DOCSLIB.ORG

Read by Countless Music Educators, 2013, at His Home in Wilmette, the Book Has Been Translated Into French, Japanese, Chinese, Illinois

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Read by Countless Music Educators, 2013, at His Home in Wilmette, the Book Has Been Translated Into French, Japanese, Chinese, Illinois northwestern university Henry and Leigh Bienen School of Music fanfareSPRING 2014 Jake Heggie, composer Michael Ehrman, director Fully Staged Chicago Premiere February 20, 22, 26, and 28, 2015 DEAD MAN WALKING Henry and Leigh Bienen School of Music Northwestern University music.northwestern.edu b 6 8 12 14 fanfare Features Departments spring 2014 Opus 50 THE SOUND(PROOFING) OF MUSIC NOTEWORTHY...................2 The music school’s new building Northwestern University presents unique acoustical challenges .......8 STUDENTS..................... 18 Bienen School of Music FACULTY ......................20 A CHORUS OF APPROVAL The Bienen Contemporary/Early ON THE CONCERT STAGE..........24 Vocal Ensemble is the school’s newest choral group .................. 14 ALUMNI.......................25 DONORS ......................32 Dean Photo credits Fanfare is the official magazine Other correspondence Toni-Marie Montgomery Madelaine Adams, Howard Ash, of Northwestern University’s Fanfare Editor, Bienen School Marck Bailey, Lev Berenshteyn, Bienen School of Music. of Music, Northwestern Staff Marco Borggreve, Jiyang Chen, University, 711 Elgin Road, Editor Mimi Dixon, Nelson Fitch, Address changes Evanston, Illinois 60208-1800, Kingsley Day Jesse Itskowitz, Peter Kiar, Director of Development, [email protected] Notes Editor Mark Kitaoka, Rafi Letzter, Bienen School of Music, Marck Bailey Lan Nguyen, Ralf Puder and Northwestern University, ©2014 Northwestern University. Nana Franck, Mimi Ross, 1800 Sheridan Road, All rights reserved. Produced by Designer Anneliese Sloves, Katja Tähjä, Evanston, Illinois University Relations Grace Delcano Al Torres 60208-1200 5-14/10.5M/KD-GD/1633-1 On the cover: Construction continues on the atrium of the Bienen School’s new building (photo by Marck Bailey) noteworthy Esa-Pekka Salonen Wins 2014 Nemmers Prize The Bienen School’s 2014 Michael Ludwig Nemmers Prize “Esa-Pekka Salonen is not only one of today’s leading in Music Composition has been awarded to Finnish composer composers but one whose stylistic evolution sheds a unique Esa-Pekka Salonen. The biennial $100,000 prize honors con- light on music’s future,” said Dean Toni-Marie Montgomery. temporary composers of outstanding achievement who have “The students of the Bienen School will benefit greatly significantly influenced the from his musicianship and insight, both as a composer field of composition. Also a and conductor. We look forward to his visits to the North- world-renowned conductor, western campus over the next two years.” Salonen joins the illustrious Trained as a European modernist, Salonen composes list of previous Nemmers works that move freely between contemporary idioms, Prize winners—Aaron Jay combining intricacy and technical virtuosity with playful Kernis (2012), John Luther rhythmic and melodic innovations. His catalog includes Adams (2010), Kaija Saariaho several orchestral works, including Foreign Bodies (2001), (2008), Oliver Knussen commissioned by the Finnish Radio Symphony Orchestra; (2006), and John Adams Insomnia (2002), cocommissioned by Tokyo’s Suntory Hall (2004). “It is with great pride and “The possibilities at educational institutions appreciation that I accept the Nemmers Prize this year,” are always intriguing, but the Bienen School’s said Salonen. “The Chicago special amalgam of creativity and merit Symphony Orchestra has long been a musical home away from makes this opportunity even more exciting.” home for me, and I look forward to developing a relationship –Esa-Pekka Salonen with the Northwestern students and faculty. The possibilities at educational institutions are always intriguing, but the Bienen School’s special amalgam of creativity and merit and Hamburg’s Norddeutscher Rundfunk; and Wing on Wing makes this opportunity even more exciting.” (2004), which premiered at Walt Disney Concert Hall as a Salonen’s numerous honors include the Pro Finlandia gift from the composer to the Los Angeles Philharmonic. Medal of the Order of the Lion of Finland and Sweden’s In 2007 Salonen conducted the New York Philharmonic Litteris et Artibus Medal. In 1998 the French government in the first performance of his Piano Concerto, dedicated to named him an Officier de l’Ordre des Arts et des Lettres, and premiered by Yefim Bronfman. Salonen’s Grawemeyer- and in 2010 the American Academy of Arts and Sciences winning Violin Concerto was premiered by the Los Angeles elected him an honorary member. Salonen was awarded the Philharmonic and Leila Josefowicz in 2009. His Floof, LA prestigious Grawemeyer Award for Music Composition in Variations, and Nyx have become modern classics. 