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Jacob's Pillow Dance Festival 2018 Runs June 20-August 26 with 350+ Performances, Talks, Events, Exhibits, Classes & Works
NATIONAL MEDAL OF ARTS | NATIONAL HISTORIC LANDMARK FOR IMAGES AND MORE INFORMATION CONTACT: Nicole Tomasofsky, Public Relations and Publications Coordinator 413.243.9919 x132 [email protected] JACOB’S PILLOW DANCE FESTIVAL 2018 RUNS JUNE 20-AUGUST 26 WITH 350+ PERFORMANCES, TALKS, EVENTS, EXHIBITS, CLASSES & WORKSHOPS April 26, 2018 (Becket, MA)—Jacob’s Pillow announces the Festival 2018 complete schedule, encompassing over ten weeks packed with ticketed and free performances, pop-up performances, exhibits, talks, classes, films, and dance parties on its 220-acre site in the Berkshire Hills of Western Massachusetts. Jacob’s Pillow is the longest-running dance festival in the United States, a National Historic Landmark, and a National Meal of Arts recipient. Founded in 1933, the Pillow has recently added to its rich history by expanding into a year-round center for dance research and development. 2018 Season highlights include U.S. company debuts, world premieres, international artists, newly commissioned work, historic Festival connections, and the formal presentation of work developed through the organization’s growing residency program at the Pillow Lab. International artists will travel to Becket, Massachusetts, from Denmark, Israel, Belgium, Australia, France, Spain, and Scotland. Notably, representation from across the United States includes New York City, Minneapolis, Houston, Philadelphia, San Francisco, and Chicago, among others. “It has been such a thrill to invite artists to the Pillow Lab, welcome community members to our social dances, and have this sacred space for dance animated year-round. Now, we look forward to Festival 2018 where we invite audiences to experience the full spectrum of dance while delighting in the magical and historic place that is Jacob’s Pillow. -
Leihmaterial Bote & Bock
Leihmaterial Bote & Bock - Stand: November 2015 - Komponist / Titel Instrumentation Komp. / Dauer Aa, Michel van der 2 After Life B 2S,M,A,2Ba; 2005-06/ 95' Oper nach dem Film von Hirokazu Kore-Eda 0.1.1.BKl.0-0.1.0.1-Org(=Cemb)-Str(3.3.3.2.2); 2009 elektr Soundtrack; Videoprojektionen 1 The Book of DisquietB 1.0.1.1-0.1.0.0-Perc(1): 2008 75' Musiktheater für Schauspieler, Ensemble und Film Vib/Glsp/3Metallstücke/Cabasa/Maracas/Egg Shaker/ 4Chin.Tomt/grTr/Bambusglocken/Ratsche/Peitsche(mi)/ HlzBl(ti)/2Logdrum/Tri(ho)/2hgBe-4Vl.3Va.2Vc.Kb- Soundtrack(Laptop,1Spieler)-Film(2Bildschirme) 0 Here [enclosed] B 0.0.1.1-0.1.1.0-Perc(1)-Str(6.6.6.4.2)- 2003 17' für Kammerorchester und Soundtrack Soundtrack(Laptop, 1Spieler); Theaterobjekt K Here [in circles] B Kl.BKl.Trp-Perc(1)-Str(1.1.1.1.1); 2002 15' für Sopran und Ensemble kl Kassetten-Rekorder (z.B. Sony TCM-939) 0 Here [to be found]B 0.0.1.1-0.1.1.0-Perc(1)-Str(6.6.6.4.2)- 2001 18' für Sopran, Kammerorchester und Soundtrack Soundtrack(Laptop, 1 Spieler) Here Trilogy B 2001-03 50' siehe unter Here [enclosed], Here [in circles], Here [to be found] F Hysteresis B Fg-Trp-Perc(1)-Str*; Soundtrack(Laptop,1 Spieler); 2013 17' für Solo-Klarinette, Ensemble und Soundtrack *Streicher: 1.0.1.1.1 (alle vertärkt) oder 4.0.3.2.1 oder 6.0.5.4.2; Kb mit tiefer C-Saite 2 Imprint B 2Ob-Cemb-Str(4.4.3.2.1); 2005 14' für Barock-Orchester Portativ-Orgel zu spielen vom Solo-Violinisten; Historische Instrumente (415 Hz Stimmung) oder moderne Instrumente in Barock-Manier gespielt 1 Mask B 1.0.1.0-1.1.1.0-Perc(1)-Str(1.1.1.1.1)- -
9/5/2011-4/21/2012. Letters from a Danceaturg. Neil Baldwin to Lori Katterhenry
