Boston Symphony Orchestra Concert Programs, Season 123, 2003-2004
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21 MARCH FRIDAY SERIES 11 Helsinki Music Centre at 19
21 MARCH FRIDAY SERIES 11 Helsinki Music Centre at 19 Oliver Knussen, conductor Leila Josefowicz, violin Kirill Gerstein, piano Hans Werner Henze: Barcarola 20 min INTERVAL 20 min Alban Berg: Chamber Concerto 39 min I Thema scherzoso con variazioni II Adagio III Rondo ritmico con introduzione Interval at about 19.30. The concert ends at about 20.45. Broadcast live on Yle Radio 1 and the internet (yle.fi/klassinen). 1 The LATE-NIGHT CHAMBER MUSIC will begin in the main Concert Hall after an interval of about 10 minutes. Those attending are asked to take (unnumbered) seats in the stalls. Petri Aarnio & Jari Valo, violin Riitta-Liisa Ristiluoma & Martta Tolonen, viola Tuomas Lehto & Mikko Ivars, cello Arnold Schönberg: Verklärte Nacht (Transfigured Night) 28 min I Sehr langsam II Etwas bewegter III Schwer betont IV Sehr breit und langsam V Sehr ruhig 2 HANS WERNER ginning of the piece the Eton Boating Song from my opera We Come to the HENZE (1926–2012): River, can be heard briefly in the harps. BARCAROLA Later, after extended cantilenas, the real Barcarola is played by the solo vi- Hans Werner Henze was one of the ola, accompanied lightly by flutes and leading post-WWII composers in harps. In the score, the musical progress both his native Germany and Europe. is carried out like a journey: the musi- Barcarola was commissioned by the cal material is transformed, changed Tonhalle-Gesellschaft Zürich and and developed in the same sense as is was first performed there with Gerd the mental process of metamorphosis. Albrecht conducting in April 1980. -
Poul Ruders Four Dances Birmingham Contemporary Music Group, Oliver Knussen DACAPO 8.226028 POUL RUDERS (B
POUL RUDERS Four Dances Birmingham Contemporary Music Group, Oliver Knussen DACAPO 8.226028 POUL RUDERS (b. 1949) Four Dances in One Movement (1983) 19:04 1 Whispering – 1:44 2 Rocking – 5:03 Four Dances 3 Ecstatic – 3:52 4 Extravagant 8:25 Birmingham Contemporary Music Group Oliver Knussen, conductor 5 Nightshade (1987) 8:35 Marie-Christine Zupancic | flute, piccolo, alto Abysm (2000) 23:32 Melinda Maxwell | oboe * 6 I Abysm 12:32 Rebecca Kozam | oboe, cor anglais ** 7 II Burning 1:48 Joanna Patton | clarinet ** 8 III Spectre 9:09 Mark O’Brien | clarinet, bass clarinet *, contra bass clarinet ** Margaret Cookhon | bassoon, contra bassoon ** Total: 51:08 Mark Phillips | horn Jonathan Holland | trumpet Alan Thomas | trumpet * Ed Jones | trombone Julian Warburton | percussion 1 Adrian Spillett | percussion 2 Malcolm Wilson | piano Alexandra Wood | violin 1 Gabriel Dyker | violin 2 ** Christopher Yates | viola Ulrich Heinen | cello John Tattersdill | double bass * Abysm ** Four Dances; Nightshade Dacapo is supported by the Danish Arts Council Committee for Music POUL RUDERS (b. 1949) Four Dances in One Movement (1983) 19:04 1 Whispering – 1:44 2 Rocking – 5:03 Four Dances 3 Ecstatic – 3:52 4 Extravagant 8:25 Birmingham Contemporary Music Group Oliver Knussen, conductor 5 Nightshade (1987) 8:35 Marie-Christine Zupancic | flute, piccolo, alto Abysm (2000) 23:32 Melinda Maxwell | oboe * 6 I Abysm 12:32 Rebecca Kozam | oboe, cor anglais ** 7 II Burning 1:48 Joanna Patton | clarinet ** 8 III Spectre 9:09 Mark O’Brien | clarinet, bass clarinet -
Boston Symphony Orchestra
Tangtewqpd 19 3 7-1987 BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Saturday, 29 August at 8:30 The Boston Symphony Orchestra is pleased to present WYNTON MARSALIS An evening ofjazz. Week 9 Wynton Marsalis at this year's awards to win in the last four consecutive years. An exclusive CBS Masterworks and Columbia Records recording artist, Wynton made musical history at the 1984 Grammy ceremonies when he became the first instrumentalist to win awards in the categories ofjazz ("Best Soloist," for "Think of One") and classical music ("Best Soloist With Orches- tra," for "Trumpet Concertos"). He won Grammys again in both categories in 1985, for "Hot House Flowers" and his Baroque classical album. In the past four years he has received a combined total of fifteen nominations in the jazz and classical fields. His latest album, During the 1986-87 season Wynton "Marsalis Standard Time, Volume I," Marsalis set the all-time record in the represents the second complete album down beat magazine Readers' Poll with of the Wynton Marsalis Quartet—Wynton his fifth consecutive "Jazz Musician of on trumpet, pianist Marcus Roberts, the Year" award, also winning "Best Trum- bassist Bob Hurst, and drummer Jeff pet" for the same years, 1982 through "Tain" Watts. 