2012 for his Violin Concerto. Three major retrospectives of Currently the principal conductor and artistic adviser of his compositions have been mounted to critical acclaim: at London’s Philharmonia Orchestra, Salonen is also the con- Festival Présences in Paris (2011), the Stockholm International ductor laureate of the Los Angeles Philharmonic. Next season Composer Festival (2004), and Musica Nova in Helsinki he will lead the Orchestre de Paris, the Vienna and New York (2003). Philharmonics, the Bavarian Radio Symphony Orchestra, and In addition to the $100,000 cash award, the Nemmers the Chicago Symphony Orchestra. Prize includes a Chicago Symphony Orchestra performance of Salonen’s extensive discography includes two 2013 a composition by the winner; the CSO will perform a Salonen releases—Henri Dutilleux’s Correspondences on Deutsche work during its 2015–16 season. The composer will also Grammophon with the Orchestre Philharmonique de Radio interact with Bienen School students and faculty during four France, and a two-disc set of the orchestral works of Witold residencies on the Northwestern campus over the next two Lutosławski on Sony with the Los Angeles Philharmonic. academic years. Salonen’s Nyx and his Violin Concerto were released on 2 Deutsche Grammophon with Leila Josefowicz and the Finnish Bienen School Cosponsors Radio Symphony Orchestra in 2012. That same year with Israel Studies Conference that orchestra he recorded 2008 Nemmers Prize winner Kaija Saariaho’s Passion de Simone with soprano Dawn Upshaw. The Bienen School of Music was a cosponsor of Deutsche Grammophon has released a portrait CD of Northwestern’s inaugural Israel Studies Conference, Salonen’s orchestral works as performed by the Finnish “The Zionist Ideal in Israel Culture: Dream and Radio Symphony Orchestra, conducted by the composer. Reality.” The event took place November 17–19 on Salonen has received Grammy nominations as both the Evanston campus. composer and conductor—in 2009 for his Dichotomie with The opening session featured a performance by the Los Angeles Philharmonic and Yefim Bronfman and Tel Aviv University’s MultiPiano Ensemble (above), in 2007 for his first Los Angeles Philharmonic recording introduced by Dean Toni-Marie Montgomery. The for Deutsche Grammophon (Stravinsky’s The Rite of Spring), Bienen School also presented the group in an eve- the first CD recorded at Walt Disney Concert Hall. ning concert as the conference’s concluding event. After studying horn and composition at the Sibelius In addition, the conference’s session on music and Academy in Helsinki, Salonen studied composition with dance was chaired by Inna Naroditskaya, associate Franco Donatoni, Niccolò Castiglioni, and Einojuhani professor of musicology. Rautavaara. In 2010 he received an honorary doctorate from While at Northwestern for the conference, the University of Southern California, recognizing him as a MultiPiano founder and performer Tomer Lev— “preeminent composer, conductor, and advocate of contem- a professor at Tel Aviv University’s Buchmann-Mehta porary music.” School of Music—gave master classes and private The Michael Ludwig Nemmers Prize in Music Com- lessons. Discussions are under way to explore further position is made possible through bequests from the late collaborations between the two schools. ❚ Erwin Esser Nemmers, a former member of the Northwestern faculty, and his brother, the late Frederic E. Nemmers, who also enabled the creation of the Erwin Plein Nemmers Prize in Economics and the Frederic Esser Nemmers Prize in Mathematics. ❚ fanfare SPRING 2014 3 noteworthy San Francisco Alumni Concert and Reception Northwestern’s contributions to the performing arts—a component of “Discover Creative Solutions,” one of the four pillars of the University’s Strategic Plan—were in the spotlight when the Northwestern University Alumni Association and the Bienen School cosponsored “A Night with Northwestern at the San Francisco Symphony” on February 21. Following a concert at San Francisco’s Davies Symphony Hall, alumni and friends gathered at a reception with Dean Toni-Marie Montgomery. Eight members of the San Francisco Symphony are