9/5/2011-4/21/2012. Letters from a Danceaturg. Neil Baldwin to Lori Katterhenry. No.1 - September 5, 2011 Dear Lori: I am grateful to Ryoko Kudo, Maxine Steinman and our MSU dancers for opening the doors to the studio in Life Hall last week and welcoming me to sit in on three sessions of the setting of excerpts from There is a Time (1956) by Jose Limon. They worked on “Opening Circle,” “Plant and Reap,” “Mourn,” “Laugh and Dance,” and “Hate & War.” Reviewing and editing my on-site notes, I recalled a helpful observation by Doris Humphrey in The Art of Making Dances with regard to this work. She writes, “There is a Time states its thematic material in the opening section and builds all the rest of its many parts on variations of the same movements. Unfortunately, this escapes most people; what they see is a suite form, contrasted ideas of dramatic or lyric significance. This is because the eye is not sufficiently trained to remember movement themes, and will usually miss them completely.” Indeed, the fact that the original title of There is a Time was Variations on a Theme came through powerfully during these sessions. Ryoko’s precisely-planned and at the same time intuitively- executed method was the embodiment of Limon’s preliminary concept notes for the dance, when he said that “the community…form[s] a very close circle which pulsates symbolizing an ovum or womb in travail…[T]he large circle…symbolize[s] time – the great continuity – eternal, unbroken…without hurry and without end.” I was also mindful of a point that Carla Maxwell made in an interview with The New York Times ten years ago about classic modern dance: “What's indispensable is a consistent point of view that relates to the times,'' she said. -
The Most Common Orchestral Excerpts for the Horn: a Discussion of Performance Practice
The most common orchestral excerpts for the horn: a discussion of performance practice by Shannon L. Armer Submitted in partial fulfillment of the requirements for the degree Master of Music in the Faculty of Humanities University of Pretoria Supervisor: Dr. J. deC Hinch Pretoria January 2006 © University of Pretoria ii ABSTRACT This study describes in detail the preparation that must be done by aspiring orchestral horn players in order to be sufficiently ready for an orchestral audition. The general physical and mental preparation, through to the very specific elements that require attention when practicing and learning a list of orchestral excerpts that will be performed for an audition committee, is investigated. This study provides both the necessary tools and the insight borne of a number of years of orchestral experience that will enable a player to take a given excerpt and learn not only the notes and rhythms, but also discern many other subtleties inherent in the music, resulting in a full understanding and mastery thereof. Ten musical examples are included in order to illustrate the type of additional information that a player must gain so as to develop an in-depth knowledge of an excerpt. Three lists are presented within the text of this study: 1) a list of excerpts that are most commonly found at auditions, 2) a list of those excerpts that are often included and 3) other excerpts that have been requested but are not as commonly found. Also included is advice regarding the audition procedure itself, a discussion of the music required for auditions, and a guide to the orchestral excerpt books in which these passages can be found. -
A Survey and Guide to the Most Frequently Programmed Lieder In
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2010 A survey and guide to the most frequently programmed Lieder in the undergraduate studios of selected major music institutions in the United States Joseph Christopher Turner Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Turner, Joseph Christopher, "A survey and guide to the most frequently programmed Lieder in the undergraduate studios of selected major music institutions in the United States" (2010). LSU Doctoral Dissertations. 3319. https://digitalcommons.lsu.edu/gradschool_dissertations/3319 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A SURVEY AND GUIDE TO THE MOST FREQUENTLY PROGRAMMED LIEDER IN THE UNDERGRADUATE STUDIOS OF SELECTED MAJOR MUSIC INSTITUTIONS IN THE UNITED STATES A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music and Dramatic Arts by Joseph Christopher Turner B.M., Mississippi College, 1994 M.M., Mississippi College, 1998 August 2010 i © Copyright 2010 Joseph Christopher Turner All rights reserved. ii DEDICATION To my parents iii ACKNOWLEDGEMENTS There are so many without whom this project would not have been possible. I wish to thank the following individuals for their support and encouragement: Prof. -
Tbeatthe HEAT!