1986. This was underscored when his The second of six sons of New Orleans album "J Mood" earned him his seventh jazz pianist Ellis Marsalis, Wynton grew career Grammy, at the February 1987 up in a musical environment. He played ceremonies, making him the only artist first trumpet in the New -
Britten Connections a Guide for Performers and Programmers
Britten Connections A guide for performers and programmers by Paul Kildea Britten –Pears Foundation Telephone 01728 451 700 The Red House, Golf Lane, [email protected] Aldeburgh, Suffolk, IP15 5PZ www.brittenpears.org Britten Connections A guide for performers and programmers by Paul Kildea Contents The twentieth century’s Programming tips for 03 consummate musician 07 13 selected Britten works Britten connected 20 26 Timeline CD sampler tracks The Britten-Pears Foundation is grateful to Orchestra, Naxos, Nimbus Records, NMC the following for permission to use the Recordings, Onyx Classics. EMI recordings recordings featured on the CD sampler: BBC, are licensed courtesy of EMI Classics, Decca Classics, EMI Classics, Hyperion Records, www.emiclassics.com For full track details, 28 Lammas Records, London Philharmonic and all label websites, see pages 26-27. Index of featured works Front cover : Britten in 1938. Photo: Howard Coster © National Portrait Gallery, London. Above: Britten in his composition studio at The Red House, c1958. Photo: Kurt Hutton . 29 Further information Opposite left : Conducting a rehearsal, early 1950s. Opposite right : Demonstrating how to make 'slung mugs' sound like raindrops for Noye's Fludde , 1958. Photo: Kurt Hutton. Britten Connections A guide for performers and programmers 03 The twentieth century's consummate musician In his tweed jackets and woollen ties, and When asked as a boy what he planned to be He had, of course, a great guide and mentor. with his plummy accent, country houses and when he grew up, Britten confidently The English composer Frank Bridge began royal connections, Benjamin Britten looked replied: ‘A composer.’ ‘But what else ?’ was the teaching composition to the teenage Britten every inch the English gentleman. -
November 2016
November 2016 Igor Levit INSIDE: Borodin Quartet Le Concert d’Astrée & Emmanuelle Haïm Imogen Cooper Iestyn Davies & Thomas Dunford Emerson String Quartet Ensemble Modern Brigitte Fassbaender Masterclasses Kalichstein/Laredo/ Robinson Trio Dorothea Röschmann Sir András Schiff and many more Box Office 020 7935 2141 Online Booking www.wigmore-hall.org.uk How to Book Wigmore Hall Box Office 36 Wigmore Street, London W1U 2BP In Person 7 days a week: 10 am – 8.30 pm. Days without an evening concert 10 am – 5 pm. No advance booking in the half hour prior to a concert. By Telephone: 020 7935 2141 7 days a week: 10 am – 7 pm. Days without an evening concert 10 am – 5 pm. There is a non-refundable £3.00 administration fee for each transaction, which includes the return of your tickets by post if time permits. Online: www.wigmore-hall.org.uk 7 days a week; 24 hours a day. There is a non-refundable £2.00 administration charge. Standby Tickets Standby tickets for students, senior citizens and the unemployed are available from one hour before the performance (subject to availability) with best available seats sold at the lowest price. NB standby tickets are not available for Lunchtime and Coffee Concerts. Group Discounts Discounts of 10% are available for groups of 12 or more, subject to availability. Latecomers Latecomers will only be admitted during a suitable pause in the performance. Facilities for Disabled People full details available from 020 7935 2141 or [email protected] Wigmore Hall has been awarded the Bronze Charter Mark from Attitude is Everything TICKETS Unless otherwise stated, tickets are A–D divided into five prices ranges: BALCONY Stalls C – M W–X Highest price T–V Stalls A – B, N – P Q–S 2nd highest price Balcony A – D N–P 2nd highest price STALLS Stalls BB, CC, Q – S C–M 3rd highest price A–B Stalls AA, T – V CC CC 4th highest price BB BB PLATFORM Stalls W – X AAAA AAAA Lowest price This brochure is available in alternative formats. -