Bienen School alumni: associate principal hornist Nicole Cash (98), English hornist Ross deLuna (91), bass trombonist John Engelkes (G80), principal trombonist Timothy Higgins (04), principal percussionist Jacob Nissly (05), trumpeter Guy Piddington (01), and hornists Jonathan Ring (83) and Jessica Valeri (G98, G99). In addition, the orchestra’s director of education is Ron Gallman (G80), and board of governors member Trine Sorensen (parent of a 2013 Northwestern graduate) is a member of the Bienen School of Music Advisory Board. ❚ Top, from left: Dean Montgomery with two alumni members of the San Francisco Symphony—hornist Jessica Valeri and principal trombonist Timothy Higgins, also a member of the Bienen School brass faculty Bottom,
Load more

Recommended publications
  • Voice Types in Opera
    Voice Types in Opera In many of Central City Opera’s educational programs, we spend some time explaining the different voice types – and therefore character types – in opera. Usually in opera, a voice type (soprano, mezzo soprano, tenor, baritone, or bass) has as much to do with the SOUND as with the CHARACTER that the singer portrays. Composers will assign different voice types to characters so that there is a wide variety of vocal colors onstage to give the audience more information about the characters in the story. SOPRANO: “Sopranos get to be the heroine or the princess or the opera star.” – Eureka Street* “Sopranos always get to play the smart, sophisticated, sweet and supreme characters!” – The Great Opera Mix-up* A soprano is a woman’s voice type. There are many different kinds of sopranos within the general category: coloratura, lyric, and spinto are a few. Coloratura soprano: Diana Damrau as The Queen of the Night in The Magic Flute (Mozart): https://youtu.be/dpVV9jShEzU Lyric soprano: Mirella Freni as Mimi in La bohème (Puccini): https://youtu.be/yTagFD_pkNo Spinto soprano: Leontyne Price as Aida in Aida (Verdi): https://youtu.be/IaV6sqFUTQ4?t=1m10s MEZZO SOPRANO: “There are also mezzos with a lower, more exciting woman’s voice…We get to be magical or mythical characters and sometimes… we get to be boys.” – Eureka Street “Mezzos play magnificent, magical, mysterious, and miffed characters.” – The Great Opera Mix-up A mezzo soprano is a woman’s voice type. Just like with sopranos, there are different kinds of mezzo sopranos: coloratura, lyric, and dramatic.
    [Show full text]
  • L'importanza Dell'etica Nella Grande Interpretazione Musicale: Testimonianze E Incontri Con Celebri Pianisti
    L’importanza dell’etica nella grande interpretazione musicale: testimonianze e incontri con celebri pianisti Kazimierz Morski Pianista. Direttore d’orchestra. Catedratico di Scienze Musicali Università Slesiana di Katowice Università Autonoma di Madrid1 Università di Roma 2 “Tor Vergata”2 Sintesi. Il saggio è frutto di personali esperienze e di considerazioni sorte nell’accostarsi a grandi personaggi della musica, in questo caso pianistica, il cui impegno etico-estetico sta alla base della profonda grandezza di esecuzioni divenute ormai patrimonio storico. Modelli in tal senso sono stati Neuhaus, Benedetti Michelangeli o Arrau per chi, come me, ha potuto incontrarli o sentirli in concerto e si trova oggi a porli nella prospettiva storica assieme ad altri artisti del mondo compositivo ed interpretativo. Nonostante le differenze e le soggettive concezioni di approccio alla musica, dal concertismo puro, all’impegno didattico, alla riflessione teorica, quanto appare nelle loro realizzazioni è un atteggiamento umano e culturale spesso celato da un nobile riserbo, segno irripetibile dell’arte nella sua essenza. Di qui l’affermazione della necessaria componente etica nell’ambito estetico delle grandi interpretazioni, sia in relazione all’originaria idea creativa che al suo mutare a seconda del gusto e delle epoche. Le testimonianze addotte conducono a profonde considerazioni sul rapporto tra l’elemento ontologico relativo soprattutto alla creatività e quello fenomenologico soggetto alle continue variazioni del modo di sentire. Parole chiave. idea creativa - interpretazione ideale - esecuzione - concertismo - pianisti - personalità artistica - virtuosismo - espressione- tradizione - didattica - etica - estetica - esperienze – testimonianze. Abstract. This essay is the result of personal experiences and considerations while addressing the fate of great musicians – in this case of piano players - whose ethic-aesthetic commitment is behind the greatness of certain interpretations that have become part our cultural heritage.