THE SUNDAY STAR, Washington, D. C. SPMMT, «. TURNTABLE TALK E-4 MAKC* IMS | NEWS OF MUSIC Here Are New Sounds Mozart Cycle Billed JjfH At 4 For Speeding Guests RHBB plC' -• ww*lfe*' By JAMES G. DEANE ! work Is familiar In a version By Dirksen, Lywen Up InStamford. Conn., when for concert orchestra arranged he Is not out in the West In- with the composer’s approval By DAT THORPE States for an average of $16.43. dies or some other exotic spot by Gordon Jacobs, a pupil. The Certainly the most unusual Those interested in entering the contest should write Helen with a microphone and tape original Is no less Ingratiating. musical event for which the - N' Havener, National Federation recorder, there is a man named All told, there are really II Mocart anniversary will be Clubs, of Music 445 West Emory Cook who has a pen- pieces on the disc, which the responsible this year Is the Twenty-third street. New York chant fer miking recordings Eastman Symphonic Wind cycle of Mozart violin 11. N. Y. nobody else would think of. ' Ensemble performs with gus- and keyboard sonatas to be The other contest is the Merriweather Post Award of For posterity, Mr. Cook has to. The recorded sound is a ' played this spring and fall by ! SSOO cash and a S6OO scholar- magnetically enshrined the i model. Richard Dirksen and Werner ship ** * * SOPRANO WITH ARMY the Phillips Gal- to the Juilliard School of sound of ocean waves, earth- at Music. The National Sym- NEW BCHUBERTIAN BAND—Evelyn Sachs, who fcry quakes. -
Richard Strauss Symphonia Domestica, Op. 53
Richard Strauss (1864 - 1949) Symphonia domestica, op. 53 Movimenti: 1. Introduzione e sviluppo dei tre gruppi di temi principali Temi del marito: (a) gemächlich (comodo); (b) träumerisch (sognante); (c) feurig (focoso) Temi della moglie: (a) lebhaft und heiter (vivace e giocondo); (b) grazioso Tema del figlio: ruhig (tranquillo) 2. Scherzo Felicità dei genitori, giochi infantili, ninnananna (la pendola suona le sette di sera) 3. Adagio Lavori e propositi, scena d'amore, sogni e preoccupazioni (la pendola suona le sette del mattino) 4. Finale Risveglio e allegra baruffa (doppia fuga), riconciliazione e conclusione gioiosa Organico: ottavino, 3 flauti, 2 oboi, oboe d'amore, corno inglese, clarinetto in mi bemolle, 3 clarinetti, clarinetto basso, 4 fagotti, controfagotto, 4 sassofoni (soprano, contralto, baritono e basso), 8 corni, 4 trombe, 3 tromboni, tuba, timpani, tamburo, cassa, triangolo, piatti, tamburello, glockenspiel, 2 arpe e archi Composizione: Berlino-Charlottenburg, 31 Dicembre 1903 Prima esecuzione: New York, Carnegie Hall, 21 marzo 1904 Edizione: Bote & Bock, Berlino, 1904 Dedica: alla mia cara moglie ed a nostro figlio Guida all'ascolto 1 Nell'arco dell'intensa e poliedrica attività compositiva di Strauss la Symphonia domestica si colloca tra i due poemi sinfonici Ein Heldenleben (Vita d'eroe) e Eine Alpensinfonie (Sinfonia delle Alpi). Il musicista cominciò a scrivere la «Domestica» nel 1902, poco dopo l'andata in scena della sua seconda opera Feuersnot (Fuochi di San Giovanni) e la terminò nel 1903, dirigendola per la prima volta al Carnegie Hall di New York il 21 marzo 1904. Sin d'allora questo poema sinfonico suscitò discussioni e riserve da parte della critica per il suo acceso e scoperto carattere autobiografico. -