John Conklin • Speight Jenkins • Risë Stevens • Robert Ward John Conklin John Conklin Speight Jenkins Speight Jenkins Risë Stevens Risë Stevens
2011 NATIONAL ENDOWMENT FOR THE ARTS 1100 Pennsylvania Avenue, NW Washington, DC 20506-0001 John Conklin • Speight Jenkins • Risë Stevens • Robert Ward John Conklin John Conklin Speight Jenkins Speight Jenkins Risë Stevens Risë Stevens Robert Ward Robert Ward NATIONAL ENDOWMENT FOR THE ARTS 2011 John Conklin’s set design sketch for San Francisco Opera’s production of The Ring Cycle. Image courtesy of John Conklin ii 2011 NEA OPERA HONORS Contents 1 Welcome from the NEA Chairman 2 Greetings from NEA Director of Music and Opera 3 Greetings from OPERA America President/CEO 4 Opera in America by Patrick J. Smith 2011 NEA OPERA HONORS RECIPIENTS 12 John Conklin Scenic and Costume Designer 16 Speight Jenkins General Director 20 Risë Stevens Mezzo-soprano 24 Robert Ward Composer PREVIOUS NEA OPERA HONORS RECIPIENTS 2010 30 Martina Arroyo Soprano 32 David DiChiera General Director 34 Philip Glass Composer 36 Eve Queler Music Director 2009 38 John Adams Composer 40 Frank Corsaro Stage Director/Librettist 42 Marilyn Horne Mezzo-soprano 44 Lotfi Mansouri General Director 46 Julius Rudel Conductor 2008 48 Carlisle Floyd Composer/Librettist 50 Richard Gaddes General Director 52 James Levine Music Director/Conductor 54 Leontyne Price Soprano 56 NEA Support of Opera 59 Acknowledgments 60 Credits 2011 NEA OPERA HONORS iii iv 2011 NEA OPERA HONORS Welcome from the NEA Chairman ot long ago, opera was considered American opera exists thanks in no to reside within an ivory tower, the small part to this year’s honorees, each of mainstay of those with European whom has made the art form accessible to N tastes and a sizable bankroll. -
Golijov's Opera a Hit DAWN UPSHAW (Lying
IVI sic; Global Pulse EDITED BY TOM FERGUSON tferguson @eu.billboard.COm Everything Rosy In Zero 7's Garden Having started their musical careers in the 1990s as "gofers" Gotan Project issued its debut set "La Revancha del Tango" in at a London recording studio, Henry Binns and Sam Hardaker 2001 on band member Philippe Cohen -Solal's own label Ya Basta. have long since blossomed into full- fledged artists as elec- Label manager Laurent Dubrulle claims global shipments have tronica act Zero 7. passed 1 million copies. Atlantic Records issued the duo's third album The Sophomore album "Lunático" (Ya Basta) was issued interna- Garden" internationally May 22, with a U.S. release tionally April 11, licensed in France to Barclay /Universal. due June 6. Dubrulle claims 60,000 domestic sh pments, with U.S. and U.K. Zero 7 launched a U.K. tour booked by Primary Tal- shipments through XL /Beggars at 25,000 and 15,000, respec- ent International May 25, featuring Swedish folk /pop tively. " Lunático" peaked at No. 6 cn Billboard's European Al- artist Jose Gonzalez as guest vocalist. Nine European bums chart on April 26. shows supporting James Blunt will follow in July Dubrulle says the international campaign for " Lunático" will ahead ofan Aug. 27 headline set at the KCRW World largely rely on word -of- mouth. "There will be very little mar- Festival at Los Angeles' Hollywood Bowl. keting, except in France where Barclay has TV and poster ads," Gonzalez is a featured vocalist on "The Garden." he notes. Although largely unknown at the time of recording, Gotan Project's publishing is through Ya Basta /Science he is a hot property in Europe and his album "Veneer" & Mélodie. -
Oliver Knussen Ensemble Signal Brad Lubman, Conductor