    [Show full text]
  • Connecting Analysis and Performance: a Case Study for Developing an Effective Approach
    Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic Volume 6 Issue 1 Article 8 October 2013 Connecting Analysis and Performance: A Case Study for Developing an Effective Approach Annie Yih University of California, Santa Barbara Follow this and additional works at: https://trace.tennessee.edu/gamut Part of the Music Theory Commons Recommended Citation Yih, Annie (2013) "Connecting Analysis and Performance: A Case Study for Developing an Effective Approach," Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic: Vol. 6 : Iss. 1 , Article 8. Available at: https://trace.tennessee.edu/gamut/vol6/iss1/8 This A Music-Theoretical Matrix: Essays in Honor of Allen Forte (Part IV), edited by David Carson Berry is brought to you for free and open access by Volunteer, Open Access, Library Journals (VOL Journals), published in partnership with The University of Tennessee (UT) University Libraries. This article has been accepted for inclusion in Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic by an authorized editor. For more information, please visit https://trace.tennessee.edu/gamut. CONNECTING ANALYSIS AND PERFORMANCE: A CASE STUDY FOR DEVELOPING AN EFFECTIVE APPROACH ANNIE YIH ne of the purposes of teaching music theory is to connect the practice of analysis with O performance. However, several studies have expressed concern over a lack of connec- tion between the two, and they have raised questions concerning the performative qualities of traditional analytic theory.1 If theorists are to achieve one of the objectives of analysis in provid- ing performers with information for making decisions, and to develop what John Rink calls “informed intuition,” then they need to understand what types of analysis—and what details in an analysis—can be of service to performers.2 As we know, notation is not music; notation must be realized as music, and the first step involves score study.
    [Show full text]
  • 2019-20 Guide to Music Schools
    The 2019-20 Guide to September MUSIC SCHOOLS 2019 Editor’s Note MUSIC SCHOOLS For our 2019-20 Guide to Music Schools, we have culled about 60 institutions from our data For those schools in the listings, you’ll find detailed information on degrees offered, available areas of study, numbers of base of nearly 1200, using a variety of criteria. The key measure across an increasingly broad students and teachers, career and post-graduate assistance, and links to social media and financial information. We also asked spectrum—from schools offering only a certificate to those with multiple Ph.D. options— each institution to describe its most “distinguishing characteristics.” We relied on the schools to tell their own stories. is quality and reputation, not necessarily size. Academy of Vocal Arts ............................................................2 Robert McDuffie Center for Strings .......................................27 Arizona State University School of Music ................................3 New England Conservatory ..................................................27 For example, enrollment may be a mere 23 students, such as at the Academy of Vocal Arts Bard College Conservatory of Music .......................................4 New World Symphony, America’s Orchestral Academy .........28 in Philadelphia, or it could be 1,600 students at the Jacobs School of Music on Indiana Henry and Leigh Bienen School of Music ................................5 Oberlin Conservatory of Music ..............................................29 University’s Bloomington campus. Running a close second in numbers to the Jacobs School Blair School of Music ..............................................................6 Pacific Region International is the University of North Texas College of Music, with 1568, followed by the University of Michigan’s School of Music, Conservatorio di Musica “Arrigo Boito” ...................................6 Summer Music Academy (PRISMA) .................................29 Theater, & Dance, which boasts 1100 music students.
