENBERG,YABLONSKAYA,EHRLlNG,LICAD,GOLDMAN,BYCHKOV,GORDON,SYMPHONYRAMpianistCHUNG,conductingTUESDAYSpianistconductingPAL,violistviolinistconductingORCHESTRAflutistpianistconductingviolinist JUNE 24 JULY 291 AUGUST 310 JULY 2215 JULY 5 ~MONDAYt 36 , Performance Schedule - 1982 DETROIT SYMPHONY ORCHESTRA JULYJUNEJUlAUGUSTJULYAUGUSTY 32410311726 14218 11:008:00 AMPM SHLOMOCHILDREN'STHECLEOVICTORJAMESDETROITSEMYONALFERRANTEDOCMYUNG-WHUNDONALDSTANISLAWOXANAGARYNEVILLESERGIUSIXTENCECILEFIREWORKSCHILDREN'SBUDDY"HOOKEDLOUISMARIAPETEHIRTFOURSEVERINSENFOUNTAINLAINEBERTINI,CLARKGALWAY,MEIRELLES,YABLONSKAYA,MINTZ,RICHEHRLlNG,L1CAD,BORGECOMISSIONA,MARRINER,BYCHKOV,GREEN,SYMPHONYSYMPHONYONLADSFRESHMEN& SKROWACZEWSKI,CONCERTCONCERTTEICHERANDCLASSICS"CHUNG,pianistviolinistconductingflutisttrumpetconductingHISpianistconductingconductingORCHESTRABANDconductingpianistconductingconducting STEVERANDY GOODMANBARLOW THEINKSPOTSFIREWORKSWOODYKENNETH"BIGDETROITJOHNTHEBANDDANKWORTHSUMMERHERMANSYMPHONYSYMPHONYJEAN,SOUNDSOFconductingAND'42"FROMHISPOPSTHUNDERING
    [Show full text]
  • Program Booklet
    La Grande Bande’s season@HOME is supported in part by The Carl and Verna Schmidt Foundation La Grande Bande and by our Regular and Sustaining Contributors The 2020 season@HOME performances are a presentation 2 Season@Home 2020 Episode 4: Boyce’s Concerto Grosso season@HOME La Grande Bande Elizabeth York & Mary Sorlie, solo violins Miriam Scholz-Carlson & Theresa Elliott, violins Ginna Watson, viola Maryne Mossey, violoncello Josh Schwalbach, contrabass Michael Thomas Asmus, harpsichord Friday 16 October 2020 Program Concerto Grosso in e William Boyce (1711–1779) I. Adagio II. Allegro III. Siciliana IV. Allegro Program Notes La Grande Bande’s fourth season@HOME future in-person performances. We hope that you episode keeps us in England as we perform the enjoy this great concerto grosso by a under- music of William Boyce. Boyce’s music is not performed English master composer. often performed, and we wanted to start exploring his works for the season@HOME series. William Boyce The covid-19 restrictions of indoor gatherings The work of English Baroque composer William certainly caused us to be creative in which music Boyce is often overshadowed by the elder George we selected. This concerto grosso, even with a Frideric Handel (Handel was born 26 years earlier small ensemble, is one that we’ll return to for than Boyce.) Both composers were active in the La Grande Bande |3 theatres during their lives in London: Handel tempos and characters/moods, but they are famously worked as the Italian opera composer for usually connected by key centers (like this one the Royal Academy of Music; Boyce composed which uses e minor and G major).
    [Show full text]