THROUGH LIFE and LOVE Richard Strauss
THROUGH LIFE AND LOVE Richard Strauss Louise Alder soprano Joseph Middleton piano Richard Strauss (1864-1949) THROUGH LIFE AND LOVE Youth: Das Mädchen 1 Nichts 1.40 Motherhood: Mutterschaft 2 Leises Lied 3.13 16 Muttertänderlei 2.27 3 Ständchen 2.42 17 Meinem Kinde 2.52 4 Schlagende Herzen 2.29 5 Heimliche Aufforderung 3.16 Loss: Verlust 18 Die Nacht 3.02 Longing: Sehnsucht 19 Befreit 4.54 6 Sehnsucht 4.27 20 Ruhe, meine Seele! 3.54 7 Waldseligkeit 2.54 8 Ach was Kummer, Qual und Schmerzen 2.04 Release: Befreiung 9 Breit’ über mein Haupt 1.47 21 Zueignung 1.49 Passions: Leidenschaft 22 Weihnachtsgefühl 2.26 10 Wie sollten wir geheim sie halten 1.54 23 Allerseelen 3.22 11 Das Rosenband 3.15 12 Ich schwebe 2.03 Total time 64.48 Partnership: Liebe Louise Alder soprano 13 Nachtgang 3.01 Joseph Middleton piano 14 Einerlei 2.53 15 Rote Rosen 2.19 2 Singing Strauss Coming from a household filled with lush baroque music as a child, I found Strauss a little later in my musical journey and vividly remember how hard I fell in love with a recording of Elisabeth Schwarzkopf singing Vier Letze Lieder, aged about 16. I couldn’t believe from the beginning of the first song it could possibly get any more ecstatic and full of emotion, and yet it did. It was a short step from there to Strauss opera for me, and with the birth of YouTube I sat until the early hours of many a morning in my tiny room at Edinburgh University, listening to, watching and obsessing over Der Rosenkavalier’s final trio and presentation of the rose. -
Festival Richard Strauss
RICHARD STRAUSS Torino, 2-25 febbraio 2018 Un progetto di CITTÀ DI TORINO TEATRO REGIO TORINO RICHARD-STRAUSS-ARCHIV GARMISCH RICHARD-STRAUSS-INSTITUT GARMISCH-PARTENKIRCHEN ASSOCIAZIONE AMICI DEL REGIO ARIANNA PER LA MUSICA AMBAscIATA DELLA REPUBBLICA FEDERALE DI GERMANIA A ROMA BIBLIOTECA NAZIONALE UNIVERSITARIA DI TORINO ASSOCIAZIONE ABNUT - AMICI BIBLIOTECA NAZIONALE UNIVERSITARIA DI TORINO CONSERVATORIO “GIUSEPPE VERDI” DI TORINO ORCHESTRA FILARMONICA DI TORINO ASSOCIAZIONE BARETTI UNIONE MUSICALE ORCHESTRA DA CAMERA “GIOVANNI BATTISTA POLLEDRO” ACCADEMIA DEL SANTO SPIRITO I MUSICI DI SANTA PELAGIA ACCADEMIA CORALE STEFANO TEMPIA ASSOCIAZIONE CONCERTANTE - PROGETTO ARTE&MUSICA CIRCOLO DEGLI ARTISTI ORCHESTRA SINFONICA NAZIONALE DELLA RAI GOETHE-INSTITUT TURIN ACCADEMIA DI MUSICA DI PINEROLO UNIVERSITÀ DEGLI STUDI DI TORINO - CENTRO STUDI SUL TEATRO MUSICALE IL CIRCOLO DEI LETTORI ASSOCIAZIONE CULTURALE ORGANALIA ACADEMIA MONTIS REGALIS MARCHESATO OPERA FESTIVAL - COMUNE DI SALUZZO - FONDAZIONE SCUOLA APM DI SALUZZO ASSOCIAZIONE ANTIDOGMA MUSICA MUSEO NAZIONALE DEL CINEMA INPOETICA - FESTIVAL TRASVERSALE DELLE ARTI Dopo il successo del Festival Alfredo Casella, che nel 2016 si è aggiudicato il Premio Abbiati dell’Associazione Nazionale dei Critici Musica- li per l’originalità del progetto, e del Festival Antonio Vivaldi l’anno scorso, il 2018 è l’an- no di Richard Strauss. Al compositore tedesco più in vista e di successo nella prima metà del Novecento viene dunque dedicato il terzo festi- val monografico, interdisciplinare e collegiale realizzato a Torino: interdisciplinare perché nei 33 appuntamenti che lo costituiscono sono coin- volte più forme artistiche; collegiale perché tutto il programma è frutto di una vasta sinergia che coinvolge circa trenta istituzioni culturali. Richard Strauss (1864-1949) ebbe un forte lega- me con l’Italia e la sua cultura, come testimonia la mostra documentaria allestita per l’occasione e che significativamente inaugura il Festival. -