    [Show full text]
  • Presenter Bios
    PRESENTER BIOGRAPHIES Anthony, Wayne Wayne Anthony is a thirty-year veteran of the arts scene in the Toledo area. He has been on the faculties of Maumee Valley Country Day School, Lourdes University, Cedarville University, and Owens Community College. He was the conductor of the Perrysburg Symphony Chorale, the Ballet Theatre of Toledo Orchestra, and the presently heads the SonoNovo Chamber Orchestra. He has been awarded a number of grants for his compositions including the Prix de Nadie Boulanger from the École Americane des Artes in Fontainbleau, France, and most recently was named a semi-finalist in the American Prize for Compostion, Theatre/Opera/Ballet division. His is a pianist and organist and is a member of the Anthony/Brown Piano duo and the American Guild of Organists. He has just returned from two-year hiatus in Boston where he served as organist at Church of Our Saviour Episcopal in Middleboro and was on the faculty of the Bay Colony Performing Arts Academy in Foxboro. AtWood, Thomas Mr. Thomas Atwood is an Associate Professor of Information Literacy for The College of University Libraries at The University of Toledo. His work has appeared in the Journal of Religious & Theological Information, Children’s Literature, College & Undergraduate Libraries, Names: A Journal of Onomastics, and The Journal of Academic Librarianship. He currently serves as the subject bibliographer to the Department of Music. Batzner, Jay Jay C. Batzner (b. 1974) is a composer and zazen practitioner. Jay’s music has been performed at new music festivals such as Society for Composers, Inc., College Music Society, Society for Electro- Acoustic Music in the US, and Electronic Music Midwest as well as instrument performance societies including the National Flute Association, International Horn Society, and North American Saxophone Alliance.
    [Show full text]
  • Leonard Bernstein's Piano Music: a Comparative Study of Selected Works
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2018 Leonard Bernstein's Piano Music: A Comparative Study of Selected Works Leann Osterkamp The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2572 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] LEONARD BERNSTEIN’S PIANO MUSIC: A COMPARATIVE STUDY OF SELECTED WORKS by LEANN OSTERKAMP A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2018 ©2018 LEANN OSTERKAMP All Rights Reserved ii Leonard Bernstein’s Piano Music: A Comparative Study of Selected Works by Leann Osterkamp This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts. Date Ursula Oppens Chair of Examining Committee Date Norman Carey Executive Director Supervisory Committee Dr. Jeffrey Taylor, Advisor Dr. Philip Lambert, First Reader Michael Barrett, Second Reader THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Leonard Bernstein’s Piano Music: A Comparative Study of Selected Works by Leann Osterkamp Advisor: Dr. Jeffrey Taylor Much of Leonard Bernstein’s piano music is incorporated in his orchestral and theatrical works. The comparison and understanding of how the piano works relate to the orchestral manifestations validates the independence of the piano works, provides new insights into Bernstein’s compositional process, and presents several significant issues of notation and interpretation that can influence the performance practice of both musical versions.
    [Show full text]
  • 726708602826-Itunes-Booklet.Pdf
    VOYAGES (1994) Robert Convery VOYAGES, CANTATA No. 2, Op. 41 (2018) Benjamin C.S. Boyle the croSSing 1. I 3:19 7. I Avowal: Bind us in time 2:10 2. II 3:12 8. II Seascape: Above the fresh ruffles of the surf 4:38 3. III 4:02 9. III Pairings: And yet this great wink of eternity 3:40 LAWRENCE MOSS NEW DAWN 4. IV 5:17 10. IVa Aria: This tendered theme of you 2:26 5. V 4:29 11. IVb Aria: And so, admitted through black swollen gates 4:28 6. VI 5:55 12. V Descent: Meticulous, infrangible, and lonely 5:51 13. VI Chorale: Draw in your head 1:47 51:15 voyages innova 028 innova is the label of the American Composers Forum. © The Crossing, 2019. All Rights Reserved. www.innova.mu | www.crossingchoir.org The Crossing Voyages String Ensemble Katy Avery Robert Eisentrout Rebecca Myers Natasha Colkett, Alexandra Cutler-Fetkewicz, Abigail Fayette, Nathaniel Barnett Ryan Fleming Rebecca Oehlers Rebecca Harris, Margaret Humphrey, and Christof Richter, violin Jessica Beebe Joanna Gates Daniel Schwartz Petula Perdikis and Daniela Pierson , viola Julie Bishop Dimitri German 3 Rebecca Siler Tom Kraines and Mimi Morris-Kim, violoncello Kelly Ann Bixby Steven Hyder Daniel Spratlan Tim Ressler, contrabass Karen Blanchard* Michael Jones Elisa Sutherland Album artwork by Paul du Coudray Steven Bradshaw Heather Kayan Daniel Taylor 2 1 mezzo-soprano solo in Boyle II Colin Dill Heidi Kurtz 2 tenor solo in Boyle IVa, IVb 1 Micah Dingler Maren Montalbano Donald Nally, 3 baritone solo in Boyle IVb conductor * sponsored by board member Beth Van de Water John Grecia, keyboards THE JOURNEY TO VOYAGES a note from Donald Nally I spent a significant amount of time in the nineties obsessed with all things Hart Crane, his fantastic imagery, strictly disciplined structure, free-wheeling language, and complex world of metaphor.