Miller Theatre at Columbia University 2012-13 | 24th Season Composer Portraits Oliver Knussen Ensemble Signal Brad Lubman, conductor Thursday, April 18, 8:00 p.m. Miller Theatre at Columbia University 2012-13 | 24th Season Composer Portraits Oliver Knussen Ensemble Signal Brad Lubman, conductor Rachel Calloway, mezzo-soprano Jamie Jordan, soprano Courtney Orlando, violin Thursday, April 18, 8:00 p.m. Ophelia Dances, Book 1 (1975) Oliver Knussen (b. 1952) Brad Lubman, conductor Secret Psalm (1990) Courtney Orlando, violin Hums and Songs of Winnie-the-Pooh (1970/1983) I. Aphorisms: 1. Inscription 2. Hum 3. The Hundred Acre Wood (Nocturne) 3a. Piglet Meets a Heffalump 4. Hum, continued, and Little Nonsense Song 5. Hum 6. Vocalise (Climbing the Tree) 7. Codetta II. Bee Piece III. Cloud Piece Jamie Jordan, soprano Brad Lubman, conductor INTERMISSION Miller Theatre at Columbia University 2012-13 | 24th Season Onstage discussion with Oliver Knussen and Brad Lubman Songs without Voices (1991-92) I. Fantastico (Winter’s Foil) II. Maestoso (Prairie Sunset) III. Leggiero (First Dandelion) IV. Adagio (Elegiac Arabesques) Brad Lubman, conductor Requiem – Songs for Sue (2005-06) Rachel Calloway, mezzo-soprano Brad Lubman, conductor This program runs approximately one hour and 20 minutes, including a brief intermission. Major support for Composer Portraits is provided by the Francis Goelet Charitable Lead Trusts. Composer Portraits is presented with the friendly support of Please note that photography and the use of recording devices are not permitted. Remember to turn off all cellular phones and pagers before tonight’s performance begins. Miller Theatre is wheelchair accessible. Large print programs are available upon request. -
AS Level Performance Studies Topic Exploration Pack (John Adams)
Performance Studies A LEVEL Performance Studies: John Adams Topic Exploration Pack September 2015 www.ocr.org.uk Topic Exploration Pack We will inform centres about any changes to the specification. We will also publish changes on our website. The latest version of our specification will always be the one on our website (www.ocr.org.uk) and this may differ from printed versions. Copyright © 2015 OCR. All rights reserved. Copyright OCR retains the copyright on all its publications, including the specifications. However, registered centres for OCR are permitted to copy material from this specification booklet for their own internal use. Oxford Cambridge and RSA Examinations is a Company Limited by Guarantee. Registered in England. Registered company number 3484466. Registered office: 1 Hills Road Cambridge CB1 2EU OCR is an exempt charity. 2 www.ocr.org.uk AS Level Performance Studies Contents John Adams Teacher Resource Pack ............................................................................................. 4 Background ..................................................................................................................................... 5 Adams’ Works ................................................................................................................................. 5 Fingerprints of Adams’ Style ........................................................................................................... 7 Influences ...................................................................................................................................... -
Xamsecly943541z Ç
Catalogo 2018 Confezione: special 2 LP BRIL 90008 Confezione: Jewel Box 1 CD BRIL 95388 Medio Prezzo Medio Prezzo Distribuzione Italiana 07/03/2017 Distribuzione Italiana 01/12/2017 Genere: Classica da camera Genere: Classica da camera Ç|xAMSECLy900087z Ç|xAMSECLy953885z JOHANN SEBASTIAN BACH JOHN ADAMS Variazioni Goldberg BWV 988 Piano Music - Opere per pianoforte China Gates, Phrygian Gates, American Berserk, Hallelujah Junction PIETER-JAN BELDER cv JEROEN VAN VEEN pf "Il minimalismo, ma non come lo conoscete”, così il Guardian ha descritto la musica di John Adams. Attivo in quasi tutti i generi musicali, dall’opera alle colonne sonore, dal jazz Confezione: long box 2 LP BRIL 90007 Medio Prezzo alla musica da camera, la sua apertura e il suo stile originale ha catturato il pubblico in Distribuzione Italiana 15/12/2015 tutto il mondo, superando i confini della musica classica rigorosa. Anche nelle sue opere Genere: Classica da camera per pianoforte, il compositore statunitense utilizza un 'ampia varietà di tecniche