New York City Ballet MOVES Tuesday and Wednesday, October 24–25, 2017 7:30 Pm
New York City Ballet MOVES Tuesday and Wednesday, October 24–25, 2017 7:30 pm Photo:Photo: Benoit © Paul Lemay Kolnik 45TH ANNIVERSARY SEASON 2017/2018 Great Artists. Great Audiences. Hancher Performances. ARTISTIC DIRECTOR PETER MARTINS ARTISTIC ADMINISTRATOR JEAN-PIERRE FROHLICH THE DANCERS PRINCIPALS ADRIAN DANCHIG-WARING CHASE FINLAY ABI STAFFORD SOLOIST UNITY PHELAN CORPS DE BALLET MARIKA ANDERSON JACQUELINE BOLOGNA HARRISON COLL CHRISTOPHER GRANT SPARTAK HOXHA RACHEL HUTSELL BAILY JONES ALEC KNIGHT OLIVIA MacKINNON MIRIAM MILLER ANDREW SCORDATO PETER WALKER THE MUSICIANS ARTURO DELMONI, VIOLIN ELAINE CHELTON, PIANO ALAN MOVERMAN, PIANO BALLET MASTERS JEAN-PIERRE FROHLICH CRAIG HALL LISA JACKSON REBECCA KROHN CHRISTINE REDPATH KATHLEEN TRACEY TOURING STAFF FOR NEW YORK CITY BALLET MOVES COMPANY MANAGER STAGE MANAGER GREGORY RUSSELL NICOLE MITCHELL LIGHTING DESIGNER WARDROBE MISTRESS PENNY JACOBUS MARLENE OLSON HAMM WARDROBE MASTER MASTER CARPENTER JOHN RADWICK NORMAN KIRTLAND III 3 Play now. Play for life. We are proud to be your locally-owned, 1-stop shop Photo © Paul Kolnik for all of your instrument, EVENT SPONSORS accessory, and service needs! RICHARD AND MARY JO STANLEY ELLIE AND PETER DENSEN ALLYN L. MARK IOWA HOUSE HOTEL SEASON SPONSOR WEST MUSIC westmusic.com Cedar Falls • Cedar Rapids • Coralville Decorah • Des Moines • Dubuque • Quad Cities PROUD to be Hancher’s 2017-2018 Photo: Miriam Alarcón Avila Season Sponsor! Play now. Play for life. We are proud to be your locally-owned, 1-stop shop for all of your instrument, accessory, and service needs! westmusic.com Cedar Falls • Cedar Rapids • Coralville Decorah • Des Moines • Dubuque • Quad Cities PROUD to be Hancher’s 2017-2018 Season Sponsor! THE PROGRAM IN THE NIGHT Music by FRÉDÉRIC CHOPIN Choreography by JEROME ROBBINS Costumes by ANTHONY DOWELL Lighting by JENNIFER TIPTON OLIVIA MacKINNON UNITY PHELAN ABI STAFFORD AND AND AND ALEC KNIGHT CHASE FINLAY ADRIAN DANCHIG-WARING Piano: ELAINE CHELTON This production was made possible by a generous gift from Mrs. -
Alvinailey Study Guide 05 06.Indd
1906 05/06 Centennial Season 2006 Study Guide Alvin Ailey SchoolTime American Dance Theater Thursday, March 2, 2006, at 11:00 am Zellerbach Hall Welcome February 23, 2006 Dear Educator and Students, Welcome to SchoolTime! On Thursday, March 2, at 11:00 a.m., you will attend the SchoolTime performance of Alvin Ailey American Dance Theater. This study guide will help you prepare your students for their experience in the theater and give you a framework for how to integrate the performing arts into your curriculum. Targeted questions and activities will help students understand the context for Alvin Ailey’s world reknowned dance work, Revelations and provide an introduction