    [Show full text]
  • Lang Lang, Piano Frédéric Chopin (1810–1849) Twelve Études, Op
    CAL PERFORMANCES PRESENTS PROGRAM Wednesday, November 2, 2011, 8pm Zellerbach Hall Lang Lang, piano Frédéric Chopin (1810–1849) Twelve Études, Op. 25 (c.1837) No. 1 in A-flat major: Allegro sostenuto No. 2 in F minor: Presto PROGRAM No. 3 in F major: Allegro No. 4 in A minor: Agitato No. 5 in E minor: Vivace Johann Sebastian Bach (1685–1750) Partita No. 1 in B-flat major, BWV 825 (c.1726) No. 6 in G-sharp minor: Allegro (“Study in Thirds”) Præludium No. 7 in C-sharp minor: Lento Allemande No. 8 in D-flat major: Vivace Courante No. 9 in G-flat major: Allegro assai (“Butterfly”) Sarabande No. 10 in B minor: Allegro con fuoco Menuets I and II No. 11 in A minor: Lento — Allegro con brio Gigue (“The Winter Wind”) No. 12 in C minor: Allegro molto con fuoco Franz Schubert (1797–1828) Sonata in B-flat major, D. 960 (1828) Molto moderato Andante sostenuto Scherzo: Allegro vivace con delicatezza This performance is made possible, in part, by Patron Sponsors Allegro, ma non troppo Diana Cohen and Bill Falik. Cal Performances’ 2011–2012 season is sponsored by Wells Fargo. INTERMISSION 4 CAL PERFORMANCES CAL PERFORMANCES 5 PROGRAM NOTES PROGRAM NOTES Johann Sebastian Bach (1685–1750) earliest date allowed by the enormous demands short canonic pieces and the “St. Anne” Prelude keyboard suite,” wrote Karl Geiringer, “which Partita No. 1 in B-flat major, BWV 825 of his official position for new sacred vocal mu- and Fugue; and Part IV (1742), the incompa- under his masterly hands assumed a unique sic, Bach began a series of keyboard suites that rable Goldberg Variations.
    [Show full text]
  • St. Louis Symphony Orchestra 2018/2019 Season at a Glance
    Contacts: St. Louis Symphony Orchestra: Eric Dundon [email protected], (314) 286-4134 National/International: Nikki Scandalios [email protected], (704) 340-4094 ST. LOUIS SYMPHONY ORCHESTRA 2018/2019 SEASON AT A GLANCE Season highlights include: • Music Director Designate Stéphane Denève conducts four weeks at Powell Hall, with a wide range of repertoire including works by Berlioz, Brahms, Lieberson, Mozart, Prokofiev, Ravel, Scriabin, Vaughan Williams, Wagner, and the SLSO premiere of Esa-Pekka Salonen’s Nyx. • Resident Conductor Gemma New leads the season-opening concert, including the SLSO premiere of Aaron Jay Kernis’ Musica celestis, along with Sibelius’ Finlandia and Elgar’s Enigma Variations. She leads a second concert including the SLSO premiere of Thomas Adès’ Three Studies from Couperin. • Marking the 50th anniversary of his SLSO debut, Conductor Laureate Leonard Slatkin leads two weeks of concerts, including a program of Leonard Bernstein’s “Kaddish” Symphony, Rachmaninoff’s First Piano Concerto, and the SLSO premiere of Loren Loiacono’s Smothered by Sky. His second program features Barber’s Symphony No. 1, Tchaikovsky’s Sixth Symphony, and the world premiere of an SLSO-commissioned work by Emmy Award-winning composer Jeff Beal, known for his music from the Netflix series House of Cards. • Conductors Karina Canellakis, Michael Francis, Gustavo Gimeno, Jakub Hrůša, and Matthias Pintscher make their SLSO debuts; returning guest conductors include Matthew Halls, Hannu Lintu, Jun Märkl, Cristian Măcelaru, Nicholas McGegan, Peter Oundjian, Nathalie Stutzmann, John Storgårds, Bramwell Tovey, and Gilbert Varga. • World premieres of two SLSO-commissioned works, Christopher Rouse’s Bassoon Concerto and a composition by Jeff Beal, along with a U.S.