e stili, come disponibile anche ci mostra il pioniere della musica minimalista Jeroen van Veen assecondato dalla moglie 2 CD BRIL 95129 Ç|xAMSECLy900070z Sandra van Veen al secondo pianoforte. Durata: 57:48 Confezione: Jewel Box 1 CD BRIL 94047 YANN TIERSEN Medio Prezzo Pour Amélie, Goodbye Lenin (musica per Distribuzione Italiana 01/01/2005 pianoforte) Genere: Classica Strum.Solistica Ç|xAMSECLy940472z Parte A: Pour Amélie, Parte B: Goodbye Lenin JEROEN VAN VEEN pf ISAAC ALBENIZ Opere per chitarra Confezione: long box 1 LP BRIL 90006 Alto Prezzo Distribuzione Italiana 15/12/2015 Genere: Classica Orchestrale GIUSEPPE FEOLA ch disponibile anche 1 CD BRIL 94637 Ç|xAMSECLy900063z Isaac Albeniz, assieme a de Falla e Granados, è considerato non solo uno dei più grandi compositori spagnoli, ma uno dei padri fondatori della musica moderna spagnola. -
Ojai Festival
American Record Guide September / October 2006 Richard S Ginell usic Director Robert Spano’s and Artistic Director Thomas Morris’s main idea for the 2006 Ojai Festival. music of Osvaldo Golijov, planted itself right in the middle of Mwhat’s hip and happening in contemporary and world music. Indeed, in two of the five programs that I caught, and most of a third, the performers were basically playing their latest recordings. An Ayre-Berio concert came out on a single Deutsche Grammophon CD last fall. Ainadamar was released by DG a month before the festival. and the Atlanta Symphony Chamber Chorus’s program was taken intact from its latest Telarc disc – all for sale, of course. on the festival grounds. This is a tactic long used in the pop music world, and one wonders why it took so long to catch on in the classical arena. Lest you think that Ojai is capitulating to commercial concerns, this California town (population 8,200) still tries its best to defy the big, bad outside world. Though land values and motel room rates continue to skyrocket. the town remains defiantly free of fast-food franchises and other chains. Bart’s Books, a unique, lovable, mostly outdoor treasure chest of literature, still thrives on the corner of Canada and Matilija Streets. There are more loudspeakers than ever in the oak-and-sycamore shaded village park where the concerts take place, yet the sound is usually very good, accompanied by endearing non-amplified obbligatos from resident birds and crickets. And take note, iconoclasts: the Mozart Madness that swamped the festival world in his 250th year was nowhere to be found in Ojai, nor was there any Shostakovich centennial business within earshot. -
Traficante Final Dissertation
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE AN ANALYSIS OF JOHN ADAMS’ GRAND PIANOLA MUSIC A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By DEBRA LEE TRAFICANTE Norman, Oklahoma 2010 AN ANALYSIS OF JOHN ADAMS’ GRAND PIANOLA MUSIC A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY ________________________________ Dr. William K. Wakefield, Chair ________________________________ Dr. Roland Barrett ________________________________ Dr. Paula Conlon ________________________________ Dr. Michael Raiber ________________________________ Dr. Teresa DeBacker © Copyright by DEBRA LEE TRAFICANTE 2010 All Rights Reserved. ACKNOWLEDGEMENTS My document committee consists of Dr. William K. Wakefield, Dr. Roland Barrett, Dr. Michael Raiber, Dr. Paula Conlon, and Dr. Teresa DeBacker, and I thank each of them for their careful reading and great assistance in the execution of this document. I feel very fortunate to have had the members who served on this committee, and hold them each in high regard. Special thanks are especially due to Dr. Wakefield, chair of my committee; he tirelessly helped me clarify ideas, find new ways to experience the piece, and express my thoughts more cogently. Without his unremitting support, this document would not exist. To my parents, Ron and Mary Ann Manna, I owe any success I have ever achieved to you both. The never-ending support you have afforded me is why I have accomplished what I have. I love you both and thank you. To my in-laws, Harry and Cheryl Craig, I sincerely appreciate the endless love and support you have given to me for the last fifteen years.