to the art form of modern dance. Please feel free to copy any portion of this study guide. Study guides are also available online at http://cpinfo.berkeley.edu/information/education/study_guides.php. Your students can actively participate at the performance by: • OBSERVING the physical and mental discipline demonstrated by the dancers • LISTENING attentively to the music and lyrics of the songs chosen to accompany the dance • THINKING ABOUT how music, costumes and lighting contribute to the overall effect of the performance • REFLECTING on what they experienced at the theater after the performance We look forward to seeing you at the theater! Sincerely, Laura Abrams Rachel Davidman Director Education Programs Administrator Education & Community Programs About Cal Performances and SchoolTime The mission of Cal Performances is to inspire, nurture and sustain a lifelong appreciation for the performing arts. Cal Performances, the performing arts presenter and producer of the University of California, Berkeley, fulfi lls this mission by presenting, producing and commissioning outstanding artists, both renowned and emerging, to serve the University and the broader public through performances and education and community programs. -
June 2019 Catalogue Issue 38 Prices Valid Until Friday 26 July 2019 Unless Stated Otherwise
June 2019 Catalogue Issue 38 Prices valid until Friday 26 July 2019 unless stated otherwise Birmingham Town Hall in an 1830s engraving, 0115 982 7500 similar to that featured on the cover of ‘Mendelssohn in Birmingham vol.5’, released by Chandos this month (CHSA5235). [email protected] Your Account Number: {MM:Account Number} {MM:Postcode} {MM:Address5} {MM:Address4} {MM:Address3} {MM:Address2} {MM:Address1} {MM:Name} 1 Welcome! Dear Customer, Young Norwegian soprano Lise Davidsen has gradually been garnering attention in recent years, perhaps making the leap to a wider awareness following her award of Gramophone’s ‘Young Artist of the Year’ in 2018 and her sublime performance of Strauss’s ‘Morgen’ at the ceremony. Ariadne was her major role last year; 2019 sees her take on the part of Elisabeth in Tannhauser - Zurich and Munich have already had the pleasure and she will be taking it to Bayreuth in July, under the baton of Valery Gergiev in a brand new production. Pleasingly for those of us who won’t manage to catch her live, her debut album on Decca has just been released, featuring two arias from Tannhauser plus orchestral lieder (and one aria) by Richard Strauss. We have been hugely impressed, especially considering her mere 32 years of age, making it a clear choice for Disc of the Month. Please see our website for our full review. Other new releases to highlight for June include a second lieder recital from Decca, performed by none other than Renee Fleming; Hyperion issue the latest in their series of ‘Romantic Violin Concertos’, this volume featuring works by Lassen, Scharwenka and Langgaard; the Vaughan Williams Society offer us his works for viola and piano via the Albion label; the final instalment in the Halle’s superb Ring Cycle (Siegfried) is released on the Halle’s own label; and stunning vocal ensemble Vox Luminis give us a treat in the shape of works by the Bach Family.