    [Show full text]
  • Overture November December 2018 2018 9/19/18 2:09 PM Page 1
    NOVEMBER–DECEMBER 2018 TURANGALÎLA-SYMPHONIE MARIN ALSOP AND THE BSO TAKE ON ONE OF THE 20TH CENTURY’S MOST MONUMENTAL SYMPHONIC WORKS MARIN ALSOP AND THE BSO NEW PROGRAM WIN OPUS KLASSIK FOR MAKES FREE TICKETS BERNSTEIN RECORDING AVAILABLE TO CHILDREN 15568-ad in Overture November December 2018_2018 9/19/18 2:09 PM Page 1 YULETIDE AT WINTERTHUR Open for holiday tours • November 17, 2018–January 6, 2019 Don’t miss this spectacular holiday showcase featuring tours of Henry Francis du Pont’s magnificent mansion decorated for Yuletide! Enjoy dining, shopping, musical and theatrical performances, and a full season of festive celebrations. Tickets at 800.448.3883 or visit winterthur.org/yuletide. Included with admission. Members free. Open New Year’s Day. Closed Thanksgiving and Christmas Day. Presented by r e i n r u o F n e B Winterthur is nestled in Delaware’s beautiful Brandywine Valley on Route 52, just minutes from I-95, Exit 7. 15568-ad in Overture November December 2018_2018 9/19/18 2:09 PM Page 1 NOVEMBER/ CONTENTS DECEMBER 2018 2 From the President 4 In Tempo: News of Note 6 BSO Live: Calendar of Events 7 Orchestra Roster 8 Turangalîla-symphonie Marin Alsop and the BSO take on one of the 20th century’s most monumental symphonic works 10 Poulenc Concerto for Two Pianos NOV 9–11 16 Copland Symphony No. 3 YULETIDE AT WINTERTHUR NOV 15 & 18 Off The Cuff: Copland Open for holiday tours • November 17, 2018–January 6, 2019 Symphony No. 3 Don’t miss this spectacular holiday showcase featuring tours of Henry Francis du Pont’s NOV 16 & 17 magnificent mansion decorated for Yuletide! Enjoy dining, shopping, musical and theatrical 20 Violinist Joshua Bell performances, and a full season of festive celebrations.
    [Show full text]
  • Kurt Hübner- Der Intendant
    Kurt Hübner- Der Intendant Seine Stationen: Ulm- 1959-1962 Bremen- 1962-1973 Berlin- 1973-1986 1 ANHANG 1959-1986: DIE AUFFÜHRUNGEN DER INTENDANTENZEIT KURT HUBNERS I. ULM 1959-1962 Das Ensemble Schauspiel (Herren) Schauspiel (Damen) Oper I Operette Oper I Operette Peter Böhlke Elisabeth Botz (Herren) (Damen) Kar! Heinz Bürkel Käthe Druba Lambertus Bijnen Lisa Anders Will Court Angela Gotthardt Kari-Heinz von Eicken Helen Borbjerg Josef Gessler Friede! Heizmann Helmuth Erfurth Anita Butler Joachim Giese Hannelore Hoger George Fortune RuthConway Günter Hanke Alke Hoßfeld Jan Gabrielis Irmgard Dressler Hans-H. Hassenstein Elisabeth Karg Josef Gessler Josette Genet-Bollinger Valentin Jeker Maria-Christina Müller Peter Haage Marjorie Hall Rolf Johanning Elisabeth Orth Kar! Hauer Rita Hermann Norbert Kappen Helga Riede! J osef Kayrooz Marian Krajewska Jon Laxdall Ursula Siebert Bernd Küpper Liane Lehrer Georg von Manikowski Katharina Tüschen Bill Lucas Christine Mainka Dieter Möbius Erika Wackernagel Fritz Neugebauer Gertrud Probst Siegfried Munz Sabine Werner Richard Owens Gertrud Romvary Walther Fr. Peters Fritz Peter Ursula Schade Rudolf Peschke Heinrich Reckler Ingeborg Steiner Hans Jakob Poiesz Herbert Reiter Patricia Hyde Thomas Friedhelm Ftok Heinz Röthig Eva-Maria Wolff Willi Ress Hermann Runge Hermann Schlögl Fred Straub Hermann Schober Walter Voges Alois Strempel Heinz Weigand Peter Striebeck Kar! Schurr Rainald Walter RolfWiest 2 SPIELZEIT 1959/60 das zu überwinden, was gegen die Figur des Posa, die naive Leichtgläubigkeit des Carlos Carl Maria von Weber: und gegen andere alogische Entwicklungen Der Freischütz (29. 8. 59) gesagt werden kann. Schillers Feuerodem, ML: Harald von Goertz; 1: JosefWitt; hier zum erstenmal in reine, gehämmerte B: Hansheinrich Palitzsch Verse gebändigt, überall diese Bedenklich­ keiten siegen zu Jassen, fast möchte man Friedrich Schiller: Don Carlos (3.
    [Show full text]
  • EMPOWERING SILENCED VOICES CHOROSYNTHESIS SINGERS Wendy Moy & Jeremiah Selvey, Co-Artistic Directors with Camel Heard & Chorale
    CONNECTICUT COLLEGE DEPARTMENT OF MUSIC & DAYTON ARTIST IN RESIDENCE PROGRAM PRESENT EMPOWERING SILENCED VOICES CHOROSYNTHESIS SINGERS Wendy Moy & Jeremiah Selvey, Co-Artistic Directors with Camel Heard & Chorale April 13, 2019, 7:30p.m. Evans Hall DAYTON ARTIST IN RESIDENCE PROGRAM Guests Chorosynthesis Singers, Jeremiah Selvey, & Stephen Lancaster Connecticut College Choirs Wendy Moy, Director of Choral Activities PEACE & HUMAN RIGHTS AUDIENCE SING-ALONG Dona Nobis Pacem ​(Grant us peace) Wolfgang A. Mozart (1756-1791) When Thunder Comes (2009) Mari Esabel Valverde (b. 1987) CC Camel Heard, CC Chorale, and Chorosynthesis Singers Tristan Filiato, John Frascarelli, and Naveen Gooneratne, ​percussion Kathleen Bartkowski, ​piano Wendy Moy, ​conductor WAR & DEVASTATION A Clear Midnight (2015) Thomas Schuttenhelm (b. 1970) CC Camel Heard and Chorosynthesis Singers Wendy Moy, ​conductor Come Up from the Fields (1995) C. G. Walden (b. 1955) Diane Walters, Lauren Vanderlinden, and Anthony Ray, ​soloists Reconciliation (2015) Michael Robert Smith (b. 1989) Chorosynthesis Singers Jeremiah Selvey, ​conductor 2 Salut Printemps Claude Debussy (1862-1918) CC Camel Heard Ruby Johnson and Sara Van Deusen, ​soloists Kathleen Bartkowski​, ​piano Wendy Moy, ​conductor COLONIALISM & BEYOND NORTH AMERICA Evening (2015/2016) Conrad Asman (b. 1996) Chorosynthesis Singers Diane Walters and Anthony Ray, ​soloists Jeremiah Selvey, ​conductor Risa Fatal (2015/2016) Tomás Olano (b. 1983) Chorosynthesis Singers Wendy Moy, ​conductor Blue Phoenix (from ​Gather These Mirrors​) (2009) Kala Pierson (b. 1977) SI, SE PUEDE/YES, WE CAN! Do You Hear How Many You Are? (2010) Keane Southard (b. 1987) CC Camel Heard, CC Chorale, and Chorosynthesis Singers Wendy Moy, ​conductor INTERMISSION SUICIDE & PULSE CLUB MASS SHOOTING Testimony (2012) Stephen Schwartz (b.
    [Show full text]